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OJ 11/16, [A] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker that evening.
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OJ 11/16, [B] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker the coming
Friday.
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OJ 11/16, [C] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker the coming
Sunday.
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OJ 11/16, [D] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler hopes to visit Schenker in about a week's time.
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OJ 11/16, [E] Handwritten letter from Furtwängler to Schenker, undated [1928‒30]
Furtwängler cancels meeting on account of illness.
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OJ 11/16, [F] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks for a meeting this evening at Meißl.
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OJ 8/3, [72] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 2,
1919
The [wedding] date will be fixed next Wednesday; the engravings on the two rings.
– They are due at Furtwängler's concert, but cannot commit to any other times.
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Sbb 55 Nachl. 13, [1] Handwritten letter from Schenker to Furtwängler, dated November 5, 1919
Having attended for the first time a concert conducted by Furtwängler, Schenker
congratulates him on his achievement then, proclaiming him a "counterweight" to the present [in
his opinion inadequate] generation of conductors, and heir to the Mahler mantle. Schenker
comments on Viennese concert-goers and their fickleness. — He commends Moriz Violin to
Furtwängler, in case the latter can provide an introduction to Hausegger.
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DLA 69.930/9 Handwritten letter from Schenker to Halm, dated January 18, 1920
Schenker acknowledges receipt of OJ 11/35, 14 and 15, thanking Halm for the
opportunity to see the two contracts, now enclosed. Schenker has been exploited by UE regarding
EA 101 and the "Little Library," and must now protect himself and extract better working
conditions. —Kontrapunkt 2 will show the world that his "Semper idem" motto applies at every
level from strict counterpoint through to free composition. In a musical garden of Eden of
genius, the rest of the world behaves like Adam and Eve. — Schenker congratulates Halm on his
successes and thanks him for his support.
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OJ 11/35, 16 Handwritten letter from Halm to Schenker, dated February 10, 1920
Halm acknowledges 69.930/9 and return of contracts. H is looking for a new
publisher for his compositions, and wonders whether Schenker would put in a good word to UE on
his behalf, or whether Schenker knows of a small press that might be suitable. Wishes
Furtwängler would perform something of his.
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OJ 8/3, [85] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 12, 1920
Schenker inquires about Furtwängler, and reports progress with Hertzka.
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OJ 8/4, [5] Handwritten postcard from Schenker to Moriz Violin, dated April 29, 1921
Schenker describes some of the last-minute activities prior to their moving to a
new apartment, at No. 8 Keilgasse, lists his works that are about to be published, and reports
that Buxbaum has been dismissed as cellist of the Arnold Rosé Quartet.
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OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921
Violin reports on his work, and on musicians in Hamburg, and congratulates
Schenker on his (publication) successes.
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OJ 14/45, [17] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922
Apparently having returned from a visit to Vienna, Violin expresses his joy at
having seen Schenker recently.
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OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922
Schenker reports the imminent publication of Tonwille 3, and some new publishing
ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the
Short Preludes by J. S. Bach.
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OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27,
1922
Dahms has been trying to improve his publishers' financial terms. — He is in
low-grade accommodation; housing in the "German colonies" is available only to officials. —
Reports on the concert season in Rome. — Die Musik would not accept an article from him on
Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's
"sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on
his latest book, for which he is arranging a de luxe edition by subscription. — Reports
unfavorably on an incident in which Otto Klemperer played the Italian fascist
hymn.
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OJ 12/11, [1] Handwritten letter from Klenau to Schenker, dated September 17, 1923
First approach from Klenau: asks to visit Schenker.
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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.
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OJ 10/1, [79] Handwritten letter from Dahms to Schenker, dated November 1, 1923
Dahms has devoted a chapter of his Musik des Südens to "genius" in which he
asserts its absoluteness and the gulf between genius and mediocrity. — He concurs with
Hertzka's judgement of Furtwängler as a "coward"; In his quest for success, the latter has
compromised his belief in genius by pandering to Schoenberg. The Korngolds are coming to
Rome in August.
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OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924
Violin reports that Max Temming is keen to support his plan to promote Schenker's
work. Following discussions with Schenker in Vienna, he makes some provisional calculations on
how the gift of money would give Schenker more time to devote to his writings. He also thinks
about the happy prospect of Schenker coming to Hamburg.
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OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924
Schenker reports continuing trouble with Hertzka, especially over delays to the
publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is
beginning to think about legal action. Hertzka has made his position so difficult that he feels
obliged to turn down Max Temming's offer of direct financial support for his work. He asks
Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he
neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if
Violin received any of the four volumes of the Beethoven piano sonata edition.
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DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924
In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.
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OJ 8/4, [29] Handwritten postcard from Schenker to Moriz Violin, undated [April 11, 1924]
Schenker offers Violin advice about holidaying in Austria, recommending the Tyrol
above all. He expects that Otto Vrieslander and possibly Herman Roth will visit them [in
Galtür]. He also inquires about the establishment of a Hochschule for music in Hamburg.
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OJ 9/12, [1] Handwritten letter from Carl Bamberger to Schenker, dated October 6, 1924
Bamberger writes of his pleasure at working in a theater, and his liking of
Danzig as a medieval city. He is studying Schenker's edition of the Beethoven sonatas, and
has ordered Harmonielehre and Kontrapunkt I and II. He is subscribing to Der Tonwille, and
is interesting one of his colleagues in Schenker's ideas. He inquires after two Schenker
pupils.
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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?"
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JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925
Wherever Hammer may travel, Schenker declares, he will never lose his
Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the
west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an
account of the dispute with Universal Edition and the outcome of negotiations with Drei
Masken Verlag.
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OJ 12/17, [7] Handwritten letter from Komorn to Heinrich Schenker, dated April 7, 1925
Miss Komorn tries to arrange a meeting with Furtwangler.
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OJ 8/4, [36] Handwritten postcard from Schenker to Moriz Violin, dated April 23, 1925
Schenker thanks Violin for ordering copies of Tonwille 1. He gives a brief
account of a visit from Furtwängler, and mentions the arrival of the bronze medallion with
his likeness (designed by Alfred Rothberger).
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OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925
In a wide-ranging letter, Schenker sends Violin money for arranging the order of
Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative,
Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action.
Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact
that does not prevent him from earning huge fees for conducting in New York. He has turned down
a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish
to spend some time with him in Galtür. He enquires about the personal difficulties that Violin
writes about in his letter, and asks him to say more; they will invite his sister for a visit.
He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor
Hammer is not yet finished.
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OJ 15/16, [55] Handwritten letter from Weisse to Schenker, incomplete, written c. August 5,
1925
Weisse apologizes for not having written for a long time. He has seen Furtwängler
and reports that the conductor knows nothing of his writings and has no idea about the Urlinie.
Universal Edition have declined to publish his Sextet. (In the missing portion of the letter,
which is summarized in Schenker's diary, he asks his teacher's help in finding another
publisher, perhaps with Wilhelm Altmann's intervention.)
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OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925
Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior
knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which
refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of
removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven
manuscript at Heck's.
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OJ 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926
Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon
as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern
music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He
is not optimistic that humanity in general will truly understand the classics, which
underscores the important of his (and Violin's) mission.
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OJ 89/1, [1] Handwritten letter from Schenker to van Hoboken, dated July 3, 1927
Schenker gives Hoboken Furtwängler's summer address and urges him to contact the
latter, which could yield advantage, not least for the Photogrammarchiv. — Has seen Schindler's
Beethoven biography with notes on performance. — Notifies Hoboken of the normalizing of his fee
at 50 schillings per lesson.
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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.
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OJ 11/16, [6] Handwritten letter from Furtwängler to Schenker, dated July 18, 1927
Furtwängler mentions several mutual acquaintances, and hopes to see Schenker in
Vienna.
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OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927
Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He
has made progress on his index of Haydn's works, and has purchased some Beethoven first
editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He
asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn.
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OJ 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927
Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927;
encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the
Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk
in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the
Hobokens' trip to Switzerland, reporting on von Cube.
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OJ 89/1, [3] Handwritten letter from Schenker to van Hoboken, dated August 20, 1927
Schenker has a reply from Furtwängler, saying that he is about to see Hoboken. —
Final proofs of Meisterwerk II have arrived; where should he have a copy sent to Hoboken? —
Discusses possible meeting with Furtwängler (refers to Furtwängler's attitude toward the
"moderns"). — Reports visit by von Cube.
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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.
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OJ 11/54, [16] Handwritten letter from van Hoboken to Schenker, dated August 30, 1927
Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and
manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early
sources. -- Gives addresses for forthcoming travels.
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OJ 89/1, [4] Handwritten letter from Schenker to van Hoboken, dated September 6, 1927
Schenker comments on Hoboken's Appeal [for the Photogrammarchiv], sets out what
is necessary for correctly reading an autograph manuscript and understanding its relationship to
the first edition, and rails against the tendency of performers, including Furtwängler, to think
such matters trivial.
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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.
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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.
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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.
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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.
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OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)
Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17],
and offers advice and a warning: ordinary people are not interested in beauty in art, but look
for quick, easy judgments.
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OJ 11/16, [7] Handwritten letter from Furtwängler to Schenker, dated August 30, 1929
Furtwängler comments retrospectively on the Heidelberg affair, and rejoices over
the "Eroica" monograph.
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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.
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OJ 89/3, [10] Handwritten letter from Schenker to Hoboken, dated September 18, 1929
Schenker acknowledges check; — comments on Hoboken's work on a Chopin Etude; —
discusses an approach by Vrieslander; — explains how the possibility of a professorship at
Heidelberg had come about.
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OJ 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929
After reply to some of the more personal points in Violin's previous letter,
Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony
monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books
are still in print and his status as a theorist has been acknowledged by the the fact that
the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A
recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when
approaching a publisher. That same issue also contains an article by Schoenberg touching on
various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1;
Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet).
He feels that it is beneath his dignity to make a formal reply; but to illustrate what he
means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs
and other music examples concerning these works.
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OJ 11/16, [8] Handwritten letter from Furtwängler to Schenker, dated December 16, 1929
Furtwängler asks to visit Schenker on December 19th.
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OJ 14/45, [81] Handwritten letter from Violin to Schenker, dated December 19, 1929
Violin has two possible publishers for the "Eroica" monograph. One of these he
names as Rather in Leipzig, which has recently bought up Simrock. The other, Breitkopf &
Härtel, has been suggested by Furtwängler, who believes that the proposal would be supported
by Karl Straube. Violin also considers the possibility replying to a recent article by
Schoenberg.
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OJ 6/7, [45] Handwritten letter from Schenker to Violin, dated December 23, 1929
Schenker, expressing misgivings about the medical profession, nonetheless
hopes that Karl Violin's impending operation is successful. He is still awaiting news about
a publisher for the "Eroica" monograph; Furtwängler's illness has delayed some lines of
enquiry, and Hertzka (at Universal Edition) has not been cooperative.
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OJ 14/45, [83] Handwritten letter from Violin to Schenker, dated January 24, 1930
Violin has learned that the proprietor of Rather-Verlag is unwell, and that
there would be no chance of Schenker's having his "Eroica" Symphony monograph published
there. He also reports on declining cultural and human values, of which the recent success
of jazz-based works, staged in German opera houses, is emblematic. He is going to Berlin to
investigate possible employment there.
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OJ 10/3, [119] Typewritten letter from Deutsch to Schenker, dated February 26, 1930
In contrast to the uprightness of Schenker’s other pupils, Hans Weisse and
Felix Salzer, Hoboken is described by Deutsch as an unsteady, unfocussed person who may yet
be able to do some good but whose restlessness gives him grounds to fear for the future of
his library, and his own future.
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OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930
Schenker reports on two concerts at which Hans Weisse's Octet was performed
for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality
of the voice-leading in general, the construction of the finale movement (a passacaglia) in
particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented
the cost of the rehearsals and concerts, and the provision of food and drink for the
audience; this he compared with Antony van Hoboken's reluctance to help him with the
publication costs of his recent work.
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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.
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OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930
Weisse has seen Furtwängler, who will write a letter of recommendation to
Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want
to consult Schenker about it, and asks his teacher not to be overly modest about the work of
one of his pupils, and to stress the need for an arrangement of the work for piano four
hands.
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OJ 89/4, [3] Handwritten letter from Schenker to Hoboken, undated [March 23, 1930]
Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano
technique, and defines Hoboken's character as a pianist.
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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.
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OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930
Furtwängler encloses a letter from Karl Straube, and cautions Schenker against
publishing with Breitkopf.
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Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19,
1930
Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to
Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with
other publishers and plans for future publications.
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OC 54/297 Handwritten letter from Furtwängler to Schenker, dated April 19, 1930
Furtwängler has forwarded Schenker's letter on to Straube for direct
reply.
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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.
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OC 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930
Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has
resigned his Vienna position.
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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].
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OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930
Furtwängler reports on his meeting with Breitkopf &
Härtel.
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OC 54/309 Postal receipt for package sent from Schenker to Deutsch, postmarked July 2,
1930
Schenker returns Röder's sample brochure [for Meisterwerk III] to Deutsch with
Furtwängler letter.
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OC 54/310 Typewritten letter from Deutsch to Schenker, dated July 4, 1930
Deutsch gives further details of the production costs for the third
Meisterwerk yearbook and makes some recommendations, including the printing of the
Urlinie-Tafeln of the "Eroica" as a booklet, not as loose pages.
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OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10,
1930]
Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major
piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working
on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." --
Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. --
He asks about Furtwängler's studies with Schenker.
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OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930
Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed
Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie
Satz.
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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.
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OJ 71/20, [1] Handwritten copy of a letter from Leo Kestenberg to Hans Weisse, in the hand of
Jeanette Schenker, dated July 15, 1930
Kestenberg, on the recommendation of Wilhelm Furtwängler, would like Weisse to
give lectures in Berlin but first wants to know more about his background.
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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.
-
OJ 14/45, [86] Handwritten letter from Moriz Violin to Schenker, dated July 23, 1930
Violin despairs of the future for his son, who has just turned 17, and about
life in general. He has faith only in Schenker, whom he sees as truly a product of his time,
because of his intimate attachment to the great achievements of bygone eras. He thinks that
the rest of the world will recognize in half a century what he knows now; he has no interest
in Furtwängler, who may appear to be modest in Schenker's company, but is no less arrogant
than any other idiot when left to his own devices. He is concerned about things that might
interfere with the completion of Schenker's last works.
-
WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930
Schenker is sending Deutsch copies of letters written by Leo Kestenberg
praising his theories for their practical application to composition and
performance, noting that Furtwängler is championing his cause everywhere. -- He then
launches into a tirade against the city of Vienna for snubbing him and his
work.
-
OC 54/301 Handwritten letter from Furtwängler to Schenker, dated September 2, 1930
Furtwängler wishes to visit Schenker in the Tyrol.
-
OJ 89/4, [5] Handwritten letter from Schenker to Hoboken, dated September 29, 1930
Schenker invites Hoboken to tea to discuss attribution in the collected edition,
and congratulates Hoboken on his endeavor.
-
OJ 14/45, [88] Handwritten letter from Moriz Violin to Jeanette Schenker, dated October 18,
1930
Upon hearing from Furtwängler that Schenker is unwell, Violin asks Jeanette
for news about him.
-
OJ 5/7a, [31] (formerly vC 31) Handwritten letter from Schenker to Cube, dated November 1, 1930
Dr. Leo Kestenberg of the Prussian Ministry of Art and Education has, at
Furtwangler's recommendation, asked Hans Weisse to deliver three lectures on Schenker's theory
in Berlin, to be repeated elsewhere. Cube should take heart from this turn of
events.
-
OJ 12/6, [4] Handwritten letter from Jonas to Schenker, dated November 17, 1930
Jonas reports from Berlin on a lecture given shortly before in Munich to
introduce Schenker's teaching. Requests a letter of recommendation for use in Berlin.
-
OJ 5/18, 2 Handwritten letter from Schenker to Jonas, dated November 26, 1930
Having misread Jonas in OJ 12/6, [4] as requesting a letter of recommendation to
Furtwängler, Schenker declines to provide such a letter. Letters of thanks to Schenker from
other Berlin musicians have not led to more solid connections. Most musicians have not dared to
take a position publicly on Schenker's teaching.
-
OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November
26, 1930
Schenker summarizes the achievements and ambitions of several of his pupils
and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse
is the most ambitious of all of these though he is not completely at home in the new theory.
He fears that something might go wrong at Weisse's forthcoming lecture at the Central
Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse
will give a trial run of the lecture at the Schenkers' apartment.
-
OJ 15/16, [65] Handwritten letter from Weisse to Schenker, dated November 27, 1930
Weisse thanks Schenker for the essay "Rameau oder Beethoven?". He is surprised
to hear that Jonas has sought Schenker's help in finding employment, and urges Schenker not
to write a letter of recommendation until a concrete piece of work materializes. He is about
to go to Berlin to deliver two lectures on Schenker's theories, and has heard that Moriz
Violin and Reinhard Oppel will be there; he would like to give one of these lectures at
Schenker's home before a small audience of his most dedicated pupils, and suggests a date
and time for this.
-
OJ 12/6, [5] Handwritten letter from Jonas to Schenker, dated November 28, 1930
Jonas regrets any misunderstanding over his request for "a few lines of
recommendation"; he had intended only to ask for "general lines," not recommendations to
individuals. Jonas clarifies Schenker's confusion over his Munich lecture, and points to his
devotion to Schenker's cause for fifteen years, stating what he considers to be the core of
Schenker's thought as he would publicly represent it.
-
OJ 8/5, [1] Handwritten postcard from Schenker to Moriz Violin, dated December 2,
1930
Schenker suspects that Weisse, with Leo Kestenberg's support and Furtwängler's
help, is hoping for an appointment in Berlin.
-
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 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931
Hearing that Schenker expects to complete Der freie Satz by early spring,
Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on
Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of
a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the
author against Schenker.
-
OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931
In this long and wide-ranging two-part letter, which includes a graphic
analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of
Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post
there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald
Warburg), or even found an institute that would give employment to Felix Salzer and other
Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the
morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg.
For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and
Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes
with a tirade against those who have caused him financial misery (including his brother
Mozio), culminating in a cynical passage in which Schenker advises his friend to look after
himself and engage some dull pedagog to teach conventional theory. In the end, he wishes
Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s
clutches.
-
OJ 15/15, [54] Handwritten picture postcard from Weisse to Schenker, dated February 5,
1931
Weisse reports having given a successful talk to the Society for Music
Pedagogy on the importance of counterpoint; Schenker’s concept of line made a big impression
on the audience.
-
OJ 10/1, [104] Typewritten letter from Dahms to Schenker, dated February 7, 1931
Dahms is looking forward to reading Meisterwerk III and inquires after Der
freie Satz. — He has cut himself off from Berlin and Germany; his marital situation has
finally been resolved, and he and his wife and child have settled in Paris.
-
OJ 15/16, [68] Handwritten letter from Weisse to Schenker, dated February 17, 1931
Weisse thanks Schenker for sending him letters from Felix-Eberhard von Cube
und Walter Braunfels, and in return sends Schenker a letter from Wilhelm Furtwängler. He
repeats a request for information about the source of a Mozart letter that he has been
quoting in a lecture to the Viennese Society for Music Pedagogy.
-
OJ 10/3, [142] Typewritten letter from Deutsch to Schenker, dated March 6, 1931
Having spoken with a friend in confidence, he advises Schenker to apply to the
Ministry of Education for help with the printing costs of the “Eroica book” [i.e. the third
Meisterwerk yearbook], and to get Furtwängler and Hoboken to write in support of his
receiving an civic honor.
-
OJ 15/16, [69] Handwritten letter from Weisse to Schenker, dated March 19, 1931
Weisse asks Schenker’s approval to approach Furtwängler about Der freie Satz,
presumably to seek financial assistance for its publication. He has been given a copy of a
letter from Mozart to Baron van Swieten, but expresses his doubts about the tone of one of
Mozart’s phrases; he hopes to meet Schenker soon, to talk about Bruckner.
-
OJ 15/15, [58] Handwritten picture postcard from Weisse to Schenker, dated March 20,
1931
Weisse arranges to bring Furtwängler to Schenker’s apartment.
-
OJ 15/16, [70] Handwritten letter from Weisse to Schenker, dated March 21, 1931
Weisse reports to Schenker Furtwängler's confidence about obtaining money from
two wealthy people in Berlin to defray the publication costs of Der freie Satz and the
analysis of Beethoven’s "Eroica" Symphony, i.e. third volume of Das Meisterwerk in der
Musik. Weisse has suggested a sum of 4,000 marks for the former, as a conservative
estimate.
-
OJ 15/16, [71] Handwritten letter from Weisse to Schenker, dated March 25, 1931
Weisse, remaining confident that Furtwängler will provide financial assistance
with Schenker’s publications, thinks it is best to ask for help with the “Eroica” analysis
(Meisterwerk III) and Der freie Satz together; he will emphasize that the subvention for the
“Eroica” is the more urgent, and the cost of publishing the latter could be met by
subscription. From what Furtwängler has hinted, the prospects for Weisse lecturing, and
eventually teaching, in Berlin are not good; but Weisse may have other
plans.
-
OJ 15/16, [72] Handwritten letter from Weisse to Schenker, dated March 30, 1931
Following up a discussion with Schenker in the presence of Wilhelm
Furtwängler, Weisse draws up a list of Schenker’s early essays. Oswald Jonas and his wife
have been copying them and Jonas plans to write a Foreword to a new edition of these
writings.
-
OJ 15/16, [73] Handwritten letter from Weisse to Schenker, dated April 7, 1931
Weisse continues to urge a cautious approach to Furtwängler with regard to
financial support for recent and forthcoming publications.
-
OJ 15/16, [74] Handwritten letter from Weisse to Schenker, dated April 15, 1931
Weisse thanks Schenker for a letter of reference [for his teaching post at the
Mannes School of Music], and asks for some modifications. — He has not heard from
Furtwängler, whom he has also asked for a reference, and urges Schenker to be patient with
Furtwängler, too. — He is completing a set of three-voice piano pieces and wishes to
dedicate them to Schenker on the occasion of his leaving Vienna.
-
OJ 15/15, [60] Handwritten picture postcard from Weisse to Schenker, dated April 21,
1931
Weisse suggests possible dates and times for a meeting between himself and
Schenker, without Furtwängler.
-
OJ 15/16, [75] Handwritten letter from Weisse to Schenker, dated April 21, 1931
Weisse has received from Furtwängler a letter ‒ probably one written to him by
Ludwig Karpath ‒ that suggests there is cause for optimism concerning financial support for
the publication of Schenker's writings. He copies out a glowing personal reference that
Furtwängler has written [in support of his application to teach at the Mannes School of
Music].
-
WSLB-Hds 191.573 Handwritten postcard from Schenker to Deutsch, dated April 23, 1931
Schenker explains to Deutsch how the text (as yet unwritten) of the Schubert
song fragment, D. 555, should fit into his completion. He has heard that Ludwig Karpath has
referred to him as Austria’s best music theorist.
-
OJ 15/16, [76] Handwritten letter from Weisse to Schenker, dated April 24, 1931
Under increasing pressure from Schenker, Weisse assures his teacher that
Furtwängler will not be long in making up his mind to seek financial support for Schenker’s
publications. He asks to see Schenker.
-
OJ 15/15, [62] Handwritten picture postcard from Weisse to Schenker, dated May 19, 1931
Weisse arranges to meet Schenker; he has written again to
Furtwängler.
-
OJ 15/16, [77] Handwritten letter from Weisse to Schenker, dated June 1, 1931
Weisse sends Schenker a letter written by Furtwängler, from which it can be
inferred that a major subvention for the printing costs of Meisterwerk III has been obtained
and that there is every reason to expect that a significant part of the costs of publishing
Der freie Satz will also be met.
-
OJ 8/5, [4] Handwritten picture postcard from Schenker to Violin, postmarked June 6,
1931
Furtwängler has sent 3,000 Marks via Hans Weisse for the costs of Das
Meisterwerk 3, and Weisse will continue to seek the funds for Der freie
Satz.
-
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 15/16, [80] Handwritten letter from Weisse to Schenker, dated August 25, 1931
Weisse, on holiday, will not be returning to Vienna before making his way ‒
via Nuremberg and Berlin ‒ to Hamburg, where his ship to America sets sail on September 17.
He gives Schenker the address of the Mannes Music School, and reports that he has heard
nothing of late from Furtwängler.
-
OJ 6/8, [5] Handwritten letter from Schenker to Violin, dated September 6, 1931
In this long, sentimental letter, Schenker thanks Violin for founding a
Schenker Institute in Hamburg and reflects on the intertwining of their fates through their
connection with C. P. E. Bach. He also advises on the wording of the Institute’s
prospectus.
-
OJ 10/3, [154] Typewritten letter from Deutsch to Schenker, dated October 8, 1931
Deutsch has been in touch with Robert Haas about a civic honor being conferred
upon Hoboken in the hopes of keeping him, the Photogram Archive, and his personal library in
Vienna. He asks if Schenker might request a letter from Furtwängler recommending this
action, and be able to get Julius Korngold to write something about the importance of
Hoboken’s collections.
-
OJ 6/8, [7] Handwritten letter from Schenker to Violin, dated October 17, 1931
Schenker offers Violin words of comfort in the light of a misappropriation of
the title “Professor.” He also describes progress on Chopin’s Op. 10, No. 12, and the Bach
Prelude in C major for the Five Analyses in Sketchform, and his work on a document of Anton
Schindler purporting to convey Beethoven’s instructions on the performance of the Op. 14
sonatas.
-
OJ 11/16, [9] Handwritten letter from Furtwängler to Schenker, dated November 8, 1931
Furtwängler would hear with Schenker. — He has heard good news of Weisse from
Violin.
-
OJ 12/6, [10] Typewritten letter from Jonas to Schenker, dated March 3, 1932
Jonas reports on his course on Schenker's theory at the Stern Conservatorium,
two forthcoming lectures, an article intended for publication, two radio talks and a radio
recital; includes reference to his later textbook Das Wesen des musikalischen
Kunstwerks.
-
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 11/16, [10] Typewritten letter from Furtwängler to Schenker, dated April 5, 1932
Furtwängler thanks Schenker for a gift, and wishes to call on
him.
-
OJ 5/18, 9 Handwritten letter from Schenker to Jonas, dated April 9, 1932
Schenker has presented Furtwängler with a copy of Brahms's arrangement of
Handel's Saul, has told him of Jonas's plan for Furtwängler to perform it, and asked him to give
Jonas access to the score.
-
OJ 9/34, [32] Handwritten letter from Cube to Schenker, dated May 11, 1932
Cube reports a conversation with Moriz Violin.
-
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 5/18, 11 Handwritten letter from Schenker to Jonas, dated July 18, 1932
Schenker tries to account for Furtwängler's unavailability for a conference over
the Handel Saul score. — He does not need the copy of [Beethoven] Op. 109 offered by Mr. Kromer.
— An introduction to his theory would be "in order," but its marketing might be problematic and
require a benefactor; he regrets that Anthony van Hoboken is not such a person.
-
OJ 11/16, [11] Handwritten letter from Furtwängler to Schenker, dated August 2, 1932
Furtwängler thanks Schenker for his letter and for sending Urlinie graphs;
praises Schenker's "fight ... for genius"; he is unable to visit now, but hopes to later;
inquires about Weisse.
-
OJ 12/6, [15] Handwritten letter from Jonas to Schenker, dated September 5, 1932
Jonas encloses sample page-make-up by Saturn-Verlag, and asks Schenker to send
addresses for recipients of invitations [to subscribe]. Reports on his professional
prospects and contacts in Berlin, and on reviewing.
-
OJ 11/16, [12] Handwritten letter from Furtwängler to Schenker, dated September 22, 1932
Furtwängler was prevented from visiting Schenker in August by having to go
into the Cottage Sanatorium, Vienna. He hopes to see Schenker during the winter, and asks
whether he might like to do the ceremonial address for the Brahms
Centenary.
-
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.
-
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.
-
OC 18/42 Handwritten picture postcard from Karpath to Schenker, dated November 15,
1932
Karpath asks Schenker to phone him.
-
OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20,
1932]
In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.
-
OJ 89/5, [11] Handwritten postcard from Schenker to Hoboken, dated November 24, 1932
Schenker asks about Hoboken's health.
-
OC 18/37-38 Handwritten letter from Furtwängler to Schenker, dated December 10, 1932
Furtwängler shares Schenker's assessment of Ludwig Karpath, and has not
written a letter for publication. — He has been exploring possibilities for Schenker in
Berlin, particularly taking over a masterclass at the Akademie der Künste, with additional
lectures at the Stern'sches Conservatory. — He has heard from Hans Weisse. — He encloses a
review by Herman Roth, and comments on the latter's character.
-
OJ 12/6, [18] Handwritten letter from Jonas to Schenker, dated December 15, 1932
Jonas comments on Schenker's article in Der Kunstwart; reports conversation
with Furtwängler; would like to write something on Handel-Brahms Saul; has heard nothing
further from van Hoboken.
-
OJ 5/18, 21 Handwritten postcard from Schenker to Jonas, dated December 18, 1932
Schenker acknowledges OJ 12/6, [11] and answers Jonas's question concerning
the organ part of Handel-Brahms Saul. —Asks if Jonas has seen Zuckerkandl's
book.
-
OJ 6/8, [14] Handwritten letter, with envelope, from Schenker to Violin, dated December 19,
1932
In this characteristically long end-of-year letter to his friend, Schenker
mentions his forthcoming edition of Brahms’s study of consecutive octaves and fifths,
Jonas’s book on his achievements as a theorist, Zuckerkandl’s book on opera, and the
possibility of an English translation of his Theory of Harmony.
-
OC 38/346v Handwritten letter from Violin to Schenker, dated December 22, 1932
In this partly incoherent message which responds to Schenker’s recent letters,
especially that of December 19, Violin urges his friend to remain optimistic. He will
discuss things with Furtwängler that should be beneficial. He asks to borrow Hindemith’s
letter to Schenker.
-
OJ 12/9, [29] Handwritten postcard from Karpath to Schenker, dated December 23, 1932
Karpath calls urgently for the awaited letter from Furtwängler.
-
OJ 6/8, [15] Handwritten letter from Schenker to Violin, dated December 25, 1932
In this letter, much of it written in a bitter and sarcastic tone, Schenker
urges Violin not to appeal to Anthony van Hoboken for financial help. He has sought
assistance for his friend from Ludwig Karpath and Josef Marx.
-
OC 18/43 Typewritten letter from Karpath to Schenker, dated December 31, 1932
Karpath answers Schenker's accusations against Joseph Marx among others, in a
placatory manner. — He encourages Schenker to ask Furtwängler for the awaited letter. — He
will contact Marx and Franz Schmidt.
-
OC 18/44 Typewritten letter from Karpath to Schenker, dated January 23, 1933
Karpath reports that Joseph Marx is a candidate again for the Directorship of
the Academy. — He will advocate to Marx and to Karl Kobald that Schenker be appointed as a
professor at the Academy. — He says that he will write a letter to
Furtwängler.
-
Sbb 55 Nachl. 13, [8] Handwritten letter from Schenker to Furtwängler, dated January 24, 1933
Schenker has received a letter from Karpath, and alerts Furtwängler that he will
be hearing from him about the proposed letter to the newspaper; Schenker reports on recent visit
by Joseph Marx re the adaptation of Harmonielehre; Schenker would now be willing to associate
with the Akademie, but appointments there come about only by intrigue.
-
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.
-
OC 18/50 Typewritten letter from Furtwängler to Schenker, dated January 30, 1933
Furtwängler encloses copies of two letters he has sent to Ludwig
Karpath.
-
OC 18/51 Typewritten letter from Karpath to Schenker, dated February 10, 1933
Karpath reports receipt of the letters from Furtwängler and that he is not
very happy with them. He will however submit the letter of recommendation to the President
of the Academy, Karl Kobald.
-
OC 18/52 Typewritten letter (carbon copy) from Karpath to Furtwängler, including a
typewritten annotation from Karpath to Schenker, dated February 15, 1933
Karpath sends the copy of a letter to Furtwängler. He again shows himself
discontented with the latter's letter. In his letter to the conductor he asks for another
letter of recommendation.
-
OC 18/53 Handwritten letter from Karpath to Schenker, dated February 17, 1933
Karpath stresses that Furtwängler's testimonial is unusable for putting
Schenker forward to the authorities [i.e. in the Ministry of Education] as a candidate for a
professorship.
-
OC 18/55 Handwritten letter from Furtwängler to Schenker, dated March 2, 1933
Furtwängler asks if he can visit Schenker that evening.
-
OeNB H Autogr.856/20-4 Handwritten letter from Schenker to Josef Marx, dated March 4, 1933
Schenker speaks of his work having been proscribed in Vienna for 25 years, and
also allusively about a certain father and son. He compares the situation in Vienna
adversely with the size of Hans Weisse's lecture audience and his remuneration in New York.
Schenker asks for another meeting.
-
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 89/6, [4] Handwritten letter from Schenker to Hoboken, dated March 22, 1933
Schenker thanks Hoboken for money transferred, for contact with Dlabač, and
for information about Jonas. — Oktaven u. Quinten may be published within three weeks. —
Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations
about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled
for his course [at Mannes School]; and Furtwängler deems Schenker the "great music
theorist."
-
OJ 9/34, [36] Handwritten letter from Cube to Schenker, dated May 1, 1933
Thanks Schenker for sending Brahms's Octaven u. Quinten, expresses his longing for Der
freie Satz, sends an example of his work, and expresses concern over his future.
-
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 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933
Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of
Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and
explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism;
someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to
Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard
from Furtwängler.
-
OJ 11/22, [6] Typewritten letter from the Gesellschaft der Musikfreunde (Barbara Haeberlein), dated
May 15, 1933
Enclosing an invitation for the opening ceremony of the Brahms Centenary
Festival, the writer asks which concerts Schenker would like to attend.
-
OC 18/59 Typewritten letter from Furtwängler to Schenker, dated May 17, 1933
Furtwängler asks to call on Schenker on May 20.
-
OJ 11/22, [7] Typewritten letter from the Gesellschaft der Musikfreunde (Dlabač), dated May 19,
1933
Encloses seat assignments for two chairs at the evening concert.
-
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, [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 5/18, 30 Handwritten postcard from Schenker to Jonas, dated November 6, 1933
Schenker reports van Hoboken's pending arrival in Vienna; — He refers to
Furtwängler and Richard Strauss.
-
OJ 6/8, [27] Handwritten letter from Schenker to Violin, dated November 9, 1933
Schenker reports that Hoboken has asked to come for coffee, and he has invited
him for Saturday, as a result of which he offers his tickets for a concert conducted by Carl
Bamberger to Violin and his daughter.
-
OJ 12/6, [25] Handwritten letter from Jonas to Schenker, dated December 3, 1933
The majority of Jonas's Das Wesen des musikalischen Kunstwerks has gone to the
printer; — Furtwängler has promised to recommend it to the Berlin Hochschule für Musik; — no
word from van Hoboken. Jonas inquires after Free Composition.
-
OJ 5/18, 31 Handwritten letter from Schenker to Jonas, dated December 8, 1933
Schenker congratulates Jonas on handing over his volume to the printer; — he
gives van Hoboken's current address; — he has eye trouble; — comments on Furtwängler, and on
economic difficulties for music teachers in Vienna.
-
OJ 12/6, [27] Typewritten letter from Jonas to Schenker, dated December 18, 1933
Jonas acknowledges OJ 5/18, 32; requests copy of Schenker's Syrische Tänze;
quotes from Schenker's entry in a Jewish lexicon. — He reports on local conditions; has
heard nothing from van Hoboken.
-
OJ 89/7, [2] Handwritten letter from Schenker to Hoboken, dated January 13, 1934
Schenker encourages Hoboken to continue to live in Vienna, praising its racial
diversity; — Der freie Satz is near completion; — sales of Beethovens Neunte Sinfonie are going
well.
-
OJ 89/7, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 15,
1934
Hoboken explains his indecision over future residence in
Vienna.
-
OJ 5/18, 36 Handwritten postcard from Schenker to Jonas, dated February 7, 1934
Schenker has had his Syrische Tänze sent to Jonas.
-
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 12/6, [29] Handwritten letter from Jonas to Schenker, dated March 30, 1934
Jonas wishes the Schenkers a happy Easter. — His book expected out April 20:
Jonas wonders if it would be a good idea to ask Furtwängler for a letter for
it.
-
OJ 5/18, 38 Handwritten letter from Schenker to Jonas, dated April 7, 1934
Further to OJ 5/18, 37, Schenker reports his conversation with Hoboken, who
praised Jonas's book, then asked Schenker's opinion on how best to display the music
examples. Schenker attempts diplomatically to explain Hoboken's pettiness. — Furtwängler is
in Vienna. — Schenker praises Jonas's activities.
-
OJ 5/18, 39 Handwritten postcard from Schenker to Jonas, dated April 10, 1934
Furtwängler will be here in five weeks' time: no action until
then.
-
OJ 12/6, [31] Handwritten letter from Jonas to Schenker, dated April 15, 1934
Jonas acknowledges three communications; Hoboken has increased his subvention
for Jonas's book; Furtwängler has agreed to write a supporting letter. — Jonas proposes a
series of individual critical introductions to most frequently performed piano works and
concertos.
-
OJ 6/8, [25] Handwritten letter from Schenker to Violin, dated September 23, 1933
Schenker arranges a time for Violin and his sister to have supper with him:
not too late in the evening. He does not intend to teach Hans Wolf for less than two hours a
week, on account of the substance of the theoretical material, but is willing to lower his
hourly rate for him.
-
OJ 5/18, 41 Handwritten letter from Schenker to Jonas, dated April 23, 1934
Free Composition is completed. Schenker is pleased that Hoboken has come
round; — he gives Weisse's address; — Schenker has ordered five copies of Jonas's book; — he
reports that Salzer has completed a new book; — questions Jonas about his new plan, but
welcomes it; — Goos may not realize that Schenker is a Jew.
-
OJ 9/34, [39] Handwritten letter from Cube to Schenker, dated April 29, 1934
Cube has broken his silence; believes he is defeated: encloses letter from his employer; will try
to enlist Furtwängler's support. He is known as "the" Schenkerian; others now avoid Schenker's name to protect
themselves. Does Schenker know of any possibility for him and his family in Austria? Encloses
graph.
-
OC 44/41 Handwritten letter from Hans Weisse to Schenker, dated June 2, 1934
Weisse will send Schenker his Variations and Fugue for 2 pianos when copies
are ready; he is glad to learn that Oswald Jonas's book will soon be published. He describes
the beauty of Tenants Harbor, Maine, where his family is spending the summer
vacation.
-
OJ 9/34, [40] Handwritten letter from Cube to Schenker, June 2, 1934
Quotes part of a letter from the Reichsmusikkammer regarding grounds for his
dismissal, and reports subsequent conversation with the Conservatory administration.
Encloses review of a recent lecture. Includes revised Ursatz for Bach Prelude in body of
letter. Inquires about Hans Wolf, and reports on Furtwängler.
-
FS 40/1, [23] Handwritten letter from Schenker to Salzer, dated June 11, 1934
Hoping that he and Jeanette will be able to get away on the 15th, Schenker
reports a conversation with Furtwängler, and the latter's praise for Jonas.
-
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, [9] Handwritten letter from Schenker to Hoboken, dated June 12, 1934
Schenker recounts a visit to Grinzing to view Hoboken's new house, and then to
the Kobenzl; — reports on last-minute work for Der freie Satz and a new edition of the Beethoven
piano sonatas; — comments on political developments in Europe; — Jeanette and he are leaving for
the summer vacation.
-
OJ 15/22, [7] Handwritten letter from Willfort to Schenker, dated June 14, 1934
Willfort, writing from Berlin, has been unable to make contact with Furtwängler.
— He has spent time with Jonas; — is disappointed that Schenker will not be in Vienna to hear
him conduct the Brahms' "Tragic" Overture; — gives travel plans; — inquires after Schenker's
reaction to his work on the "Moonlight" Sonata.
-
OJ 5/18, 43 Handwritten letter from Schenker to Jonas, dated June 24, 1934
Schenker reports on visit from Furtwängler and future visit; — reacts to news
in Jonas's letter; — Brahms on Beethoven's notation; — printing of Der freie Satz begins
soon.
-
OJ 11/16, [14] Typewritten letter from Furtwängler to Schenker, dated June 25, 1934
Furtwängler sends a letter of recommendation for Moriz
Violin.
-
OJ 70/17, [2] Typewritten letter from Furtwängler to whomever, dated June 25, 1934
Furtwängler recommends Violin.
-
OJ 12/6, [33] Handwritten letter from Jonas to Schenker, dated June 29, 1934
Jonas describes his summer travel plans, including Bayreuth; hopes to meet
Schenker in Vienna in August. Reports state of play on his book, a proof copy of which
Furtwängler is reading. Reports on recent lecture, and prospect of another
lecture.
-
OJ 12/6, [34] Handwritten letter from Jonas to Schenker, dated July 19, 1934
Jonas acknowledges two postcards, thanks Schenker for his note [re Das Wesen
des musikalischen Kunstwerks]; has heard nothing from Hoboken; Furtwängler is too busy to
read the book now; Jonas is going to Bayreuth. An errata list will have to be produced for
the book.
-
OJ 5/18, 47 Handwritten letter from Schenker to Jonas, dated July 22, 1934
Schenker praises Jonas's book highly; gives Hoboken's current address; —
Furtwängler has written a recommendation for Moriz Violin, who would like go to Jerusalem;
asks whether Vrieslander and Oppel are subscribers. — Comments on Bayreuth and
Wagner.
-
OJ 5/18, 48 Handwritten picture postcard from Schenker to Jonas, dated July 29, 1934
Schenker reiterates praise for Jonas's chapter on text and music; acknowledges
errata list. — Printing [of Der freie Satz] has begun. — Comments on Herman
Roth.
-
OJ 15/22, [8] Handwritten letter from Willfort to Schenker, dated July 30, 1934
Willfort reports progress in his conducting career; he will be in Vienna next
academic year; has the prospect of a radio concert with RAVAG in September.
-
OJ 5/34, [2] Handwritten revised draft letter from Schenker to Alphons Rothschild, in Jeanette
Schenker's hand, undated [August 3‒6, 1934]
Draft accompanying letter for a copy of Oswald Jonas's Das Wesen ... —
Schenker reiterates his gratitude for previous financial support, and reports that he now
has 11 published works, many articles, and entries on him in several general encyclopedias.
— Only in Vienna is he unrecognized. — He describes Wilhelm Furtwängler's faith in his
theories and the support he has given him. — He mentions his earlier proposal for a
Rothschild orchestra.
-
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, 52 Handwritten picture postcard from Schenker to Jonas, dated August 28,
1934
Schenker lists the pieces he has worked through with Hoboken with a view to
publication; puzzles over Furtwangler's lack of contact; outlines homeward
travel.
-
OC 44/21 Handwritten postcard from Jonas to Schenker, dated September 18, [1934]
Jonas is back in Berlin; reports on elucidatory editions, and seeks advice; —
he refers to Klemperer and Furtwängler, — he has received letter from Landshoff; —
forthcoming lectures in Vienna.
-
OC 44/43 Handwritten letter from Jonas and Hans Wolf to Schenker, dated September 24,
1934
Jonas reports on complimentary copies of Das Wesen and the plans for the
elucidatory editions. — He hopes to enlist Furtwängler in supporting Hans Wolf's application
to reenter Austria from Germany, but thinks a letter from Schenker to Furtwängler would be
more effective.
-
OJ 11/16, [15] Handwritten letter from Furtwängler to Schenker, dated September 26, 1934
Furtwängler apologies for not visiting Galtür in the summer; he spent the
vacation on his own work; he will be in Vienna and hopes to see Schenker; he intends to
write publicly about Schenker's work; comments on current political situation. — Finds
Jonas's book excellent.
-
OJ 5/18, 57 Handwritten postcard from Schenker to Jonas, dated September 28, 1934
Schenker has written to Furtwängler but doubts whether the latter will be able
to help. — He passes on advice from Robert Haas regarding Hans Wolf's
situation.
-
OC 44/46 Handwritten postcard from Jonas and three others to Schenker, dated October 2,
1934
Jonas has spoken to Furtwängler, who will proceed on the matter of Hans
Wolf.
-
OJ 11/16, [16] Typewritten letter from Furtwängler to Schenker, dated October 3, 1934
Furtwängler has used his influence to enable [Hans Wolf to exit
Germany].
-
OJ 9/34, [42] Handwritten letter from Cube to Schenker, dated October 4, 1934
Quotes letter from Furtwängler in extenso touching on reasons for dismissal and
articulating the importance of Schenker's theory; Cube describes the impact of this letter on his
Director. The names of Schenker, Halm, and Kurth were deleted from a recent text of his, and
censorship has been imposed. Describes his own recent activities. Outlines his geometric theory of the
diatonic components of tonality. Encloses photograph of his wife and son; describes hardships. Denies
rumors that he has cheated Moriz Violin, and refers to the resulting backlash on him: Violin has a
"complex", feels downtrodden by everyone.
-
OC 44/47 Handwritten letter from Hans Wolf to Schenker, dated October 19, 1934
Wolf has receive authorization to enter Austria.
-
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.
-
OJ 5/7a, [51] (formerly vC 51) Handwritten letter from Schenker to Cube, dated October 26, 1934
Acknowledges OC 9/34, [42], and its contents; comments on the "youth of today" – organic
connection is the best thing for them; asks publisher of Schäfke book. Once Der freie Satz is in
print, he will give his mind to the continuation of the Urlinie-Tafeln. Schenker's name is included in
the Spanish Enciclicopedia universale.
-
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 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.
-
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 15/22, [10] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 5,
1935
Willfort lays out his plans for an abbreviated edition of Schenker's
Harmonielehre, and explains his negotiations with Alfred Kalmus of UE.
-
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 11/16, [17] Typewritten letter from Furtwängler to Jeanette Schenker, dated January 15,
1936
Furtwängler thanks Jeanette Schenker for the gift of Der freie
Satz.
-
OJ 11/16, [18] Typewritten letter from Furtwängler to Jeanette Schenker, dated April 20,
1937
Furtwängler thanks Jeanette Schenker as a gift the score of the St. Matthew
Passion with Heinrich Schenker's annotations.
-
LC ASC 27/45, [13] Handwritten curriculum vitae from Moriz Violin to Schoenberg, undated [July 20,
1939]
Violin's curriculum vitae.
-
OJ 70/35, [6] Typewritten testimonial (carbon copy) from Schoenberg concerning Moriz Violin, dated
July 21, 1939
Schoenberg letter of recommendation to "whom it may concern."
-
LC ASC 27/45, [32] Handwritten letter from Moriz Violin to Schoenberg, undated [September? 17?,
1949]
Having read that Schoenberg did not attend a birthday concert for him in Los
Angeles, Violin asks after his health, anxious not to lose contact. He deplores a speech by
Furtwängler.