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OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 18, 1911
Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes
about his planned refutation of the theories of Hugo Riemann and the need to establish his own
theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes
more somberly about the coming autumn and its difficulties.
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WSLB 297 Handwritten letter from Schenker to Hertzka (UE), dated April 9, 1918
Schenker encloses a review by Bekker and comments adversely.
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OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922
This wide-ranging letter describes the difficulties encountered with Emil Hertzka
at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the
"Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success
as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's
generosity. — Ends with generous praise for Violin's musicianship.
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DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922
Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on
Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him;
speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting
Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in
public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker,
Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's
publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a
delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development"
and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to
become brain); Schenker deplores "artifice" (French) as against nature (German). — Things
French: praises German superiority over French in its joy of work. — Higher Plane: the German
should not abase himself before the Frenchman.
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OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27,
1922
Dahms has been trying to improve his publishers' financial terms. — He is in
low-grade accommodation; housing in the "German colonies" is available only to officials. —
Reports on the concert season in Rome. — Die Musik would not accept an article from him on
Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's
"sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on
his latest book, for which he is arranging a de luxe edition by subscription. — Reports
unfavorably on an incident in which Otto Klemperer played the Italian fascist
hymn.
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OJ 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927
Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927;
encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the
Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk
in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the
Hobokens' trip to Switzerland, reporting on von Cube.
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OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927
Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus"
and the suitability of Vrieslander's text for that purpose. — He expresses an interest in
Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the
whereabouts of the autograph manuscript of Beethoven's Op. 106.
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OJ 13/25, [5] Typewritten letter from Rinn to Schenker, dated March 7, 1929
Rinn apologizes for the small format in which the autograph of Schubert's
minuet was reproduced for Schenker's article "Eine Rettung der klassischen Musik-Texte." He
has publicized the work, and intends to send copies of it to university music departments
and inform other newspapers and journals of it. He expresses thanks for the efforts that
Schenker made in contributing to Der Kunstwart, and for his remarks on Bruckner's Ninth
Symphony.
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OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931
Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his
relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at
a lecture given by Hans Weisse.
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OJ 5/7a, [41] (formerly vC 41) Handwritten postcard from Schenker to Cube, dated January 14, 1932
Schenker acknowledges a [non-extant] letter, and asks for a clipping from the Frankfurter
Allgemeine Zeitung.
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OJ 9/34, [35] Handwritten letter from Cube to Schenker, dated December 7, 1932
Cube reports on his current state of mind, his work on a Bach graph (commenting
on a graph by Angi Elias), promises to send an article on Schenker that has appeared in the
Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl
Violin.
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OJ 89/6, [4] Handwritten letter from Schenker to Hoboken, dated March 22, 1933
Schenker thanks Hoboken for money transferred, for contact with Dlabač, and
for information about Jonas. — Oktaven u. Quinten may be published within three weeks. —
Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations
about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled
for his course [at Mannes School]; and Furtwängler deems Schenker the "great music
theorist."
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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.