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.
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 9/8, [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.
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 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.
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 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.