OJ 10/3, [25] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1921

Deutsch notes the advance payments for Vrieslander's and Hoboken's copies of the luxury edition of the "Moonlight" Sonata, both of which are to be delivered to Vrieslander.

OJ 11/54, [A] Handwritten calling card from Hoboken to Schenker, undated

Hoboken and his wife are staying at the Hotel Sacher.

OJ 8/4, [30] Handwritten picture postcard from Schenker to Moriz Violin, dated July 28, 1924

Writing from Galtür to Schruns in the nearby Motafon Valley, Schenker invites the Violins to visit them some time during their Austrian holiday, and shows them, on the picture, the mountain pass where they can meet up.

OJ 8/4, [31] Handwritten picture postcard from Heinrich and Jeanette Schenker and others to Moriz Violin, undated [postmarked August 12, 1924]

In this postcard, begun by Heinrich Schenker, continued by Jeanette Schenker and Carl Bamberger, and additionally signed by Anthony and Annemarie van Hoboken and Otto Vrieslander, all express their regret that the Violins could not be with them.

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.

OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925

Two weeks after arriving in Galtür for the summer holidays, Schenker reports that he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work, has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to Galtür sometime during the summer.

OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925

After expressing his sympathy for Violin, in response to his friend's depressing postcard, Schenker gives an account of some of the summer events, including a visit from Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is, however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this connection the payment has been made.

JOB 94-3, [12] Handwritten letter from Schenker to Hammer, dated August 23, [1925]

Heinrich and Jeanette consider the test proof of the Schenker mezzotint finished and urge him to finalize it. Heinrich tells Hammer about Anthony van Hoboken.

OJ 5/7a, [2] (formerly vC 2) Handwritten letter from Schenker to Gustav von Cube, dated September 13, 1925

Schenker explains to Cube's father why his first teaching assignment went awry, but promises to continue to help him; he suggests Anthony van Hoboken may be able to assist him.

OJ 11/54, [B] Handwritten calling card from Hoboken to Schenker, undated

Hoboken gives his current address.

OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925

Weisse asks Schenker to look at some suitable frames for Hammer's portrait of him. He reports that several autograph manuscripts of Brahms are being put up for sale, of which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest theoretical concepts are being taught at Damrosch's music school in New York.

OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925

In this wide-ranging letter, Schenker commiserates with Violin about the high cost of living, and his inability to raise his fees to keep up with it (in particular, he feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the portrait, and things are now going well with the corrections to Meisterwerk 1 and the writing of Meisterwerk 2.

OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925

Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing Deutsch's collection of Schubert first editions.

OJ 10/3, [45] Typewritten postcard from Deutsch to Schenker, dated December 9, 1925

Deutsch sends Schenker a dedication copy of the Schubert special issue of Moderne Welt, to which Schenker contributed an article. Deutsch had already requested a copy to be sent to Schenker from the publisher, but this has gone missing.

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.

OJ 10/3, [50] Typewritten letter from Deutsch to Schenker, dated March 26, 1926

Deutsch requests that the Schenkers' planned visit for afternoon tea be postponed because their children and nanny have contracted flu.

OJ 10/3, [51] Handwritten letter from Hanna Deutsch to Jeanette Schenker, dated April 8, 1926

Hanna Deutsch tries to arrange a date for the Schenkers, Hoboken and Vrieslander to visit for afternoon tea.

OJ 10/1, [92] Typewritten letter from Dahms to Schenker, dated May 21, 1926

Dahms reports plans, with a young Munich publisher, to launch a popular music "almanach," anti-modern, propagandizing for "our ideas," and later a serious periodical. — He has to raise 10,000 Marks, and asks for Heinrich's help in doing this. — Margarete has had surgery.

OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9, 1926

Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing article about Schenker in Die Musik; advice for Weisse over choice of publisher.

OC 54/83 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 15, 1926

Drei Masken Verlag are sending Schenker ten hard-bound complimentary copies of the first Meisterwerk Yearbook, although he may contractually be entitled only to five hard-bound and five paper-bound copies. They ask him to send the addresses to which review copies may be sent. (Schenker has made some pencil notes about the receipients of the complimentary copies.)

OJ 10/1, [94] Handwritten letter from Dahms to Schenker, dated June 26, 1926

Dahms thanks Schenker for his report [on the viability of the almanach proposal]. — He plans to devote part of the almanach to Beethoven, and asks whether Schenker might contribute something new, or grant permission to reprint some of what he has written in Der Tonwille.

OJ 11/54, [8] Handwritten letter from Hoboken to Schenker, dated August 22, 1926

Hoboken will probably not now visit Schenker in Galtür; explains his and his wife's departure from Munich and their subsequent travels to Bern, Naples, and Capri, and reports that his house in Vienna should be ready for occupancy on October 1. — Vrieslander and he are considering founding a music journal, and wish to discuss the idea with Schenker.

OJ 6/7, [29] Handwritten letter from Schenker to Moriz Violin, dated September 7, 1926

Schenker conveys his personal grief over the serious illness of Violin's son Karl. He philosophizes about the ills of the world, noting financial difficulties recently faced by Vrieslander, Dahms, and van der Berg. He reports Robert Pollak's imminent departure for San Francisco.

OJ 6/7, [30] Handwritten letter from Schenker to Moriz Violin, dated December 19, 1926

Schenker expresses his delight that his friend received sufficient financial help to be able to move into a new apartment for the sake of his son Karl's health. He reports having shown Agnes Becker some straightforward examples of the Urlinie, out of desperation (she shows little aptitude for piano playing), and then explains that a great deal of time, patience and faith are needed to understand such things. Of his current pupils, only Elias, Brünauer, Hoboken and (to some extent) Albersheim are capable of following the ramifications of the new theory, which he sees as his unique gift to the world. At present, he is working on his "crowning work," Free Composition.

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.

OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927

Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave the music examples for the second Meisterwerk volume in order to ensure a flawless reproduction. He also reports that the width of the pages in the supplement will be expanded, and notifies Schenker of the changes that he will make to the music examples following this decision. Vrieslander states he has officially enquired with Einstein about potential problems in the printing process, making clear that Schenker will not be able to bear any additional costs for printing errors.

OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927

Vrieslander, at pains to ensure that the music illustrations in the second Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are having difficulty interpreting Schenker’s music examples. He is putting his own work to one side in order to work exclusively on creating clear and elegant graphs; he proposes to come to Vienna in mid-March to go through all his work with Schenker.

OJ 5/9, [1] Handwritten draft letter from Schenker to Deutsch, dated February 28, 1927

Schenker explains to Deutsch why he does not want to be considered for an honor from the Austrian Republic. He thanks Deutsch (and Karl Kobald) for their kind intention to put his name forward.

OC 54/140 Typed postcard from Otto Vrieslander to Schenker, dated March 24, 1927

Vrieslander, in Vienna, makes arrangements to meet Schenker on March 25 to go over the music illustrations for the second Meisterwerk Yearbook, leaving the following day available if necessary.

OJ 10/3, [59] Typewritten express postcard from Deutsch to Schenker, dated April 14, 1927

Deutsch invites the Schenkers for afternoon tea at the weekend; Hoboken and Vrieslander will also be there.

OJ 10/3, [60] Typewritten express postcard from Deutsch to Schenker, dated April 21, 1927

Deutsch looks forwarded to seeing the Schenkers at Hoboken’s place. The Society of the Friends of Music would like their print of a Haydn sketchleaf to be returned; Eusebius Mandyczewki is unable to find a copy of Scarlatti’s Op. 1 (a collection of six keyboard sonatas).

OJ 10/3, [62] Typewritten postcard from Deutsch to Schenker, dated May 11, 1927

Deutsch has been invited to pose for an album of the Beethoven Committee; he enquires whether Schenker has accepted an invitation to do so, in which case he will do the same. He is delighted to learn that the (Photogram) Archive has been agreed.

OJ 9/8, [3] Handwritten postcard from Wilhelm Altmann to Schenker, dated May 26, 1927

Altmann reports on conversion of Hoch Conservatory to Hochschule.

OJ 5/7a, [10] (formerly vC 10) Handwritten letter from Schenker to Cube, dated June 1, 1927

Schenker congratulates Cube on appointment to professorship; reports that Oppel has been appointed to a professorship at the Leipzig Conservatory, and on the spread of Schenker's theory elsewhere; looks forward to visit from Cube.

WSLB-Hds 191.559 Handwritten postcard from Schenker to Deutsch, dated June 6, 1927

Schenker asks Deutsch to make inquiries at the British Museum on his behalf, concerning the autograph manuscript of Beethoven’s Sonata Op. 79. He is annoyed with Hertzka for letting someone else take on the editing of Mozart’s piano sonatas for Universal Edition.

OJ 6/7, [34] Handwritten letter from Schenker to Moriz Violin, dated June 30, 1927

Schenker answers Violin's birthday greetings letter philosophically. He is able to work on the final version Der freie Satz at leisure and in good spirits. He reports on the establishment of an archive of photographic reproductions of autograph and gives an account of a visit from Violin's sister Fanny: in return for a picture of Karl Violin, he is enclosing two pictures of himself and one of Jeanette. Finally, he urges his friend to spend part of the summer in Galtür.

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.

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 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927

Deutsch tells Schenker that the second edition of Schindler’s Beethoven biography is available, but not the first. --- He explains at length a misunderstanding over the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and expresses his regret that Drei Masken Verlag have been slow to prepare the second Meisterwerk yearbook for publication.

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.

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.

PhA/Ar 56, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927

Schenker sends Haas copies of the [current version of the] Appeal.

PhA/Ar, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927

Schenker sends Haas copies of the [current version of the] Appeal.

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.

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.

OJ 5/7a, [11] (formerly vC 11) Handwritten postcard from Schenker to Cube, dated September 7, 1927

Schenker acknowledges Cube's postcards; Cube will receive the appeal [for photostats of MSS].

OJ 10/3, [67] Typewritten letter from Deutsch to Schenker, dated September 8, 1927

Deutsch has the text of the prospectus for the second Meisterwerk yearbook prepared by Otto Vrieslander, which the publishers say is too long and he thinks is unnecessarily repetitious. He is forwarding it to Schenker for his opinion.

OJ 10/3, [68] Typewritten letter from Deutsch to Schenker, dated September 12, 1927

Deutsch has sent Vrieslander’s prospectus of the second Meisterwerk yearbook to the publisher almost unchanged, despite overlength. — He reports 200 new acquisitions [for Hoboken's collection], particularly in Mozart, Haydn, and Chopin.

OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927

Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus" and the suitability of Vrieslander's text for that purpose. — He expresses an interest in Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the whereabouts of the autograph manuscript of Beethoven's Op. 106.

OJ 89/1, [6] Handwritten letter from Schenker to van Hoboken, dated October 4, 1927

Schenker thanks van Hoboken [for subventing Yearbook 2], while complaining at Drei Masken Verlag's failure to send him his author's copies and its lack of honesty; he praises Hoboken for his collection and service to mankind.

OJ 10/3, [69] Typewritten picture postcard from Deutsch to Schenker, dated October 6, 1927

Deutsch regrets that Drei Masken Verlag has not yet sent Schenker his complimentary copies [of the second Meisterwerk yearbook]; they will send an invoice for the production costs. Hoboken ought to receive an honor from the Austrian state only after the Photogrammarchiv is up and running. Deutsch has much to show Schenker from the first editions of Beethoven sonatas. He wants to arrange a time to go through the corrections to Schubert’s Symphony in B minor.

OJ 10/3, [71] Typewritten picture postcard from Deutsch to Schenker, dated October 15, 1927

Deutsch accepts an invitation to the Schenkers on Wednesday, October 19. – Drei Masken Verlag have told him that they have already paid Schenker’s honorarium and sent him complementary copies [of the second Meisterwerk yearbook] in January and that the second payment came to him from their branch in Vienna. – He has been working on a Beethoven catalogue but must now turn his attention to Mozart, and then to Schubert.

OJ 5/7a, [12] (formerly vC 12) Handwritten letter from Schenker to Cube, dated November 9, 1927

Schenker thanks Cube for the pictures enclosed with OJ 9/34, [9] and expresses pleasure at Cube's reports of his teaching, composition, listening to the radio, Urlinie studies, and advocacy of good editions; refers to Vrieslander's planned monograph on Schenker, the prospectus for Meisterwerk I and II, and the call [for the Photogrammarchiv].

OJ 11/54, [21] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]

Van Hoboken confirms meeting with Robert Haas.

OJ 10/3, [74] Typewritten postcard from Deutsch to Schenker, dated November 22, 1927

Deutsch suspects that with the typesetters' "messing up" of Schenker’s revised copy of Schubert’s “Unfinished” Symphony the material has been made illegible. — He has been in contact with people regarding a possible radio talk by Schenker, and one by himself on the redesigning of the Mozarteum. — He reports that the pianist Heinz Jolles would like Schenker to prepare an edition of one of Beethoven’s variation sets (WoO 80 or the “Diabelli”), and that Josef Braunstein is gratified to hear of Schenker’s interest in his recent book on the "Leonore" overtures.

OJ 10/1, [102] Handwritten postcard from Dahms to Schenker, dated November 30, 1927

Meisterwerk 2 has arrived, and Dahms rejoices at its content and form of expression.

OJ 9/12, [8] Handwritten letter from Carl Bamberger to Schenker, dated December 2, 1927

Bamberger praises Schenker's initiative in the Photogrammarchiv and Anthony van Hoboken's philanthropy; he is making progress as a conductor.

OJ 89/1, [7] Handwritten letter from Schenker to van Hoboken, dated December 5, 1927

Schenker praises a notice in the Neue freie Presse about the Photogrammarchiv, and speaks of the task that lies ahead.

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.

OJ 89/1, [9] Handwritten double letter from Heinrich to Anthony van Hoboken and from Jeanette to Annamarie van Hoboken, dated December 27, 1927

While commenting adversely on Křenek's opera "Jonny spielt auf," Heinrich sends best wishes for the New Year and thanks for cactuses, acknowledges receipt of a check, and sends greetings to Otto Vrieslander. — Jeanette thanks Annamarie van Hoboken for the Christmas greetings and gift.

OJ 89/2, [1] Handwritten letter from Schenker to Hoboken, dated January 4, 1928

Schenker sends a feuilleton by Hans Liebstöckl regarding the premiere of Krenek's opera "Jonny spielt auf."

OJ 9/34, [10] Handwritten letter from Cube to Schenker, dated January 30, 1928

Cube reports progress in his class and private teaching, performance of his compositions, his forthcoming lecture; outlines plan for an exhibition in Duisburg to celebrate Schenker's 60th birthday; has heard nothing of Hoboken's "Aufruf."

OJ 12/6, [1] Handwritten letter from Jonas to Schenker, dated February 1, 1928

Jonas asks to meet with Schenker to discuss the "matter of the periodical."

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 10/3, [79] Handwritten letter from Hanna Deutsch to Schenker, dated March 4, 1928

The Deutsches will visit the Schenkers on Wednesday, March 14. Hanna reports that Hoboken has been unwell.

OJ 11/54, [22] Handwritten letter from Hoboken to Schenker, dated March 11, 1928

Hoboken recounts the difficulties he is having in getting 2,500 photographs of autograph manuscripts made at the Paris Conservatory.

OJ 89/2, [2] Carbon copy of typed letter from attorney Hundt to counsellor Dr. Seidenberger, dated March 12, 1928

Concerns guardianship of a Fräulein Müschenborn.

OJ 89/2, [3] Typed letter from Counsellor of Justice Seidenberger to Hoboken, dated March 13, 1928

Concerns guardianship of a Fräulein Müschenborn.

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 10/3, [82] Typewritten postcard from Deutsch to Schenker, dated March 26, 1928

Deutsch writes about the sketches for a symphony in E major by Schubert, in the possession of the Royal College of Music in London. He would like to have a copy made so that the work can be published – possibly by Oxford University Press. The costs should be borne by the publisher, not the Photogram Archive, which would nonetheless get a copy of the reproduction.

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 9/34, [11] Handwritten letter from Cube to Schenker, dated April 24, 1928

Cube describes difficulties with his colleagues, loss of pupils, and reactions to his lecture; Scheuermann and Schmemann will put Schenker exhibits in their shop windows, items requested; inquires after Weisse journal plan.

OJ 9/34, [12] Handwritten letter from Cube to Schenker, dated May 24, 1928

Cube acknowledges receipt of the Hammer engravings and reports on the planned Scheuermann exhibition; reports on a forthcoming lecture and seminar, and the growth of his student numbers.

OJ 15/15, [31] Handwritten postcard from Weisse to Schenker, dated May 31, 1928

Weisse will bid up to twice the estimated price at auction for a copy of C. P. E. Bach's Essay on the True Art of Playing Keyboard Instruments.

OJ 10/3, [87] Handwrittenwritten picture postcard from Hanna and Otto Erich Deutsch to Schenker, dated June 10, 1928

The Deutsches hope to see the Schenkers once before both couples go away for the summer, and they invite them for tea on Tuesday, June 12.

OJ 10/3, [88] Typewritten picture postcard from Deutsch to Schenker, dated June 14, 1928

Deutsch can show Schenker the reissue (Titelauflage) of Beethoven’s Sonata Op. 6 if he is interested. -- On the 27th, he is giving a radio broadcast on Schubert’s lost symphony; he has obtained funding ($1,000) for the person who finds it. -- He is giving another radio talk on July 3, on Schubert’s incidental music to Rosamunde.

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 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928

Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises recent article by Cube, but corrects overstated connection between himself and Brahms and Joachim.

OJ 15/16, [59] Handwritten letter from Weisse to Schenker, dated July 26, 1928

Writing while on holiday (in Bad Aussee), Weisse apologizes for not having replied to Schenker's previous letter. He is enjoying reading C. P. E. Bach's Versuch, and reports the illness and recovery of Viktor Hammer, who was staying in Grundlsee near the Weisses during the month of June.

OJ 11/54, [24] Typed letter from Hoboken to Schenker, dated August 27, 1928

Hoboken recounts his and his wife's travels through Germany, including encounters with Thomas Mann and others. He expects to return to Vienna in mid-October.

OJ 89/2, [7] Handwritten letter from Schenker to Hoboken, dated September 5, 1928

The Schenkers have just returned to Vienna. — The "fantastic nature" of the Hobokens' travels by auto. — The exceptional heat in Galtür. —Salzburg as magnificent but too small to hold Mozart.

OJ 5/7a, [20] (formerly vC 20) Handwritten postcard from Schenker to Cube, dated October 8, 1928

Schenker acknowledges receipt of Hammer portrait; urges Cube when in Cologne to visit Gerhard Albersheim's parents and Felix Hupka.

OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928

Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a "connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next time.

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."

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 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929

Cube is listening by radio to music being performed in Vienna. The two caricatures are his fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous lectures, and forthcoming lecture series.

OJ 11/54, [25] Typed letter from Hoboken to Schenker, dated March 27, 1929

Hoboken has broken off his friendship with Otto Vrieslander after discovering that the latter has been cheating him.

OJ 89/3, [1] Handwritten letter from Schenker to Hoboken, dated March 28, 1929

Schenker expresses surprise at Vrieslander's "deception" and approves Hoboken's response to him.

OJ 10/3, [102] Typewritten picture postcard from Deutsch to Schenker, dated May 13, 1929

Deutsch informs Schenker that Anthony van Hoboken is still abroad, but is expected towards the end of the week (Friday, May 17).

OJ 10/3, [103] Typewritten letter from Deutsch to Schenker, dated June 11, 1929

Deutsch gives Schenker a detailed, comprehensive account of how his royalties on the sale of the third Meisterwerk yearbook are based.

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, [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 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929

In a long letter, Deutsch thanks Schenker for encouraging him to apply for the post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of play at the Archive, above all on its insecure position. — He also expresses his regret that Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors from the Vienna Academy, and that some of the players are no longer enthusiastic about them; he hopes to start a new initiative of that sort in the autumn. — He is in good standing with Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his recent trip to Italy, and thinks that he might have become an art historian had he gotten to know the country earlier.

OJ 89/3, [6] Handwritten letter from Schenker to Hoboken, dated August 2, 1929

Schenker has passed the [fee] verdict on to Vrieslander; alludes to Reinhard Oppel, and advises on the analysis of 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 10/3, [105] Handwritten letter from Deutsch to Schenker, dated August 21, 1929

In this long letter, Deutsch seeks to explain Vrieslander’s behavior with regard to the purchase of materials from an unscrupulous antiquarian dealer, and also to account for Hoboken’s treatment of Vrieslander as a consequence. --- He accepts that funds to set up a journal linked to the Photogram Archive are not unlimited, but understands why Schenker cannot devote as much of his own time to the project as Hoboken might expect. --- He describes Hoboken as a childish character, with little understanding of the world of ordinary people, who might nevertheless ultimately produce a good piece of scholarship.

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, [9] Typewritten letter from Hoboken to Schenker, dated September 15, 1929

Hoboken encloses his analytical study of Brahms's Intermezzo, Op. 117, No. 1, and raises several technical matters. — He reports on his building project, and responds to Schenker's refusal, in OJ 89/3, [7], to continue acting as intermediary with Vrieslander. — He encloses a check for his lesson fee.

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.

OJ 10/3, [108] Typewritten letter from Deutsch to Schenker, dated October 7, 1929

Deutsch gives a comprehensive analysis of the prospect of a publication devoted to the Photogram Archive: its content, its editorship, the frequency of its appearance, and the publishing houses who might be interested in taking it on.

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 89/3, [12] Handwritten letter from Schenker to Hoboken, dated October 24, 1929

Schenker forwards Vrieslander's letter.

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.

OJ 89/3, [A] Handwritten letter from Schenker to Hoboken, undated [between November 14, 1928 and January 1, 1929]

Schenker asks Hoboken to send a copy of a Schubert minuet to Munich, and draws his attention to a Landshoff article and notice about the Andreas Bach book.

OJ 10/3, [113] Handwritten picture postcard from Deutsch to Schenker, dated December 30, 1929

Deutsch advises Schenker to send the manuscript [of an essay by Gerd Albersheim] to Dr. Alfred Einstein, the editor of the Zeitschrift für Musikwissenschaft.

OJ 10/3, [114] Typewritten letter from Deutsch to Schenker, dated January 21, 1930

Deutsch explains that, without a fixed annual budget, the Board of Trustees [of the Photogram Archive] is unable to function properly. Hoboken didn’t always deal efficiently with the foreign contributors to the collection; a catalogue has still not been prepared. And Deutsch has made himself ill by overwork. Hedwig Kraus has taken over the directorship of the Archive of the Gesellschaft der Musikfreunde, with [Karl] Geiringer as her assistant – to whom Deutsch would have greatly preferred Luithlen. He has been exchanging letters with Vrieslander.

OJ 11/54, [27] Typewritten letter from Hoboken to Schenker, dated January 30, 1930

Hoboken is unwell and cannot go out.

OJ 10/3, [116] Handwritten postcard from Hanna Deutsch to Schenker, dated February 1, 1930

The Deutsches invite the Schenkers for dinner on Wednesday, February 5, 1930. Hoboken will also be there (without his wife).

OJ 10/3, [118] Handwritten picture postcard from Deutsch to Schenker, dated February 5, 1930

Deutsch confirms the time of his invitation to the Schenkers for the evening.

OJ 89/4, [1] Handwritten letter from Schenker to Hoboken, dated February 22, 1930

Schenker advises that an analysis of the score of Beethoven's Missa solemnis should be taken at a slow pace.

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.

OJ 10/3, [120] Handwritten postcard from Deutsch to Schenker, dated March 2, 1930

Deutsch has come across information suggesting that there may be parts, even a score, of the "Eroica" Symphony with corrections in Beethoven’s hand from the music library of Archduke Rudolph and still located in Olmütz [Olomouc].

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.

OJ 10/3, [121] Typewritten picture postcard from Deutsch to Schenker, dated March 5, 1930

Deutsch tells Schenker that Hoboken may stay in Berlin, at least temporarily. His friend Otto Stoessl works for Der Kunstwart but has not invited him to contribute to that periodical. He has found a review in a Stuttgart music journal which contains words of high praise for Schenker’s Erläuterungsausgaben of the late Beethoven sonatas.

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.

OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930

Deutsch suggests that Schenker should get Breitkopf & Härtel to publish his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will continue to study theory with Schenker while he improves his piano technique in Berlin. -- He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which predates its publication in Op. 75 by about three years, and asks Schenker to compare the two version with a sketch from 1798 that was published by Nottebohm.

OJ 10/3, [124] Typewritten letter from Deutsch to Schenker, dated April 4, 1930

Deutsch thanks Schenker for confirming the relationship of a Beethoven sketch to his song "Neue Liebe, neues Leben," which Gustav Nottebohm had misunderstood.

OJ 10/3, [125] Typewritten letter from Deutsch to Schenker, dated April 6, 1930

Deutsch has learned that Hoboken intends to keep his apartment in Vienna at least until 1932; his departure from the city is therefore only temporary.

OJ 10/3, [126] Handwritten letter from Deutsch to Schenker, dated May 11, 1930

Deutsch asks for Schenker’s advice on the programming of an evening “Serenade” of orchestral and choral music, to be conducted by Robert Heger.

OC 54/226 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated June 2, 1930

Drei Masken Verlag advise Deutsch to contact Elbemühl A.G. concerning the supply of paper for the third Meisterwerk volume.

OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930

A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until September, if the "Eroica" monograph is to be published by the end of the year.

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.

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.

OC 54/311 Handwritten letter from Deutsch to Schenker, dated July 14, 1930

Deutsch sends Schenker the contract from Drei Masken Verlag for the third Meisterwerk yearbook, and asks him to sign it and return it to the publishers. He thinks that an edition of the [collected] works of C. P. E. Bach is a worthy cause. He hopes that Hoboken will soon receive the new honor from the Austrian government, for services to scholarship.

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 6/7, [50] Handwritten letter from Schenker to Moriz Violin, dated July 31, 1930

Schenker assures his friend that he understands his difficulties, and that he can be proud of holding his head high above those who do not understand music, or are incapable of interpreting it beautifully. His own problems are focussed around money, especially as his brother (Moses) has not given him the second part of his inheritance. He has sought to find cheaper ways of producing the music examples for his latest writings: he is more satisfied with the Eroica examples than the engraved illustrations from previous volumes of Das Meisterwerk in der Musik, and is planning to issue Der freie Satz with a volume of examples that is separate from the text. He repeats the news, from an earlier letter, of his being mentioned in Romain Rolland's most recent Beethoven book, and of his entry in Meyers Konversations-Lexicon, and also reports on an item about him in the Deutsche Tonkünstler-Lexikon.

OC 54/316 Handwritten picture postcard from Deutsch to Schenker, dated August 11, 1930

Deutsch has received the first proofs [of the third Meisterwerk yearbook] from the printers, and would like to look carefully at them before forwarding them to Schenker.

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.

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.

OC 54/325 Handwritten letter from Deutsch to Schenker, dated October 11, 1930

Deutsch explains to Schenker which proof corrections may be the author’s responsibility, and which the printer’s or publisher’s, and advises him to write back to the publisher but not to get unduly upset about these matters.

WSLB-Hds 191.570 Letter from Schenker to Deutsch in Jeanette Schenker’s hand, dated October 12, 1930

Schenker will follow all of Deutsch’s recent suggestions regarding the page formatting of the third Meisterwerk yearbook, for which he is most grateful. -- He then launches a further attack upon Anthony van Hoboken’s character.

OC 54/328 Typewritten letter from Deutsch to Schenker, dated October 19, 1930

Deutsch suggests a way of placing the loose music illustrations and the bound graphs of the Urlinien inside the third Meisterwerk yearbook. He invites the Schenkers for a visit soon, perhaps on Friday, October 24.

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.

OC 54/332 Handwritten letter from Deutsch to Schenker, dated November 26, 1930

Deutsch thinks that the invoice for the printing and production of the third Meisterwerk yearbook is reasonable, and that Drei Masken Verlag had underestimated the costs earlier in the summer. He advises on sellling price to ask for.

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 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 5/7a, [34] (formerly vC 34) Handwritten postcard from Schenker to Cube, dated December 5, 1930

Gives dates and place of Weisse's lectures in Vienna.

OJ 14/45, [116] Handwritten picture postcard from Moriz Violin and others to Schenker, undated, c. December 10, 1930

Moriz Violin, Hans Weisse, Anthony van Hoboken, Oswald Jonas and Felix Salzer send greetings to Schenker, following Weisse's lectures in Berlin.

OJ 11/54, [30] Handwritten letter from Hoboken to Schenker, dated January 5, 1931

Hoboken sends New Year's greetings and speaks of next lesson.

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 9/34, [23] Handwritten letter from Cube to Schenker, dated February 10, 1931

Cube acknowledges issue of Der Kunstwart; encloses a letter from Walter Braunfels responding to his plans to establish a Rhineland base for Schenkerian teaching at the Cologne Hochschule für Musik; wonders whether Anthony van Hoboken might be approached for financial assistance on this, and if so how the approach should be made.

OJ 10/3, [139] Typewritten letter from Deutsch to Schenker, dated February 24, 1931

Deutsch has found the source of a letter, of interest to Schenker, which was cited in a recent newspaper article by Richard Benz.

OJ 11/54, [32] Typewritten postcard from Hoboken to Schenker, dated February 28, 1931

Hoboken will seek a wanted issue of the Allgemeine musikalische Zeitung for Schenker.

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 10/3, [143] Typewritten letter from Deutsch to Schenker, dated March 8, 1931

Distraught by the response to his letter of March 6, Deutsch explains the efforts he has made on Schenker’s behalf and asks for further clarification about his friend’s wishes.

OJ 5/18, 4 Handwritten letter from Schenker to Jonas, dated March 16, 1931

Schenker comments on the essays that Jonas has sent him, and the prospects for publication.

OJ 5/7a, [35] (formerly vC 35) Handwritten letter from Schenker to Cube, dated March 28, 1931

Schenker put Cube's Cologne Highschool proposal to van Hoboken, and now reports on the reaction, discussing the latter's character in so doing.

OJ 10/3, [146] Typewritten letter from Deutsch to Schenker, dated April 21, 1931

Deutsch thanks Schenker for his completion of an untexted Schubert song. He asks Schenker to help him to compare two versions of a set of variations. A deputation from the Ministry of Education will pay a visit to Hoboken’s private library.

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].

OJ 11/54, [33] Handwritten picture postcard from Hoboken to Schenker, dated April 27, 1931

Hoboken reports when he will be back in Vienna.

OJ 11/54, [34] Handwritten letter from Hoboken to Schenker, dated April 29, 1931

Hoboken may stay at the Semmering spa for a few more days, and discusses his next appearance for a lesson. — He discusses Specht's Bildnis Beethovens.

OJ 10/3, [147] Typewritten letter from Deutsch to Schenker, dated May 2, 1931

Deutsch asks Schenker to return the edition of the first version of Beethoven’s Variations WoO 74. Needing a few weeks’ peace and quiet in the summer holidays, he is looking for a place in the Tyrol that is more than 1,500 meters above sea level, and asks Schenker’s advice about accommodation, possibly in Galtür.

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 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931

Deutsch reports illness in his family over the summer. -- He is glad to see Schenker’s article on the lost Mozart letter in print, and mentions other places in which it was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which have, however, been misrepresented in the press.

OJ 10/3, [152] Typewritten letter from Deutsch to Schenker, dated August 19, 1931

Replying to Schenker’s recent letter and postcard, Deutsch says that he will be out of the country in the first half of September (travelling with a choir). He is delighted with the recent review [of the third Meisterwerk yearbook], and is always happy to see Schenker’s work praised. His wife and family have now recovered from illnesses. He is still awaiting a letter from Drei Masken Verlag.

OJ 11/54, [35] Handwritten letter from Hoboken to Schenker, dated September 27, 1931

Hoboken encloses a check for 39 past lessons and reports on his work during the summer. -- He comments on books by Hans Meyer and Cassirer.

OJ 6/8, [6] Handwritten letter from Schenker to Violin, dated September 28, 1931

Schenker is heartened that Herman Roth, once again, seems to be supporting his cause. Schenker recommends a series of possible “guest speakers” at the Schenker Institute and asks if there is some sort of monument or commemorative space devoted to C. P. E. Bach in Hamburg.

OJ 89/5, [1] Handwritten letter from Schenker to Hoboken, dated September 29, 1931

Schenker tells Hoboken not to concern himself too much with the Urlinie: it is the linear progressions that really matter.

OJ 10/3, [156] Typewritten letter from Deutsch to Schenker, dated October 13, 1931

Deutsch reports that Hoboken is probably going to keep his personal library in Vienna. He is not optimistic that “V” [Moriz Violin] will be accorded the title of Professor, which can be conferred only by the Vienna Academy and not to people living [i.e. working] outside it.

OJ 10/3, [157] Typewritten letter from Deutsch to Schenker, dated October 16, 1931

In advance of a meeting to discuss the conferral of an honor upon Anthony van Hoboken, Deutsch asks Schenker to sound out Ludwig Karpath cautiously about enlisting his support for this action.

OJ 10/3, [158] Handwritten picture postcard from Hannah Deutsch to Schenker, dated October 20, 1931

Deutsch’s meeting, first mentioned in his letter of October 16, has been postponed by two days, until Thursday, October 22.

OJ 10/3, [159] Typewritten letter from Deutsch to Schenker, dated October 23, 1931

Deutsch enumerates three points arising from his meeting the previous day (October 22, 1931) with Robert Haas and Wilhelm Weckbecker: that the minister (for education) should be approached regarding the conferral of a civic honor upon Anthony Hoboken by the Austrian state; that Hoboken’s character and reputation should in the meantime be “cleaned up,” by appealing to the Vienna police authorities; that Hoboken should invite – separately – Weckbecker and Ludwig Karpath to his home to examine his personal library. He asks Schenker to get in touch with Karpath about this, but to do so tactfully and with reference to these three points.

OJ 10/3, [160] Typewritten letter from Deutsch to Schenker, dated October 24, 1931

Deutsch is pleased that his “plotting” to obtain for Hoboken a civic honor from the Austrian state is working so far. He has spoken on the telephone with Ludwig Karpath and will see him next week. Hoboken’s character seems not to have been blotted by an incident in Munich some time ago: whatever misdeed he may have for which he had been accused, and which led to his (brief) incarceration, can never be proved.

OJ 11/54, [36] Handwritten postcard from Hoboken to Schenker, dated November 26, 1931

Hoboken's next lesson will be December 2: Chopin mazurkas.

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 89/5, [2] Handwritten letter from Schenker to Hoboken, dated February 27, 1932

Schenker thanks Hoboken effusively for the letter of guarantee [for Der freie Satz publication costs].

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 11/54, [38] Handwritten picture postcard from Hoboken to Schenker, dated April 7, 1932

Hoboken will come for a lesson on Friday.

OJ 11/54, [39] Handwritten postcard from Hoboken to Schenker, dated May 12, 1932

Hoboken will come to see Schenker on Friday.

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 11/54, [40] Typewritten letter from Hoboken to Schenker, dated July 29, 1932

Hoboken comments on some contemporary music; — he comments adversely on the new edition by Edouard Ganche of Chopin's works; — he may visit the Schenkers and bring Eva Boy with him.

OJ 89/5, [3] Handwritten letter from Schenker to Hoboken, dated July 31, 1932

Schenker welcomes a visit from Hoboken and Miss Boy, and encloses a clipping of an article.

OJ 89/5, [4] Handwritten postcard from Schenker to Hoboken, dated August 5, 1932

The Ganche edition is much worse than Hoboken has said. Reports on Vrieslander publication.

OJ 5/18, 13 Handwritten letter from Schenker to Jonas, dated September 7, 1932

Der freie Satz is complete, and Anthony van Hoboken has volunteered [financial] assistance. Schenker wonders whether van Hoboken might not provide support for Jonas, too.

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, [6] Handwritten letter from Schenker to Hoboken, dated September 17, 1932

Schenker announces the completion of Der freie Satz, and discusses the timing of Hoboken's disbursement to cover its printing costs.

OJ 5/18, 14 Handwritten letter from Schenker to Jonas, dated September 23, 1932

Schenker sends further addresses [for Jonas's subscription appeal]. —He fears Hoboken may reduce his support.

OJ 5/18, 15 Handwritten letter from Schenker to Jonas, dated September 24, 1932

Schenker quotes from a letter received from Hoboken re: financial support.

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.

PhA/Ar 56, [5] Handwritten postcard from Schenker to Haas, dated September 28, 1932

Schenker invites Haas to a meeting of the Board of Trustees [of the Photogrammarchiv].

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 71/9, [1] Typewritten letter (carbon copy) from Otto Erich Deutsch to Hoboken, with handwritten annotation by Deutsch to Schenker, dated October 3, 1932

Deutsch expresses offense at Hoboken's behavior. Hoboken forwards copy to Schenker.

OJ 89/5, [8] Handwritten letter from Schenker to Hoboken, dated October 17, 1932

Schenker asks Hoboken to honor his testamentary instructions as to the "fragmentary" publication of Der freie Satz in the event of his early death.

OJ 89/5, [9] Handwritten letter from Schenker to Hoboken, dated November 7, 1932

Schenker reports that the [Vienna] Akademie wishes to introduce his Harmonielehre into its curriculum in an abridged version. — The Gesellschaft der Musikfreunde has granted consent.

OC 44/22 Typewritten letter from Jonas to Schenker, dated November 10, 1932

Jonas acknowledges letter from Schenker and gives initial list of subscribers with number of copies; he reports on two of his latest publications.

OJ 89/5, [11] Handwritten postcard from Schenker to Hoboken, dated November 24, 1932

Schenker asks about Hoboken's health.

OJ 5/18, 17 Handwritten letter from Schenker to Jonas, incorrectly dated September 1932 [recte: December 1, 1932]

Schenker discusses likely sales for Jonas's Das Wesen, and will himself help promote the book; warns Jonas against Hoboken.

OJ 89/5, [12] Handwritten postcard from Schenker to Hoboken, dated December 7, 1932

Schenker asks again about Hoboken's health.

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 89/5, [13] Handwritten letter from Schenker to Hoboken, dated December 17, 1932

Schenker thanks Hoboken for the lesson fee, and reports that as he worked through Brahms's file of Oktaven und Quinten, he found a piece of work in his own hand! — He reports progress on Der freie Satz.

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.

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.

OJ 6/8, [16] Handwritten letter from Schenker to Violin, dated December 29, 1932

Schenker advises Violin to keep up the pressure on Josef Marx regarding a possible position at the Vienna Akademie; he will do the same. He again discourages his friend from approaching Anthony van Hoboken with an appeal for financial assistance.

OJ 89/6, [1] Handwritten letter from Schenker to Hoboken, dated January 20, 1933

Schenker reports (1) discussion with Joseph Marx of a school version of his Harmonielehre for the Akademie curriculum; (2) proposal from New York for an English translation of Harmonielehre.

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 5/18, 22 Handwritten postcard from Schenker to Jonas, dated January 26, 1933

Josef Marx has expressed interest in class-use of the planned school edition of Schenker's Harmonielehre; Schenker suggests Jonas's Einführung be placed before Marx; a second proposal for an English translation of Harmonielehre has come in.

OJ 12/6, [19] Handwritten letter from Jonas to Schenker, dated January 28, 1933

Jonas still has no response from Hoboken re: his Einführung; encloses four essays; reports on forthcoming article, his teaching and advocacy of critical editions, planned radio lectures and performance, and other work.

OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933

Schenker returns four essays with praise. Salzer is informed that the price for Jonas's Einführung has been set too high; Schenker advises caution with Hoboken.

OJ 89/6, [3] Handwritten letter from Schenker to Hoboken, dated February 17, 1933

Congratulating Hoboken on his forthcoming marriage to Frl. Boy, Schenker reports that Kalmus is playing a devious financial game over Oktaven u. Quinten (which is in press) and Der freie Satz (which he thinks will take two years to publish) that may yet see the latter revert to Cotta. — He speaks of Marx's naiveté over the proposed school version of Harmonielehre. — He reports on the remaining stocks of Das Meisterwerk in der Musik.

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 5/18, 24 Handwritten letter from Schenker to Jonas, dated March 22, 1933

Schenker recounts Joseph Marx's requirements for adapting his Harmonielehre for teaching purposes, and the involvement of Alfred Kalmus at UE. — Refers to Vrieslander's adaptation of Kontrapunkt and Jonas's of Harmonielehre. — Reports Hans Weisse's success; alludes to the Handel-Schenker 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 89/6, [5] Handwritten letter from Schenker to Hoboken, dated April 24, 1933

Schenker is sending his Oktaven und Quinten, comments on it, and thanks Hoboken for support; — comments on his "Erinnerungen an Brahms"; — hopes Hoboken will visit in May.

OJ 12/6, [21] Handwritten postcard from Jonas to Schenker, dated May 2, [1933]

Jonas thanks Schenker for Brahms study; — he will be in Vienna to see Hoboken on 16th and will visit Schenker.

OJ 89/6, [6] Handwritten letter from Schenker to Hoboken, dated May 3, 1933

Schenker congratulates Hoboken and Eva Boy on their engagement, and comments on a Frankfurter Zeitung article that Hoboken has sent him, and satirizes the laws that Hitler has recently introduced. — He encloses his own article, "Was wird aus der Musik?" — He encloses an invoice from Universal Edition.

OJ 5/18, 25 Handwritten postcard from Schenker to Jonas, dated May 4, 1933

Schenker expresses doubts about Hoboken's motives for discussion, and reports two new publications.

OJ 5/18, 26 Handwritten postcard from Schenker to Jonas, dated May 10, 1933

Schenker acknowledges OJ 12/6, [22] and essay; — Hoboken coming 16th; discusses timing of meeting.

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 89/6, [7] Handwritten picture postcard from Schenker to Hoboken, undated [June 22, 1933]

Schenker rhapsodizes about the Reigersberg Palace, and invites the Hobokens for a visit.

OJ 5/7a, [47] (formerly vC 47) Handwritten letter from Schenker to Cube, dated July 18, 1933

Schenker reports on a newspaper article and abortive radio program about his theory, by Theo Goos; also on Jonas's forthcoming book, on van Hoboken, Moriz Violin, and Hans Wolf; and on progress with Der freie Satz.

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 89/9, [1] Handwritten letter from Schenker to Hoboken, undated [August 15, 1933]

In returning it, Schenker comments on book by Gottfried Benn, and reports that Der freie Satz is nearing completion.

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.

OJ 11/32, [17] Typewritten letter from Robert Haas to Schenker, dated September 20, 1933

Haas promises to have the Griesinger Haydn book delivered, and mentions several other matters.

OJ 5/18, 28 Handwritten postcard from Schenker to Jonas, dated October 5, 1933

Schenker is circulating Jonas's article to draw attention to his [forthcoming] book. — He does not have van Hoboken's current address.

OJ 5/18, 29 Handwritten postcard from Schenker to Jonas, dated October 7, 1933

Schenker is forwarding issues [of the periodical containing Jonas's article] to Hoboken.

OJ 89/9, [2] Handwritten letter from Schenker to Hoboken, undated [October 7, 1933]

Schenker acknowledges receipt of money transfer; — alludes to Jonas's forthcoming book and two other books now in progress about his work; — refers to a review of his Oktaven u. Quinten that misunderstands the nature of Brahms's collection.

OJ 8/5, [21] Handwritten postcard from Schenker to Violin, dated October 8, 1933

Schenker inquires after Violin, from whom he has not heard for some time. He reports that Hoboken is in France but will return at the end of the month to resume lessons.

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 8/5, [24] Handwritten postcard from Schenker to Violin, dated November 6, 1933

A new housemaid has meant some disruption to the routine in the Schenkers’ apartment, and a visit has to be rearranged; Hoboken is returning to Vienna.

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 8/5, [25] Handwritten postcard from Schenker to Violin, postmarked November 27, 1933

In a message deprecating Hoboken’s character, Schenker believes that Hoboken (the “wandering Dutchman") is trying to stretch out his tuition by paying social calls with his wife outside lesson times; he likes Vienna because the cost of living is lower than in Holland.

OJ 6/8, [28] Handwritten letter from Schenker to Violin, dated December 1, 1933

Schenker is lending Violin a copy of something amusing [a composition by Josef Knettel] sent to him by Reinhard Oppel. He notes that Hans Wolf wants to leave Vienna early for the holidays, but Schenker will insist on being paid in full for the lessons scheduled in December.

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, [26] Handwritten letter from Jonas to Schenker, dated December 10, 1933

Jonas asks how the music examples in Das Meisterwerk were printed, with respect to his Das Wesen des musikalischen Kunstwerks. — In Riemann's Musiklexikon, ed. A. Einstein, Einstein's reference to Schenker appears under "Bach."

OJ 6/8, [29] Handwritten letter from Schenker to Violin, dated December 11, 1933

Schenker asks Violin to seek his sister Fanny’s help in finding someone who can produce typed copies of an article about him published in America [Israel Citkowitz, “The Role of Heinrich Schenker”].

OJ 5/18, 32 Handwritten letter from Schenker to Jonas, dated December 13, 1933

The music examples in Das Meisterwerk were engraved; Schenker draws attention to and commends an article [by Israel Citkowitz].

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 5/18, 33 Handwritten letter from Schenker to Jonas, dated December 21, 1933

Schenker sends article [by Citkowitz]. — In response to Jonas's quoting from a Jewish lexikon, he refers to the sermons by Cardinal Faulhaber, and writes of his pride in being Jewish but in having assimilated thoroughly enough to establish favorable relations with the Catholic church, antisemites, and the news media. — Implying a parallel between himself and Jesus, he offers his "monotheistic theory of music" as "a new message to the world from the Jews." — He has no copy of his Syrische Tänze; — writes of the work's history.

OJ 89/6, [11] Handwritten letter from Schenker to Hoboken, dated December 25, 1933

Schenker speaks of recent articles by O. E. Deutsch and I. Citkowitz, and reports on former pupils Hupka and Breisach.

OJ 5/18, 34 Handwritten postcard from Schenker to Jonas, dated January 9, 1934

Der freie Satz "proper" is finished, but will add chapters on meter and form. Van Hoboken is making further difficulties for Jonas.

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 5/18, 35 Handwritten postcard from Schenker to Jonas, dated January 16, 1934

Schenker asks for address of Ludwig Landshoff.

OJ 89/7, [4] Handwritten letter from Schenker to Hoboken, dated January 17, 1934

Hoboken will probably not need to send money [for printing costs of Der freie Satz] until 1935.

OJ 12/6, [28] Handwritten postcard from Jonas to Schenker, dated January 19, 1934

Jonas provides requested address; no further headway with van Hoboken.

OJ 89/7, [5] Handwritten letter from Schenker to Hoboken, dated February 25, 1934

Schenker comments on Eva van Hoboken's visit [of February 18]; — Encloses a collection of articles, praises Hoboken's opposition to Ganche, and comments sardonically about Schering, Kretzschmar, and Riemann.

OJ 89/7, [6] Handwritten letter from Schenker to Hoboken, dated February 27, 1934

Schenker speaks of an invitation received from the Reichsmusikkammer in Berlin.

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 89/7, [8] Handwritten letter from Schenker to Hoboken, dated April 7, 1934

Schenker corrects and explains his error in counting subscriptions to Jonas's book.

OJ 5/18, 40 Handwritten postcard from Schenker to Jonas, dated April 11, 1934

Hoboken will not increase his subvention of Jonas's book.

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 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 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 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 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 89/7, [14] Handwritten letter from Schenker to Hoboken, dated August 4, 1934

Schenker asks about Hoboken's address. — An article has appeared belatedly in the Deutsche Zeitschrift.

OJ 89/7, [10] Handwritten letter from Schenker to Hoboken, dated July 12, 1934

8-page letter: Schenker thanks Hoboken for his support for Jonas's new book. — He reminds Hoboken of his earlier promise to support Der freie Satz financially, and predicts that costs will be high. — Otto Erich Deutsch has been granted a course at the Vienna Academy for Music and Performing Arts.

OJ 89/7, [11] Handwritten picture postcard from Schenker to Hoboken, dated July 16, 1934

Schenker concurs with Hoboken's appraisal of Jonas's book.

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 12/6, [35] Handwritten letter from Jonas to Schenker, dated July 25, 1934

Jonas has changed his travel plans; describes Bayreuth; sends corrigenda list for his Das Wesen; Roth is working on continuo realizations of Handel.

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 5/18, 49 Handwritten letter from Schenker to Jonas, dated August 2, 1934

Schenker expresses heartfelt thanks to Jonas for his book; their project is fundamentally one of "present-day Jewry." — An excerpt from Der freie Satz is to appear in Der Kunstwart. —Schenker has had to give up Willfort and Kraus because of their negligence regarding the planned Urlinie-Tafeln vol. II.

OJ 89/7, [13] Handwritten letter from Schenker to Hoboken, dated August 2, 1934

Schenker, in Böckstein, welcomes the Hobokens' imminent visit.

OJ 12/6, [36] Handwritten letter from Jonas to Schenker, dated August 6, [1934]

Jonas alludes to the Dolfuss assassination; gives his reactions to Bayreuth (which he has just visited) and the Wagner cult. — He is seeing his publisher about the proposed commentary editions.

OJ 5/18, 50 Handwritten picture postcard from Schenker to Jonas, dated August 7, 1934

Schenker suggests the publisher should send Vrieslander a copy of Jonas's book; — Hoboken's plans to be in Vienna.

OJ 5/18, 51 Handwritten letter from Schenker to Jonas, dated August 18, [1934]

Schenker re-sends a postcard that has been returned; mentions a visit by the Hobokens

OJ 10/18, [9] Handwritten letter from Elias to Schenker dated August 23, 1934

Miss Elias thanks Schenker for his words of condolence. She has decided to remain in Vienna to be with her brother.

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 44/20 Handwritten postcard from Jonas to Schenker, dated [September 3, 1934]

Jonas would like to pay a visit to Schenker; — he has heard nothing from Hoboken; — he is remaining in Vienna.

OJ 5/18, 55 Handwritten picture postcard from Schenker to Jonas, dated September 13, 1934

Wilhelm Altmann asks that Jonas send biographical notes on himself for the Tonkünstler-Lexikon; Schenker refers to Hoboken and Salzer.

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 89/8, [2] Handwritten letter from Jeanette Schenker to Anthony van Hoboken, dated June 29, 1935

Jeanette informs Hoboken that she has received from Ernst Oster an errata list for Der freie Satz, and asks Hoboken whom he thinks would be a qualified person to check this.

OJ 11/54, [43] Typewritten letter from Hoboken to Jeanette Schenker, dated July 12, 1935

Hoboken regrets the printing errors in Der freie Satz and suggests that Ernst Oster prepare a list.

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 11/54, [45]-[46] Handwritten letter, with envelope, from Eva van Hoboken to Jeanette Schenker, dated December 15, 1935

Eva van Hoboken sends 200 shillings for a copy of "Brahms Erinnerungen."

OJ 9/10, [4] Printed invitation from the Photogrammarchiv to Jeanette Schenker, dated February 14, 1936

Invitation to celebrate the enlargement of the Photogrammarchiv

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Diary entry by Schenker for 15 October 1931

Diary entry by Schenker for 16 October 1931

Diary entry by Schenker for 18 October 1931

Diary entry by Schenker for 23 October 1931

Diary entry by Schenker for 26 October 1931

Diary entry by Schenker for 30 October 1931

Diary entry by Schenker for 13 November 1931

Diary entry by Schenker for 25 November 1931

Diary entry by Schenker for 27 November 1931

Diary entry by Schenker for 2 December 1931

Diary entry by Schenker for 8 December 1931

Diary entry by Schenker for 9 December 1931

Diary entry by Schenker for 15 December 1931

Diary entry by Schenker for 16 December 1931

Diary entry by Schenker for 21 December 1931

Diary entry by Schenker for 22 December 1931

Diary entry by Schenker for 24 December 1931

Diary entry by Schenker for 26 December 1931

Diary entry by Schenker for 28 December 1931

Diary entry by Schenker for 5 January 1932

Diary entry by Schenker for 7 January 1932

Diary entry by Schenker for 9 January 1932

Diary entry by Schenker for 26 January 1932

Diary entry by Schenker for 5 February 1932

Diary entry by Schenker for 10 February 1932

Diary entry by Schenker for 12 February 1932

Diary entry by Schenker for 17 February 1932

Diary entry by Schenker for 23 February 1932

Diary entry by Schenker for 24 February 1932

Diary entry by Schenker for 26 February 1932

Diary entry by Schenker for 27 February 1932

Diary entry by Schenker for 1 March 1932

Diary entry by Schenker for 2 March 1932

Diary entry by Schenker for 3 March 1932

Diary entry by Schenker for 8 March 1932

Diary entry by Schenker for 10 March 1932

Diary entry by Schenker for 17 March 1932

Diary entry by Schenker for 21 March 1932

Diary entry by Schenker for 6 April 1932

Diary entry by Schenker for 7 April 1932

Diary entry by Schenker for 8 April 1932

Diary entry by Schenker for 14 April 1932

Diary entry by Schenker for 18 April 1932

Diary entry by Schenker for 3 May 1932

Diary entry by Schenker for 10 May 1932

Diary entry by Schenker for 12 May 1932

Diary entry by Schenker for 13 May 1932

Diary entry by Schenker for 23 May 1932

Diary entry by Schenker for 1 June 1932

Diary entry by Schenker for 9 June 1932

Diary entry by Schenker for 11 June 1932

Diary entry by Schenker for 13 June 1932

Diary entry by Schenker for 14 June 1932

Diary entry by Schenker for 19 June 1932

Diary entry by Schenker for 3 July 1932

Diary entry by Schenker for 5 July 1932

Diary entry by Schenker for 14 July 1932

Diary entry by Schenker for 15 July 1932

Diary entry by Schenker for 16 July 1932

Diary entry by Schenker for 18 July 1932

Diary entry by Schenker for 28 July 1932

Diary entry by Schenker for 30 July 1932

Diary entry by Schenker for 31 July 1932

Diary entry by Schenker for 3 August 1932

Diary entry by Schenker for 4 August 1932

Diary entry by Schenker for 5 August 1932

Diary entry by Schenker for 7 August 1932

Diary entry by Schenker for 10 August 1932

Diary entry by Schenker for 21 August 1932

Diary entry by Schenker for 24 August 1932

Diary entry by Schenker for 25 August 1932

Diary entry by Schenker for 28 August 1932

Diary entry by Schenker for 29 August 1932

Diary entry by Schenker for 30 August 1932

Diary entry by Schenker for 31 August 1932

Diary entry by Schenker for 1 September 1932

Diary entry by Schenker for 6 September 1932

Diary entry by Schenker for 7 September 1932

Diary entry by Schenker for 9 September 1932

Diary entry by Schenker for 12 September 1932

Diary entry by Schenker for 15 September 1932

Diary entry by Schenker for 17 September 1932

Diary entry by Schenker for 21 September 1932

Diary entry by Schenker for 24 September 1932

Diary entry by Schenker for 26 September 1932

Diary entry by Schenker for 27 September 1932

Diary entry by Schenker for 28 September 1932

Diary entry by Schenker for 30 September 1932

Diary entry by Schenker for 1 October 1932

Diary entry by Schenker for 3 October 1932

Diary entry by Schenker for 4 October 1932

Diary entry by Schenker for 10 October 1932

Diary entry by Schenker for 11 October 1932

Diary entry by Schenker for 14 October 1932

Diary entry by Schenker for 15 October 1932

Diary entry by Schenker for 17 October 1932

Diary entry by Schenker for 18 October 1932

Diary entry by Schenker for 25 October 1932

Diary entry by Schenker for 29 October 1932

Diary entry by Schenker for 30 October 1932

Diary entry by Schenker for 1 November 1932

Diary entry by Schenker for 2 November 1932

Diary entry by Schenker for 7 November 1932

Diary entry by Schenker for 14 November 1932

Diary entry by Schenker for 16 November 1932

Diary entry by Schenker for 24 November 1932

Diary entry by Schenker for 27 November 1932

Diary entry by Schenker for 1 December 1932

Diary entry by Schenker for 7 December 1932

Diary entry by Schenker for 12 December 1932

Diary entry by Schenker for 16 December 1932

Diary entry by Schenker for 20 December 1932

Diary entry by Schenker for 25 December 1932

Diary entry by Schenker for 4 January 1933

Diary entry by Schenker for 20 January 1933

Diary entry by Schenker for 22 January 1933

Diary entry by Schenker for 26 January 1933

Diary entry by Schenker for 7 February 1933

Diary entry by Schenker for 17 February 1933

Diary entry by Schenker for 19 February 1933

Diary entry by Schenker for 25 February 1933

Diary entry by Schenker for 26 February 1933

Diary entry by Schenker for 8 March 1933

Diary entry by Schenker for 20 March 1933

Diary entry by Schenker for 21 March 1933

Diary entry by Schenker for 22 March 1933

Diary entry by Schenker for 27 March 1933

Diary entry by Schenker for 24 April 1933

Diary entry by Schenker for 26 April 1933

Diary entry by Schenker for 2 May 1933

Diary entry by Schenker for 3 May 1933

Diary entry by Schenker for 4 May 1933

Diary entry by Schenker for 5 May 1933

Diary entry by Schenker for 6 May 1933

Diary entry by Schenker for 12 May 1933

Diary entry by Schenker for 16 May 1933

Diary entry by Schenker for 17 May 1933

Diary entry by Schenker for 18 May 1933

Diary entry by Schenker for 19 May 1933

Diary entry by Schenker for 23 May 1933

Diary entry by Schenker for 26 May 1933

Diary entry by Schenker for 30 May 1933

Diary entry by Schenker for 31 May 1933

Diary entry by Schenker for 2 June 1933

Diary entry by Schenker for 3 June 1933

Diary entry by Schenker for 6 June 1933

Diary entry by Schenker for 10 June 1933

Diary entry by Schenker for 22 June 1933

Diary entry by Schenker for 13 July 1933

Diary entry by Schenker for 18 July 1933

Diary entry by Schenker for 19 July 1933

Diary entry by Schenker for 21 July 1933

Diary entry by Schenker for 25 July 1933

Diary entry by Schenker for 8 August 1933

Diary entry by Schenker for 15 August 1933

Diary entry by Schenker for 16 August 1933

Diary entry by Schenker for 18 August 1933

Diary entry by Schenker for 19 August 1933

Diary entry by Schenker for 6 September 1933

Diary entry by Schenker for 16 September 1933

Diary entry by Schenker for 19 September 1933

Diary entry by Schenker for 22 September 1933

Diary entry by Schenker for 3 October 1933

Diary entry by Schenker for 6 October 1933

Diary entry by Schenker for 7 October 1933

Diary entry by Schenker for 25 October 1933

Diary entry by Schenker for 6 November 1933

Diary entry by Schenker for 8 November 1933

Diary entry by Schenker for 9 November 1933

Diary entry by Schenker for 11 November 1933

Diary entry by Schenker for 14 November 1933

Diary entry by Schenker for 17 November 1933

Diary entry by Schenker for 21 November 1933

Diary entry by Schenker for 23 November 1933

Diary entry by Schenker for 26 November 1933

Diary entry by Schenker for 27 November 1933

Diary entry by Schenker for 28 November 1933

Diary entry by Schenker for 29 November 1933

Diary entry by Schenker for 1 December 1933

Diary entry by Schenker for 2 December 1933

Diary entry by Schenker for 3 December 1933

Diary entry by Schenker for 5 December 1933

Diary entry by Schenker for 7 December 1933

Diary entry by Schenker for 8 December 1933

Diary entry by Schenker for 25 December 1933

Diary entry by Schenker for 26 December 1933

Diary entry by Schenker for 2 January 1934

Diary entry by Schenker for 6 January 1934

Diary entry by Schenker for 8 January 1934

Diary entry by Schenker for 9 January 1934

Diary entry by Schenker for 10 January 1934

Diary entry by Schenker for 13 January 1934

Diary entry by Schenker for 15 January 1934

Diary entry by Schenker for 17 January 1934

Diary entry by Schenker for 17 February 1934

Diary entry by Schenker for 22 February 1934

Diary entry by Schenker for 24 February 1934

Diary entry by Schenker for 25 February 1934

Diary entry by Schenker for 16 March 1934

Diary entry by Schenker for 17 March 1934

Diary entry by Schenker for 24 March 1934

Diary entry by Schenker for 3 April 1934

Diary entry by Schenker for 6 April 1934

Diary entry by Schenker for 7 April 1934

Diary entry by Schenker for 10 April 1934

Diary entry by Schenker for 11 April 1934

Diary entry by Schenker for 13 April 1934

Diary entry by Schenker for 16 April 1934

Diary entry by Schenker for 17 April 1934

Diary entry by Schenker for 20 April 1934

Diary entry by Schenker for 24 April 1934

Diary entry by Schenker for 25 April 1934

Diary entry by Schenker for 9 June 1934

Diary entry by Schenker for 12 June 1934

Diary entry by Schenker for 20 June 1934

Diary entry by Schenker for 21 June 1934

Diary entry by Schenker for 24 June 1934

Diary entry by Schenker for 25 June 1934

Diary entry by Schenker for 26 June 1934

Diary entry by Schenker for 12 July 1934

Diary entry by Schenker for 16 July 1934

Diary entry by Schenker for 20 July 1934

Diary entry by Schenker for 21 July 1934

Diary entry by Schenker for 22 July 1934

Diary entry by Schenker for 27 July 1934

Diary entry by Schenker for 2 August 1934

Diary entry by Schenker for 3 August 1934

Diary entry by Schenker for 4 August 1934

Diary entry by Schenker for 6 August 1934

Diary entry by Schenker for 7 August 1934

Diary entry by Schenker for 8 August 1934

Diary entry by Schenker for 14 August 1934

Diary entry by Schenker for 15 August 1934

Diary entry by Schenker for 16 August 1934

Diary entry by Schenker for 18 August 1934

Diary entry by Schenker for 22 August 1934

Diary entry by Schenker for 24 August 1934

Diary entry by Schenker for 28 August 1934

Diary entry by Schenker for 5 September 1934

Diary entry by Schenker for 9 September 1934

Diary entry by Schenker for 10 September 1934

Diary entry by Schenker for 11 September 1934

Diary entry by Schenker for 18 September 1934

Diary entry by Schenker for 19 September 1934

Diary entry by Schenker for 21 September 1934

Diary entry by Schenker for 25 September 1934

Diary entry by Schenker for 28 September 1934

Diary entry by Schenker for 29 September 1934

Diary entry by Schenker for 2 October 1934

Diary entry by Schenker for 5 October 1934

Diary entry by Schenker for 9 October 1934

Diary entry by Schenker for 10 October 1934

Diary entry by Schenker for 12 October 1934

Diary entry by Schenker for 13 October 1934

Diary entry by Schenker for 15 October 1934

Diary entry by Schenker for 16 October 1934

Diary entry by Schenker for 19 October 1934

Diary entry by Schenker for 23 October 1934

Diary entry by Schenker for 25 October 1934

Diary entry by Schenker for 28 October 1934

Diary entry by Schenker for 31 October 1934

Diary entry by Schenker for 6 November 1934

Diary entry by Schenker for 9 November 1934

Diary entry by Schenker for 11 November 1934

Diary entry by Schenker for 13 November 1934

Diary entry by Schenker for 18 November 1934

Diary entry by Schenker for 23 November 1934

Diary entry by Schenker for 27 November 1934

Diary entry by Schenker for 30 November 1934

Diary entry by Schenker for 2 December 1934

Diary entry by Schenker for 4 December 1934

Diary entry by Schenker for 5 December 1934

Diary entry by Schenker for 8 December 1934

Diary entry by Schenker for 11 December 1934

Diary entry by Schenker for 14 December 1934

Diary entry by Schenker for 25 December 1934

Diary entry by Schenker for 28 December 1934

Diary entry by Schenker for 3 January 1935

OJ 9/10, [2] Photogrammarchiv, Vienna: Appeal for Contributions of Photographic Materials, dated November 1927 [Author]