Schenker Documents Online: Gesellschaft der Musikfreunde

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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Gesellschaft der Musikfreunde Society for the Friends of Music Documents associated with this entity: Correspondence Diaries Other material Association of musical amateurs, of central importance to the musical life of Vienna since the early 19th century. The Gesellschaft der Musikfreunde was founded in 1812 as an association of noble and middle-class music amateurs in Vienna. It devoted itself primarily to three major tasks: the organizing of concerts, the collecting of documentary materials of all types relating to music and musical life, and the administering of a conservatory. The last of these, officially named the Konservatorium der Gesellschaft der Musikfreunde, developed into the foremost music-educational center of the Austrian–Hungarian monarchy, and devolved into a state institution in 1909. The principal instigators of the Gesellschaft were Franziska von Arnstein, the brothers Joseph and Ignaz Sonnleithner, Ignaz Franz von Mosel and Joseph Franz Prince Lobkowitz. Its protector was the Archduke Rudolf, and the members of its administration over the course of its history included such notable personalities as Antonio Salieri, Johannes Brahms, Ludwig Bösendorfer, Wilhelm Furtwängler, Richard Strauss and Nikolaus Dumba. The concerts organized by the Gesellschaft took place mostly in the Redouten halls of the Vienna Hofburg and in the old Musikverein Building („Haus zum roten Igel“ Unter den Tuchlauben), up to the time that the new Musikverein Building, designed by Theophil Hansen, was built and ceremonially opened in 1870. Archive The documentary and scholarly aims of the Gesellschaft der Musikfreunde were embodied in its Archive, which was subdivided as follows, according to contents: 1. Archive: autographs of music and letters, music manuscripts, the archival records of the Gesellschaft itself and of the Conservatory; 2. Library: manuscripts and printed books (including medieval music manuscripts and tabulatures), songbooks, newspapers and other periodicals, libretti, and printed documents of various sorts; 3. Collections: early and non-European music instruments, musical memorabilia, collections of portraits and pictures, busts, statuettes, reliefs and medals. The Archive of the Gesellschaft is one of the most important and valuable music collections in Austria. Among the libraries and personal papers acquired by the Archive are those of Johann Gottfried Walther, Antonio Caldara, Ernst Ludwig Gerber, Antonio Salieri, Simon Sechter, Carl Czerny, Ludwig Ritter von Köchel, Johannes Brahms, and Ludwig Bösendorfer. The Archive was accommodated in the erstwhile Conservatory of the Gesellschaft in the Bösendorferstraße 12, in Vienna's first district. After the Conservatory was taken over by the state, and under its new name of Akademie für Musik und darstellende Kunst acquired its own building in the Lothringerstraße in 1913, the Gesellschaft acquired extra space in its own premises and was able to move the Archive from its restricted quarters on the ground floor to the second storey, where it remains to the present day. The Gesellschaft and Heinrich Schenker Schenker was a regular attender of the concerts organized by the Gesellschaft, and recorded comments on them in his diaries over many years. He also made frequent use of the Archive's resources, his first recorded visit being on April 12, 1907: "In the Archive of the Conservatory; Mr. Mandyczewski shows me sketches, letters, and autograph manuscripts by Beethoven, Mozart, etc, and plays the "Kielflügel with the Jalousieschweller [Venetian swells]." (OJ 1/6, p. 38). In 1908, he sent the Gesellschaft complimentary copies of his Beitrag zur Ornamentik, 2nd edn, and Harmonielehre (WSLB 14; CA 76), both at the request of Mandyczewsky (diary, OJ 1/7, pp. 89a, 94). From 1913, Schenker made particularly intensive use of the Archive while working on his Die letzten fünf Sonaten von Beethoven (1913–20). Invited in June 1912 to contribute a lecture or group of lectures to a popular centenary series promoted by the Gesellschaft, Schenker's offer of a yearlong course on harmonic theory led to months of acrimony between him and the Society's officials, further fuelling his animosity toward Viennese officialdom. In May 1933, Schenker attended the opening ceremony and at least one concert of the Brahms centenary festival in the Musikverein Building at the invitation of the Gesellschaft. Schenker's correspondence with the Gesellschaft The officials with whom Schenker had dealings were Gustav Marchet (President 1912–16), Ernst Kraus (Vice-President 1908–38), Carl Lafite (General Secretary 1912–21), and Friedrich Dlabač (General Secretary 1921–38). Schenker's correspondence with the Gesellschaft is preserved as OJ 5/14 (1912: 2 items) and 11/22 (1912, 1916, 1932/33: 7 items), that with Lafite as OJ 5/23 (1912: 2 items) and 12/29 (1912: 5 items, plus 3 items from 1902–04 unrelated to Gesellschaft business), and that with Ernst Kraus as OJ 12/20 (1925, 1935: 2 items); there are eight items in the Gesellschaft Archive (Akten: 5 items; Briefe: 3 items); some of these items, however, duplicate each other, the total number of items being twenty-one. Sources: Biba, Otto, "Gesellschaft der Musikfreunde in Wien," in: oeML, vol. 1, ed. Rudolf Flotzinger (Vienna 2002) Perger, Richard von & Robert Hirschfeld, Geschichte der k. k. Gesellschaft der Musikfreunde in Wien (Vienna: Holzhausen, 1912) Tittel, Ernst, Die Wiener Musikhochschule: vom Konservatorium der Gesellschaft der Musikfreunde zur staatlichen Akademie fur Musik und darstellende Kunst (Vienna: Elisabeth Lafite, 1967) Home page of the Gesellschaft der Musikfreunde in Wien: http://www.musikverein.at/startseite.asp Home page of the Archive of the Gesellschaft der Musikfreunde in Wien: http://www.a-wgm.com/ MGG, "Wien" Contributor: Marko Deisinger Downloads temporarily removed for testing purposes Correspondence Sbb B II 3549 Handwritten letter from Schenker to Busoni, undated [c. September 1, 1903?] Schenker explains that Arnold Schoenberg asked to orchestrate the piano duet Syrian Dances years earlier, therefore that an orchestral version should be available. He says, however, that he had from the beginning conceived the pieces in orchestral colors, but that the orchestration would now take time, so he asks Busoni's preference. He reports that other music societies have asked to perform works by him. OJ 14/23, [7] Handwritten letter from Seligmann to Schenker, undated [probably late summer or early autumn 1903] In this long letter, Seligmann advises Schenker on how to prepare an application for a teaching post at the Vienna Conservatory: what to include and whom to get in touch with at the Conservatory and the Gesellschaft der Muikfreunde. He thinks that a position at the projected Lyceum in Vienna offers a better prospect and advises enlisting the help of his patron Baron Rothschild. Sbb B II 4424 Handwritten letter from Schenker to Busoni, dated October 8, 1903 The orchestral parts of Schoenberg's orchestration of Schenker's Syrische Tänze have been dispatched to Busoni: Schenker comments on their degree of clarity and correctness, and offers advice on performance. He will be attending rehearsals in Berlin. Weinberger have asked that the existing title be retained. -- Schenker reports on prospective performances of his works. He also reports on good chances of receiving a theory professorship at the Vienna Conservatory, and doesn't want Jewishness associated with his compositions lest this should impair those chances. CA 76 Handwritten letter from Schenker to Cotta, dated April 24, 1908 Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch, explaining the delay on Kontrapunkt I. OJ 9/31, [18] Stenographically handwritten letter from Cotta to Schenker, dated April 25, 1908 Cotta has sent a copy of Harmonielehre to the Gesellschaft der Musikfreunde, and thinks that pre-publication excerpting of Kontrapunkt would be advantageous. WSLB 14 Handwritten letter from Schenker to Hertzka (UE), dated August 19, 1908 Schenker gives list of those to receive a copy of Beitrag zur Ornamentik. OJ 9/32, [4] Invoice from Cotta to Schenker, dated September 1, 1908 Invoice for copies of Harmonielehre to Busoni, the Gesellschaft der Musikfreunde, and Löwe. WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July 1909] Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks it worthy of publication, to send a letter of reference to one or other Viennese newspaper. He also expresses his satisfaction at how his career is shaping: he has requested and received generous fees for the editions he has prepared for Universal Edition, and his theoretical writings for Cotta are also moving along. OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10, 1909 Schenker, on receipt of the score of a Rudorff choral work, praises its textural clarity and melodic articulation, comparing them favorably to the writing of the current generation. — He reports the success of his own recent theory works, and inroads made into the Vienna Academy for Music and Performance Art. OJ 7/4, [61] Handwritten postcard from Schenker to Violin, dated March 23, 1910 Schenker suggests they return the due borrowed items to the Archive together. OJ 11/22, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Marchet, Krause) to Schenker, dated June 21, 1912 The writers announce plans to institute a regular program of lectures under the auspices of the Gesellschaft der Musikfreunde, and invite Schenker to participate by offering a lecture or lecture series. WSLB 124 Handwritter letter from Schenker to Hertzka (UE), dated June 27, 1912 Schenker asks for copies of his Beethovens neunte Sinfonie to be sent to himself and others. -- He reports that the Gesellschaft der Musikfreunde has invited him to teach. OJ 5/14, [1] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated June 29, 1912 Schenker responds the the Gesellschaft der Musikfreunde's invitation to give a lecture or series of lectures on a topic of his own choosing; commenting on the reasons behind the proposal, and the style of lecture expected, he expresses his willingness, proposes a subject, and states his fee. 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. OC 52/437 Typewritten letter from Hertzka (UE) to Schenker, dated August 12, 1912 Die letzten fünf Sonaten: Hertzka finds Schenker's suggested rewording too general; Beethovens neunte Sinfonie: Hertzka will pay the supplementary fee demanded by Schenker, but only after 500 copies have been sold. WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912 Schenker returns the contract for Die letzten fünf Sonaten von Beethoven signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that tradition, which will spawn a new generation of composers superior to the present "cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of Musicians project in the fall. OJ 12/29, [5] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker, dated September 14, 1912 Lafite invites Schenker to call on him to discuss the conditions of the lectures. WSLB 135 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912 Schenker insistently reiterates his request for the first half honorarium for Die letzten fünf Sonaten Beethovens. — He alludes to an announcement by the Gesellschaft der Musikfreunde. WSLB 136 Handwritten letter from Schenker to Hertzka (UE), dated September 21, 1912 Schenker reports the stormy end to the prospect of his teaching in the Gesellschaft der Musikfreunde's "Hochschule." WSLB 137 Handwritten letter from Schenker to Hertzka (UE), dated September 24, 1912 Schenker reports developments on the Organization front and also the Gesellschaft der Musikfreunde's "Hochschule" front. OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der Musikfreunde), dated September 27, 1912 Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he lodges his complaint at the way in which he has been treated, which he considers impolite and publicly demeaning, and withdraws his offer of lectures. WSLB 143 Handwritten letter from Schenker to Hertzka (UE), dated November 27[–28], 1912 Schenker requests another copy of Beethoven Op. 109, and lists the sources he has now consulted, the communications with scholars, the cost and time involved, proclaims the "spectacular" findings made, and the incompetence of all previous editors unmasked. WSLB 310 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1919 Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine Bibliothek and other tasks. OC 52/507-508 Typed letter from Hertzka (UE) to Schenker, dated December 19, 1919 Hertzka is pleased that Louis Koch has given his consent [for Op. 101]; he suggests that UE obtain certain sources from the Gesellschaft der Musikfreunde Archive on loan at the office for Schenker to work on; and offers a larger fee for Op. 101, and cautions Schenker about growing costs of photographic work. OJ 10/3, [7] Handwritten letter from Otto Erich Deutsch Deutsch to Schenker, dated January 16, 1920 Deutsch will write to the Beethoven House in Bonn to seek permission to reproduce the manuscript of the "Moonlight" Sonata. He suggests using the first edition as the source for the missing opening and closing bars, and asks Schenker to refrain from polemics in his commentary. Copies of the manuscripts of Beethoven's piano sonatas Opp. 28, 109, 110 and 111 should not be difficult to obtain, and he has made inquiries regarding the manuscripts of Beethoven's Piano Sonata Op. 106 and Mozart's A minor Rondo K. 511. OJ 10/1, [75] Handwritten postcard from Dahms to Schenker, dated May 7, 1923 Dahms has received Vrieslander's essay on Schenker; reports progress on subscriptions for his de luxe edition, proofs, and his work on Haydn; political comment. OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924 Schenker responds to Klenau's remarks on atonal composers and a coming Renaissance; invites him to visit on a Wednesday. OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924 Schenker names ten universities that should receive complimentary copies of Der Tonwille, explaining that university music departments (Seminare) are more suitable recipients than conservatories and other types of music schools. With 1924 coming to an end, he will resign from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The latter have agreed to publish his study of Beethoven's Sonata Op. 106 OJ 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924 Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. — Encloses a draft of a letter to the university music departments chosen to be given copies of Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution of complimentary copies of Der Tonwille to needy scholars. FS 40/27, [1] Handwritten letter from Weisse to Schenker, dated October 12, 1925 Weisse has come across a letter from Haydn to Carl Friedrich Zelter expressing gratitude and admiration for Zelter's analysis of "The Representation of Chaos" from The Creation, and thinks that it might be worth looking up Zelter's work in connection with Schenker's forthcoming study of the same work. OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925 Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing Deutsch's collection of Schubert first editions. 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 10/3, [52] Typewritten postcard from Deutsch to Schenker, dated January 15, 1927 Deutsch asks Schenker if a (recent) edition of Beethoven’s Ninth Symphony was based on the facsimile edition. He has sent the manuscript (of Schenker’s second Meisterwerk yearbook) to the publishers. A Haydn facsimile and a Handel print can be discussed later. OC 54/137 Typed letter from Otto Erich Deutsch to Schenker, dated March 16, 1927 Deutsch returns part of the proofs of the second Meisterwerk Yearbook and provides bibliographical details of a Haydn sketch-leaf to be reproduced for the essay on “The Representation of Chaos.” OJ 10/3, [60] Typewritten express postcard from Deutsch to Schenker, dated April 21, 1927 Deutsch looks forwarded to seeing the Schenkers at Hoboken’s place. The Society of the Friends of Music would like their print of a Haydn sketchleaf to be returned; Eusebius Mandyczewki is unable to find a copy of Scarlatti’s Op. 1 (a collection of six keyboard sonatas). OJ 10/3, [83] Typewritten picture postcard from Deutsch to Schenker, dated April 16, 1928 Deutsch has had sharp words with Max Ast at Austrian Radio. He wants to give a talk on Schubert’s lost “Gastein” (or “Gmunden”) Symphony and hopes that publicity from the broadcasting company will eventually lead to the rediscovery of the manuscript. Eusebius Mandyczewski is preparing a new edition of the “Unfinished” Symphony for Breitkopf & Härtel; the Philharmonia pocket score, with Schenker’s and Deutsch’s revisions, is now in print. Deutsch has discovered that the first edition of Beethoven’s Piano Sonata Op. 90 exists in two versions. OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929 In a long letter, Deutsch thanks Schenker for encouraging him to apply for the post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of play at the Archive, above all on its insecure position. — He also expresses his regret that Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors from the Vienna Academy, and that some of the players are no longer enthusiastic about them; he hopes to start a new initiative of that sort in the autumn. — He is in good standing with Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his recent trip to Italy, and thinks that he might have become an art historian had he gotten to know the country earlier. OJ 10/3, [110] Typewritten picture postcard from Deutsch to Schenker, dated November 8, 1929 Deutsch has come in second place in the application to the Society of the Friends of Music [for the directorship of its Archive], and will not accept an inferior position there. He proposes a meeting with Schenker on Tuesday [the 12th] or Friday [the 15th]. OJ 10/3, [120] Handwritten postcard from Deutsch to Schenker, dated March 2, 1930 Deutsch has come across information suggesting that there may be parts, even a score, of the "Eroica" Symphony with corrections in Beethoven’s hand from the music library of Archduke Rudolph and still located in Olmütz [Olomouc]. WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930 In this 16-page response to a letter from Deutsch, Schenker thanks his correspondent for his unstinting assistance (in relation to the third Meisterwerk yearbook) and underlines the importance of a collected edition of the works of C. P. E. Bach. — He then launches a long and detailed denunciation of Anthony van Hoboken’s character, referring in particular to his treatment of Otto Vrieslander, his ambivalence towards projects associated with the Photogram Archive, and his absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is thoroughly undeserving of a high honor conferred by the Austrian state. WSLB-Hds 191.567 Handwritten letter from Schenker to Deutsch, dated August 15, [1930] Schenker thanks Deutsch for his careful, helpful reading of the proofs to the third Meisterwerk yearbook. -- Tomay has assigned the autography of the foreground graphs for the second movement of the "Eroica" Symphony to an apprentice; these are full of mistakes and will have to be done again. But Tomay’s own work, on the third and fourth movements, is excellent. -- In a postscript, he comments on his entry in the most recent Meyers Lexikon, and on a review of the second Meisterwerk yearbook in the Deutsche Tonkünstler-Zeitung. OC 54/318 Typewritten picture postcard from Deutsch to Schenker, dated August 27, 1930 Deutsch has no objection to Schenker adding a note about a possible source for the “Eroica” Symphony in his notes on the text of the work. -- He is happy that reading the proofs of the third Meisterwerk yearbook has been useful. -- He suggests that the [Austrian] Minister for Education ought to see the letters that Leo Kestenberg has written about Schenker’s work. -- He asks Schenker for a possible journalist contact in Aussig. OJ 10/3, [139] Typewritten letter from Deutsch to Schenker, dated February 24, 1931 Deutsch has found the source of a letter, of interest to Schenker, which was cited in a recent newspaper article by Richard Benz. OJ 5/18, 6 Handwritten letter from Schenker to Jonas, dated April 1, 1931 Schenker congratulates Jonas on his forthcoming publication; — responds to his question about the discussion in Der Tonwille of a Bach fugue copied out by Beethoven; — encloses calling card of Mozart. OJ 10/3, [157] Typewritten letter from Deutsch to Schenker, dated October 16, 1931 In advance of a meeting to discuss the conferral of an honor upon Anthony van Hoboken, Deutsch asks Schenker to sound out Ludwig Karpath cautiously about enlisting his support for this action. OJ 12/6, [11] Typewritten letter from Jonas to Schenker, dated March 24, 1932 Furtwängler liked his essay; Jonas describes his lectures at the Conservatory; the situation with Einstein over publishing his review of Meisterwerk 3; asks about permission to consult Brahms's arrangement of Saul. OJ 12/6, [13] Handwritten letter from Jonas to Schenker, dated July 14, 1932 Jonas reports on his visit to Berlin, where he failed to meet with Furtwängler; — discusses Brahms-Handel Saul and Beethoven Op. 109. — He has heard about the Fünf Urlinie-Tafeln from Hoboken and Salzer; — discusses plans for publishing his Das Wesen des musikalischen Kunstwerkes. — Has received books from Alfred Einstein. GdM Briefe HS, [2] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated October 31, 1932 Schenker requests permission to use Brahms's "Octaven und Quinten" in Der freie Satz or as a separate publication. GdM Akten 34 ex1932/33, [1] Typewritten letter, carbon copy, from Friedrich Dlabač (Gesellschaft der Musikfreunde) to Schenker, dated November 3, 1932 The Gesellschaft der Musikfreunde grants permission for Schenker to publish Brahms' "Octaven und Quinten." OJ 89/5, [9] Handwritten letter from Schenker to Hoboken, dated November 7, 1932 Schenker reports that the [Vienna] Akademie wishes to introduce his Harmonielehre into its curriculum in an abridged version. — The Gesellschaft der Musikfreunde has granted consent. OJ 5/18, 22 Handwritten postcard from Schenker to Jonas, dated January 26, 1933 Josef Marx has expressed interest in class-use of the planned school edition of Schenker's Harmonielehre; Schenker suggests Jonas's Einführung be placed before Marx; a second proposal for an English translation of Harmonielehre has come in. OJ 12/6, [19] Handwritten letter from Jonas to Schenker, dated January 28, 1933 Jonas still has no response from Hoboken re: his Einführung; encloses four essays; reports on forthcoming article, his teaching and advocacy of critical editions, planned radio lectures and performance, and other work. OJ 12/6, [20] Handwritten letter from Jonas to Schenker, dated March 20, 1933 Van Hoboken is willing to advance 600 Mk for the Einführung; Jonas inquires, in that regard, after the plan to reprint Schenker's Harmonielehre, indicating that he had previously prepared a reformulation of that work for teaching purposes; — he alludes to introductory lectures to Furtwängler concerts, and the Handel-Brahms Saul project. GdM Briefe HS, [3] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated April 21, 1933 Schenker notifies the Gesellschaft der Musikfreunde that they will be receiving two complimentary copies of "Octaves and Fifths," and thanks it again for permission. OeNB H Autogr.856/20-5 Handwritten letter from Schenker to Josef Marx, dated July 8, 1933 Schenker asks Marx to intercede with Oswald Kabasta on behalf of Carl Bamberger for the latter to be relayed on Radio Wien. OJ 12/20, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Dlabač, Kraus) to Jeanette Schenker, dated January 15, 1935 The Society send commiserations to Jeanette on the death of her husband. Diaries Diary entry by Schenker for 30 September 1903 Diary entry by Schenker for 12 October 1903 Diary entry by Schenker for 7 November 1906 Diary entry by Schenker for 6 February 1907 Diary entry by Schenker for 6 March 1907 Diary entry by Schenker for 12 April 1907 Diary entry by Schenker for 11 March 1908 Diary entry by Schenker for 8 April 1908 Diary entry by Schenker for 10 April 1908 Diary entry by Schenker for 24 November 1908 Diary entry by Schenker for 2 January 1910 Diary entry by Schenker for 11 November 1911 Diary entry by Schenker for 30 June 1912 Diary entry by Schenker for 29 July 1912 Diary entry by Schenker for 15 September 1912 Diary entry by Schenker for 16 September 1912 Diary entry by Schenker for 26 September 1912 Diary entry by Schenker for 27 September 1912 Diary entry by Schenker for 30 September 1912 Diary entry by Schenker for 30 April 1913 Diary entry by Schenker for 23 September 1913 Diary entry by Schenker for 24 September 1913 Diary entry by Schenker for 25 September 1913 Diary entry by Schenker for 26 September 1913 Diary entry by Schenker for 27 September 1913 Diary entry by Schenker for 9 December 1913 Diary entry by Schenker for 12 December 1913 Diary entry by Schenker for 17 December 1913 Diary entry by Schenker for 10 March 1914 Diary entry by Schenker for 27 May 1914 Diary entry by Schenker for 31 January 1916 Diary entry by Schenker for 24 February 1916 Diary entry by Schenker for 25 February 1916 Diary entry by Schenker for 10 March 1916 Diary entry by Schenker for 13 March 1916 Diary entry by Schenker for 14 March 1916 Diary entry by Schenker for 21 March 1916 Diary entry by Schenker for 22 July 1916 Diary entry by Schenker for 16 October 1916 Diary entry by Schenker for 5 March 1917 Diary entry by Schenker for 4 June 1917 Diary entry by Schenker for 12 April 1919 Diary entry by Schenker for 16 April 1919 Diary entry by Schenker for 21 January 1920 Diary entry by Schenker for 4 February 1920 Diary entry by Schenker for 18 February 1920 Diary entry by Schenker for 17 March 1920 Diary entry by Schenker for 7 April 1920 Diary entry by Schenker for 30 June 1920 Diary entry by Schenker for 15 September 1920 Diary entry by Schenker for 17 September 1920 Diary entry by Schenker for 24 September 1920 Diary entry by Schenker for 28 September 1920 Diary entry by Schenker for 10 November 1920 Diary entry by Schenker for 19 January 1921 Diary entry by Schenker for 26 January 1921 Diary entry by Schenker for 4 February 1921 Diary entry by Schenker for 9 February 1921 Diary entry by Schenker for 18 February 1921 Diary entry by Schenker for 6 April 1921 Diary entry by Schenker for 11 April 1921 Diary entry by Schenker for 13 April 1921 Diary entry by Schenker for 20 April 1921 Diary entry by Schenker for 22 April 1921 Diary entry by Schenker for 3 June 1921 Diary entry by Schenker for 8 June 1921 Diary entry by Schenker for 10 June 1921 Diary entry by Schenker for 13 June 1921 Diary entry by Schenker for 15 June 1921 Diary entry by Schenker for 20 June 1921 Diary entry by Schenker for 19 September 1921 Diary entry by Schenker for 23 September 1921 Diary entry by Schenker for 28 September 1921 Diary entry by Schenker for 5 October 1921 Diary entry by Schenker for 12 October 1921 Diary entry by Schenker for 19 October 1921 Diary entry by Schenker for 24 October 1921 Diary entry by Schenker for 23 November 1921 Diary entry by Schenker for 30 November 1921 Diary entry by Schenker for 5 December 1921 Diary entry by Schenker for 6 December 1921 Diary entry by Schenker for 16 January 1923 Diary entry by Schenker for 12 February 1924 Diary entry by Schenker for 25 July 1924 Diary entry by Schenker for 29 September 1924 Diary entry by Schenker for 26 May 1926 Diary entry by Schenker for 31 May 1926 Diary entry by Schenker for 2 June 1926 Diary entry by Schenker for 14 November 1926 Diary entry by Schenker for 16 March 1927 Diary entry by Schenker for 13 April 1927 Diary entry by Schenker for 21 April 1927 Diary entry by Schenker for 4 May 1927 Diary entry by Schenker for 15 November 1927 Diary entry by Schenker for 19 July 1929 Diary entry by Schenker for 12 November 1929 Diary entry by Schenker for 27 February 1932 Diary entry by Schenker for 8 April 1932 Diary entry by Schenker for 15 October 1932 Diary entry by Schenker for 23 October 1932 Diary entry by Schenker for 25 October 1932 Diary entry by Schenker for 29 October 1932 Diary entry by Schenker for 5 November 1932 Diary entry by Schenker for 7 November 1932 Diary entry by Schenker for 4 February 1933 Diary entry by Schenker for 21 April 1933 Diary entry by Schenker for 12 May 1933 Diary entry by Schenker for 16 May 1933 Diary entry by Schenker for 19 May 1933 Other material OJ 11/22, [4] Press announcement by the Gesellschaft der Musikfreunde in the Neue Freie Presse, dated September 15, 1912 [Author]