Schenker Documents Online: Die Musik

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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Die Musik Documents associated with this entity: Correspondence Diaries Lessonbooks Other material German illustrated music periodical, published by Max Hesse Verlag in Berlin, founded in 1901 by Bernhard Schuster, who edited it until his death in 1934. It was published 1901/02–1914/15, and after a break of eight years, 1922/23 to 1942/43, after which it was absorbed with two other periodicals as a vehicle for the Nazi party under the title Musik im Kriege, edited by Herbert Gerigk (1943/44–1944/45). Die Musik and Schenker One letter from Schenker to the periodical survives as OJ 5/26 (1911), and six items of correspondence from Bernhard Schuster under the Die Musik letterhead survive as OJ 14/20 (1922–25). Schenker contributed one article to it: "Joh. Seb. Bach: Wohltemperiertes Klavier, Band I, Präludium c-moll," Die Musik 15/9 (June 1923), pp. 641–51 [appeared subsequently in Das Meisterwerk in der Musik, vol. 2 (1926), as part of "Das Organische der Fuge: aufgezeigt an der I. C-Moll-Fuge aus dem Woltemperierten Klavier von Joh. Seb. Bach," pp. 55–95] Downloads temporarily removed for testing purposes Correspondence WSLB 44 Handwritten letter from Schenker to Hertzka (UE), dated October 18, 1909 Schenker tells Hertzka of the Academy's plans to present a "historical" concert of works edited by himself. WSLB 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911 Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies his editorial stance with reference to Rodin and architecture, and suggests it might be published in Germany as retribution against Bopp and Wiener. —He is working now on Counterpoint II for Cotta. WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911 Schenker explains that the music examples without [key] signatures in Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. -- He approves the use of a quotation from a D'Albert letter for publicity purposes. WSLB 113 Handwritten letter from Schenker to Hertzka (UE), dated May 18, 1912 Schenker asks to see the entire volume of his monograph on Beethoven's Ninth Symphony again for a final check, and urges that the work be published in time for the Vienna Music Festival Week, and that UE be advertizing the book now in Germany. WSLB 129 Handwritten letter from Schenker to Hertzka (UE), dated August 6, 1912 Schenker informs Hertzka that he has been approached by the Gesellschaft der Musikfreunde with a view to his teaching a course at the Society's new "free high school" beginning in October, and inquires whether Hertzka will meet his demands so that he can proceed with Die letzen fünf Sonaten Beethovens. WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26, 1912] Recounting the backstory of the move to found an [Austrian] organization of musicians, and painting it as a rearguard action by performers against the dominance of Neue freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he complains at the timid tone of Universal Edition's advertising of his own works. OJ 10/1, [5] Handwritten letter from Dahms to Schenker, dated June 26, 1914 Dahms inquires after Schenker's study of Op. 110, and hopes to review it. He is sure there will come a day when Schenker's work is fully appreciated. OJ 15/16, [24] Handwritten letter from Weisse to Schenker, dated September 17, 1914 Commenting on an article by Paumgartner, Weisse asks to come and play some new compositions, and warns that he may be called up for war service. OJ 5/43, [1] Handwritten draft letter from Schenker to Eberhard von Waechter, dated September 28, 1918 Schenker thanks Waechter for sending some of his work and praises it for being on the right path toward genius; he questions musical education and existing music periodicals. OJ 10/1, [72] Handwritten letter from Dahms to Schenker, dated October 28, 1922 Dahms chooses to remain in Italy in view of the "moral and physical devastation" that he hears reported from Germany. — He is committed to Schust & Loeffler for a Haydn biography. He reports on a review of his book "Offenbarung." OJ 14/45, [106] Handwritten postcard from Moriz Violin to Schenker, dated December 19, 1922 Violin points out that Universal Edition is advertising Schoenberg's Harmonielehre but not Schenker's. OJ 8/4, [17] Handwritten postcard from Schenker to Moriz Violin, dated December 23, 1922 Amplifying a thought expressed in a recent letter, Schenker speaks of a plan to silence the throng that worships Schoenberg and the moderns, but money for it is lacking. 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. OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11, 1923 Responding to a letter from Violin despairing of the political situation in Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which resonate with his own views that German society is, in effect, ruled by foreign despots. OJ 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9, 1923 Having settled into country life in the Tyrol, Schenker returns to his work, in particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks Violin’s opinion about a subscription plan for a periodical that would appear four times a year (instead of the current two), and hopes that his friend might spare a few days to visit him in Galtür. OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21, 1923 In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving health, and goes on to mention a number of personal successes he has lately had, including a visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa solemnis. He has also had some unexpected support from his publisher, who wants to expand Der Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts (three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are overtaking Furtwängler as conductors in Vienna by accepting more modest fees. OJ 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924 After thanking Violin for his touching fiftieth-birthday tribute of 1918, Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate more on the dissemination of Der Tonwille, with a new publisher. OJ 15/15, [17] Handwritten postcard from Weisse to Schenker, dated January 22, 1925 Weisse alerts Schenker to the January 1925 issue of Die Musik, which contains two pieces concerned with him. He suggests that Schenker travel to Munich, to negotiate a deal with Alfred Einstein at Drei Masken-Verlag concerning the publication of a successor to Der Tonwille. OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925 Schenker, repeating some of the points made in earlier letters, continues to give an account of Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists; the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the canonic composers. OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925 Violin explains why, and how, the number of free copies of Der Tonwille distributed to German university music departments was reduced from 10 per university to 7. He has seen Paul Bekker's recent book, which includes a survey of recent trends in music theory. OJ 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18, 1925 Bamberger reports that after six months of repetiteur work he has been granted some conducting. -- He laments the lack of musical education of the Danzig citizens, and its impact on the theater's repertory. Talent is not appreciated by the theater's administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks Schenker a question about Schubert's song "Wohin?" OJ 9/8, [1] Handwritten letter from Wilhelm Altmann to Schenker, dated October 3, 1925 Altmann asks Schenker to send his [Hammer] portrait to the editor of Die Musik. JOB 94-3, [15] Handwritten letter from Schenker to Hammer, continued by Weisse, dated October 5, 1925 Schenker informs Hammer that he has recommended Otto Vrieslander as the author of a short article about him to accompany the Hammer mezzotint for publication in the journal Die Musik. Weisse continues the letter, ordering prints of the mezzotint for Schenker and himself, and detailing arrangements for payment. OJ 11/36, [23] Handwritten letter from Hammer to Schenker, dated October 6, 1925 Hammer encloses as a gift two prints of his mezzotint of Schenker; Weisse will convey to Schenker a print from which the printing block of the mezzotint can be made for Die Musik's purposes. -- The Albertina has just purchased one of the proofs. JOB 94-3, [16] Handwritten letter from Schenker to Hammer, dated November [recte October] 11, 1925 Schenker reports that the tube [containing a print of the mezzotint portrait of him, for making a printing block] has been sent to the publisher [of Die Musik], and he now waits to see whether the latter will commission an article to accompany it. He comments on the Albertina's purchase of a print of the portrait. JOB 94-3, [17] Handwritten postcard from Schenker to Hammer, dated October 18, 1925 Schenker quotes Schuster's response acknowledging receipt of the portrait and anticipates publishing it [in Die Musik], perhaps with an accompanying essay. OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925 The [Hammer] mezzotint has arrived; Dahms expresses a reservation about it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE. OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9, 1926 Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing article about Schenker in Die Musik; advice for Weisse over choice of publisher. OC 54/83 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 15, 1926 Drei Masken Verlag are sending Schenker ten hard-bound complimentary copies of the first Meisterwerk Yearbook, although he may contractually be entitled only to five hard-bound and five paper-bound copies. They ask him to send the addresses to which review copies may be sent. (Schenker has made some pencil notes about the receipients of the complimentary copies.) OJ 5/7a, [5] (formerly vC 5) Handwritten letter from Schenker to Cube, undated [c. October 7, 1926] Schenker praises Cube's talent as a writer; informs Cube of forthcoming article on Schenker by Vrieslander with portrait by Hammer; expresses his wish that Cube's father would pay all that he owes him. OC 52/546 Handwritten note by Schenker, dated October 10, 1926 Main points of WSLB 371. OJ 14/45, [56] Handwritten letter from Moriz Violin to Schenker, dated October 10, 1926 Violin reports that his son Karl's health has improved, but that he has to find a new apartment because Karl cannot stay on the ground floor. He will obtain a copy of the current issue of Die Musik, and reports that a review of (presumably) Meisterwerk 1 has appeared in the Hamburger Fremdenblatt. WSLB 371 Handwritten letter from Schenker to UE, dated October 10, 1926 Schenker thanks UE for the advertisement in Die Musik, and asks if they can obtain a review in Rivista musicale italiana. OC 54/193 List of review copies for Das Meisterwerk in der Musik, vol. 1 List of review copies for the first Meisterwerk yearbook. OJ 89/3, [A] Handwritten letter from Schenker to Hoboken, undated [between November 14, 1928 and January 1, 1929] Schenker asks Hoboken to send a copy of a Schubert minuet to Munich, and draws his attention to a Landshoff article and notice about the Andreas Bach book. OJ 13/25, [9] Typewritten letter from Rinn to Schenker, dated March 8, 1930 Vrieslander's article about Schenker for Der Kunstwart is too technical and too long for a journal with amateur readership; he has asked Vrieslander to shorten it. — He expresses enthusiasm for Schenker's idea of writing about the relationship of the great German poets to music. OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930 Deutsch suggests that Schenker should get Breitkopf & Härtel to publish his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will continue to study theory with Schenker while he improves his piano technique in Berlin. -- He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which predates its publication in Op. 75 by about three years, and asks Schenker to compare the two version with a sketch from 1798 that was published by Nottebohm. OJ 15/15, [46] Handwritten postcard from Weisse to Schenker, dated April 14, 1930 Weisse expresses his unease about the dedication to Furtwängler of an article on the "Urlinie," by Walter Riezler. He thinks that Furtwängler, who does not really understand the term, may have put Riezler up to writing it. OJ 6/7, [48] Handwritten letter from Schenker to Moriz Violin, dated May 19, [1930] After congratulating Violin on moving house, Schenker reports that an article that is critical of the "Urlinie", by Walter Riezler, has apparently offended Furtwängler, a childhood friend of the author. Furtwängler hoped that Hans Weisse might write a response; in the end, Brünauer wrote one, and Weisse has sent it to Furtwängler. Schenker has himself replied to an article by Eduard Beninger in the February 1930 issue of the Zeitschrift für Musik. Owing to overwork, he was required to rest during the day between lessons; now he is better. Oppel is again coming to Galtür and Schenker hopes that Violin will join him there, too. OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930 Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about Schenker difficult to read. He advises him to proceed with the printing of his essay on the "Eroica" Symphony, even if it proves possible for another publisher to take it over at a late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for orchestra or wind band]. OJ 14/45, [85] Handwritten letter from Moriz Violin to Jeanette Schenker, dated June 16, 1930 Violin thanks Jeanette Schenker for sending him a recent article. His wife and daughter will spend the summer holiday with his brother-in-law, who is also paying for a three-week holiday for him and his son Karl. OJ 5/7a, [33] (formerly vC 33) Handwritten postcard from Schenker to Cube, dated November 10, [1930] Discusses attendance at Weisse's forthcoming lecture in Berlin; refers to two articles in Die Musik. OJ 15/16, [79] Handwritten letter from Weisse to Schenker, dated June 13, 1931 Weisse sends Schenker further corrections of printing errors [in Meisterwerk III], and notes that the book has recently been reviewed. OJ 8/5, [5] Handwritten picture postcard from Schenker to Violin, dated July 13, [1931] Schenker asks Violin if he has yet seen the review of Meisterwerk 3 in the current issue of Die Musik, which has raised his standing in the world. OJ 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931 Deutsch reports illness in his family over the summer. -- He is glad to see Schenker’s article on the lost Mozart letter in print, and mentions other places in which it was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which have, however, been misrepresented in the press. OJ 10/3, [152] Typewritten letter from Deutsch to Schenker, dated August 19, 1931 Replying to Schenker’s recent letter and postcard, Deutsch says that he will be out of the country in the first half of September (travelling with a choir). He is delighted with the recent review [of the third Meisterwerk yearbook], and is always happy to see Schenker’s work praised. His wife and family have now recovered from illnesses. He is still awaiting a letter from Drei Masken Verlag. OJ 12/6, [38] Handwritten letter from Jonas to Schenker, dated September 25, [1932] Jonas reports letter from Hoboken re subscriptions to his Einführung; also reports re publishing (Breithaupt), reviewing (for Einstein), and imminent broadcast talks, and teaching next academic year; also re Sandra Droucker lecture on Schenker in Oslo. OJ 12/6, [16] Handwritten letter from Jonas to Schenker, dated October 1, 1932 Further on Hoboken and the number of subscriptions; Jonas thanks Schenker for approving an article about the Photogrammarchiv that he hopes will be published in Die Musik. OJ 12/6, [17] Handwritten letter from Jonas to Schenker, dated November 27, 1932 Jonas has received a preliminary refusal from Anthony van Hoboken [over subscriptions for Das Wesen des musikalischen Kunstwerks], and seeks Schenker's advice; reports contact with Furtwängler; comments on lectures given by Webern. OJ 12/6, [24] Handwritten letter from Jonas to Schenker, dated October 25, 1932 Jonas acknowledges OJ 5/18, 16 (not surviving); is pleased his article has Schenker's approval; sends [text of] lecture for Schenker's judgment; result of subscription [for Einführung] so far depressing. OC 44/22 Typewritten letter from Jonas to Schenker, dated November 10, 1932 Jonas acknowledges letter from Schenker and gives initial list of subscribers with number of copies; he reports on two of his latest publications. 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. FS 40/1, [16] Handwritten letter from Schenker to Salzer, dated June 30, 1933 Schenker expresses pleasure that the seminar is grasping the "truth of the genius's art," and comments that it is a Jew who has been called upon to reveal this truth. — He reports Vrieslander's indignation that Furtwängler's address [to the Brahms centennial] did not refer to Schenker. — The letter makes heavy use of Latin phrases. OJ 12/6, [40] Handwritten letter from Jonas to Schenker, dated December 19, 1934 Jonas encloses a translation of an English review of his book; comments despairingly. — Lawsuit against Willi Reich comes to court on December 22. — Jonas hopes to give lectures in Vienna. —Asks if Schenker knows Carl Johann Perl. —Holiday good wishes. Diaries Diary entry by Schenker for 1 October 1912 Diary entry by Schenker for 14 April 1913 Diary entry by Schenker for 17 May 1913 Diary entry by Schenker for 20 May 1913 Diary entry by Schenker for 23 May 1913 Diary entry by Schenker for 17 September 1913 Diary entry by Schenker for 9 December 1913 Diary entry by Schenker for 17 January 1914 Diary entry by Schenker for 16 March 1914 Diary entry by Schenker for 30 March 1914 Diary entry by Schenker for 9 May 1914 Diary entry by Schenker for 28 June 1914 Diary entry by Schenker for 11 September 1914 Diary entry by Schenker for 24 September 1915 Diary entry by Schenker for 21 April 1921 Diary entry by Schenker for 23 October 1922 Diary entry by Schenker for 2 November 1922 Diary entry by Schenker for 17 November 1922 Diary entry by Schenker for 19 November 1922 Diary entry by Schenker for 29 November 1922 Diary entry by Schenker for 23 December 1922 Diary entry by Schenker for 28 April 1923 Diary entry by Schenker for 29 April 1923 Diary entry by Schenker for 7 June 1923 Diary entry by Schenker for 8 July 1923 Diary entry by Schenker for 24 July 1923 Diary entry by Schenker for 31 August 1923 Diary entry by Schenker for 13 October 1923 Diary entry by Schenker for 23 January 1925 Diary entry by Schenker for 30 January 1925 Diary entry by Schenker for 2 February 1925 Diary entry by Schenker for 7 March 1925 Diary entry by Schenker for 20 March 1925 Diary entry by Schenker for 26 March 1925 Diary entry by Schenker for 13 June 1925 Diary entry by Schenker for 13 July 1925 Diary entry by Schenker for 29 September 1925 Diary entry by Schenker for 7 October 1925 Diary entry by Schenker for 8 October 1925 Diary entry by Schenker for 9 October 1925 Diary entry by Schenker for 10 October 1925 Diary entry by Schenker for 21 October 1925 Diary entry by Schenker for 22 October 1925 Diary entry by Schenker for 13 November 1925 Diary entry by Schenker for 27 December 1925 Diary entry by Schenker for 6 January 1926 Diary entry by Schenker for 12 June 1926 Diary entry by Schenker for 23 June 1926 Diary entry by Schenker for 22 September 1926 Diary entry by Schenker for 2 October 1926 Diary entry by Schenker for 6 October 1926 Diary entry by Schenker for 10 October 1926 Diary entry by Schenker for 13 October 1926 Diary entry by Schenker for 14 October 1926 Diary entry by Schenker for 15 October 1926 Diary entry by Schenker for 16 October 1926 Diary entry by Schenker for 18 October 1926 Diary entry by Schenker for 19 October 1926 Diary entry by Schenker for 20 October 1926 Diary entry by Schenker for 16 November 1926 Diary entry by Schenker for 17 November 1926 Diary entry by Schenker for 18 November 1926 Diary entry by Schenker for 30 May 1927 Diary entry by Schenker for 10 June 1927 Diary entry by Schenker for 23 March 1928 Diary entry by Schenker for 8 October 1928 Diary entry by Schenker for 14 November 1928 Diary entry by Schenker for 12 April 1929 Diary entry by Schenker for 13 May 1929 Diary entry by Schenker for 17 January 1930 Diary entry by Schenker for 22 February 1930 Diary entry by Schenker for 6 April 1930 Diary entry by Schenker for 7 April 1930 Diary entry by Schenker for 8 April 1930 Diary entry by Schenker for 10 April 1930 Diary entry by Schenker for 11 April 1930 Diary entry by Schenker for 21 April 1930 Diary entry by Schenker for 26 April 1930 Diary entry by Schenker for 9 November 1930 Diary entry by Schenker for 10 November 1930 Diary entry by Schenker for 14 November 1930 Diary entry by Schenker for 8 July 1931 Diary entry by Schenker for 10 July 1931 Diary entry by Schenker for 31 July 1931 Diary entry by Schenker for 4 August 1931 Diary entry by Schenker for 17 August 1931 Diary entry by Schenker for 25 August 1931 Diary entry by Schenker for 12 October 1931 Diary entry by Schenker for 26 September 1932 Diary entry by Schenker for 3 October 1932 Diary entry by Schenker for 9 May 1933 Diary entry by Schenker for 25 June 1933 Lessonbooks OC 3/2-3: Oct 1913-Jun 1914 Hans Weisse: lesson: Thursday, April 2, 1914 OC 3/2-3: Oct 1913-Jun 1914 Robert Brünauer: lesson: Tuesday, April 7, 1914 Other material OJ 21/24, [1] Robert Brünauer: "Die Urlinie: Eine Entgegnung"