BNba 304g, [5]-[6] Handwritten letter and declaration from Schenker to Ernst Zitelmann, dated February 28,
1914
Schenker submits a declaration on his usage of photographic materials
received.
OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927
Deutsch thanks Schenker for his recent communications, including a copy of the
contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of
relevant extracts from the correspondence with the publishers. He reports progress in the
establishment of a Photogram Archive at the Austrian National Library, with the cooperation
of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to
photographically reproduce autograph manuscripts are underway at the Beethoven House in
Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that
proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses
his delight in being able to assist Schenker in the promotion of his work.
Sbb 55 Nachl. 13, [2] Handwritten letter from Schenker to Furtwängler, dated July 3, 1927
Schenker recommends Oppel's Mass, and commends Anthony van Hoboken to
Furtwängler.
OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927
Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and
expresses the hope that it will be possible to interest Furtwängler in performance according to
the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and
discusses negotiations with the Austrian National Library and Ministry of Education. — Comments
on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. —
Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig
Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and
Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory.
OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927
Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of
Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to
visit C. S. Terry.
OJ 11/32, [2] Typed letter from Robert Haas to Schenker, dated September 30, 1927
Haas invites Schenker to view the Photogrammarchiv.
OJ 15/15, [25] Handwritten postcard from Weisse to Schenker, dated December 17, 1927
Weisse thanks Schenker for supporting his latest project in principle, and for
informing him of Antony van Hoboken's intention to establish a publication related to the
the Photogram Archive.
OJ 89/1, [8] Handwritten letter from Schenker to van Hoboken, dated December 17, 1927
Reply from Dr. Richtera has arrived, and Schenker encloses it; Otto Erich Deutsch
is invited to give a lecture about the damages. — Hoboken has had a letter from Alban Berg that
may be intentionally ironic; Schenker reflects on the spirit of the Photogrammarchiv.
PhA/Ar 56, [6] Handwritten postcard from Schenker to Kromer, dated February 1, 1928
Schenker asks Kromer to send the Appeal to Hans Weisse.
PhA/Ar 56, [7] Handwritten postcard from Schenker to Kromer, dated February 2, 1928
Schenker asks Kromer to send copies of the Appeal to Felix-Eberhard von
Cube.
OJ 5/18, [G] Handwritten letter from Schenker to Jonas, dated February 14, 1928
Discusses plans to create of "journal," and conditions under which this might be
done.
OJ 89/2, [4] Handwritten letter from Schenker to Hoboken, dated March 16, 1928
Schenker speaks of Hoboken's Photogrammarchiv as a "grand contribution," and of
the work to be done there; reports on a copy of Beethoven Sonata, Op. 90, by Archduke Rudolph. —
He will show Hoboken recent articles by Dahms and Vrieslander, and inquires about Hoboken's
birthday.— Furtwängler may come to Vienna permanently.
OJ 11/54, [23] Handwritten letter from Hoboken to Schenker, dated March 21, 1928
Hoboken has still made no progress on photographic work at the Paris
Conservatory. — He will go to Rotterdam and Münster. — Speaks of the importance of his Archive
work and contacts he has made. Will probably go to a concert featuring music of Alban Berg. — He
asks Schenker to intervene with O. E. Deutsch.
OJ 89/2, [5] Handwritten letter from Schenker to Hoboken, dated March 26, 1928
Schenker conveys Deutsch's response to van Hoboken's questioning of a planned
facsimile of Schubert sketches. — Schenker discusses strategy for persuading Paris to supply
photographs for the Photogrammarchiv.
OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928
With thanks for birthday greetings, Schenker expresses how highly he values the
Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. —
Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the
success of the Urlinie through Der Tonwille, he no longer considers himself isolated.
PhA/Ar 56, [8] Handwritten letter from Schenker to Kromer, dated June 22, 1928
Schenker expresses thanks for the greetings telegram, and extolls the work of
the Photogrammarchiv.
OJ 6/7, [38] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated June 23,
1928
Schenker thanks Violin for his kind birthday greetings, explaining the
discrepant birth dates assigned to him. He reaffirms his spiritual solidarity with his
friend. He has read some articles and reviews mentioning his work, at all of which he
laughs.
OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928
Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses
associated newspaper article; also on recent lecturing and composition activity. He is unlikely
to visit Schenker this year; recalls people at Galtür.
OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928
Sends best wishes for Cologne lecture-series; is planning to issue a folder of
Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv,
which will be officially opened on November [25]. The "counter-examples" should be taken
slowly.
WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated
November 27, 1928
Schenker reports the impact of his Urlinie concept on the educational world
within Germany and in the USA. — He seeks to re-establish a working relationship with UE,
raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical
study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of
NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his
existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the
"Eroica."
OJ 13/25, [3] Typewritten letter from Rinn to Schenker, dated December 7, 1928
Rinn enthusiastically thanks Schenker for his intention to write an article,
and for arranging to have the necessary photographic reproductions
prepared.
PhA/Ar 56, [9] Typewritten letter of confirmation from Schenker to Kromer, dated December 12,
1928
Schenker acknowledges receipt of Beethoven photograms.
WSLB 403 Handwritten letter from Schenker to Hertzka (UE), dated December 23, 1928
Schenker reports on the autograph manuscript of Beethoven Op. 79. — He is
"convinced" that the autograph of Op. 106 is in England.
OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929
Schenker thanks Violin for his concerns, describes how they survived the cold
weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished
and that he has written an article about the Photogram Archive, which has acquired over
seven thousand pages of manuscripts. He looks forward to seeing his friend in the
summer.
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.
OJ 14/45, [77] Handwritten letter from Violin to Schenker, dated March 20, 1929
Violin thanks Schenker for his letter with the voice-leading sketch of Bach's
C major Invention, and for the article from Der Kunstwart on the Photogram Archive. He is
enjoying the climate of Nice, and seems to be getting on well with the French language; a
lady who overheard him playing the piano praised his expressive playing.
OJ 89/3, [2] Handwritten letter from Schenker to Hoboken, dated July 6, 1929
Schenker encloses a newspaper clipping regarding a Haydn manuscript find, and the
statement from Vrieslander.
PhA/Ar 56, [3] Handwritten letter from Schenker to Haas, dated July 6, 1929
Schenker draws Haas's attention to an article in the Neue Freie Presse
regarding Haydn manuscripts.
OJ 89/3, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 7,
1929
Hoboken recounts recent travels. — Is now at Kliffende, where he is about to
build a house. — Reports meetings with Hubermann and Harburger; encloses a letter and articles
from the latter. — Refers to a Vrieslander problem.
OJ 89/3, [4] Handwritten letter from Schenker to Hoboken, dated July 12, 1929
Schenker thanks Hoboken for the Harburger items and agrees to write to
Vrieslander.
OJ 89/3, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 22,
1929
Hoboken gives his view on Vrieslander's honorarium demand.— He is not yet
finished with analyzing Brahms Op. 117, No. 1.
OJ 89/3, [7] Handwritten letter from Schenker to Hoboken, dated August 5, 1929
Further communications between Hoboken and Vrieslander should now go via
Kromer, not Schenker; Oppel leaves tomorrow; how is house-construction
going?
OJ 11/54, [26] Typewritten letter from Hoboken to [Reinhard Oppel], dated August 30, 1929
Hoboken advises Oppel on ordering materials from the Photogrammarchiv for study
purposes. — He hopes to see him in Kiel in late September.
OJ 89/3, [8] Handwritten letter from Schenker to Hoboken, dated September 10, 1929
Schenker increases his lesson fee by inflation. — He reports on Oppel and
Vrieslander, referring to his (Schenker's) not having been appointed to a professorship at
Heidelberg; on Albersheim's marriage, and approaches made to him by Cube and
Waldeck.
OJ 89/3, [11] Typewritten letter (typed copy) from Vrieslander to Schenker, dated October 23,
1929
Vrieslander reports that Hoboken has given him notice to vacate, and rehearses
the course of events leading up to this situation, events that intertwine with Vrieslander's
obligations to the Photogrammarchiv.
OJ 6/7, [43] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1929
Urging his friend to write only when he feels up to it, Schenker gives Violin
some news of his own: that the Eroica Symphony monograph is finished but a publisher who is
capable of dealing with the numerous music examples must be found; that Schenker will work
unceasingly on Der freie Satz once the Eroica is out of the way; that the Photogram Archive
has grown in size in two years, and that so many requests for information have been received
that a yearbook is planned, with critical reports, new editions, and the like; that Hoboken
and Vrieslander have fallen out (over money matters); that Schenker's brother Mozio (Moses)
has separated from his wife after 25 years of marriage and that he his has been giving music
lessons to Mozio’s son, a cellist in the Baden city orchestra.
PhA/Ar 56, [10] Handwritten postcard from Schenker to Kromer, dated November 22, 1929
Inquiry as to the whereabouts of the autograph of Beethoven Op.
90.
OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19,
1930
Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and
Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from
Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of
his own, and that for Schenker.
OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930
Acknowledging his recent letter to Jeanette, Schenker expresses his regret
that Violin and his son Karl are still troubled by health problems and reports some recent
news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was
in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but
this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many
visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife,
and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected
edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but
Schenker is cautious about this because his paid involvement in the project might result in
work that would jeopardize progress on Der freie Satz. He has been included in the latest
edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain
Rolland's latest Beethoven book.
PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker,
dated September 15, 1930
Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to
check in connection with a planned new collected edition of the works of that
composer.
OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21,
1930
Writing after a long and serious illness, Schenker assures his friend that he
is alive and well. The doctors have pronounced him generally fit, but he suffers from a
painful tightening of the thorax, and also a flickering that causes him to "lose" letters
and notes. He has had to give many double-lessons of late, in theory, which he finds tiring.
To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons
without having prepared anything, he would rather play than give over-long lectures. He is
concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that
Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that
Violin is going to Berlin, and will give him instructions about what to do there. His
Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers
– and his brother still has half of his inheritance. But he is still alive – with Der freie
Satz.
OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930
The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker
and Hoboken soon.
OJ 11/32, [5] Typed letter from Robert Haas to Schenker, dated November 29, 1930
Accepts Schenker's invitation to Hans Weisse's lecture, and gives two pieces
of information.
OJ 11/54, [29] Typewritten letter from Hoboken to Schenker, dated December 5, 1930
Hoboken depicts the abundance of music in Berlin, contrasting Furtwängler,
Klemperer and Kleiber. — He has decided to withdraw his planned financing of the
Photogramarchiv's collected edition of C. P. E. Bach.
OJ 11/32, [7] Typewritten letter from Robert Haas to Schenker, dated December 11, 1930
Haas refers to the cancelation of the C. P. E. Bach edition. He explains why
he had to withdraw from Weisse's lecture at the last moment.
OJ 12/24, [1] Handwritten letter from Kromer to Schenker, dated April 9, 1931
Kromer asks to meet with Schenker.
OJ 11/32, [8] Typed letter from Robert Haas to Schenker, dated June 27, 1931
Haas sends summer greetings, and agrees to advise Angi Elias.
FS 40/1, [5] Handwritten letter from Schenker to Salzer, dated December 28, 1931
Schenker replies that there will not be a seminar meeting on January 1. — Draws
attention to a feuilleton.
OJ 11/54, [37] Handwritten letter from Hoboken to Schenker, dated January 1, 1932
Hoboken sends New Year's greetings, refers to an article about the Photogram
Archive, and outlines his travel plans.
OJ 12/24, [3] Typewritten letter from Kromer to Schenker, dated January 26, 1932
The Archive has defective photographic copies and offers them for student
use.
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.
OJ 89/5, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 5,
1932
Hoboken sets out his plans to leave Vienna, pack his furniture and put his
music collection in store, and how he sees the continuation of his lessons with and work
under Schenker.
OJ 12/24, [4] Typewritten postcard from Kromer to Schenker, dated September 13, 1932
Kromer asks if he might call on Schenker.
OJ 11/32, [11] Typed letter from Robert Haas to Schenker, dated September 15, 1932
Haas asks Schenker to call on him in relation to a letter from van Hoboken
regarding the Photogrammarchiv.
OJ 89/5, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 22,
1932
Hoboken is pleased at completion of Der freie Satz and reaffirms his financial
assistance for its printing. — Encloses a letter from Robert Haas and proposes a three-way
meeting. — Refers to the impact of his divorce has on his financial affairs. — May be able
to assist Jonas's publication.
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.
FS 40/1, [14] Handwritten postcard from Schenker to Salzer, dated November 15, [1932]
Schenker acknowledges Salzer's remarks [about Bamberger's performance] and looks
forward to discussing the autograph score of [Beethoven's] Egmont.
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.
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.
OJ 89/6, [8] Typewritten letter (carbon copy), from Hoboken to Schenker, dated July 20,
1933
The Hobokens will not come to Reigersberg; — He re-sends his two songs for
further comment; — He sends a booklet by Gottfried Benn; — They are isolated in
Partenkirchen, and are distressed at events in Germany; — Alfred Cortot has visited the
Photogram Archive and expressed an interest.
OJ 89/6, [9] Handwritten letter from Schenker to Hoboken, dated July 25, 1933
In writing of Hoboken's prospects as a composer, Schenker is not interested in
creating imitation Bachs and Brahmses. — He delights in Cortot's visit to the Photogram
Archive - but Cortot belongs to the already convinced. — He makes observations on some
inclosed feuilletons, and gives information about Goos.
OJ 11/32, [16] Handwritten letter from Robert Haas to Schenker, dated September 10, 1933
Haas expresses pleasure at Schenker's comments on his performance practice
book, and asks if Schenker can donate a copy of Meisterwerk I to the
Archive.
OJ 12/6, [23] Handwritten postcard from Jonas to Schenker, dated September 12, [1933]
Jonas's article on Schenker is published. — He has received part of his book in
proof; asks about appropriateness of an appendix.
PhA/Ar 56, [11] Handwritten letter from Schenker to Kromer, dated October 2, 1933
Schenker returns a loaned book.
OJ 12/6, [46] Handwritten postcard from Jonas to Schenker, dated October 31 [1933]]
Jonas has been sick; — he has seen Furtwängler briefly; — Jonas believes that he
will not have space for the planned appendix on the Photogramm Archive in his book; — he
inquires about Hoboken.
OJ 89/7, [1] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 5,
1934
Hoboken tells Schenker of his plans to build a house in Grinzing. — He praises
an article by Citkowitz. — He reports on Jonas's book.
OJ 89/7, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 15,
1934
Hoboken outlines plans to expand publicity for the Photogram Archive. —
Reports re his work on Chopin's Scherzo Op. 54, which he will bring to his April 3 lesson. —
Refers to the invitation to Schenker to contribute to the journal of the
Reichsmusikkammer.
OJ 12/6, [30] Handwritten letter from Jonas to Schenker, dated March 16, 1934
Jonas has mailed off the book [to his publisher]; he hopes that Schenker will
approve of it [when eventually he sees it]. It comprises four chapters and two appendices. —
He thanks Schenker for the gift of his Syrian Dances. — The Director of the Hochschule für
Musik in Berlin, Fritz Stein, has written that he cannot arrange a position for Jonas,
whereas Jonas (with support from Furtwängler) had sought only students to whom to give
[private] lessons. — Jonas alludes to difficult conditions under which he is working, and
describes his conflict with piano teacher Georg Bertram. — Relations with van Hoboken are
strained, despite Jonas's having included an appendix about the Photogrammarchiv in his
book.
OJ 12/24, [8] Typewritten postcard from Kromer to Schenker, dated April 25, 1934
Kromer informs Schenker of a Mendelssohn holding by the
Photogrammarchiv.
PhA/Ar 56, [12] Handwritten postcard from Schenker to Kromer, dated April 25, 1934
Schenker orders two photographic copies.
OJ 12/6, [32] Handwritten letter from Jonas to Schenker, dated June 11, 1934
Publication of Jonas's book has been delayed until June 22; — he may give a
lecture in conjunction with Edwin Fischer; — his Beethoven sketches article is in press; —
Hoboken is considering Jonas's proposed elucidatory edition plan in conjunction with a
putative publication by the Photogram Archive.
OJ 89/7, [12] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 31,
1934
Hoboken assures Schenker that he will support him in his work. — He outlines
the restrictions that he has placed on Otto Erich Deutsch, and expresses irritation that
Deutsch has been offered a course at the Vienna Academy. — He is annoyed at the political
views expressed by E. F. Schmid, who has been appointed at the University of
Graz.
OJ 12/6, [37] Handwritten letter from Jonas to Schenker, dated August 23, 1934
Jonas seeks advice on what to include in the first issue of the planned
elucidatory editions; — distribution of his book is delayed until September; — Jonas is
correcting proofs of two articles.
OJ 5/18, 59 Handwritten letter from Schenker to Jonas, dated October 16, 1934
Schenker cautions Jonas that he detects "something afoot" with Hoboken and his
wife. — Mentions Hans Wolf's reentry problems and reports on German students coming to him.
—An article on Schenker has been included in Spanish Enciclopedia universale. —Reports on
Zuckerkandl, Breisach, von Cube, and Weisse.
OJ 5/18, 60 Handwritten letter from Schenker to Jonas, dated October 25, 1934
Schenker thanks Jonas for the assistance he has given Hans Wolf, and reports
that Furtwängler has intervened on Wolf's behalf, and also helped von Cube obtain a position
in Hamburg; Hoboken "doesn't want to drop" Jonas.
OC 44/9 Handwritten letter from Jonas to Schenker dated October 27, 1934
Jonas acknowledges OJ 5/18, 59 and 60; Hoboken has no reason to complain about
his behaviour. — As a result of Hoboken's distribution of complimentary copies, Jonas has
received letters of appreciation. —Reacts critically to Willi Reich and his magazine 23. —
Describes plans for forthcoming events in Hamburg.
OJ 89/7, [15] Handwritten letter from Schenker to Hoboken, dated December 25, 1934
Schenker and Jeanette thank Hoboken for their Christmas gifts; Shenker alludes to
the forthcoming publication of Der freie Satz as the "summit" of his career, and reports that he
has been invited to inspect the new accommodation for the Photogramarchiv.
OJ 11/54, [41]-[42] Handwritten letter, with envelope, from Hoboken to Schenker, dated January 1,
1935
Hoboken wishes Schenker good health, and strength to complete Der freie Satz.
— He discusses the furniture in the new premises of the Photogram Archive, and gives his
travel plans for January.
OJ 15/16, [99] Handwritten letter from Hans Weisse to Jeanette Schenker, dated July 14,
1935
Weisse thanks Jeanette Schenker for her letter and copy of Der freie Satz
which he has read through and is about to study carefully. His initial impressions are that
its conception and content are impressive, but that there are a lot of misprints; and he
regrets that the foreword does not mention the financial help Schenker received from [Paul]
Khuner. He approves Jeanette's idea of depositing Schenker's Nachlass in the
Photogramm-Archiv in the Austrian National Library.
OJ 15/16, [100] Handwritten letter from Hans Weisse to Jeanette Schenker, dated September 18,
1935
Weisse thanks Jeanette for sending a photograph of her late husband’s
death-mask, and other photographs. — He offers her advice about what to do with Heinrich's
library of books, and with his sketches and other unpublished analyses. The bulk of the
letter is a critique of Der freie Satz, about which he has serious misgivings, partly
concerning the title and subtitle, partly concerning its status as a textbook
(Lehrbuch).
OJ 9/10, [4] Printed invitation from the Photogrammarchiv to Jeanette Schenker, dated February
14, 1936
Invitation to celebrate the enlargement of the
Photogrammarchiv