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OC 18/59 Typewritten letter from Furtwängler to Schenker, dated May 17, 1933
Furtwängler asks to call on Schenker on May 20.
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OJ 10/18, [4a] Handwritten calling card from Elias, undated [suggested date: c. May 7,
1933]
Miss Elias sends a present (unknown) for Brahms's birthday.
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OJ 11/22, [6] Typewritten letter from the Gesellschaft der Musikfreunde (Barbara Haeberlein), dated
May 15, 1933
Enclosing an invitation for the opening ceremony of the Brahms Centenary
Festival, the writer asks which concerts Schenker would like to attend.
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OJ 11/22, [7] Typewritten letter from the Gesellschaft der Musikfreunde (Dlabač), dated May 19,
1933
Encloses seat assignments for two chairs at the evening concert.
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OJ 11/32, [14] Handwritten letter from Robert Haas and Julius von Kromer to Schenker, dated May 24,
1933
Haas is sending requested books of his, and invites borrowing over summer.
Kromer adds PS.
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OJ 12/24, [6] Typewritten postcard from Kromer to Schenker, dated May 22, 1933
Kromer will call on Schenker on 24th.
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OJ 12/24, [7] Typewritten letter from Kromer to Schenker, dated May 27, 1933
Kromer gives details of an apartment in Bad Ischl.
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OJ 12/6, [21] Handwritten postcard from Jonas to Schenker, dated May 2, [1933]
Jonas thanks Schenker for Brahms study; — he will be in Vienna to see Hoboken on
16th and will visit Schenker.
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OJ 12/6, [22] Handwritten letter from Jonas to Schenker, dated May 9, 1933
Jonas acknowledges OJ 5/18, 25. — If agreement can be reached on his
Einführung, he hopes for publication in the fall; — he has read the two articles by
Schenker; — he sends a recent article on Photogrammarchive; — he will be in Vienna on
16th.
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OJ 15/16, [92] Handwritten letter from Hans Weisse to Schenker, dated May 23, 1933
Weisse thanks Schenker for Brahms's Oktaven u. Quinten, which he finds too
specialist a work to be of use to the uninitiated in Schenker's approach, and therefore does
not recommend for translation into English or use as a textbook. He reports a brief meeting
with Alfred Kalmus and a recent concert of his works, including a new violin sonata. He
gives Schenker his summer holiday address.
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OJ 5/18, 25 Handwritten postcard from Schenker to Jonas, dated May 4, 1933
Schenker expresses doubts about Hoboken's motives for discussion, and reports
two new publications.
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OJ 5/18, 26 Handwritten postcard from Schenker to Jonas, dated May 10, 1933
Schenker acknowledges OJ 12/6, [22] and essay; — Hoboken coming 16th;
discusses timing of meeting.
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OJ 5/7a, [45] (formerly vC 45) Handwritten letter from Schenker to Cube, dated May 6, 1933
Schenker congratulates Cube on the submitted work and offers analytical comments; and laments the
economic conditions for musicians.
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OJ 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933
Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of
Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and
explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism;
someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to
Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard
from Furtwängler.
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OJ 6/8, [23] Handwritten letter from Schenker to Violin, dated May 3, 1933
Preparing for Violin’s arrival, Schenker proposes that he ask the same lesson
fee that his friend would ask, 25–30 shillings per hour, for any new pupils he takes on. (He
will charge Miss Weber less, Hans Wolf perhaps a bit more.) Wolf will get tuition in theory,
but continue to study the piano with Violin.
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OJ 6/8, [24] Handwritten letter from Schenker to Violin, dated May 9, 1933
Schenker suggests a possible time for Wolf’s first lesson, and a schedule for
him and Miss Weber. He is surprised to hear that Violin is thinking of emigrating to
Palestine, and suggests that the Jews there should come to Vienna to study with himself as a
“first-class Jew.” Their summer plans are not yet fixed.
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OJ 89/6, [6] Handwritten letter from Schenker to Hoboken, dated May 3, 1933
Schenker congratulates Hoboken and Eva Boy on their engagement, and comments
on a Frankfurter Zeitung article that Hoboken has sent him, and satirizes the laws that
Hitler has recently introduced. — He encloses his own article, "Was wird aus der Musik?" —
He encloses an invoice from Universal Edition.
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OJ 9/15, [1] Handwritten notecard from Elsa Bienenfeld to Schenker, dated May 22, 1933
Bienenfeld was reminded keenly of Schenker's teaching during a performance of
Brahms's First Symphony by Furtwängler, and seeks a private meeting.
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OJ 9/15, [2] Handwritten postcard from Elsa Bienenfeld to Schenker, dated May 29, 1933
Bienenfeld thanks Schenker for inviting her to visit him and promises to come
on June 2, 1933.
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OJ 9/34, [36] Handwritten letter from Cube to Schenker, dated May 1, 1933
Thanks Schenker for sending Brahms's Octaven u. Quinten, expresses his longing for Der
freie Satz, sends an example of his work, and expresses concern over his future.
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OJ 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933
Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in
his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political
developments in Germany, and attributes his threatened hunger to Violin's return to Vienna.
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UG 32/5, [2] Handwritten letter from Schenker to Guido Adler, dated May 31, 1933
Schenker thanks Adler for the offprint of his Brahms article.