Schenker Documents Online

Home Project Information Browse Documents Search Colloquy Editorial Guide Profiles Help Blog
You are here: Profiles
Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads Print Preview Save Page (PDF) Save Page (EPub) Save Page (All Formats)	Heinrich Schenker Documents associated with this entity: Correspondence Diaries Lessonbooks Other material Types person Names Heinrich Schenker Artur Niloff Professor Nyloff Nijloff Meister Master Doktor Doctor Relationships Syrian Dances is composed by Heinrich Schenker Phil. Em. Bach: Klavierwerke is edited by Heinrich Schenker Ein Beitrag zur Ornamentik (Vienna: UE, 1903; 2/1908) is authored by Heinrich Schenker G. F. Händel: Sechs Orgelkonzerte (Vienna: UE, [1905]) is edited by Heinrich Schenker Neue musikalische Theorien und Phantasien is authored by Heinrich Schenker Harmonielehre (NMTP, I) is authored by Heinrich Schenker Kontrapunkt is authored by Heinrich Schenker Kontrapunkt: Erster Halbband is authored by Heinrich Schenker Kontrapunkt: Zweiter Halbband is authored by Heinrich Schenker Der freie Satz (Vienna: UE, 1935) is authored by Heinrich Schenker Instrumentations-Tabelle (Vienna: Universal Edition, 1908) is authored by Heinrich Schenker Chromatische Fantasie und Fuge is edited by Heinrich Schenker Beethovens Neunte Sinfonie (Vienna: Universal Edition, 1912) is authored by Heinrich Schenker Beethoven: Ninth Symphony score (unpubl.) is authored by Heinrich Schenker Die letzten fünf Sonaten von Beethoven is edited by Heinrich Schenker Die letzten fünf Sonaten von Beethoven ... Op. 109 (Vienna: Universal Edition, 1913) is edited by Heinrich Schenker Die letzten fünf Sonaten von Beethoven ... Op. 110 (Vienna: Universal Edition, 1914) is edited by Heinrich Schenker Die letzten fünf Sonaten von Beethoven ... Op. 111 is edited by Heinrich Schenker Die letzten fünf Sonaten von Beethoven ... Op. 101 (Vienna: Universal Edition, 1920) is edited by Heinrich Schenker Die letzten fünf Sonaten von Beethoven ... Op. 106 (unpubl.) is edited by Heinrich Schenker Der Tonwille (1921-24) is authored by Heinrich Schenker Der Tonwille Heft 1 (1921) is authored by Heinrich Schenker Der Tonwille Heft 2 (1922) is authored by Heinrich Schenker Der Tonwille Heft 3 (1922) is authored by Heinrich Schenker Der Tonwille Heft 4 (1923) is authored by Heinrich Schenker Der Tonwille Heft 5 (1923) is authored by Heinrich Schenker Der Tonwille Heft 6 (1923) is authored by Heinrich Schenker Der Tonwille Heft 7 (=IV/1) (Jan-March 1924) is authored by Heinrich Schenker Der Tonwille Heft 8/9 (=IV/2-3) (Apr-Sept 1924) is authored by Heinrich Schenker Der Tonwille Heft 10 (=IV/4) (Oct 1924) is authored by Heinrich Schenker Das Meisterwerk in der Musik (Munich: Drei Masken Verlag, 1925-30) is authored by Heinrich Schenker Das Meisterwerk in der Musik, Band I (1925) is authored by Heinrich Schenker Das Meisterwerk in der Musik, Band II (1926) is authored by Heinrich Schenker Das Meisterwerk in der Musik, Band III (1930) is authored by Heinrich Schenker Beethoven: Klaviersonaten is authored by Heinrich Schenker L. van Beethoven, Sonate op. 27, nr. 2 (Vienna: UE,1921) is edited by Heinrich Schenker Fünf Urlinie-Tafeln/Five Analyses in Sketchform (New York: David Mannes School, 1932) is edited by Heinrich Schenker Formenlehre (unpubd) is authored by Heinrich Schenker Die Kunst des Vortrags (unpubd) is authored by Heinrich Schenker Kleine Bibliothek is authored by Heinrich Schenker Über den Niedergang der Kompositionskunst (unpubl., c. 1905-09) is authored by Heinrich Schenker Beethovens Fünfte Sinfonie (Vienna: Universal Edition, 1925) is authored by Heinrich Schenker Oktaven und Quinten is edited by Heinrich Schenker Fünf Klavierstücke, op. 4 is composed by Heinrich Schenker Erinnerungen an Brahms is authored by Heinrich Schenker Ein verschollener Brief von Mozart und das Geheimnis seines Schaffens is authored by Heinrich Schenker Eine Anzeige und eine Selbstanzeige is authored by Heinrich Schenker Was wird aus der Musik? is authored by Heinrich Schenker Friedrich Smetana is authored by Heinrich Schenker Vom Unterschied zwischen der italienischen und der deutschen Musik is authored by Heinrich Schenker Double Concerto in F major for two keyboards, H410, W46 is arranged by Heinrich Schenker Drei Gesänge für Frauenstimmen a cappella, Op. 8 is composed by Heinrich Schenker Fantasie, Op. 2 (Leipzig, 1898) is composed by Heinrich Schenker Download all selected files as or or (check files to select/deselect) Where appropriate save: English and German versions German version only English version only Correspondence OJ 5/19, 1 Handwritten letter from Schenker to Kalbeck, undated [?April 1889] Schenker asks Kalbeck for a critique, apparently of some sonatas. OJ 5/19, 2 Handwritten letter from Schenker to Kalbeck, undated [?April or May 1889] Schenker thanks Kalbeck for the critique. — He is preparing for his state examination in Roman law, and looks forward to an eventual career in music theory. — He will send Kalbeck three sonatas. GdM Briefe HS, [1] Handwritten letter from Schenker to Ludwig Bösendorfer, undated [1889/1890] Schenker asks for hire of a better piano. OJ 11/42, [1] Handwritten letter from Maximilian Harden to Schenker, dated October 11, 1892 Since there has been no response to an earlier letter requesting major revisions in a submitted article, Harden has made the changes himself; he asks Schenker to write a second article on the omitted material; and he begs Schenker's pardon for having to act unilaterally. OJ 11/42, [2] Handwritten postcard from Maximilian Harden to Schenker, dated November 29, 1892 One of Schenker's articles will be published in an upcoming issue of Die Zukunft; Harden asks for further submissions; agrees with Schenker's positive assessment of the Italian soprano Gemma Bellincioni. OJ 11/42, [3] Handwritten postcard from Maximilian Harden to Schenker, dated May 22, 1893 Harden asks Schenker to write a review of Verdi's Falstaff in time for the Berlin opening of the opera. OJ 11/42, [4] Handwritten postcard from Maximilian Harden to Schenker, dated June 27, 1893 Harden thanks Schenker for an article on Smetana; encourages him to write on the Viennese appetite for Italian operas; and sends greetings to [Adolph?] Gelber. OJ 11/42, [5] Handwritten postcard from Maximilian Harden to Schenker, dated September 29, 1893 Harden encourages articles from Schenker on Leoncavallo and Bruckner. OJ 11/42, [6] Handwritten postcard from Maximilian Harden to Schenker, dated October 19, 1893 Harden thanks Schenker for sending an [unidentified] article with a lighter tone than some of Schenker's other work. OJ 71/42, [1] Handwritten message from Harden to Schenker, on handwritten letter from Hermann Woff to Harden, dated October 20, 1893 Wolff encourages Harden to find him a collaborator for an article on music and concert life; having read Schenker's article on Bruckner, he praises Schenker for his clear and accurate understanding of Bruckner's music. Harden commends Wollf's praise to Schenker, and suggests that he write an article about "conductors." OJ 11/42, [8] Handwritten postcard from Maximilian Harden to Schenker, dated November 9, 1893 Harden asks after Schenker's health and encourages him to write an article on prominent conductors and an article on music education. OJ 9/6, [D] Handwritten postcard from Eugen d’Albert to Schenker, undated Eugen d'Albert extends an invitation to Schenker. OJ 9/6, [F] Handwritten calling card from Eugen d’Albert to Schenker, undated Eugen d'Albert invites the Schenkers to the the Opera. OJ 9/6, [L] Handwritten letter from Eugen d’Albert to Schenker, undated Eugen d'Albert cancels and suggests an alternative time. OJ 9/6, [N] Handwritten letter from Eugen d’Albert to Schenker, undated Eugen d'Albert will try to free himself up for a meeting tomorrow. OJ 11/42, [9] Handwritten postcard from Maximilian Harden to Schenker, dated February 16, 1894 Harden asks for Schenker's permission to put off publishing Schenker's article on prominent conductors until Harden himself writes something personal about Hans von Bülow, who had died four days earlier. OJ 9/6, [1] Handwritten letter from Eugen d'Albert to Schenker, dated February 19, 1894 Eugen d'Albert has instructed his publishers to send Schenker all his compositions, and asks Schenker to write about them in Die Zukunft. OJ 11/42, [10] Handwritten postcard from Maximilian Harden to Schenker, dated March 1, 1894 Harden sends greetings to Schenker and [Adolph?] Gelber; he encourages Schenker to add mention of Hans von Bülow to his upcoming article on conductors, and asks Schenker to perform a thorough revision because the draft was not entirely clear. OJ 9/6, [2] Handwritten letter from Eugen d'Albert to Schenker, dated March 8, 1894 Eugen d'Albert will be in Vienna for two days and seeks a first meeting with Schenker. OJ 9/6, [3] Handwritten letter from Eugen d'Albert to Schenker, dated March 14, 1894 Eugen d'Albert regrets their having been unable to meet, and looks forward to making Schenker's acquaintance soon. OJ 11/42, [11] Handwritten postcard from Maximilian Harden to Schenker, dated April 13, 1894 Harden wonders whether it is worth publishing an article by Schenker on Verdi's Falstaff now that the production has moved on from Berlin to Paris. OJ 9/6, [4] Handwritten letter from Eugen d'Albert to Schenker, dated April 25, 1894 Eugen d'Albert looks forward to seeing Schenker's most recent article, and agrees to Schenker's postponing until the Fall his feature article on d'Albert. He thanks Schenker for taking an interest in his work. OJ 11/42, [12] Handwritten letter from Maximilian Harden to Schenker, undated [probably post-April 13, 1894, certainly pre-May 5, 1894] Harden thanks Schenker for his submissions, especially "Konzertdirigenten," and asks him again to consider writing an article on Verdi's Falstaff. OJ 11/42, [13] Handwritten postcard from Maximilian Harden to Schenker, dated May 1, 1894 "The road is clear." OJ 11/42, [14] Handwritten letter from Maximilian Harden to Schenker, dated May 11, 1894 Harden urges Schenker to ask Brahms to write something for Die Zukunft about the recently deceased Hans von Bülow. OJ 11/42, [15] Handwritten postcard from Maximilian Harden to Schenker, undated; postmarked June 14, 1894 Harden says he will look over an article by Schenker soon; he wonders whether Brahms or Rosenthal will contribute anything on Bülow to Die Zukunft; and he encourages Schenker to send him more articles in the future. OJ 9/6, [5] Handwritten letter from Eugen d'Albert to Schenker, dated July 2, 1894 Eugen d'Albert thanks Schenker for a recommendation of his work. Things being difficult, he would have had to give up composing had he not also played the piano. He announces completion of his next opera. OJ 11/42, [16] Handwritten postcard from Maximilian Harden to Schenker, dated July 15, 1894 Harden agrees in principle to Schenker's publishing elsewhere some material on which Harden had some claim; he advises Schenker that he has no following among the audience of Die Neue Review; he has heard nothing from Brahms or Rosenthal about contributing something about Bülow to Die Zukunft. OJ 9/6, [6] Handwritten letter from Eugen d'Albert to Schenker, dated August 11, 1894 Eugen d'Albert promises his biographical jottings by the end of next week and reports on progress with his new opera. OJ 13/29, [B] Handwritten letter from Rosenthal to Schenker, undated Rosenthal is ready to write an article ‒ evidently about Mozart ‒ but wishes to discuss it first. OJ 9/6, [7] Handwritten letter with inclosure from Eugen d'Albert to Schenker, dated September 2, 1894 Eugen d'Albert incloses his autobiographical contribution to Schenker's forthcoming feature article in Die Zukunft. He apologizes for the non-arrival of the MS piano reduction of his new opera, Ghismonda, which he describes as a "psychological character sketch," and thanks Schenker for his interest. OJ 9/6, [8] Handwritten letter from Eugen d'Albert to Schenker, dated September 7, 1894 Eugen d'Albert asks for the piano reduction of his opera Ghismonda back urgently. OJ 11/42, [17] Handwritten letter from Maximilian Harden to Schenker, dated September 8, 1894 Harden welcomes an article by Schenker on Eugen d'Albert, and encourages Schenker to get d'Albert to revise an autobiographical sketch that will precede Schenker's article. OJ 9/6, [9] Handwritten letter from Eugen d'Albert to Schenker, dated September 8, 1894 Eugen d'Albert provides further information about his relationship with Franz Liszt. OJ 11/42, [18] Handwritten postcard from Maximilian Harden to Schenker, dated October 4, 1894 Harden urges Schenker to press Brahms [for material on Bülow]; he thinks that d'Albert will benefit from Schenker's article about him in Die Zukunft; he reports cordial impressions of Humperdinck from Cosima and Siegfried Wagner; and he asks whether an article he wrote was any good. OJ 11/42, [19] Handwritten letter from Maximilian Harden to Schenker, dated October 11, 1894 Harden rebuffs accusations by Schenker that seem to involve a delay in Harden's response to a submission that Schenker hopes to move to another publication, and he accuses Schenker of reneging on a promise to write about [Johann] Strauss's operetta Jabuka. OJ 11/42, [20] Handwritten postcard from Maximilian Harden to Schenker, dated October 13, 1894 Harden denies that he will try prevent Schenker from publishing his material wherever he chooses; and he commiserates with Schenker over a presumed slight by Hermann Bahr of Die Zeit. OJ 11/42, [A] Handwritten letter from Maximilian Harden to Schenker, undated [probably October or November 1894] Harden casts aspersions on Hermann Bahr. — Advises that he probably won't have room to publish one of Schenker's articles, but requests that Schenker send it for his review. OJ 11/42, [21] Handwritten letter from Maximilian Harden to Schenker, dated November 24, 1894 Harden encourages Schenker to write articles on the string quartet and on [Johann] Strauß and Humperdinck, but not on Brahms. — He explains why he lost his temper with Schenker in an earlier letter (see OJ 11/42, [19]). — He urges Schenker to procure some corresondence between Rosenthal and Rubenstein for publication in Die Zukunft; and he casts aspersion on Die Zeit. OJ 9/6, [10] Handwritten letter from Eugen d'Albert to Schenker, dated December 10, 1894 Eugen d'Albert regrets having been able to find a time for them to meet while he was in Vienna, and gives his temporary forthcoming address. OJ 13/29, [1] Handwritten letter from Rosenthal to Schenker, dated December 14, 1894 Rosenthal has placed an article elsewhere than Die Zukunft. OJ 11/42, [22] Handwritten letter from Maximilian Harden to Schenker, dated December 20, 1894 Harden rejects one of Schenker's submissions; he is resigned to Rosenthal's refusal to publish in Die Zukunft, but tells Schenker that Rosenthal has maligned him; he requests a referral via Gelber to someone, perhaps Viktor Adler, who would write about Austrian social relations for the journal. OJ 9/6, [11] Handwritten letter from Eugen d'Albert to Schenker, dated March 30, 1895 Eugen d'Albert gives his forthcoming moves and return dates to Vienna. OJ 11/42, [23] Handwritten letter from Maximilian Harden to Schenker, dated May 30, 1895 Harden tells Schenker that a submission from d'Albert would be welcomed; he encourages Schenker to send him a copy of a previously published lecture which he will consider publishing despite usual practise; and he asks whether Brahms or Rosenthal will contribute any Bülow letters to Die Zukunft. OJ 9/10a, [1] Handwritten letter from Hermann Bahr to Schenker, dated July 4, 1895 Article can be split across two issues, though with disadvantages. OJ 9/10a, [2] Handwritten letter from Hermann Bahr to Schenker, dated July 25, 1895 Bahr apologizes for misunderstanding Schenker, and requests an article by him on music education. OJ 11/42, [24] Handwritten letter from Maximilian Harden to Schenker, dated October 29, 1895 Harden suggests that Schenker make substantial revisions in an unidentified submission. OJ 11/42, [25] Handwritten postcard from Maximilian Harden to Schenker, dated November 2, 1895 Harden advises that one of Schenker's ideas for an article cannot be published because Harden's printer does not have musical notation. OJ 11/25, [1] Handwritten letter from Max Graf to Schenker, undated [c. 1896] Encouraged by Hermann Bahr, Graf requests a (first) meeting and discussion with Schenker. OJ 15/6, [1] Handwritten calling card from Richard Wahle to Schenker, dated March 24, 1896 Richard Wahle thanks Schenker. OJ 11/42, [26] Handwritten postcard from Maximilian Harden to Schenker, dated March 27, 1896 Harden welcomes Schenker's submission of a review of Karl Goldmark's Das Heimchen am Herd. OJ 9/6, [12] Handwritten letter from Eugen d'Albert to Schenker, dated April 5, 1896 Eugen d'Albert apologizes for not having yet performed Schenker's Zwei Clavierstücke, Op. 1. He discusses arrangements for pupil Paula Szalit, and incloses the piano reduction of his opera "Ghismonda," and reports on its Dresden reception. OJ 9/6, [13] Handwritten letter from Eugen d'Albert to Schenker, dated April 24, 1896 A conflict of loyalty over concert agent obliges Eugen d'Albert to decline a concert with Arnold Rosé. OJ 13/29, [2] Handwritten letter from Rosenthal to Schenker, dated May 26, 1896 Rosenthal thanks Schenker for his words of friendship. OJ 12/47, [1] Handwritten postcard from Ernst Mach to Schenker, dated December 2, 1896 Mach essentially agrees with Schenker, and gives Wallaschek's address. OJ 11/42, [27] Handwritten letter from Maximilian Harden to Schenker, dated December 23, 1896 Harden rejects the notion of publishing an article by Schenker anonymously; he agrees with Schenker that a frontal attack on modernism is necessary; he says he does not know Hofmannsthal's poetry, but hears he has great talent. OJ 9/6, [14] Handwritten letter from Eugen d'Albert to Schenker, dated January 2, 1897 Eugen d'Albert acknowledges receipt of Schenker's Zwei Clavierstücke, Op. 1, which he hopes to perform in the near future, and notifies Schenker of errors in the libretto of his "Die Abreise." He apprises Schenker of his next time in Vienna. He is negotiating for a publisher for Schenker's future compositions, and sends New Year good wishes. OJ 9/6, [15] Handwritten postcard from Eugen d'Albert to Schenker, dated January 27, 1897 Eugen d'Albert is in Vienna and seeks a meeting with Schenker. OJ 9/6, [16] Handwritten calling card from Eugen d'Albert to Schenker, dated January 28, 1897 Eugen d'Albert invites Schenker to Hotel Bristol at 5 o'clock. OJ 9/6, [17] Printed invitation from Eugen d'Albert to Schenker, dated April 1, 1897 Eugen d'Albert invites Schenker to the first performance of his opera "Gernot." OJ 6/3, [2] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 2, 1897 Schenker has a recommendation for his compositions from Goldmann via Busoni. He is working on his Scherzo in C. Violin must visit Prof. Jerusalem. OJ 11/42, [28] Handwritten postcard from Harden to Schenker, postmarked April 7, 1897 Harden has already accepted an article. OJ 11/42, [29] Handwritten postcard from Harden to Schenker, dated April 18, 1897 Harden asks whether Schenker's article on Brahms is still available. OJ 9/6, [18] Handwritten letter from Eugen d'Albert to Schenker, dated May 8, 1897 Eugen d'Albert expresses his determination to study and perform Schenker's piano pieces in the coming winter, and alludes to Schenker's forthcoming meeting with Paula Szalit. OJ 5/19, 3 Handwritten letter from Schenker to Kalbeck, dated May 10, 1897 Schenker asks Kalbeck to listen to some of his compositions. OJ 9/27, [1] Handwritten letter from Busoni to Schenker, undated [May 10, 1897] Busoni invites Schenker to call on him [for the first time]. OJ 12/7, 1 Handwritten letter from Kalbeck to Schenker, dated May 17, 1897 Kalbeck invites Schenker to come the next morning to play some of his compositions. Sbb B II 4413 Handwritten letter with envelope from Schenker to Busoni, dated May 18, 1897 Schenker reports that Karl Goldmark wrote him a glowing recommendation to Edition Peters on the strength of which he approached Peters, who expressed their regrets. He seeks Busoni's advice and help. Eugen d'Albert has undertaken to play something of his during the winter. He draws Busoni's attention to an article he has published. OJ 5/19, 4 Handwritten letter from Schenker to Kalbeck, dated May 19, 1897 Schenker offers to send Kalbeck articles. Sbb B II 4414 Handwritten letter from Schenker to Busoni, dated May 19, 1897 Schenker reports interest in his music on the part of publisher Robert Lienau, involving also Max Kalbeck. OJ 9/27, [2] Handwritten letter from Busoni to Schenker, undated [c. May 20, 1897] Busoni acknowledges receipt of a packet of Schenker's compositions. He suggests that Schenker might combine three of the piano pieces into a single three-section work. He will not now be able to visit Mannheim, where the two men were planning to meet. OJ 12/7, 2 Handwritten notecard from Kalbeck to Schenker, dated May 21, 1897 Kalbeck praises the articles Schenker has sent him, and hopes the "Lienau-Schlesinger project" has not fallen through. OJ 6/3, [3] Handwritten calling card with envelope from Schenker to Moriz Violin, postmarked May 22, 1897 Schenker reports that he is off [to Germany] and will see Violin on June 3. OJ 9/27, [3] Handwritten letter from Busoni to Schenker, dated June 2, 1897 Busoni warns Schenker that acceptance of his music may be slow on account of its "intense subjectivity." He will play some of his compositions in public, and accepts the dedication of what became the Fantasie, Op. 2. OJ 9/6, [19] Handwritten letter from Eugen d'Albert to Schenker, dated June 11, 1897 Eugen d'Albert suggests his opera "Rubin" might be better suited to the Viennese public than "Gernot," which he considers an advance on the former. He asks Schenker for his reservations about "Gernot." He raises a question about Schenker's piano "Fantasie", Op. 2. Sbb B II 4425 Handwritten letter with envelope from Schenker to Busoni, dated June 26, 1897 Schenker sends Busoni a selection of his newspaper articles. OJ 9/27, [4] Handwritten letter from Busoni to Schenker, dated June 29, 1897 Busoni thanks Schenker for the selection of his articles that he has sent him. He looks forwrd to an argument over their different views of Berlioz. OJ 6/3, [A] Handwritten letter from Schenker to Moriz Violin, undated [?1897 or 1899] Schenker announces that he has completed a string quartet, and hopes to see Violin shortly. OJ 9/27, [5] Handwritten letter from Busoni to Schenker, dated August 31, 1897 Busoni is pleased to learn that Breitkopf & Härtel has agreed to publish some of Schenker's compositions. He expects to be in Vienna in December and can then discuss his proposal to combine three of Schenker's compositions into one Fantasie and other technical suggestions. Sbb B II 4415 Handwritten letter with envelope from Schenker to Busoni, postmarked August 31, 1897 Schenker seeks Busoni's advice on choice of publisher for his new batch of compositions. He wishes to discuss Busoni's advice on his Fantasie when the latter is next in Vienna. Sbb B II 4416 Handwritten letter with envelope from Schenker to Busoni, dated September 4, 1897 Schenker admits that, contrary to the remarks in Busoni's previous letter, he has not yet approached Breitkopf & Härtel [with his compositions], out of fear of waiving the honorarium. -- he solicits Busoni for an article in Die Zukunft. OJ 9/6, [20] Handwritten letter from Eugen d'Albert to Schenker, dated September 9, 1897 Eugen d'Albert reports difficulty with the Szalit family. OJ 9/27, [6] Handwritten letter from Busoni to Schenker, dated September 11, 1897 Busoni states his willingness to act as a go-between to Schenker and Breitkopf, and characterizes Breitkopf's approach to composers. The prospect of writing an article for Die Zukunft is attractive to him. OJ 9/6, [21] Handwritten postcard from Eugen d'Albert to Schenker, dated September 13, 1897 Eugen d'Albert has no alterations to make to Schenker's Fünf Klavierstücke. OJ 6/3, [B] Handwritten letter from Schenker to Moriz Violin, undated [?1897] Schenker is unwell and advocates rest for both of them. Sbb B II 4418 Handwritten letter with envelope from Schenker to Busoni, undated [mid-September 1897?] Schenker is about to finalize work on his Fantasie and show it to Busoni for approval. He hints that he would like Busoni to play one of his works in public. Sbb B II 4417 Handwritten letter with envelope from Schenker to Busoni, dated September 25, 1897 Schenker has merged his three separate compositions into one, Fantasie, and hopes Busoni will be pleased with it. He looks forward to their discussion of the work in mid-December. OJ 9/6, [22] Handwritten postcard from Eugen d'Albert to Schenker, dated October 18, 1897 Eugen d'Albert has disclaimed responsibility for Paula Szalit because her family is insisting that she play (in public) throughout the coming winter. OJ 9/6, [23] Handwritten letter from Eugen d'Albert to Schenker, dated October 21, 1897 Eugen d'Albert gives his travel plans for the late Fall. He describes the difficult situation with Paula Szalit and her family. OJ 9/6, [24] Handwritten postcard from Eugen d'Albert to Schenker, dated October 28, 1897 Eugen d'Albert seeks to mollify an awkwardness that has arisen between the two men. OJ 9/6, [25] Handwritten letter from Eugen d'Albert to Schenker, dated November 21, 1897 Eugen d'Albert asks Schenker to write about two of his operas; he will have nothing further to do with Paula Szalit. OJ 9/6, [26] Handwritten postcard from Eugen d'Albert to Schenker, dated November 24, 1897 Eugen d'Albert is not aware of having been guilty of "uncollegial behavior" to a third party. OJ 11/42, [30] Handwritten letter from Maximilian Harden to Schenker, dated December 2, 1897 Harden rejects a submission by Schenker. — He tells him that his glowing review of Goldmark's Das Heimchen am Herd, which turned out to be a terrible work, has compromised the integrity of Die Zukunft; and he informs Schenker that a collaboration between the two of them is now virtually unthinkable. OJ 9/6, [28] Handwritten letter from Eugen d'Albert to Schenker, dated January 17, 1898 Eugen d'Albert promises to play some of Schenker's piano compositions in recitals, and asks to meet. OJ 5/19, 6 Handwritten letter from Schenker to Max Kalbeck, undated [c. January 20, 1898] Schenker writes of impending performances of his piano music by Eugen d'Albert and Ferruccio Busoni, and of the latter's enthusiasm. OJ 5/19, 5 Handwritten letter from Schenker to Kalbeck, dated February 14, 1898 Kalbeck's remarks have helped alleviate an unwelcome surprise by Eugen d'Albert. Sbb B II 4419 Handwritten letter with envelope from Schenker to Busoni, dated February 15, 1898 Schenker sends Busoni what he considers to be the final version of his Fantasie. He inquires whether Busoni has yet made an approach on his behalf to Breitkopf & Härtel. He reports an incomplete performance of his Fünf Klavierstücke by Eugen d'Albert, and the fact that the Neue freie Presse did not review the concert. OJ 9/27, [7] Handwritten letter from Busoni to Schenker, dated February 19, 1898 Busoni acknowledges receipt of Schenker's letter, the manuscript of his Fantasie, and [a printed copy of] his Fünf Klavierstücke. He praises the Fantasie while suggesting that the two new linking passages are perhaps over-long. He cautions Schenker over the subjectivity of the work, and advocates cutting two of the variations from the final section. He reiterates that he will support the work [while not directly answering Schenker's question regarding Breitkopf & Härtel]. OJ 9/6, [29] Handwritten letter from Eugen d'Albert to Schenker, undated [late February/March 1898] Eugen d'Albert sends Schenker the libretto, orchestral score, and piano reduction of his opera Die Abreise for study and then forwarding to Gustav Mahler. Schenker's piano pieces should be played no fewer than five at a time. Sbb B II 4421 Handwritten letter with envelope from Schenker to Busoni, postmarked March 6, 1898 Schenker pleads to have a few minutes of Busoni's time, and informs him that Breitkopf & Härtel's acceptance of his Fantasie is almost secured. Sbb B II 4420 Handwritten letter with envelope from Schenker to Busoni, dated March 15, 1898 Schenker has failed to meet up with Busoni today. OJ 9/6, [30] Handwritten letter from Eugen d'Albert to Schenker, dated May 4, 1898 Eugen d'Albert asks for return of the orchestral score of his opera Die Abreise, and seeks recent compositions by Schenker. Sbb B II 4422 Handwritten letter with envelope from Schenker to Busoni, dated May 5, 1898 Breitkopf & Härtel have accepted his Fantasie; Schenker hopes now to get the piece well known. — He asks for a second time whether Busoni will permit him to dedicate the piece to him. — He hopes to attend Busoni's series of historical concerts in Berlin. OJ 9/27, [8] Handwritten letter from Busoni to Schenker, dated May 6, 1898 Busoni accepts with pleasure the dedication to him of Schenker's Fantasie. Sbb B II 4426 Handwritten letter from Schenker to Busoni, undated [September/October 1898] Schenker reports that he has had two sets of proofs for his Fantasie from B & H; he announces that Simrock has accepted his Ländler for piano; he encloses some choruses and asks Busoni to send a recommendation to Siegfried Ochs. OJ 9/6, [31] Handwritten letter from Eugen d'Albert to Schenker, dated October 6, 1898 Eugen d'Albert asks whether it would be appropriate to invite Gustav Mahler to a performance of a vocal-orchestral piece. He encloses a photograph of himself. He asks about Schenker's compositions. Sbb B II 4423 Handwritten letter from Schenker to Busoni, dated October 24, 1898 Schenker sends Busoni a newly printed copy of his Fantasie, and reports that he is unable to attend the latter's "historical" concerts series because it takes place over more than a week. OJ 5/19, 7 Handwritten letter from Schenker to Kalbeck, dated October 28, 1898 Schenker sends Kalbeck his composition Op. 2, and news of his Op. 10. OJ 13/29, [3] Handwritten letter from Rosenthal to Schenker, dated March 18, [1899?] Rosenthal is eager to see Schenker's promised Fantasy, Op. 2. OJ 6/3, [5] Handwritten letter from Schenker to Moriz Violin, dated April 27, 1899 Ludwig Karpath wishes to take lessons -- theory with Schenker, piano with Violin -- starting May 1. OJ 13/32, [A] Calling card from Albert von Rothschild with recommendation for Schenker, undated Albert von Rothschild recommends Schenker as a practising musician and theorist. OJ 15/6, [2] Handwritten letter from Richard Wahle to Schenker, dated June 18, 1899 Wahle gives Schenker the name of a member of the state parliament who may be of service to his brother-in-law, Salo Guttmann, and asks Schenker to provide more information about him. OJ 13/32, [B] Calling card from Alphons von Rothschild to Schenker, undated Alphons is keen to resume piano lessons, and sends a New Year souvenir. OJ 6/3, [8] Handwritten letter from Schenker to Moriz Violin, undated [?early July 1899] Schenker tells Violin not to be troubled by their recent [unspecified] abortive search: Weinberger is still on their side. He invites Violin to a Trischak [card] party. OJ 6/3, [9] Handwritten letter from Schenker to Moriz Violin, undated [?late July 1899] Schenker arranges with Violin to meet at the Weinberger headquarters, lunch, and then for Violin to go on to meet Professor Jerusalem. OJ 13/32, [D] Calling card from Alphons von Rothschild to Schenker, undated Alphons rergrets having been unable to attend Schenker's concert, and hopes to see him soon. OJ 15/12, [A] Handwritten calling card from Weinberger to Schenker[?], undated Message regarding song[?] compositions. OJ 15/12, [B] Handwritten calling card from Weinberger to Schenker, undated Thanks (unspecified) OJ 15/12, [C] Handwritten calling card from Weinberger to Schenker, undated Weinberger offers his services to Schenker. OJ 5/19, 8 Handwritten letter from Schenker to Kalbeck, dated September [recte November?] 6, 1899 Schenker asks to play his Syrische Tänze and Op. 10 to Kalbeck. OJ 9/27, [9] Handwritten letter from Busoni to Schenker, undated [?November 7, 1899] Busoni describes Schenker's Syrian Dances as "Secessionist." He advises Schenker to think in the present, not in the future. OJ 12/7, 4 Handwritten notecard from Kalbeck to Schenker, dated November 8, 1899 Kalbeck welcomes what Schenker may bring him, and suggests a date. OJ 9/6, [31a] Handwritten postcard from Eugen d’Albert to Schenker, postmarked November 14, [1899] Eugen d'Albert thanks Schenker for his "Syrian Dances" for piano duet, and sends the piano reduction of his opera "Kain." OJ 5/19, 9 Handwritten letter from Schenker to Kalbeck, dated November 14, 1899 Schenker reminds Kalbeck of their arrangement. OJ 12/7, 5 Handwritten postcard from Kalbeck to Schenker, postmarked November 15, 1899 Kalbeck moves Schenker's morning visit to the afternoon, and warns that his piano is out of tune. OJ 15/12, [4] Handwritten letter from Weinberger to Schenker, dated January 5, 1900 Requests publicity for his firm in concert program. OJ 6/3, [11] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked January 27, 1900 Schenker declares to Violin that they did not play badly [at the first performance the previous evening of Schenker's Syrian Dances]. He invites Violin to play Trischak the next day. OJ 6/3, [12] Handwritten letter from Schenker to Moriz Violin, undated [c. February 1, 1900] Schenker is about to write to Busoni. -- He is just off to the Leiners' house to substitute for Violin [while the latter is in Berlin]. -- Eduard [Violin] is asking for a handout. OJ 6/3, [13] Handwritten letter with envelope from Schenker to Moriz Violin, dated February 8, 1900 When Violin returns from Berlin, Schenker will send him his Zweistimmige Inventionen, Op. 5: he inquires whether Busoni has said anything about them. -- He raises the substitute lessons he is giving to the Wiener and Leiner families: Violin has failed to instruct him on the fee to be charged. Can he ask 10 Florins? -- He disagrees with Mahler's performance of the "Eroica." OJ 9/27, [11] Handwritten letter from Busoni to Schenker, dated February 11, 1900 Busoni has been playing Schenker's Syrian Dances with friends and is delighted with them. OJ 6/3, [14] Handwritten letter from Schenker to Moriz Violin, dated April 5, 1900 Moriz Schenker has tickets for a tour of the Brahms monument plinth and Heinrich asks if anyone in Violin's family can use them. OJ 6/3, [15] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 27, 1900 Schenker reprimands Violin for not writing to him from Berlin, and asks to see him [now he is in Vienna]. -- He sends a message to Eduard Violin. OJ 6/3, [16] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked August 22, 1900 Schenker writes from Lunz to describe the vacation accommodation available and to give Moriz and Fanny Violin the alternatives for joining him and the Mayerhofer family. OJ 6/3, [17] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked August 31, 1900 Schenker tells Violin he can come to Lunz to visit, but adds caveats. OJ 9/6, [32] Handwritten postcard from Eugen d'Albert to Schenker, dated September 2, 1900 Eugen d'Albert gives the schedule of forthcoming performances of his opera. OJ 6/3, [18] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked September 13, 1900 Fanny Violin has informed Schenker that Moriz has been unwell. Schenker regrets that he cannot renew his invitation to him to stay in the Lunz holiday household because there is no longer space. He reports on Irene Mayerhofer's health. If the Mayerhofers leave earlier than expected, he will let Violin know. OJ 9/6, [33] Handwritten letter from Eugen d'Albert to Schenker, dated October 17, 1900 Eugen d'Albert reports the success of his operas "Kain" and "Die Abreise" in Prague and Dresden, and points out that Vienna is the only sizeable German[sic] stage not to have staged "Die Abreise." OJ 6/3, [19] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked November 1?, 1900 Schenker offers Violin advice on the planning of a concert and its financing, promising to have his Hamlet incidental music ready in time. He reports on fees at the Leiners and Wieners. OJ 6/3, [20] Handwritten letter with envelope from Schenker to Moriz Violin, dated December 11, [1900] Schenker again raises the question of fees for the Wiener and Leiner families, and suggests a way that they can resolve the differences. He is pleased that a song by him, sung by Eduard Gärtner, was well received. OJ 14/45, [5] Handwritten lettercard from Moriz Violin to Schenker, postmarked December 29, 1900 Violin sends Schenker New Year's greetings. -- He explains why he will be remaining in Berlin until at least January 15, 1901. -- He apologizes over Mrs. Mayerhofer and sends New Year's greetings to her. OC 52/386 Handwritten letter from Josef Weinberger to Schenker, dated March 23, 1901 Thanks Schenker for mediating with Julius Röntgen, and confirms acceptance of the C. P. E. Bach keyboard edition. OJ 5/19, 10 Handwritten letter from Schenker to Kalbeck, dated April 12, 1901 Schenker sends Kalbeck his recent journalistic work. OC 52/1 Handwritten postcard from Josef Weinberger (UE) to Schenker, dated May 30, 1901 Weinberger summons Schenker to finalize details over C. P. E. Bach edition. OC 52/2 Handwritten letter from Josef Weingartner and Adolf Robitschek (UE), to Schenker, dated November 9, 1901 Inquires when Schenker's C. P. E. Bach keyboard edition can be expected. OC 52/387 Handwritten letter from Josef Weinberger and Hugo Winter (UE) to Schenker, dated December 28, 1901 Acknowledges receipt of manuscript of C. P. E. Bach Klavierwerke, and has transferred honorarium. OC 52/3 Receipt for payment from Universal Edition to Schenker, dated December 31, 1901 Receipt signed by Schenker for payment of honorarium by Universal Edition OJ 13/29, [4] Handwritten letter from Rosenthal to Schenker, dated December 31, 1901 Rosenthal responds to Schenker regarding the effect of "habit and prejudice" on the performer; wishes to discuss phrasing-slurs in Chopin with him. OJ 9/6, [34] Handwritten postcard from Eugen d'Albert to Schenker, dated January 6, 1902 Eugen d'Albert proposes they meet on January 10. OJ 13/26, [1] Handwritten postcard from Richard Robert to Schenker, dated January 10, 1902 Robert has only the first edition of C. P. E. Bach's Versuch; he offers keyboard scores of Bach cantatas. OJ 14/23, [1] Handwritten postcard from Seligmann to Schenker, dated April 1, 1902 Seligmann invites Schenker to an evening of chamber music at his place. OJ 9/3, [2] Handwritten letter from Guido Adler to Schenker, dated July 2, 1902 Adler inquires whether Schenker is willing give his lecture for the [Vienna chapter of the] International Music Society in the coming season. OC 52/4 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902 Asks for the manuscript copy of C. P. E. Bach Klavierwerke to be returned. OC 52/5 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902 Annotation on p. VII is impossible. OC 52/380 Typewritten letter from Weinberger and Winter (UE) to Schenker, dated July 15, 1902 UE has agreed to issue the introduction to Schenker's edition of C. P. E. Bach keyboard works as a separate publication [Ein Beitrag zur Ornamentation], requests the manuscript, and transfers the remainder of the honorarium. OC 52/6 Typewritten letter from Winter and Artaria (UE) to Schenker, dated August 26, 1902 Asks for the manuscript of the Beitrag zur Ornamentik. OC B/218 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker, dated September 13, 1902 Gives publication details of Haydn's Scottish Airs. OJ 11/10, [1] Handwritten picture postcard from Frimmel to Schenker, postmarked September 24, 1902 Frimmel makes an in-joke. OJ 12/29, [1] Handwritten calling card from Carl Lafite to Schenker, October 2, 1902 Lafite invites Schenker to visit him. OJ 12/29, [1] Handwritten calling card from Carl Lafite to Schenker, October 2, 1902 Lafite invites Schenker to visit him. OJ 9/3, [3] Handwritten letter from Guido Adler to Schenker, dated October 5, 1902 Adler inquires whether Schenker is willing give a further lecture for the [Vienna chapter of the] International Music Society in the coming season. OC 52/381 Typewritten letter from Winter and Weinberger (UE) to Schenker, dated October 6, 1902 UE has transferred the honorarium for the Beitrag zur Ornamentik, apologizes for the delay, and sends the contract for signing. OJ 11/10, [2] Handwritten picture postcard from Frimmel to Schenker, postmarked October 19, 1902 Frimmel sends greetings. OJ 13/29, [5] Calling card from Rosenthal with handwritten note to Schenker, dated November 18, 1902 Rosenthal has reserved a ticket for Schenker. — He recommends Frl. Fritzi Neumann. OJ 12/19, [1] Handwritten calling card from Julius Korngold to Schenker, dated November 21, 1902 Korngold requests access to the score of a Bach arrangement by Schenker. OJ 11/10, [3] Handwritten lettercard from Frimmel to Schenker, dated November 29, 1902 Frimmel issues an invitation to tea. OJ 13/29, [6] Handwritten letter from Rosenthal to Schenker, dated December 14, 1902 Rosenthal identifies Fritzi Neumann, and explains the background to her application. OJ 15/6, [3] Handwritten postcard from Richard Wahle to Schenker, postmarked January 9, 1903 Wahle is sorry that Schenker seems too busy to see him and tries to arrange a get-together the following day. OJ 11/10, [4] Handwritten postcard from Frimmel to Schenker, dated February 1, 1903 Frimmel expresses pleasure at Schenker's new edition. OJ 14/23, [3] Handwritten postcard from Seligmann to Schenker, postmarked February 9, 1903 Seligmann asks Schenker to join him and two other players in an evening of chamber music at his place. OJ 6/4, [22] Handwritten letter from Schenker to Juli Genovefa Violin, dated February 15, 1903 Schenker sends condolences to Moriz Violin's mother on the death of her daughter, Nina Violin. OJ 6/4, [23] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked February 16, 1903 Schenker sends condolences to Violin on the death of his elder sister, Nina Violin. — He reports on recent activities with Eduard Gärtner and card playing, on the current Seligmann exhibition, and a recent experience at the Mayerhofer residence. OJ 6/4, [25] Handwritten letter from Schenker and others to Moriz Violin, undated [?March 1903] Schenker sympathizes with Moriz Violin for his dejection, reassures him that he will become successful, and encourages him to return to Vienna; he tells him of new card games. — Mrs Irene Mayerhofer and her daughter append brief messages. OJ 6/4, [26] Handwritten letter from Schenker to Moriz Violin, undated [? March 1903] Schenker sees prospects for himself, and believes likewise for Violin. He supports Violin returning to Vienna. OJ 12/7, 6 Handwritten notecard from Kalbeck to Schenker, dated March 9, 1903 Kalbeck invites Schenker to his home. OJ 14/23, [5] Handwritten postcard from Seligmann to Schenker, postmarked June 30, 1903 Seligmann has been in touch with Ludwig Bösendorfer regarding Schenker’s application (for a teaching post at the Vienna Conservatory); he also suggests that Schenker contact Baron Rothschild, concerning a donation to help establish a Lyceum in Vienna. OC 52/8 Typewritten letter from Steder(?) (UE) to Schenker, dated July 11, 1903 Weinberger is away; Haydn trios are covered; still welcomes Schenker's choice of work to edit. OJ 6/4, [27] Handwritten letter from Schenker to Moriz Violin, undated [summer 1903] Schenker (apparently writing from Gmunden) tries to get Violin to influence affairs at the Vienna Conservatory. — Schenker is sure the number of professors at the Conservatory will increase, so considers his own [chance of procuring a professorship] to "have improved." He is sure transfer to state control (Verstaatlichung) is bound to happen. OJ 9/6, [35] Handwritten letter from Eugen d'Albert to Schenker, dated July 18, 1903 Eugen d'Albert agrees to look out for vacant posts suitable for Schenker while he is in Germany. He hopes to see him at his forthcoming premiere in Prague, and looks forward his new [C. P. E. Bach keyboard works] edition. WSLB-Hds 95664 Handwritten letter from Schenker to Seligmann, dated July 22, 1903 Schenker is sending Seligmann a copy of his Beitrag zur Ornamentik, which he hopes will be grounds for receiving a letter of recommendation from Gustav Mahler (for a post at the Vienna Conservatory). The writing of it has caused him great anguish, and there are even more things he wants to say, which would require writing another book, but without a professorship no one will pay attention to him. He also expresses his desire for female companionship, to help with his work. OC 52/9 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 23, 1903 UE offers Schenker the arrangement of Handel organ concertos. OC 52/10 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 28, 1903 Contract for Handel Organ Concertos received; distribution of complimentary copies of Beitrag zur Ornamentik. OJ 11/10, [5] Handwritten letter from Frimmel to Schenker, dated August 8, 1903 Commenting on Schenker's edition of C. P. E. Bach keyboard works and Beitrag zur Ornamentik, Frimmel largely agrees with Schenker's remarks on ornaments. OJ 15/6, [4] Handwritten letter from Fritz Wahle to Schenker, dated August 20, 1903 Fritz Wahle thanks Schenker for receipt of Eine Beitrag zur Ornamentik; he praises its serious intent, but there may be some things about which he would disagree. OJ 9/27, [12] Handwritten letter from Busoni to Schenker, dated August 25, 1903 Busoni thanks Schenker for a copy of his edition of C. P. E. Bach keyboard pieces. Busoni would like to include an orchestrated selection of the Syrische Tänze in his Berlin concert series next season. OJ 6/4, [28] Handwritten letter with envelope from Schenker to Violin, postmarked August 27, 1903 Having prepared his Mädchen Lieder for printing, Schenker, in Gmunden, is about to work on his Trio. Busoni will be performing his Syrische Tänze in Berlin. He asks Violin to check with Eduard Gärtner about financial support for Aron Mittelmann. Sbb B II 3549 Handwritten letter from Schenker to Busoni, undated [c. September 1, 1903?] Schenker explains that Arnold Schoenberg asked to orchestrate the piano duet Syrian Dances years earlier, therefore that an orchestral version should be available. He says, however, that he had from the beginning conceived the pieces in orchestral colors, but that the orchestration would now take time, so he asks Busoni's preference. He reports that other music societies have asked to perform works by him. OJ 9/27, [13] Handwritten letter from Busoni to Schenker, dated September 3, 1903 Busoni offers three arguments why Schenker should adopt Schoenberg's orchestrations of the Syrische Tänze, but leaves Schenker to decide whether to make his own orchestrations. He sets a deadline of October 19 for receipt of orchestral materials. He suggests a change of title to Jüdische Tanzweisen." OC 52/11 Typewritten letter from Steder(?) (UE) to Schenker, dated September 4, 1903 Weinberger will respond re: the Syrian Dances when back. Sbb B II 4432 Handwritten letter with envelope from Schenker to Busoni, dated September 9, 1903 Schenker informs Busoni that the Schoenberg orchestrations will reach him by October 9. He has taken soundings over the suggested title change and now permits Busoni to go ahead with the change, though with a reservation. He hopes to bring Alphons Rothschild to the performance. OJ 14/15, [1] Handwritten letter from Schoenberg to Schenker, dated September 12, 1903 Schoenberg reports his progress on orchestrating Schenker's Syrische Tänze, and raises the matter of his fee for the work. He has approached Busoni about having his own symphonic poem performed. OJ 14/45, [6] Handwritten letter from Moriz Violin to Schenker[?], dated September 14, 1903 In a bleak and formal message, Violin declares that withdrawal of friendship by the recipient of this letter would carry "great danger" for his (Violin's) way of life. He hopes for a peaceable solution. OJ 14/15, [2] Handwritten letter from Schoenberg to Schenker, undated [September 15, 1903?] Schoenberg accepts Schenker's offer [unspecified], and hopes to see him in Vienna two days later. OJ 14/15, [3] Handwritten letter from Schoenberg to Schenker, undated [September 21, 1903?] Schoenberg will visit Schenker the next day. OJ 11/46, [1] Handwritten letter from Josef Hellmesberger jun. to Schenker, dated September 22, [1903] Hellmesberger informs Schenker of the likely tryout date with the Vienna Philharmonic, and asks him to send the parts of his work punctually. OJ 14/15, [4] Handwritten letter from Schoenberg to Schenker, undated [September 29, 1903?] Schoenberg has delivered No. 3 of the Syrische Tänze and hopes to deliver No. 4 the next day. OJ 14/15, [5] Handwritten letter from Schoenberg to Schenker, undated [c. September 30, 1903?] Schoenberg will deliver No. 4 of Schenker's Syrische Tänze the next day. OJ 15/12, [5] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October 6, 1903 Weinberger sends the newly copied orchestral parts of Syrian Dance No. 3. OJ 15/12, [6] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October 6, 1903 Copying of parts for Syrian Dances is delayed. Sbb B II 4424 Handwritten letter from Schenker to Busoni, dated October 8, 1903 The orchestral parts of Schoenberg's orchestration of Schenker's Syrische Tänze have been dispatched to Busoni: Schenker comments on their degree of clarity and correctness, and offers advice on performance. He will be attending rehearsals in Berlin. Weinberger have asked that the existing title be retained. -- Schenker reports on prospective performances of his works. He also reports on good chances of receiving a theory professorship at the Vienna Conservatory, and doesn't want Jewishness associated with his compositions lest this should impair those chances. OJ 14/15, [6] Handwritten letter from Schoenberg to Schenker, undated [October 13, 1903?] Schoenberg inquires whether Schenker has yet sent the [orchestral] materials to Busoni. OJ 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903 Rosenthal inquires about Schenker's being performed in Berlin. OC B/216 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker, dated October 30, 1903 Gives the Museum's holdings of Thomson's books of Scottish and Welsh songs. OJ 14/15, [7] Handwritten letter from Schoenberg to Schenker, undated [November 10, 1903?] Schoenberg needs to speak with Schenker. OJ 15/12, [7] Handwritten letter from Weinberger to Schenker, dated November 17, 1903 Weinberger asks for a report on the performance of the Syrian Dances, and for the return of the orchestral material. OJ 9/6, [36] Handwritten postcard from Eugen d'Albert to Schenker, dated November 22, 1903 Eugen d'Albert reports a position vacant in Frankfurt. OJ 9/6, [37] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 7, 1903 Eugen d'Albert expresses sympathy for Schenker's indisposition. OJ 9/6, [38] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 30, 1903 Eugen d'Albert needs to see Schenker urgently. OC 52/13 Typewritten letter from Weinberger and Hardmuth (UE) to Schenker, dated February 3, 1904 UE sends Schenker the bill for British Museum research. OJ 14/15, [9] Printed invitation with handwritten entries from the Ansorge-Verein to Schenker, dated February 11, 1904 Invitation to an "Ansorge-Grube-Schönberg evening." OJ 14/15, [13] Handwritten letter from Schoenberg to Schenker, undated [February 12, 1904?] Schoenberg expresses disappointment, and tells Schenker the time and place of the next subcommittee meeting [of the Vereinigung schaffender Tonkünstler]. OJ 14/15, [10] Handwritten letter from Schoenberg to Schenker, undated [February 16, 1904?] Schoenberg specifies why he considers Schenker's participation [in the Vereinigung schaffender Tonkünstler] essential. OJ 14/15, [11] Handwritten letter from Schoenberg to Schenker, dated February 25, 1904 Schoenberg encourages Schenker to attend the next meeting [concerning the Vereinigung schaffender Tonkünstler], and invites him to his home for supper on Friday. OJ 14/23, [8] Handwritten postcard from Seligmann to Schenker, postmarked February 27, 1904 Seligmann asks Schenker to join him for lunch at the home of Court Counselor Theodor Gomperz, in connection with a musical matter. OJ 14/15, [12] Handwritten letter from Schoenberg to Schenker, undated [1904?] Schoenberg tries to clarify his position vis-à-vis Schenker, and urges him to attend the Thursday sub-committee [of the Vereinigung schaffender Tonkünstler]. OJ 5/19, 11 Handwritten letter from Schenker to Kalbeck, dated March 4, 1904 In thanking Kalbeck for his advice, he extols the virtues of the first volume of Kalbeck's Brahms biography. OJ 12/29, [2] Handwritten postcard from Carl Lafite to Schenker, postmarked May 26, 1904 Lafite acknowledges receipt of Schenker's chorus "Agnes." OC 52/391 Typewritten letter from Weinberger and Herzmansky (UE) to Schenker, dated June 20, 1904 UE refuses to raise Schenker's honorarium for vol. II of the Handel Organ Concertos. OC 52/393 Typewritten letter from Robitschek and Weinberger (UE) to Schenker, dated June 22, 1904 UE confirms transfer of revised honorarium for Handel Organ Concertos, vol. I. OJ 11/17, [1] Handwritten letter from Eduard Gärtner to Schenker, undated [August/September 1904?] Eduard Gärtner welcomes the chance to hear some of Schenker's Lieder played, and asks if Schenker could visit him in Reichenau. OJ 12/29, [3] Handwritten calling card from Carl Lafite to Schenker, undated, probably fall/winter 1904/1905 The Damenchor-Verein has deferred performance of Schenker's choral work until March [1905]. OC 52/394 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated October 18, 1904 UE sends proofs of Handel Organ Concertos, vol. I. OJ 15/6, [5] Handwritten letter from Fritz Wahle to Schenker, dated November 3, 1904 Fritz Wahle, who was probably at the receiving end of some witticisms of Schenker’s during a drinking session after a concert featuring a keyboard concerto by C. P. E. Bach, heaps praise on Schenker for having brought the work to life, and for having performed the piece so well – with his own cadenzas. OJ 11/10, [6] Handwritten postcard from Frimmel to Schenker, postmarked November 10, 1904 Frimmel sends congratulations for Schenker's (and Violin's) great success. WSLB-Hds 95660 Handwritten postcard from Schenker to Seligmann, dated November 13, 1904 Schenker congratulates Seligmann on his most recent feuilleton in the Neue Freie Presse.. OC 52/15 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated December 3, 1904 UE sends Schenker a set of orchestral scores by Richard Strauss as a gift. OJ 15/12, [8] Handwritten postcard from Weinberger to Schenker, dated December 5, 1904 Weinberger archive has no wind music by Haydn. OC 52/16 Typewritten letter from Weinberger (UE) to Schenker, dated March 1, 1905 UE sends five complimentary copies of Handel Organ Concertos and transfers honorarium. OJ 14/37, [1] Handwriten calling card from Paula Szalit to Schenker, undated Paul Szalit sends Schenker tickets for her forthcoming concert, and apologizes for the poor seats. OC 52/17 Typewritten letter from Weinberger (UE) to Schenker, dated March 11, 1905 List of recipients of complimentary copies of the Handel Organ Concertos BNba Frimmel Nachl, [1] Handwritten letter from Schenker to Frimmel, dated March 13, 1905 Schenker sends a copy of his Handel Organ Concertos as a memento of past music-making with Frimmel, and tells him of his work on his Harmonielehre. OJ 11/10, [7] Handwritten postcard from Frimmel to Schenker, dated March 14, 1905 The promised Handel Organ Concertos volume has not yet arrived. — Frimmel asks for the score of the C. P. E. Bach concerto that Schenker played the previous fall. Tickets for his Beethoven lectures will be sent soon. BNba Frimmel Nachl, [2] Handwritten letter from Schenker to Frimmel, dated March 18, 1905 Schenker explains the delay in sending Frimmel the C. P. E. Bach concerto, thanks Frimmel for the ticket to his lectures, and gives Violin's address. OJ 11/10, [8] Handwritten postcard from Frimmel to Schenker, postmarked March 18, 1905 Frimmel acknowledges receipt of Schenker' Handel Organ Concertos volume and says the latter's C. P. E. Bach keyboard words edition will feature in his forthcoming lecture series. OJ 11/10, [9] Handwritten postcard from Frimmel to Schenker, postmarked March 20, 1905 Frimmel acknowledges loan [of C. P. E. Bach Klavierwerke]. He offers a discount for his Beethoven lecture course to Schenker's pupils. OJ 11/10, [10] Handwritten letter from Frimmel to Schenker, dated March 21, 1905 Frimmel has had to postpone his lecture series on Beethoven until the Fall. — He invites Schenker to afternoon tea at a date to be settled. OC 52/442 Handwritten letter from Weinberger (UE) to Schenker, dated April 13, 1905 UE is unable to accept an item offered for publication. OJ 9/6, [39] Handwritten postcard from Eugen d'Albert to Schenker, dated May 25, 1905 Eugen d'Albert acknowledges receipt of a package from Schenker and indicates that he will remain in Italy until the Fall. OJ 9/6, [40] Handwritten letter from Eugen d'Albert to Schenker, dated June 3, 1905 Eugen d'Albert asks to hold on to the "book" that Schenker has sent him until mid-June. OJ 9/6, [41] Handwritten letter from Eugen d'Albert to Schenker, dated June 15, 1905 Eugen d'Albert gives reasons why he cannot use "Amor und Psyche" as a basis for a composition. He asks whether Schenker will be in Prague for the première of his opera "Flauto Solo." OJ 9/6, [42] Handwritten letter from Eugen d'Albert to Schenker, dated July 11, 1905 Eugen d'Albert asks about the Vienna Volksoper as a suitable venue for his opera "Flauto Solo," and the ethics of not approaching Gustav Mahler first. OC 52/443 Typewritten letter from Weinberger (UE) to Schenker, dated October 21, 1905 UE is prepared to look at Harmonielehre. OJ 5/19, 12 Handwritten letter from Schenker to Kalbeck, dated November 2, [1905] Schenker wants his book [Harmonielehre] to be published this winter, alluding to the impact his criticisms of certain composers will make on their reputations. OJ 12/7, 7 Handwritten letter from Kalbeck to Schenker, dated November 4, 1905 Kalbeck feels that he cannot help advocate Schenker's book [Harmonielehre] to Simrock, but wishes Schenker well. CA 1-2 Handwritten letter from Schenker to Cotta, dated November 8, 1905 This is Schenker's initial approach to Cotta: he asks the firm to consider publishing volume I of his Neue Musikalische Theorien und Phantasien, explains his anonymity, points out the book's attacks of certain composers, explains his choice of preferred publisher. OJ 9/6, [44] Handwritten letter from Eugen d'Albert to Schenker, dated November 8, 1905 In this significant letter, Eugen d'Albert agrees [to help Schenker find a publisher for his Harmonielehre] and has already written to Brockhaus. He seeks to interest Schenker in his new opera "Flauto Solo," the première of which, in Prague, is in four days' time. OJ 9/31, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 9, 1905 Cotta regrets that it is unable to undertake Schenker's book. OJ 9/31, [2] Stenographically handwritten letter from Cotta to Eugen d’Albert, dated November 14, 1905 Following Eugen d'Albert's intervention on Schenker's behalf, Cotta is asking to see the manuscript of Harmonielehre. OJ 9/31, [3] Stenographically handwritten letter from Cotta to Schenker, dated November 15, 1905 Cotta will consider Schenker's proposal further, and asks for sight of the manuscript. OJ 9/6, [45a] Handwritten letter from Eugen d’Albert to Schenker, undated [c. November 18, 1905] Having recommended Schenker's Harmonielehre to J. G. Cotta, publisher, Eugen d'Albert hands the matter over to Schenker. He proposes a meeting after his recital on November 23, and thanks Schenker for attending the première of his opera "Flauto solo" in Prague. OC 52/18 Typewritten letter from UE to Schenker, dated November 20, 1905 UE is besieged with inquiries about Handel Organ Works, volume II. CA 5-6 Handwritten letter from Schenker to Cotta, dated November 22, 1905 Schenker submits the manuscript of Harmonielehre; asks Cotta not to show it to potential rivals. OC 52/19 Typewritten letter from Weinberger (UE) to Schenker, dated November 30, 1905 Weinberger asks when Handel Organ Concertos volume II will be received. OJ 14/37, [2] Handwriten calling card from Paula Szalit to Schenker, undated Paul Szalit encloses for Schenker a ticket for her forthcoming concert. OJ 9/31, [4] Stenographically handwritten letter from Cotta to Schenker, dated December 5, 1905 Cotta agrees to publish Harmonielehre. — It estimates the extent of the book, the cost to Schenker, and his likely takings. CA 9 Handwritten letter from Schenker to Cotta, dated December 10, 1905 Schenker returns his contract signed, and promises the Afterword soon. OJ 9/31, [5] Stenographically handwritten letter from Cotta to Schenker, dated December 12, 1905 Cotta sends Schenker a copy of the contract with their signature; they estimate publication at c.March 1906. OJ 14/11, [1] Handwritten calling card from Ferdinand Scherber to Schenker, dated January 17, 1906 The manuscript that Schenker has requested will not be available because of the relocation of the Music Collection. OJ 9/31, [6] Stenographically handwritten letter from Cotta to Schenker, dated January 27, 1906 Cotta sends a list of music examples that are missing from Schenker's material. CA 12-13 Handwritten letter from Schenker to Cotta, dated February 5, 1906 Schenker discusses the pros and cons of placement of music examples in Harmonielehre and of the captions; he asks to receive in future galley-proofs. OJ 9/31, [7] Stenographically handwritten letter from Cotta to Schenker, dated February 7, 1906 Cotta will in future send galley-proofs. CA 15 Handwritten letter from Schenker to Cotta, dated February 15, 1906 Covering letter enclosing sheets and examples. CA 16 Handwritten letter from Schenker to Cotta, dated February 26, 1906 Covering letter enclosing manuscript pages and music examples, and summarizing the state of play. OJ 9/6, [45b] Handwritten letter from Eugen d’Albert to Schenker, undated [Spring 1906] Eugen d'Albert thanks Schenker for [Strauss's] "Salome" and finds it execrable. CA 17 Handwritten letter from Schenker to Cotta, dated March 2, 1906 Covering letter enclosing proofs of gathering 3. CA 18 Handwritten letter from Schenker to Cotta, dated April 2, 1906 Covering letter enclosing batch of music examples with text commentaries. CA 19 Handwritten letter from Schenker to Cotta, dated April 3, 1906 Schenker asks for two marginal rubrics to be corrected. CA 21 Handwritten letter from Schenker to Cotta, dated May 2, 1906 Schenker follows up on his telegram (CA 20) and makes a suggestion about numbering. CA 22 Handwritten letter from Schenker to Cotta, dated May 16, 1906 Schenker sends more manuscript and proofs of Harmonielehre. CA 23 Handwritten letter from Schenker to Cotta, dated May 25, 1906 About numbering of music examples. — Schenker asks for more postal wrappers. CA 25 Handwritten letter from Schenker to Cotta, dated May 29, 1906 Schenker suggests that Harmonielehre be published in two volumes, indicating that the Afterword has grown in size. — He asks for further galley-proofs. OJ 9/31, [8] Stenographically handwritten letter from Cotta to Schenker, dated May 31, 1906 Cotta advises against splitting Harmonielehre into two volumes, and recommends restriction of the size of the Nachwort. CA 27 Handwritten letter from Schenker to Cotta, dated June 4, 1906 Schenker accepts Cotta's advice to keep Harmonielehre as one volume. — He will publish the Nachwort separately. — He pleads for proofs of Part II of Harmonielehre before the summer vacation. OJ 9/31, [9] Stenographically handwritten letter from Cotta to Schenker, dated June 5, 1906 Cotta advises against publishing the Nachwort simultaneously with the Harmoneilehre. OC 52/20 Typewritten letter from UE to Schenker, dated June 13, 1906 UE inquires further about Handel Organ Works, volume II, with threat. OC 52/395 Typewritten letter from UE to Schenker, dated July 5, 1906 UE asks again for manuscript of Handel Organ Concertos, vol. II, and threatens to reassign. CA 29 Handwritten letter from Schenker to Cotta, dated June 25, 1906 Schenker is correcting proofs of the remaining text, and asks for the missing music examples. OJ 9/31, [10] Stenographically handwritten letter from Cotta to Schenker, dated June 27, 1906 Cotta asks for return of proofs as soon as possible; setting of music examples is delayed. CA 31 Handwritten letter from Schenker to Cotta, dated June 30, 1906 Schenker returns proofs, and draws two things to the attention of the type-setter. CA 32 Handwritten letter from Schenker to Cotta, dated July 2, 1906 Schenker explains Ex. 173 of Harmonielehre and makes suggestions as to the layout. CA 33 Handwritten postcard from Schenker to Cotta, dated July 9, 1906 Schenker gives his summer address. CA 34 Handwritten letter from Schenker to Cotta, dated August 18, 1906 Schenker returns final proofs of gatherings 17 and 18 of Harmonielehre, and asks for gathering 20. CA 35 Handwritten postcard from Schenker to Cotta, dated August 23, 1906 Schenker asks for mailings to be sent to his Vienna. CA 36 Handwritten postcard from Schenker to Cotta, dated August 29, 1906 Schenker asks for ties. WSLB-Hds 95662 Handwritten postcard from Schenker to Seligmann, dated August 29, 1906 In this amusing message congratulating Seligmann on his latest feuilleton, Schenker comments on the proper speed for the “little duet” between Giovanni and Zerlina and notes the gulf separating the performance of Don Giovanni at the Salzburg Festival (the conductor is not named) and the Mozart performances conducted by Mahler (at the Vienna State Opera). OJ 9/31, [11] Stenographically handwritten letter from Cotta to Schenker, dated August 30, 1906 Cotta promises further proofs of Harmonielehre, and asks Schenker not to makes large additions. CA 38 Handwritten postcard from Schenker to Cotta, dated September 1, 1906 Schenker's wishes are those of Cotta. OJ 14/23, [9] Handwritten postcard from Seligmann to Schenker, postmarked September 2, 1906 Seligmann thanks Schenker for his words of approval on his feuilleton about the Salzburg Festival in the Neue Freie Presse. CA 39 Handwritten postcard from Schenker to Cotta, dated September 19, 1906 Schenker reports an error in the numbering of music examples in the Harmonielehre proofs. OC 52/396 Typewritten letter from UE to Schenker, dated September 28, 1906 UE asks for the score of the Handel organ concertos back; Schenker's name will not appear on the published arrangements. CA 41-42 Handwritten letter from Schenker to Cotta, dated October 1, 1906 Schenker goes back on his earlier agreement with Cotta, and makes an impassioned case for including the "Nachwort" as Section 3 of Part II of Harmonielehre. CA 44 Handwritten letter from Schenker to Cotta, dated October 6, 1906 Schenker accepts Cotta's case that his "Nachwort" should not be included within Harmonielehre, promises to enable the book to be published on time, and plans to have the "Nachwort" follow by the time of the Easter book fair. CA 46 Handwritten postcard from Schenker to Cotta, dated October 11, 1906 Revised proofs of the final gatherings of Harmonielehre have been sent, and title-page will be sent shortly. CA 47 Handwritten letter from Schenker to Cotta, dated October 13, 1906 Schenker submits his synopsis of Harmonielehre with one stipulation, and also copy of the title-page. CA 48 Handwritten postcard from Schenker to Cotta, dated October 15, 1906 Schenker asks for more postal ties. CA 49 Handwritten letter from Schenker to Cotta, dated October 26, 1906 Schenker submits the index to Harmonielehre. OJ 9/6, [43] Handwritten letter from Eugen d’Albert to Schenker, undated [November 1, 1906[?]] Eugen d'Albert complains of his treatment by Gustav Mahler over the forthcoming première of his opera "Flauto Solo"; he asks Schenker to contact Rudolf Lothar. CA 51 Telegram draft or carbon copy from Cotta to Schenker, dated November 3, 1906 Cotta requests duplicate of gathering 28. CA 50 Handwritten letter from Schenker to Cotta, dated November 3, 1906 Schenker submits further final proofs for Harmonielehre. CA 54-55 Stenographically handwritten letter(carbon copy) and account from Cotta to Schenker, dated November 10, 1906 Cotta informs Schenker that Harmonielehre is printed, sends complimentary copies, and encloses its account. OJ 12/7, 8 Handwritten letter from Kalbeck to Schenker, dated November 19, 1906 Kalbeck looks forward to Schenker's supplement to Harmonielehre, and has not net received a review copy of Harmonielehre itself. OJ 14/23, [10] Handwritten postcard from Seligmann to Schenker, postmarked November 21, 1906 Seligmann thanks Schenker for an act of kindness. CA 56 Handwritten letter from Schenker to Cotta, dated November 22, 1906 Cotta should by now have received the sum covering the publishing and marketing costs of Harmonielehre. Schenker lists five recipients of review copies. CA 58 Handwritten letter from Schenker to Cotta, dated November 24, 1906 Schenker lists the journals for which the five music critics (as listed in CA 56) to receive review copies write. OJ 12/27, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 26, 1906 Cotta acknowledges receipt of money for [printing and marketing of] Harmonielehre. OJ 15/6, [6] Handwritten letter from Fritz Wahle to Schenker, undated [November ?27–28, ?1906] In a letter written in the course of two evenings, Fritz Wahle thanks Schenker for sending him a copy of his latest book (probably Harmonielehre), which he wants to be among the first to read. He congratulates Schenker for having maintained such high goals in the writing of the work, which only Philistines would misunderstand, or seek to misrepresent. The letter includes an attempt to compare a servant who doesn’t know how to wear his master’s clothes to a philistine critic who has no concept of the value of a serious act of creation. OJ 12/38, [1] Handwritten letter from Hans Liebstöckl to Schenker, November 29, [1906] Liebstöckl regrets having annoyed Schenker by unwantedly disclosing his name as author of Harmonielehre in the Illustrirtes Wiener Extrablatt, promises to write about it "conscientiously," and disclaims being a Reger adherent. CA 60 Handwritten letter from Schenker to Cotta, dated December 3, 1906 Schenker asks for a further review copy to be sent to Richard Robert. OJ 12/27, [2] Stenographically handwritten letter from Cotta to Schenker, dated December 4, 1906 Cotta has carried out wishes expressed in CA 60. OJ 9/6, [46] Handwritten letter from Eugen d'Albert to Schenker, dated December 15, 1906 Eugen d'Albert asks Schenker to put the word out to the Viennese press that he was deliberately kept in the dark over the première of his opera "Flauto Solo" at the Vienna Court Opera and feels much aggrieved. Lothar has not contacted him. CA 61 Handwritten letter from Schenker to Cotta, dated December 27, 1906 Schenker asks for a copy to be sent to Eugen d'Albert. OJ 12/27, [3] Stenographically handwritten letter from Cotta to Schenker, dated December 29, 1906 Cotta has sent a complimentary copy of Harmonielehre to Eugen d'Albert. OJ 12/27, [4] Stenographically handwritten letter from Cotta to Schenker, dated January 7, 1907 Cotta inquires whether Schenker's name may be divulged. CA 64 Handwritten letter from Schenker to Cotta, dated January 8, 1907 Schenker replies that anonymity re Harmonielehre must be maintained. OJ 14/15, [14] Handwritten letter from Schoenberg to Schenker, undated [c. February 1, 1907] Schoenberg expresses disappointment at Schenker's non-attendance, and hopes he can attend the performances of his String Quartet [No. 1] and [First] Chamber Symphony on February 5 and 8. OJ 9/6, [47] Handwritten postcard from Eugen d'Albert to Schenker, postmarked February 4, 1907 Eugen d'Albert asks if Schenker is coming to the concert, otherwise suggests a time to meet. CA 65 Handwritten letter from Schenker to Cotta, dated March 8, 1907 Schenker asks for a copy of Harmonielehre to be sent to Karl Goldmark. CA 66 Handwritten letter from Schenker to Cotta, dated March 30, 1907 Schenker asks for a review copy of Harmonielehre to be sent to Max Graf. CA 67 Stenographically handwritten letter (carbon copy) from Cotta to Schenker, dated April 2, 1907 Cotta report that they sent a copy for review to the Österreichische Rundschau in February. OJ 12/48, [1] Handwritten note from Gustav Mahler to Schenker, undated [May 23?, 1907] Mahler thanks Schenker for his good wishes. OJ 11/10, [11] Handwritten letter from Frimmel to Schenker, dated August 10, 1907 Frimmel invites Schenker to contribute to the Beethoven-Jahrbuch, and suggests topics. — He hopes to meet up with him in Steinach. OJ 12/27, [5] Stenographically handwritten letter from Cotta to Schenker, dated September 5, 1907 Cotta encloses 1906 sales report for Harmonielehre. CA 68 Handwritten letter from Schenker to Cotta, dated September 13, 1907 Schenker expects the press to be enthusiastic about Harmonielehre. — He comments of the "Riemann school." OJ 9/31, [16] Stenographically handwritten letter from Cotta to Schenker, dated September 16, 1907 Cotta hopes for the manuscript of Kontrapunkt [I] soon, and asserts that the same terms of contract will apply as those for Harmonielehre. OJ 14/15, [15] Printed invitation from Schoenberg to Schenker, undated [c. November 1, 1907] Invitation to a concert of music by pupils of Schoenberg. CA 71 Handwritten letter from Schenker to Cotta, dated December 16, 1907 Schenker proscribes the release yet of his name to Karl Grunsky. He comments on a review of his Harmonielehre by Max Burkhardt. He will be sending Kontrapunkt shortly. OJ 9/31, [17] Stenographically handwritten letter from Cotta to Schenker, dated December 18, 1907 Cotta note the review of Harmonielehre by Max Burkhart, and look forward to receiving the manuscript of Kontrapunkt shortly. OJ 12/38, [A-B] Handwritten letter and envelope from Hans Liebstöckl to Schenker, undated Liebstöckl returns Schenker's score of Das Rheingold with apologies for lateness. CA 73 Handwritten postcard from Schenker to Cotta, dated January 3, 1908 Schenker asks for the review of his Harmonielehre by Karl Grunsky to be sent to him. CA 74 Handwritten postcard from Schenker to Cotta, dated January 16, 1908 Schenker asks for a copy of his Harmonielehre to be sent to Busoni. OJ 13/37, 1 Handwritten letter from Ernst Rudorff to Schenker, dated January 23, 1908 Grunsky replies to Schenker's inquiry about a passage in Chopin's Ballade No. 2, and welcomes Schenker's advocacy of the Urtext principle. CA 75 Handwritten letter from Schenker to Cotta, dated February 8, 1908 Schenker asks for a copy of his Harmonielehre to be sent to Theodor Frimmel. OJ 11/10, [12] Handwritten picture postcard from Frimmel to Schenker, dated February 20, 1908 Frimmel thanks Schenker for his complimentary copy of the latter's Harmonielehre. OJ 9/6, [48] Handwritten postcard from Eugen d'Albert to Schenker, postmarked February 21, 1908 Eugen d'Albert invites Schenker to attend the dress rehearsal of his opera "Tiefland." OJ 9/6, [49] Handwritten postcard from Eugen d'Albert to Schenker, postmarked February 29, 1908 Eugen d'Albert thanks Schenker for his congratulations. OC 52/383 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26, 1908 UE welcomes Schenker's additions to the Beitrag zur Ornamentik and asks for them as soon as possible.l WSLB 1 Handwritten postcard from Schenker to Hertzka (UE), dated March 25, 1908 Schenker welcomes the opportunity to make additions to Beitrag zur Ornamentik. OC 52/384 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26, 1908 UE asks for additions to Beitrag zur Ornamentik by the beginning of the following week. OC 52/385 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 1, 1908 UE stresses the urgency of supplying additional material for Beitrag zur Ornamentik. OC 52/22 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 6, 1908 Hertzka threatens to re-issue the first edition of Ornamentik if revisions don't arrive by the next day. WSLB 3 Handwritten postcard from Schenker to Hertzka (UE), dated April 9, 1908 Schenker promises more material next day, and extols the work. CA 76 Handwritten letter from Schenker to Cotta, dated April 24, 1908 Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch, explaining the delay on Kontrapunkt I. OJ 11/10, [13] Handwritten postcard from Frimmel to Schenker, dated April 25, 1908 Frimmel draws Schenker's attention to an article in the Musikalisches Wochenblatt. OJ 9/31, [18] Stenographically handwritten letter from Cotta to Schenker, dated April 25, 1908 Cotta has sent a copy of Harmonielehre to the Gesellschaft der Musikfreunde, and thinks that pre-publication excerpting of Kontrapunkt would be advantageous. WSLB-Hds 95661 Handwritten postcard from Schenker to Seligmann, dated April 27, 1908 Schenker congratulates Seligmann on his latest feuilleton and shares his own similar views about the relationship between nature and the art of painting. OJ 11/29, [1] Handwritten letter from Grunsky to Schenker, dated May 3, 1908 Grunsky thanks Schenker for revealing his identity as author of Harmonielehre. — He asks Schenker's views on Bruckner, and on his own views of musical form. WSLB 6 Handwritten letter from Schenker to Hertzka (UE), dated May 27, 1908 Because of an error in typesetting, Schenker needs to retain to two gatherings of proofs. OJ 9/31, [19] Stenographically handwritten letter from Cotta to Schenker, dated June 2, 1908 Cotta asks if they may divulge Schenker's name to Rudolf Breithausen. OJ 14/23, [11] Handwritten postcard from Seligmann to Schenker, postmarked June 4, 1908 Seligmann gives the travel arrangements for their excursion (planned for Sunday, June 7) and asks Schenker to meet him to discuss final arrangements. CA 79 Handwritten letter from Schenker to Cotta, dated June 5, 1908 Schenker gives permission to divulge his name as author of Harmonielehre to Breithaupt. OJ 11/29, [2] Handwritten postcard from Grunsky to Schenker, postmarked June 5, 1908 Grunsky will reply as soon as possible. OJ 14/23, [12] Handwritten postcard from Seligmann to Schenker, postmarked June 7, 1908 Seligmann suggests postponing the excursion to Kreuzenstein Castle by a week. WSLB 7 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1908 Schenker returns all remaining proofs of Ornamentik and calls for a third proof. WSLB 8 Handwritten letter from Schenker to Hertzka (UE), dated June 16, 1908 Schenker sends the text of his Foreword for Ornamentik. WSLB 9 Handwritten letter from Schenker to Hertzka (UE), dated June 23, 1908 Schenker promises a list of people in German to receive complimentary copies of Ornamentik, and a new proposal. WSLB 10 Handwritten letter from Schenker to Hertzka (UE), dated June 26, 1908 Schenker accepts an offer and asks for a contract for the Instrumentation Table. OC 52/23 Typewritten letter from Hertzka (UE) to Schenker, dated June 30, 1908 Hertzka asks Schenker to visit him to clear up a matter over payment. WSLB 11 Handwritten postcard from Schenker to Hertzka (UE), dated June 30, 1908 Schenker asks for his honorarium to be sent promptly because of difficulties with the post service to the Tyrol. WSLB 12 Handwritten postcard from Schenker to Hertzka (UE), dated July 22, 1908 Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Karl Grunsky. OC 52/397 Typewritten letter from Hertzka (UE) to Schenker, dated August 11, 1908 Hertzka agrees to sending of complimentary copies of Beitrag zur Ornamentik. — Gives progress report on Table of Instrumentation, predicting October publication. WSLB 13 Handwritten postcard from Schenker to Hertzka (UE), dated August 13, 1908 Schenker reluctantly agrees to October for publishing the Instrumentation Table. WSLB 14 Handwritten letter from Schenker to Hertzka (UE), dated August 19, 1908 Schenker gives list of those to receive a copy of Beitrag zur Ornamentik. OJ 9/6, [50] Handwritten postcard from Eugen d'Albert to Schenker, postmarked August 21, 1908 Eugen d'Albert asks Schenker to pick him up at his hotel to go to the dress rehearsal. WSLB 15 Handwritten postcard from Schenker to Hertzka (UE), dated August 22, 1908 Schenker regrets that printing of Beitrag zur Ornamentik is delayed. OC 52/24 Typewritten letter from Hertzka (UE) to Schenker, dated August 25, 1908 Hertzka explains that the last-minute change to Beitrag zur Ornamentik requested by Schenker would be exorbitantly expensive. OC 52/25 Typewritten letter from Hertzka (UE) to Schenker, dated August 26, 1908 Hertzka advises that the last-minute corrections for Beitrag zur Ornamentik will be made by corrigenda sheet. — Complimentary copies will be going out in the next three days, so Schenker should dispatch any personal notes to the recipients. WSLB 16 Handwritten letter from Schenker to Hertzka (UE), dated August 26, 1908 Schenker favors a corrigenda sheet for last-minute corrections to his Beitrag zur Ornamentik, and makes it a matter of conscience whether UE complies. WSLB 18 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908 Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Karl von Wiener. WSLB 17 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908 Schenker reminds Hertzka to insert the corrigenda slip in the complimentary copies going out to Schenker's recipients. OJ 9/32, [4] Invoice from Cotta to Schenker, dated September 1, 1908 Invoice for copies of Harmonielehre to Busoni, the Gesellschaft der Musikfreunde, and Löwe. OJ 12/27, [6] Cover letter for sales report from Cotta to Schenker, dated September 9, 1908 Cotta encloses 1907 sales report for Harmonielehre and notifies him of his share of the sales profits. OJ 11/29, [3] Handwritten letter from Grunsky to Schenker, dated September 10, 1908 Grunsky acknowledges receipt of Schenker's Beitrag zur Ornamentik and two letters; — He recognizes that he and Schenker hold "opposite views" on Bruckner's music but welcomes Schenker's openness to discussion; — He counters Schenker's arguments on Bruckner's approach to form, rhythm, theme, and musical character; — He admits his own "antipathy" toward the music of Brahms. OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12, 1908 Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in agreement. WSLB 19 Handwritten postcard from Schenker to Hertzka (UE), dated September 16, 1908 Schenker asks for a complimentary copy of his Beitrag zur Ornamentik to be sent to Ludwig Karpath. CA 80 Handwritten letter from Schenker to Cotta, dated September 13 and 17, 1908 Schenker promises Counterpoint soon and speculates on publication by Christmas; — Asks for a copy of Harmonielehre to be sent to his sister Sophie. OJ 12/27, [7] Stenographically handwritten letter from Cotta to Schenker, dated September 18, 1908 Cotta looks forward to receiving Kontrapunkt, and has sent copies of Harmonielehre to Sophie Guttmann and Ernst Rudorff. OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?mid-late September 1908?] Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf. Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than Haydn, Brahms, and other masters. CA 82 Handwritten postcard from Schenker to Cotta, dated September 23, 1908 Schenker has dispatched the manuscript for Kontrapunkt. OJ 12/38, [C] Handwritten letter from Hans Liebstoeckl to Schenker, dated September 24, no year Liebstöckl thanks Schenker for a critical communication, and invites Schenker to meet him. OJ 13/37, 3 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated September 24, 1908 Grunsky thanks Schenker for the copy of his Harmonielehre and praises it; in particular he approves of its attacks on Wagner, whom he speaks of as a malign force. OJ 12/27, [8] Stenographically handwritten letter from Cotta to Schenker, dated September 26, 1908 Cotta acknowledges receipt of the manuscript of Kontrapunkt. CA 84 Handwritten postcard from Schenker to Cotta, dated September 27, 1908 Schenker promises the remainder of Kontrapunkt in a few days. OJ 5/35, [3] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, dated September 28, 1908 Schenker comments on Wagner's alterations to Beethoven's Ninth Symphony, and outlines his own plans, wishing to see Wagner reduced to the same subordinate place as Gluck [unaware of the provocation this will be to Rudorff!]. — He takes issue with Beyschlag's interpretation of the turn in Haydn's music. WSLB 20 Handwritten letter from Schenker to Hertzka (UE), dated September 28, 1908 Schenker asks for a copy of his C. P. E. Bach keyboard works to be sent to Julius Röntgen. — He inquires about the corrigenda sheet for the Beitrag zur Ornamentik, and the publication date of the Instrumentations-Tabelle. OC 52/26 Typewritten letter from Hertzka (UE) to Schenker, dated September 29, 1908 Hertzka has instructed that Schenker's C. P. E. Bach edition be sent to Julius Röntgen. — He explains the situation over the corrigenda for Beitrag zur Ornamentik. — The Instrumentations-Tabelle will be published in the next two weeks. WSLB 21 Handwritten letter from Schenker to Hertzka (UE), dated September 30, 1908 Schenker asks for a copy of his C. P. E. Bach Klavierwerke to be sent to Julius Röntgen, and of the Beitrag zur Ornamentik, 2nd edition, to Daniel de Lange, since the work is a rival to the newly-published Beyschlag Die Ornamentik der Musik. — He reports encountering Willem Andriessen. OC 52/27 Typewritten letter from Hertzka (UE) to Schenker, dated October 1, 1908 Hertzka confirms arrangements over Beitrag zur Ornamentik, and asks for proofing of the Foreword to the Instrumentationstabelle. OJ 13/37, 4 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated October 1, 1908 Grunsky expresses his opinions on the turn in Haydn's music and the status of Gluck in relation to Mozart and Wagner. WSLB 22 Handwritten letter from Schenker to Hertzka (UE), dated October 2, 1908 Schenker thanks Hertzka, and will call on him soon. CA 85 Handwritten letter from Schenker to Cotta, dated October 8, 1908 Schenker proposed that Kontrapunkt be divided into two half-volumes. OJ 12/27, [9] Stenographically handwritten letter from Cotta to Schenker, dated October 9, 1908 Cotta advises against splitting Kontrapunkt into two half-volumes. CA 87 Handwritten letter from Schenker to Cotta, dated October 13, 1908 Schenker accepts Cotta's verdict against splitting Kontrapunkt into two. WSLB 23 Handwritten letter from Schenker to Hertzka (UE), dated October 14, 1908 Lesson schedule prohibits visit to new UE office; Schenker asks for the matter to be dealt with by correspondence. OJ 9/31, [20] Stenographically handwritten letter from Cotta to Schenker, dated October 15, 1908 Cotta states that Kontrapunkt will be produced under the terms of the contract for Harmonielehre. CA 89 Handwritten letter from Schenker to Cotta, dated October 17, 1908 Schenker confirms the terms of the Harmonielehre contract as applying to Kontrapunkt. OC 52/398 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1908 The Instrumentations-Tabelle is now published. — Hertzka is negotiating an English translation of Beitrag zur Ornamentik. WSLB 24 Handwritten letter from Schenker to Hertzka (UE), dated October 31, 1908 The prospect of an English translation of Beitrag zur Ornamentik pleases Schenker. — He wants to guide UE toward being a global enterprise. — Proofs of Counterpoint [I] have started arriving from Cotta. OJ 11/10, [14] Handwritten picture postcard from Frimmel to Schenker, undated [1908] Frimmel informs Schenker that a contribution from him [to the Beethoven Jahrbuch] is now too late for inclusion in vol. II. OJ 11/29, [4] Handwritten postcard from Grunsky to Schenker, postmarked November 5, 1908 Grunsky hopes to meet Schenker at the Haydn festival in Vienna. He urges Schenker to read Halm on Bruckner. OC 52/444 Typewritten letter from Hertzka (UE) to Schenker, dated November 7, 1908 Hertzka details the distribution of first copies of the Instrumentations-Tabelle. — He makes a bid to publish Kontrapunkt. WSLB 25 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1908 Schenker asks for copies of the Instrumentations-Tabelle to be sent to Violin and Gärtner. — He has bought two copies of the Beitrag zur Ornamentik at the Gutmann music store. OC 52/28 Typewritten letter from Hertzka (UE) to Schenker, dated November 11, 1908 Hertzka has had copies of the Instrumentations-Tabelle sent to Violin and Gärtner. — He chides Schenker for buying copies at the Gutmann music store. OJ 13/37, 5 Handwritten letter from Ernst Rudorff to Schenker, dated November 21, 1908 Rudorff's poor health is restricting his activities. — He praises Schenker's Harmonielehre, especially its views on the church modes. — He also endorses Schenker's condemnation of Wagner's musical influence. OC 52/29 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated November 23, 1908 The Instrumentations-Tabelle is going into a larger edition, and Hertzka asks for a meeting. WSLB 26 Handwritten letter from Schenker to Hertzka (UE), dated November 24, 1908 Schenker reluctantly agrees to a meeting. WSLB 27 Handwritten postcard from Schenker to Hertzka (UE), dated November 27, 1908 Schenker asks for a copy of the Instrumentations-Tabelle. WSLB 28 Handwritten postcard from Schenker to Hertzka (UE), dated December 9, 1908 Schenker promises an "elaboration" regarding the Instrumentations-Tabelle. OJ 9/6, [51] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 10, 1908 Eugen d'Albert hopes to see Schenker at his Friday concert so that they can talk afterwards. OC 52/30 Typewritten postcard from Hertzka (UE) to Schenker, date December 16, 1908 Ultimatum: if not delivered by Friday, "supplementary remarks" will be omitted. WSLB 29 Handwritten letter from Schenker to Hertzka (UE), dated December 16, 1908 Schenker assures Hertzka that his new material for the Instrumentations-Tabelle will occupy only six pages. — He makes claims for the new material as an instrumentation treatise, and suggests that the retail price might be raised accordingly. WSLB 30 Handwritten letter from Schenker to Hertzka (UE), dated December 18, 1908 Schenker encloses some items [for the Instrumentations-Tabelle]. — In the event that UE does not raise the retail price as he proposed in WSLB 29, he asks for his introductory material back. OC 52/399-401 Typewritten letter from Hertzka (UE) to Schenker, dated December 18, 1908 Hertzka complains at the embarrassment that Schenker has caused him over the Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes that Schenker edit Book II of the Well-tempered Clavier in the manner of Busoni. OC 52/31 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1908 Hertzka sends a copy of Mahillon's guide to instrumentation. WSLB 31 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1908 Schenker agrees to the Instrumentations-Tabelle being published without his newly written Introduction. — He declines the proposal to edit the Well-tempered Clavier Book II for the new Akademie, offerin alternative suggestions and observations on Busoni's editing. OC 52/32 Typewritten letter from Barbara Rothe (UE) to Schenker, dated December 23, 1908 Ms Rothe returns Schenker's introductory materials for the Instrumentations-Tabelle. OJ 5/16, [2] Handwritten draft letter from Schenker to Hertzka (UE), dated December 25, 1908 Schenker justifies his selection and treatment of instruments in the Instrumentations-Tabelle, with acid comments about the English, and dismissal of French contributions. OJ 9/31, [21] Stenographically handwritten letter from Cotta to Schenker, dated December 30, 1908 Cotta urge Schenker to return galley-proofs of Kontrapunkt. WSLB 33 Handwritten letter from Schenker to Hertzka (UE), undated [December 31, 1908 or January 1, 1909] Schenker defends his Introduction to the Instrumentations-Tabelle and the exclusion of the heckelphone. CA 91 Handwritten letter from Schenker to Cotta, dated January 4, 1909 Schenker explains delay in returning proofs. CA 92 Handwritten letter from Schenker to Cotta, dated January 4, 1909 Schenker directs Cotta to divulge his name on the title-page of the 2nd edn of Harmonielehre; — He has meanwhile added a long polemic to the Introduction of Kontrapunkt [I]. WSLB 34 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1909 Schenker returns proof and is willing to correct another. OC 52/33 Typewritten letter from Hertzka (UE) to Schenker, dated January 7, 1909 Hertzka hopes for detailed discussions with Schenker on the Instrumentations-Tabelle and the Well-tempered Clavier proposal. WSLB 35 Handwritten letter from Schenker to Hertzka (UE), January 8, 1909 In a letter "ironic in tone" Schenker offers alternative editors for WTC Bk II. He outlines the work that he has in hand, and regrets his unhappy experience with UE over Beitrag zur Ornamentik. OC 52/919 Typewritten letter from Hertzka (UE) to Schenker, dated January 11, 1909 Hertzka still hopes to persuade Schenker to take on editing the Well-tempered Clavier Book II. OJ 13/36, [1] Handwritten letter from Elisabeth Rudorff to Schenker, dated January 11, 1909 Elisabeth Rudorff asks Schenker's advice on choice of a C. P. E. Bach collected edition as a present for her father. OC 52/34 Typewritten postcard (book slip) from UE (unidentified sign) to Schenker, dated January 14, 1909 UE confirms sending two items to Elise Rudorff. OJ 9/31, [22] Stenographically handwritten letter from Cotta to Schenker, dated January 14, 1909 Cotta agrees to reset the title-page of Harmonielehre with Schenker's name as author, and to distribute the second edition coincident with the release of Kontrapunkt I. OJ 13/37, 6 Handwritten letter from Elisabeth Rudorff to Schenker, dated January 15, 1909 Elisabeth Rudorff thanks Schenker for having UE send copies of his editions of C. P. E. Bach keyboard pieces and Handel organ concertos for her father's birthday present. OJ 13/37, 7 Handwritten letter from Ernst Rudorff to Schenker, dated January 25, 1909 Rudorff thanks Schenker for the help he gave his daughter in choosing a birthday present of Bach and Handel, and for his recent letter; — Laments the death of Robert Hausmann. OJ 7/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated January 26, 1909 Schenker has news to tell him regarding Richard Heuberger and Wilhelm Bopp; reminds of forthcoming attendance at [a recital by] Artur Schnabel. WSLB 36 Handwritten letter from Schenker to Hertzka (UE), January 29, 1909 Schenker requests two copies of his Instrumenten-Tabelle, one for Alphons Rothschild. OC 52/35 Typewritten letter from Hertzka (UE) to Schenker, dated January 30, 1909 Copies of the Instrumentations-Tabelle will be delived in three days. Hertzka calls for a meeting. OC 52/402 Typewritten letter from Hertzka (UE) to Schenker, dated March 21, 1909 Hertzka raises several possibilities for amplifying the Instrumentations-Tabelle, and calls for a meeting. WSLB 37 Handwritten letter from Schenker to Hertzka (UE), March 28, 1909 Schenker suggests a meeting at Robert Brünauer's home. OC 52/36 Typewritten letter from Hertzka (UE) to Schenker, dated March 29, 1909 Hertzka welcomes the prospect of a discussion at the home of Robert Brüunauer. OC 52/920 Typewritten letter from Hertzka (UE) to Schenker, dated April 1, 1909 Hertzka summarizes the discussion earlier that day. WSLB 38 Handwritten letter from Schenker to Hertzka (UE), dated April 2, 1909 Schenker thanks Hertzka for his latest letter. BNba Frimmel Nachl, [3] Handwritten letter from Schenker to Frimmel, dated April 8, 1909 Schenker thanks Frimmel for his copy of Beethoven-Jahrbuch vol. II, and expresses admiration at Frimmel's editing of the authors' contributions, remarking how slowly he is proceeding with his own Kontrapunkt. He comments on two of the contributions. CA 94 Handwritten postcard from Schenker to Cotta, dated April 8, 1909 Schenker inquires whether a batch of proofs has gone astray, and draws attention to a review. OJ 12/27, [11] Stenographically handwritten letter from Cotta to Schenker, dated April 10, 1909 Cotta promises the next batch of proofs shortly. CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909 Schenker raises again the splitting of Kontrapunkt into two half-volumes, or even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the Academy of Music, despite his being in a constant state of feud with all officialdom. — The Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading work" on the subject; he argues the case for splitting the work on "psychological" and "technical" grounds. OJ 9/31, [23] Stenographically handwritten letter from Cotta to Schenker, dated June 1, 1909 Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a publication schedule for the first half-volume. CA 102 Handwritten letter from Schenker to Cotta, dated June 3, 1909 Schenker has sent final proofs of gatherings 10 and 12, but has mislaid those for 11 and asks for another copy. OJ 7/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909 Schenker must miss seeing an Ibsen play, because the latest batch of proofs of Kontrapunkt I have to be finished. OJ 7/4, [52] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909 Schenker is in Steinach, awaiting Moriz Violin's arrival. OJ 6/4, [46] Handwritten letter from Schenker to Moriz Violin, dated June 22, 1909 Schenker reports a successful deal with Hertzka at Universal Edition, and refers to monetary matters between them. WSLB 39 Handwritten letter from Schenker to Hertzka (UE), June 23, 1909 Schenker asks Hertzka to send him two editions of the Bach Chromatic Fantasy & Fugue that are unknown to him. OC 52/422 Typewritten letter from Hertzka (UE) to Schenker, dated June 24, 1909 Hertzka confirms the agreed edition of the Chromatic Fantasy & Fugue, and will send the required editions. WSLB 40 Handwritten postcard from Schenker to Hertzka (UE), dated June 26, 1909 Schenker asks for the Röntgen edition of the Chromatic Fantasy & Fugue to be sent to him. WSLB 41 Handwritten postcard from Schenker to Hertzka (UE), dated July 1, 1909 Schenker asks for the three previously requested editions to be sent as soon as possible so as to arrive before he departs for vacation.— He also asks for Richard Stöhr's Harmonielehre. WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July 1909] Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks it worthy of publication, to send a letter of reference to one or other Viennese newspaper. He also expresses his satisfaction at how his career is shaping: he has requested and received generous fees for the editions he has prepared for Universal Edition, and his theoretical writings for Cotta are also moving along. OJ 5/6, [3] Note by Schenker, dated July 5, 1909 Reflection on giving and taking in general and in art CA 103 Handwritten postcard from Schenker to Cotta, dated July 7, 1909 Schenker gives his summer address and asks for proofs to be sent there. WSLB-Hds 94476 Handwritten letter from Schenker to Seligmann, dated July 17, 1909 Schenker thanks Seligmann for helping him to get a friend’s essay on Byron’s Manfred published in a Viennese newspaper. He then asks whether it would be possible to make a judgment about painters, and paintings, on purely objective grounds, as he (Schenker) has been aiming to do with composers and musical works. OJ 7/4, [53] Handwritten postcard from Schenker to Moriz Violin, dated August 26, 1909 Schenker leaves Steinach on Sunday [29th]. CA 104 Handwritten postcard from Schenker to Cotta, dated August 30, 1909 Schenker has returned to Vienna. OJ 9/32, [5] Invoice from Cotta to Schenker, dated September 1, 1909 Invoice for copies of Harmonielehre to Sofie Guttmann and Ernst Rudorff. OC 52/37 Typewritten postcard from UE (unidentified signatory) to Schenker, dated September 20, 1909 Hertzka is currently away. WSLB 42 Handwritten postcard from Schenker to Hertzka (UE), dated September 20, 1909 The Chromatic Fantasy & Fugue is ready to deliver. Proposes a meeting to discuss printing. OJ 7/4, [54] Handwritten picture postcard from Jenny Kornfeld to Moriz Violin, dated September 23, 1909 Jenny Kornfeld sends Moriz Violin best wishes for recovery, and greetings to Fanny Violin; — her husband (Emil Kornfeld) adds his greetings. OC 52/38 Typewritten letter from Hertzka (UE) to Schenker, dated September 25, 1909 Hertzka asks for a visit from Schenker. WSLB 43 Handwritten postcard from Schenker to Hertzka (UE), dated October 2, 1909 Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Fritz Wahle. OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10, 1909 Schenker, on receipt of the score of a Rudorff choral work, praises its textural clarity and melodic articulation, comparing them favorably to the writing of the current generation. — He reports the success of his own recent theory works, and inroads made into the Vienna Academy for Music and Performance Art. OC 52/39 Typewritten letter from Hertzka (UE) to Schenker, dated October 15, 1909 Hertzka encloses a contract for the Chromatic Fantasy & Fugue edition for signature and return. OC 52/423 Printed contract, with handwritten entries, between Schenker and UE, dated October 17, 1909 Contract for Schenker's edition of Bach's Chromatic Fantasy & Fugue WSLB 44 Handwritten letter from Schenker to Hertzka (UE), dated October 18, 1909 Schenker tells Hertzka of the Academy's plans to present a "historical" concert of works edited by himself. OC 52/40 Typewritten letter from Hertzka (UE) to Schenker, dated October 20, 1909 UE will search for the Handel organ concerto score. OC 52/41 Typewritten letter from Hertzka (UE) to Schenker, dated October 26, 1909 Hertzka asks for a meeting to discuss the Chromatic Fantasy & Fugue edition. CA 105 Handwritten postcard from Schenker to Cotta, dated October 27, 1909 The wrong proofs have been sent to Schenker by mistake. WSLB 45 Handwritten postcard from Schenker to Hertzka (UE), dated October 27, 1909 Schenker is unable to make a meeting before November 2. WSLB 46 Handwritten letter from Schenker to Hertzka (UE), dated October 30, 1909 Schenker warns that he may be delayed or unable to attend the agreed meeting because of a dental appointment. OC 52/42 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1909 Hertzka insists that a face-to-face meeting is necessary. OJ 7/4, [55] Handwritten postcard from Schenker to Moriz Violin, dated November 5, 1909 Schenker on the delusion of progress; epigonism versus progress-art. OJ 6/4, [47] Handwritten letter from Schenker to Moriz Violin, dated November 7, 1909 Schenker has Mittelmann coming, and hopes to complete proofs of Introduction to the Instrumentationstabelle today and 9th. WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909 Schenker resists attending a meeting with Hertzka and von Wöß regarding the printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an author to control over his own material; and makes claims for the introduction to his Instrumentations-Tabelle, which was not accepted for inclusion in 1908 reprinting. OC 52/43 Typewritten letter from Hertzka (UE) to Schenker, dated November 10, 1909 Hertzka attempts to reassure Schenker that the topics he wanted to discuss did not involve "changes", only technical matters. WSLB 48 Handwritten letter from Schenker to Hertzka (UE), November 12, 1909 Schenker thanks Hertzka for the latest information on the Chromatic Fantasy & Fugue. OJ 13/37, 8 Handwritten letter from Ernst Rudorff to Schenker, dated November 14, 1909 Rudorff apologizes for his publisher's treating Schenker as a conductor; — laments that Germany's conductors ignore his music; — asks for help in a matter concerning an overture of his. OJ 13/37, 9 Handwritten postcard from Ernst Rudorff to Schenker, dated November 15, 1909 Rudorff asks Schenker not to give Jakob Fischer the score of his Herbstlied if asked. OJ 6/4, [48] Handwritten letter from Schenker to Moriz Violin, dated November 22, 1909 Schenker proposes program order for forthcoming concert. OJ 12/23, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 27, 1909 Adolf Kröner thanks Schenker for his contribution to the Cotta Album. CA 106-107 Handwritten letter from Schenker to Cotta, dated December 2, 1909 Schenker explains the necessity for some late interpolations into Kontrapunkt I. — He may be able to include the title "Professor of Composition and Theory" against his name on the title-pages of his works, and debates the advantages of such an appointment at the Vienna Academy against the loss of independence. — Only anonymity has prevented Harmonielehre from success so far. OJ 7/4, [56] Handwritten postcard from Schenker to Moriz Violin, dated December 3, 1909 Schenker reports a conversation with "G." re conducting the "Kreuzstab" Cantata. WSLB-Hds 95656 Handwritten postcard from Schenker to Seligmann, dated December 3, 1909 Schenker congratulates Seligmann on his latest feuilleton in the Neue Freie Presse, and asks for clarification about a matter concerning an essay on Byron’s Manfred and his friend Moriz Violin. OJ 9/31, [24] Stenographically handwritten letter from Cotta to Schenker, dated December 8, 1909 Cotta welcomes the recognitions that Schenker has been accorded recently, and hopes they will affect his work propitiously. OJ 7/4, [57] Handwritten postcard from Schenker and others to Moriz Violin, dated December 13, 1909 Schenker and others ask if Violin can obtain free tickets for a Pugno recital. OJ 13/37, 10 Handwritten letter from Ernst Rudorff to Schenker, dated December 17, 1909 Rudorff reports on situation with his "Eckbert" Overture, and comments adversely on publishers. WSLB 49 Handwritten postcard from Schenker to Hertzka (UE), dated December 20, 1909 Schenker asks for proofs of his Chromatic Fantasy & Fugue edition over the Christmas holiday. OC 52/44 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1909 Hertzka regrets that since printing has not yet begun Schenker cannot have proofs over Christmas; — He asks for a meeting during the holidays. OJ 15/15, [F] Handwritten letter from Weisse to Schenker, undated Weisse apologizes that was unable to attend on December 22, and asks Schenker to reschedule so that he can discuss his latest piano pieces and an "Elfenlied." WSLB 50 Handwritten postcard from Schenker to Hertzka (UE), dated December 22, 1909 Schenker agrees to visit Hertzka, but stipulates no criticism. CA 110 Handwritten postcard from Schenker to Cotta, dated February 6, 1910 Schenker asks for proof-ties. WSLB 51 Handwritten letter from Schenker to Hertzka (UE), dated February 6, 1910 Schenker complains that others have been allowed to see his Chromatic Fantasy & Fugue, whereas he has not yet received proofs. WSLB 52 Handwritten letter from Schenker to Hertzka (UE), dated February 7, 1910 Schenker's Chromatic Fantasy edition is an exception: other Bach works can be published with less editorial detail. — He accuses Universal Edition of favoring "anti-musical music." — With heavy irony, he suggests handing other Bach editing work to others so as to promote UE's commercial interests. OC 52/424 Typewritten letter from Hertzka (UE) to Schenker, dated February 7, 1910 While informing Schenker that his edition of the Chromatic Fantasy & Fugue has not yet gone to the printers/engravers, Hertzka rebuts Schenker's allegation that he has shown the edition to Godowsky, Robert and others. He raises the possibility of Schenker's editing other works by J. S. Bach. OC 52/45 Typewritten letter from Hertzka (UE) to Schenker, dated February 11, 1910 Refuting Schenker's accusations, particularly that UE emphasizes "anti-musical music," Hertzka says he will print the proposed Bach works as Schenker suggests, and informs him that the Chromatic Fantasy & Fugue edition will go to press in early March. WSLB 53 Handwritten letter from Schenker to Hertzka (UE), dated February 15, 1910 Schenker advocates Moriz Violin's pamphlet "Über das sogenannte 'Continuo'" for publication and explains its connection with a planned "historical concert." OC 52/47 Typewritten letter from Hertzka (UE) to Schenker, dated March 12, 1910 Proofs of the Chromatic Fantasy & Fugue edition will not be available by Easter [March 27]. Hertzka hopes Schenker will be able to correct them in April. WSLB 54 Handwritten letter from Schenker to Hertzka (UE), dated March 12, 1910 Schenker asks for proofs of his edition of the Chromatic Fantasy & Fugue, so that he can correct them over the Easter holidays. OJ 7/4, [60] Handwritten postcard from Schenker to Violin, dated March 14, 1910 Schenker will see Violin tomorrow. He has been "pumped" by Robert Hirschfeld. OJ 7/4, [61] Handwritten postcard from Schenker to Violin, dated March 23, 1910 Schenker suggests they return the due borrowed items to the Archive together. WSLB 55 Handwritten letter from Schenker to Hertzka (UE), dated April 5, 1910 Schenker presses again for proofs of the Chromatic Fantasy & Fugue edition, so as to coordinate them with his work on Kontrapunkt 1. OJ 7/4, [62] Handwritten postcard from Schenker to Violin, dated April 8, 1910 Schenker gives Violin his opinion, and has a draft letter to show him. OC 52/48 Typewritten letter from Hertzka (UE) to Schenker, dated April 9, 1910 There is now no hope of the Chromatic Fantasy & Fugue edition being available for proof-correcting by the middle of April, hence UE may be forced to send the work to Breitkopf & Härtel. — Hertzka asks for a report on other projects under discussion. WSLB 56 Handwritten letter from Schenker to Hertzka (UE), dated April 10, 1910 Schenker accuses Hertzka of failing to keep his word over delivery of proofs of his Chromatic Fantasy & Fugue edition, quoting Hertzka's words from a previous letter. OC 52/49 Typewritten letter from Hertzka (UE) to Schenker, dated April 11, 1910 Hertzka is unable to return, as requested, Schenker's copy of a volume of the Bach Gesellschaft Edition [vol. 36], and offers an alternative. — He denies having promised Schenker that the Chromatic Fantasy & Fugue edition would go to engraving in the Spring. WSLB 57 Handwritten letter from Schenker to Hertzka (UE), dated April 11, 1910 Schenker asks for the return of his copy of the Bach Gesellschaft edition vol. 36, which he needs for teaching purposes. WSLB 58 Handwritten letter from Schenker to Hertzka (UE), dated April 12, 1910 Schenker thanks Hertzka for his help WSLB 59 Handwritten postcard from Schenker to Hertzka (UE), dated April 16, 1910 Schenker reasserts his claim that his Chromatic Fantasy & Fugue edition will be seriously delayed. — He urges Hertzka to give more attention to his work. OC 52/50 Typewritten letter from Hertzka (UE) to Schenker, dated April 19, 1910 Hertzka hopes to have the galley-proofs of the Chromatic Fantasy & Fugue edition very soon. WSLB 60 Handwritten postcard from Schenker to Hertzka (UE), dated April 20, 1910 Schenker asks that proofs of his Chromatic Fantasy & Fugue edition reach him by May 1, and outlines a plan for production of the work. He will not be able to correct them during the summer. WSLB-Hds 95663 Handwritten letter from Schenker to Seligmann, dated April 26, 1910 Schenker thanks Seligmann for a copy of his recently published collected essays. He announces the imminent publication of the first half-volume of his Kontrapunkt, which has been long in preparation. CA 111 Handwritten postcard from Schenker to Cotta, dated May 1, 1910 Schenker asks urgently for remaining galley-proofs of Counterpoint 1. OJ 11/25, [2] Handwritten letter from Graf to Schenker, dated May 17, 1910 Graf justifies his request for a discussion, refused by Schenker, about some details in Beethoven's "Leonora" overtures. OC 52/51 Typewritten letter from Hertzka (UE) to Schenker, dated June 2, 1910 Hertzka notifies Schenker that the proofs of the Chromatic Fantasy & Fugue edition are about to be delivered. OJ 7/4, [63] Handwritten postcard from Schenker to Violin, dated June 3, 1910 Proofs of the Chromatic Fantasy & Fugue have arrived. WSLB 61 Handwritten letter from Schenker to Hertzka (UE), dated June 3, 1910 Schenker acknowledges receipt of the first proofs his Chromatic Fantasy & Fugue edition, and comments on the high number of errors. WSLB 62 Handwritten letter from Schenker to Hertzka (UE), dated June 10, 1910 Schenker reports that he is busy correcting proofs of his Chromatic Fantasy & Fugue edition, and hopes to have returned them by the end of June, and even to correct and approve the second proofs if available. CA 112 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated June 16, 1910 Cotta asks Schenker for manuscript of the prelims and any supplements for Kontrapunkt I, and for a publicity blurb. OC 52/52 Typewritten letter from Hertzka (UE) to Schenker, dated June 20, 1910 Hertzka acknowledges return of first proofs of the Chromatic Fantasy & Fugue edition, and promises to look out the contracts Schenker has requested. OJ 9/31, [25] Stenographically handwritten letter from Cotta to Schenker, dated June 27, 1910 Cotta reiterates the requests made in CA 112. CA 114 Handwritten letter from Schenker to Cotta, dated June 30, 1910 Schenker promises manuscript of prelims for Kontrapunkt 1. CA 115 Handwritten letter from Schenker to Cotta, dated July 4, 1910 Schenker encloses manuscript of all prelims for Kontrapunkt 1. He mentions recent publication of his edition of J. S. Bach's Chromatic Fantasy and Fugue, and speaks of his plans for a Handbibliothek, for which he will present a proposal to Cotta. He announces his departure and gives his summer address. OC 52/53 Typewritten memorandum from Barbara Rothe (UE) to Schenker, dated July 4, 1910 Miss Rothe encloses copies of two requested contracts. OJ 7/4, [64] Handwritten postcard from Schenker to Violin, dated July 4, 1910 Schenker has sent all materials to Cotta and is about to depart [for Karerpass]. CA 116 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated July 6, 1910 Cotta acknowledges receipt of the manuscript prelims of Kontrapunkt 1 and reiterates its request for material for its publicity blurb. OJ 6/4, [49] Handwritten letter from Schenker to Violin, dated [July] 9, 1910 Schenker announces his arrival in the Karerpass, speaks of the costs, and outlines his concerns over money, including money he has to send to his mother on August 1. — He will write a letter to a female patron. — He describes the magnificence of the mountain views. OJ 7/4, [65] Handwritten picture postcard from Schenker and Jenny Kornfeld to Violin, dated July 12, 1910 Heinrich asks Violin to bring tarot cards; Jenny Kornfeld asks for sunshine. CA 117 Handwritten letter and publicity material from Schenker to Cotta, dated July 17, 1910 Covering letter with draft publicity material for Kontrapunkt 1. Schenker promises to return proof of Preface. OJ 15/15,[D] Handwritten letter from Weisse to Schenker, dated July 20, [1910] Weisse has ‒ unfairly, in his view ‒ been failed in Latin. He is spending the summer in Ischl, and asks Schenker if he could visit him in the Dolomites, even if for a short time, to prove that he is not as immature as some of his schoolteachers seem to think. OJ 6/4, [50] Handwritten letter from Schenker to Violin, dated July 22, 1910 Joking about some humorous rhyming verse of Violin's, Schenker reports that he has sent off an important letter, and asks Violin to send him 12 swim-bladders. — He has defied the cost of laundry in the Karerpass, being still worried about money. — He comments on Max Graf's recent support of Schoenberg. OC 52/54 Handwritten postcard from UE to Schenker, dated July 28, 1910 Second proofs of the Chromatic Fantasy & Fugue edition are ready for correcting: UE asks to which address to send them. OJ 7/4, [66] Handwritten picture postcard from Schenker to Violin, dated August 2, 1910 Schenker awaits impatiently a letter from Violin; second proofs of the Chromatic Fantasy are imminent. WSLB 63 Handwritten letter from Schenker to Hertzka (UE), dated August 8, 1910 Schenker has dispatched the second proof of his Chromatic Fantasy & Fugue edition from Karerpass to Vienna, and outlines his travel plans for the remaining summer. OJ 7/4, [67] Handwritten postcard from Schenker to Violin, dated August 11, 1910 Schenker has had an ear blockage removed and can hear again. OC 52/55 Handwritten postcard from UE to Schenker, dated August 17, 1910 UE acknowledge return of the [second] proofs of the Chromatic Fantasy & Fugue edition, but request that Schenker return the "original." CA 118 Handwritten letter from Schenker to Cotta, dated August 19, 1910 A fire at his hotel causes Schenker to ask whether Cotta has sent him final proofs recently. — He inquires whether he might travel to Stuttgart to present his plan for the Handbibliothek in person. OJ 6/4, [51] Handwritten letter from Schenker to Violin, dated August 19, 1910 Schenker sends Violin 50 florins in partial repayment of a debt, expressing anxieties about his financial situation. — No word yet from Cotta. — The effect of the hotel fire on hotel businesses. — Emil Kornfeld arrives today. OJ 9/31, [26] Stenographically handwritten letter from Cotta to Schenker, dated August [20?], 1910 In response to CA 118, Cotta advises Schenker to send his proposal for a Handbibliothek in advance of a possible visit to Stuttgart to present it in person. OJ 9/32, [6] Invoice from Cotta to Schenker, dated September 4, 1910 Invoice for the printing and publishing costs of Kontrapunkt 1. CA 120 Handwritten postcard from Schenker to Cotta, dated September 6, 1910 Schenker asks whether Counterpoint [1] will be published in September, and promises his "plans" soon. OJ 9/32, [13] Handwritten letter and sales report for 1909 for Harmonielehre from Cotta, dated September 6, 1910 1909 sales report for Harmonielehre, with covering letter OC 52/56 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 9, 1910 Wöß invites Schenker to call on him to discuss aspects of the Chromatic Fantasy & Fugue edition. CA 121-122 Handwritten letter from Schenker to Cotta, dated September 10, 1910 Schenker explains the basis for his "Handbibliothek," suggests an overarching title and a separate title for the proposed first booklet, on Beethoven's Ninth Symphony. He promises to return the manuscript of vol. II/1. OJ 12/27, [12] Stenographically handwritten letter from Cotta to Schenker, dated September 14, 1910 In response to Schenker's outline of his prospective Handbibliothek, Cotta advise against its publication before that of vol. III [Niedergang]; and would not be able to entertain the project until after publication of vol. III. CA 125 Handwritten letter from Schenker to Cotta, dated September 15, 1910 Schenker asks Cotta to correct the page-count for Kontrapunkt 1. OC 52/57 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 15, 1910 Wöß asks a question concerning the abbreviations list in the Chromatic Fantasy & Fugue edition. CA 127 Handwritten letter from Schenker to Cotta, dated September 20, 1910 Schenker asks for a copy of Kontrapunkt 1 to be sent to Ernst Rudorff and copies of that and Harmonielehre to be sent to Jenny Kornfeld at her Aussig address. OJ 12/27, [13] Stenographically handwritten letter from Cotta to Schenker, dated September 21, 1910 Cotta reasserts its unwillingness to consider publication of the [Handbibliothek] project until after publication of vol. III. OJ 7/4, [68] Handwritten postcard from Schenker to Violin, dated September 21, 1910 Schenker reports a proposition that Robert Hirschfeld has put to him, and suggests lunch in Vienna. OJ 6/4, [52] Handwritten letter from Schenker to Violin, dated September 23, 1910 Schenker gives Violin his reactions to Wilhelm Bopp's cancelation of a planned "historical" concert of music by C.P.E. and J.S. Bach and Handel at the Akademie, and urges that they adhere to their original plan. CA 128 Handwritten letter from Schenker to Cotta, dated September 29, 1910 Schenker asks for a review copy of Kontrapunkt 1 to be sent to Ludwig Karpath. OJ 14/44, [1] Handwritten letter from the Vereinigung Wiener Musikreferenten (Theodor Antropp and Paul Stauber) to Schenker, dated September 30, 1910 The Association invites Schenker to give a lecture series on Beethoven's Ninth Symphony. CA 129 Handwritten postcard from Schenker to Cotta, dated October 3, 1910 Schenker redirects the copies of Harmonielehre and Kontrapunkt I destined for Jenny Kornfeld to his own address in Vienna. OJ 9/31, [27] Stenographically handwritten letter from Cotta to Schenker, dated October 4, 1910 Publication of Kontrapunkt 1 having taken place this day, Cotta confirms the orders of complimentary and review copies to Jenny Kornfeld, Ernst Rudorff, Ludwig Karpath, and Schenker himself. OJ 15/6, [8] Handwritten letter from Fritz Wahle to Schenker, dated October 7, ?1910 Fritz Wahle thanks Schenker for sending him his latest book -- almost certainly the first half-volume of Kontrapunkt; he has looked through the table of contents and read the introduction. He hopes that the two of them could get together sometime. WSLB 64 Handwritten letter from Schenker to Hertzka (UE), dated October 10, 1910 Schenker asks for one copy of the Chromatic Fantasy & Fugue. OJ 13/37, 11 Handwritten postcard from Ernst Rudorff to Schenker, dated October 11, 1910 Rudorff asks Schenker to send his two packages to Lauenstein, not Großlichterfelde. CA 132 Handwritten letter from Schenker to Cotta, dated October 13, 1910 Schenker incloses a reaction to the Preface of Kontrapunkt 1 by Adalbert Seligmann. —He assures Cotta that their printing and production costs bill will be paid promptly. OJ 13/26, [2] Handwritten postcard from Richard Robert to Schenker, dated October 13, 1910 Robert acknowledges receipt of Kontrapunkt I, and expresses his admiration for it. OJ 9/18, [1] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated October 13, 1910 Bopp is pleased that matters have been settled, and hopes to make Schenker's acquaintance. OC 52/425 Typewritten letter from UE to Schenker, dated October 14, 1910 UE is transferring Schenker's second honorarium for the Chromatic Fantasy & Fugue edition, and enclose the publisher's blurb for the monograph Beethoven's Ninth Symphony. OJ 14/23, [15] Handwritten postcard from Seligmann to Schenker, postmarked October 14, 1910 Seligmann thanks Schenker for his kind words about the most recent feuilleton (on artistic life in Vienna). OJ 9/31, [28] Stenographically handwritten letter from Cotta to Schenker, dated October 15, 1910 Cotta has already sent a copy of vol. II/1 to Ernst Rudorff. WSLB 65 Handwritten letter from Schenker to Hertzka (UE), dated October 17, 1910 Schenker acknowledges the second honorarium for Chromatic Fantasy & Fugue, and will appear at Hertzka's office on October 20. WSLB 66/67 Handwritten letter from Schenker to Hertzka (UE) + list of names, dated October 19, 1910 Schenker cancels their Thursday meeting. — He argues for sweeping changes to the draft contract for Beethovens neunte Sinfonie. — He defends his own free speech in the face of Universal Edition's commercial interests. As with his Chromatic Fantasy & Fugue edition, UE will never regret publishing the Ninth Symphony monograph. — He also lauds the prospective editions of the last five Beethoven piano sonatas and volume of J. S. Bach toccatas in a lofty vision for future publications. — He appends a list of recipients of complimentary copies of the Chromatic Fantasy & Fugue. OJ 13/37, 12 Handwritten letter from Ernst Rudorff to Schenker, dated October 20, 1910 Rudorff tells Schenker of Heinemann's book against Wagner; — Simrock is sending Schenker Rudorff's Third Symphony. CA 134-135 Handwritten letter from Schenker to Cotta, dated October 21, 1910 Schenker divulges the identity of his benefactor, explains why there has been a delay in payment by the Rothschild Bank, and promises payment by sometime in January. WSLB 68 Handwritten letter from Schenker to Hertzka (UE), dated October 21, 1910 Schenker reports an encounter with Wilhelm Bopp. CA 136 Handwritten letter from Schenker to Cotta, dated October 23, 1910 Schenker asks that a review copy of Kontrapunkt 1 be sent to Max Graf; incloses a review. OJ 9/31, [29] Stenographically handwritten letter from Cotta to Schenker, dated October 24, 1910 Cotta hopes that Schenker will honor his contract to pay the publishing costs [of Kontrapunkt 1] in January. CA 139 Handwritten postcard from Schenker to Cotta, dated October 25, 1910 Schenker asks for a copy of his Harmonielehre to be sent to Prof. Robert Fuchs at the Vienna Academy. OJ 9/31, [30] Stenographically handwritten letter from Cotta to Schenker, dated October 26, 1910 Cotta has sent a review copy [of Kontrapunkt 1] to Max Graf and welcomes a recent favorable notice of that work. OJ 12/27, [14] Stenographically handwritten postcard from Cotta to Schenker, dated October 27, 1910 Cotta has sent a complimentary copy of Harmonielehre to Robert Fuchs. OC 52/59 Typewritten postcard from Hertzka (UE) to Schenker, dated October 28, 1910 UE is sending out complimentary copies to Schenker's recipient list, and two copies to himself. It asks Schenker to call in at the office. OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910 Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice. — He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a grant from the Ministry of Education. WSLB 69/71 Handwritten letter + inclosure from Schenker to Hertzka (UE), dated November 1, 1910 Text of flyer for Chromatic Fantasy & Fugue edition, with covering note discussing plan for last five Beethoven piano sonatas in combination with Well-tempered Clavier, Book 2. OC 52/60 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1910 Hertzka is pleased that Schenker's conversation with Wilhelm Bopp has gone promisingly, and that Schenker is agreeable to the alternating publication of Beethoven and Bach. — He is sending a new draft contract for Beethovens neunte Sinfonie. WSLB 70 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1910 Schenker suggests either a Hertzka-Bopp or a Hertzka-Schenker meeting to discuss the combined release of the last Beethoven piano sonatas and Book 2 of the Well-tempered Clavier. OC 52/61 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1910 Hertzka will speak to Wilhelm Bopp to explore the position over the parallel publication of Beethoven and Bach works, but admits there remains the thorny issue of the need for a subsidy. OJ 15/6, [9] Handwritten letter from Fritz Wahle to Schenker, dated November 10, 1910 Fritz Wahle thanks Schenker for sending him a copy of his critical edition of Bach’s Chromatic Fantasy and Fugue. He agrees with all of Schenker’s remarks on performance, adding that all serious musicians will learn a great deal from the performance markings of the masters. WSLB 72 Handwritten letter from Schenker to Hertzka (UE), dated November 11, 1910 Schenker asks for copies of his Beitrag zur Ornamentik and Chromatische Fantasie & Fuge to be sent to Wanda Ladowska. OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16, 1910 Rudorff approves of the [highly controversial] Introduction to Schenker's Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and Fugue, raising some technical matters. OJ 11/29, [5] Handwritten letter from Grunsky to Schenker, dated December 1, 1910 Grunsky thanks Schenker for the gift of his Chromatische Phantasie und Fuge, and criticizes it for excessive polemic. OJ 7/4, [69] Handwritten postcard from Jenny Kornfeld and Heinrich Schenker to Violin, dated December 9, 1910 Jenny Kornfeld asks to speak with Moriz Violin re her divorce petition. Heinrich gives his availability and reports on his mother's situation. WSLB 73 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1910 Schenker has received gratitude from abroad for his edition of the Chromatic Fantasy & Fugue, and asks for a copy to be sent to Otto Vrieslander. — He accuses the Viennese of hostility and intellectual theft. WSLB 74 Handwritten letter from Schenker to Hertzka (UE), dated December 19, 1910 Affected by his elderly mother's illness, Schenker asks for an advance of 500 Kronen on account of his manuscript, due for imminent delivery. OJ 9/18, [2] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated January 14, 1911 Bopp regrets that he was unable to attend Schenker's chamber music concert. OJ 9/30, [1] Handwritten letter from Tony Colbert to Schenker, undated [January 1911?] Mrs. Colbert regrets that she will not be able to take piano lessons during February. OC 52/62 Typewritten letter from Hertzka (UE) to Moriz Violin, dated January 19, 1911 Hertzka regrets having missed Moriz Violin's concert, and asks for a list of recipients for his booklet Ueber das Continuo. OJ 12/9, [3] Handwritten letter from Karpath to Schenker, dated March 10, 1911 Karpath answers Schenker's reproaches that neither Violin's Über das sogenannte Continuo nor the first half-volume of his Kontrapunkt have been announced or reviewed in the Neues Wiener Tagblatt. OJ 9/18, [3] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 24, 1911 Bopp asks for a meeting with Schenker. OJ 9/18, [4] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 27, 1911 Bopp warns Schenker of his unavailability one day. WSLB-Hds 94478 Handwritten letter from Schenker to Seligmann, undated [shortly before May 31, 1911] Schenker reports the completion of work on Beethoven’s Ninth Symphony and enlists Seligmann’s help in placing notices in Viennese newspapers advertising a planned series of lectures on modern music (cacophony). OJ 9/18, [5] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated May 16, 1911 Bopp sends Schenker an invitation to a concert. WSLB 75 Handwritten letter from Schenker to Hertzka (UE), dated May 17, 1911 The manuscript of Beethovens Neunte Sinfonie will be handed over complete tomorrow. — Academy Director Wilhelm Bopp still favors the planned Bach-Beethoven editions scheme, and Schenker awaits a summons from President Carl von Wiener.— Schenker argues the case for UE to publish his arrangements of two C. P. E. Bach concertos and a work by Handel. WSLB 76 Handwritten letter from Schenker to Hertzka (UE), dated May 19, 1911 Schenker acknowledges a package from UE.. OJ 12/9, [4] Handwritten postcard from Karpath to Schenker, dated May 29, 1911 Karpath promises Schenker he will publish an announcement [about the lecture series "The Decline of the Art of Music"]. OC 1A/1-2 Handwritten letter from Schenker to Wilhelm Bopp (Akademie für Musik), dated May 30, 1911 Schenker has been unable to elicit any response from President [von Wiener]. WSLB-Hds 95665 Handwritten letter from Schenker to Seligmann, dated May 31, 1911 Schenker thanks Seligmann for his willingness to help him get a notice placed in the newspapers. WSLB-Hds 95657 Handwritten postcard from Schenker to Seligmann, dated June 6, 1911 Schenker congratulates Seligmann on his latest feuilleton and shares his own similar views about the relationship between nature and the art of painting. OJ 8/1, [3] Handwritten picture postcard from Jenny Kornfeld and Heinrich Schenker to Moriz Violin, dated June 11, 1911 Heinrich Schenker and Jenny Kornfeld report the delights of the Vienna Woods. WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911 Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie in time to take on vacation, and inquires as to his proposal for UE to publish the score of the Ninth Symphony with original markings. — No summons to interview with Academy President von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade against von Wiener and the Academy's teachers. OC 52/445 Typewritten letter from Hertzka (UE) to Schenker, dated June 27, 1911 Hertzka explains that the proofs for Schenker's monograph Beethovens neunte Sinfonie will not be ready before August. — He hopes that an agreement can be reached over the Beethoven/Bach project. OJ 15/15, [J] Handwritten letter from Weisse to Schenker, dated July 9, [1911] On summer holiday with little in the way of fixed plans, Weisse will be working on some new piano pieces and asks Schenker's advice about form in the Ballade, Fantasy, and Rondo. OJ 8/1, [5] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated July 10, 1911 Schenker asks why Violin is silent about visiting them. OJ 8/1, [6] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated July 22, 1911 Violin has written an unclear letter: Schenker presses him to say why he isn't coming to visit; and Jenny Kornfeld urges him not to be so poor a correspondent. WSLB 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911 Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies his editorial stance with reference to Rodin and architecture, and suggests it might be published in Germany as retribution against Bopp and Wiener. —He is working now on Counterpoint II for Cotta. OC 52/63 Typewritten postcard from UE to Schenker, dated July 27, 1911 UE confirms sending Schenker's edition of the Chromatic Fantasy and Fugue to Gottfried Galston. Hertzka is on holiday, and will reply on his return. OJ 8/1, [7] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated August 4, 1911 Schenker inquires after Violin's location and company; — reports his work on Riemann's theories. OJ 15/16, [1] Handwritten letter from Weisse to Schenker, dated August 6, 1911 Weisse reports that he has reworked his fifth waltz and composed two other piano pieces. He will now switch to composing songs, and asks a question about setting poems with more than three stanzas. OC 52/64 Typewritten postcard from UE to Schenker, dated August 8, 1911 UE requests personal data. OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated August 18, 1911 Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes about his planned refutation of the theories of Hugo Riemann and the need to establish his own theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes more somberly about the coming autumn and its difficulties. WSLB 79 Handwritten letter from Schenker to UE, dated August 18, 1911 Schenker provides requested personal data. OJ 6/5, [2] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated August 26, 1911 With Heinrich and Jenny Kornfeld still in Sulden (Tyrol), Heinrich alludes to the uncertainty about their return on account of a recent storm and destruction to the road; — they have decided that, on return to Vienna, Jenny shall stay in a hotel until an apartment is found for her; — Violin is asked to mail a letter to Schenker's attorney which concerns Jenny's maintenance payments; Jenny reports that she is unrecognized in Sulden. OJ 8/1, [8] Handwritten picture postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz Violin, dated August 27, 1911 Schenker and Jeanette vie with short stanzas. — Heinrich reports a walk to Gomagoi. OJ 8/1, [9] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated September 8, 1911 Schenker asks if a letter has arrived at Violin's address, and asks for it to be forwarded to him if so. OJ 8/1, [10] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated September 11, 1911 Schenker complains that Violin has failed to turn up for an agreed meeting at the right place. He comments favorably on a new composition by Violin. He is going to the Pollaks in the evening. WSLB 81 Handwritten letter from Schenker to Hertzka (UE), dated September 14, 1911 Schenker demands to know whether UE is interested in publishing his planned edition of the last five Beethoven piano sonatas; -- Inquires how the proofs of Beethovens neunte Sinfonie stand; And draws attention to the favorable sales of Kontrapunkt 1. OC 52/65 Typewritten postcard from UE to Schenker, dated September 14, 1911 Emil Hertka is away on business; Schenker should wait a day or two. OC 52/492 Typewritten letter from Hertzka (UE) to Schenker, dated September 19, 1911 UE cannot proceed with the Beethoven last five sonatas project absent a grant. Whereas the larger German music publishers might be able to undertake such a work, UE is still too young to have the investment. -- Proofs of Beethovens neunte Sinfonie will be available in the Fall, owing to the delay in Schenker's delivery of his manuscript. -- Hertzka expresses delight at the sales of Kontrapunkt 1. WSLB 80 Handwritten postcard from Schenker to Hertzka (UE), dated September [2]0, 1911 Schenker gives an ultimatum for Hertzka's decision on the Bach-Beethoven plan. WSLB 82 Handwritten postcard from Schenker to Hertzka (UE), dated September 20, 1911 Schenker laments the withdrawal of Wilhelm Bopp from the planned Bach-Beethoven edition project. -- He contests Hertzka's use of the term "Text-Kritik" to characterize his Beethoven last five sonatas project. OJ 6/5, [3] Handwritten letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated September 26, 1911 Seemingly in response to a cry for companionship, Heinrich and Jenny Kornfeld express their willingness to help, and ask what would be best. OJ 8/1, [11] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 9, 1911 In promising to visit Violin, Schenker gives details of the lessons he has to give over three days; — reports pending visit by Vrieslander. OJ 8/1, [12] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 10, 1911 Citing Hebbel, and referring to the mystery "Frau O.," Schenker speaks of Violin's unreliability, and also of Jenny Kornfeld's financial difficulties. WSLB 83 Handwritten letter from Schenker to Hertzka (UE), dated October 28, 1911 Schenker hotly contests Hertzka's allegation that he delivered the material for Beethovens neunte Sinfonie late, and details the pre-history of the project. OJ 8/1, [13] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 29, 1911 Schenker has booked four seats for the theater [for Wedekind: Erdgeist]. OC 52/66 Typewritten letter from Hertzka (UE) to Schenker, dated October 31, 1911 Schenker will receive the [first] proofs of his Beethovens neunte Sinfonie "in the course of November." OJ 8/1, [14] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 3, 1911 Schenker complains of Violin's dilatoriness, and asks to meet him.. OJ 8/1, [15] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated November 5, 1911 Schenker reports a difficult encounter with "Frau O."; also reports a first victory in Jenny Kornfeld's divorce application. OJ 8/1, [16] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 7, 1911 Schenker urges Violin to request Hertzka send a copy of his Continuo essay. WSLB 84 Handwritten letter from Schenker to Hertzka (UE), dated November 19, 1911 Schenker offers UE an arrangement of the Mozart A major piano concerto, arguing the case for its publication despite existing editions. -- He is impatiently awaiting proofs of his monograph Beethovens neunte Sinfonie. OC 52/67 Typewritten letter from Hertzka (UE) to Schenker, dated November 24, 1911 Hertzka is unable to take up Schenker's offer of an arrangement of a Mozart piano concerto. -- Proofs of Beethovens neunte Sinfonie are expected any day. WSLB 85 Handwritten postcard from Schenker to Hertzka (UE), postmarked November 25, 1911 Schenker corrects Hertzka's misapprehension about his proposed arrangement of a Mozart piano concerto for two pianos four hands. -- He suggests Breitkopf are stringing Hertzka along. OJ 8/1, [17] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated November 27, 1911 Schenker reports the impossibility of Jenny Kornfeld's defending herself in her divorce plea; and Jenny writes that she has had to send an inventory of all her chattels to Emil Kornfeld. OJ 9/6, [52] Handwritten letter from Eugen d’Albert to Schenker, dated November 27, 1911 Eugen d'Albert inquires whether Schenker would be interested in taking on a female pupil. WSLB 86 Handwritten letter from Schenker to Hertzka (UE), dated November 30, 1911 Schenker acknowledges receipt of the first galley-proofs of Beethovens neunte Sinfonie and asks for return of his copy of Grove's book on the Beethoven symphonies. OC 52/68 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911 The printers query the absence of "signatures" from music examples in the manuscript of Beethovens neunte Sinfonie. OJ 9/6, [52a] Handwritten postcard from Eugen d’Albert to Schenker, undated [?December 1, 1911] Eugen d'Albert write that "the lady" is an American, and that he should not be held responsible for her. OC 52/69 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911 Hertkza encloses a letter from Eugen d'Albert and is having the requested book returned to Schenker. WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911 Schenker explains that the music examples without [key] signatures in Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. -- He approves the use of a quotation from a D'Albert letter for publicity purposes. OC 52/71 Typewritten letter from Hertzka (UE) to Schenker, dated December 4, 1911 Hertkza acknowledges Schenker's explanation of music examples without [key] signatures, and suggests an explanatory footnote; corrected proofs should be returned to UE. WSLB 88 Handwritten letter from Schenker to Hertzka (UE), dated December 6, 1911 Schenker gives instructions as to how measure number should be displayed in the analysis sections of his monograph Beethoven's neunte Sinfonie. OJ 15/16, [2] Handwritten letter from Weisse to Schenker, dated December 8, 1911 Weisse has a new piano piece to show Schenker, and asks to come the next day. OC 52/73 Typewritten letter from Hertzka (UE) to Schenker, dated December 20, 1911 Hertkza remarks that the corrected proofs of gathering 3 of Beethovens neunte Sinfonie have significant alterations and additions, the costs of which will be passed on to Schenker. OJ 9/6, [53] Handwritten postcard from Eugen d’Albert to Schenker, dated December 20, 1911 Eugen d'Albert tries to arrange a meeting with Schenker. WSLB 89 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1911 Schenker refutes Hertzka's accusation of "heavy corrections," and his threat to pass the costs on to him. OJ 9/6, [54] Handwritten postcard from Eugen d’Albert to Schenker, postmarked December 26, 1911 Eugen d'Albert invites Schenker to tea on the 30th. WSLB 90 Handwritten letter from Schenker to Hertzka (UE), dated January 1, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and draws attention to errors on the part of the typesetters. OC 52/74 Typewritten letter from Hertzka (UE) to Schenker, dated January 2, 1912 Hertkza sends page-proofs of gathering 3, and asks for return of galley-proofs and the manuscript of Beethovens Neunte Sinfonie. WSLB 91 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and expresses dismay at the inaccurate work of the typesetters, notably in type-size, marginal numbers, and alignment within figures. WSLB 92 Handwritten letter from Schenker to Hertzka (UE), dated January 10, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected and a letter from Breitkopf &Härtel. WSLB 93 Handwritten letter from Schenker to Hertzka (UE), dated January 11, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected; he points out with labored sarcasm that the printers have omitted the title-pages of each of the four movements, and suggests how this might be rectified. OJ 15/16, [3] Handwritten letter from Weisse to Schenker, dated January 13, 1912 Weisse thanks Schenker for having taught him to make fine adjustments in his compositions, and for imbuing him with greater clarity; he marvels at the subtlety of Schenker's musical sensibility, and speaks of his joy at being Schenker's pupil. WSLB 94 Handwritten letter from Schenker to Hertzka (UE), dated January 15, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie with imprimatur. -- He conditionally accepts Hertzka's proposal that he create structural diagrams for movements 2 to 4, giving his justification for intially providing only that for the first movement. WSLB 95 Handwritten letter from Schenker to Hertzka (UE), dated January 28, 1912 Schenker returns page-proofs of Beethovens Neunte Sinfonie, granting imprimatur providing one problem can be overcome. OJ 6/5, [5] Handwritten letter from Weisse to Schenker, dated January 29, 1912 Weisse gives his suggested order of the compositions by him to be included in the February 22, 1912 concert. WSLB 96 Handwritten letter from Schenker to Hertzka (UE), dated February 3, 1912 Schenker returns page-proofs of Beethovens Neunte Sinfonie and the structural diagram for movement 2. WSLB 97 Handwritten express postcard from Schenker to Hertzka (UE), dated February 7, 1912 Schenker complains at the printers' disregard of his earlier words. He asks for assurance that he will receive a complete set of proofs to check the cross-citations of page-numbers. OJ 9/6, [55] Handwritten letter from Eugen d’Albert to Schenker, dated February 12, 1912 Eugen d'Albert asks Schenker's opinion of his opera "Verschenkte Frau." OJ 12/9, [5] Handwritten letter from Karpath to Schenker, dated March 3, 1912 Karpath expresses approval of Schenker's Kontrapunkt I and Moriz Violin's book on the continuo. —He thinks highly of Violin and of Hans Weisse as a composer. WSLB 98 Handwritten letter from Schenker to Hertzka (UE), dated March 4, 1912 Schenker returns page-proofs for gatherings 10 and 11 of Beethovens Neunte Sinfonie and the formal diagram for movement 3. OC 52/432 Typewritten letter from Hertzka (UE) to Schenker, dated March 7, 1912 Hertzka invites Schenker to meet him to discuss the plan for an edition of the Beethoven Ninth Symphony score and other matters. WSLB 99 Handwritten express postcard from Schenker to Hertzka (UE), dated March 9, 1912 Schenker accepts Hertzka's invitation to a meeting. OC 52/81 Typewritten letter from Hertzka (UE) to Schenker, dated March 9, 1912 Hertzka agrees to the suggested meeting time and place; second proofs of gatherings 9 and 10 are being dispatched to Schenker. WSLB 100 Handwritten postcard from Schenker to Hertzka (UE), dated March 13, 1912 Schenker proposes that his book Beethovens neunte Sinfonie and the edited full orchestral score be published as separate volumes, and promises the additional revised text of his Instrumentations-Tabelle the next day. WSLB 101 Handwritten letter from Schenker to Hertzka (UE), dated March 14, 1912 Schenker sends the four new paragraphs for the 1912 edition of his Instrumentations-Tabelle. OC 52/82 Typewritten letter from Hertzka (UE) to Schenker, dated March 15, 1912 Hertzka gives Schenker assurances on the arrival of further gatherings. OJ 15/15, [G] Handwritten letter from Weisse to Schenker, dated March 16, [1912] Weisse sends a newspaper clipping for Schenker's possible use in his Ninth Symphony monograph. WSLB 102 Handwritten letter from Schenker to Hertzka (UE), dated March 17, 1912 Schenker returns proofs of gather 16 of his monograph Beethovens neunte Sinfonie. OC 52/403 Typewritten letter from Hertzka (UE) to Schenker, dated March 18, 1912 Second proofs of gatherings 11 and 12 of Schenker's monograph Beethovens neunte Sinfonie are on their way to him. Hertzka issues a warning on correction costs. Payment has been authorized for the additional material for his Instrumentations-Tabelle. WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912 Schenker responds combatively to Hertzka's warning about correction costs. OC 52/83 Typewritten letter from Hertzka (UE) to Schenker, dated March 20, 1912 Hertzka suggests a fold-out for a particularly large music example. WSLB 104 Handwritten letter from Schenker to Hertzka (UE), dated March 22, 1912 Schenker agrees with a suggestion for handling an oversize music example. OC 52/84 Typewritten letter from Hertzka (UE) to Schenker, dated March 26, 1912 Gatherings are received and others sent out. Hertzka reiterates his demand for the complete manuscript and outstanding first proofs. WSLB 105 Handwritten letter from Schenker to Hertzka (UE), dated March 28, 1912 Schenker will send the complete manuscript only on receipt of written assurance that it be returned to him later -- He speaks of being not only to "procreator" of his work but also "a manufacturer, hence a busieness man." -- He implies his refusal to pay any correction costs. He points out a placement error in gathering 16. OC 52/85 Typewritten letter from B. Rothe (UE) to Schenker, dated April 1, 1912 Miss Rothe assures Schenker that his manuscript of Beethovens neunte Sinfonie will be returned to him after use, and asks for it to be sent as well as any other proofs in Schenker's hands. WSLB 106 Handwritten letter from Schenker to Hertzka (UE), dated April 14, 1912 Schenker returns proofs for his Instrumentations-Tabelle and Beethovens neunte Sinfonie, and prelims and Foreword of the latter, with comments. He raises the issue of English and French translations for the monograph. OC 52/86 Typewritten letter from B. Rothe (UE) to Schenker, dated April 15, 1912 Acknowledging proofs and prelims for Beethovens neunte Sinfonie, UE recommends adding a subtitle for clarification. WSLB 107 Handwritten express postcard from Schenker to Hertzka (UE), dated April 16, 1912 Schenker asks for confirmation that UE has received the Preface to his Beethovens neunte Sinfonie. OC 52/87 Typewritten express postcard from UE to Schenker, dated April 16, 1912 Hertzka acknowledges receipt of the Preface to Beethovens neunte Sinfonie. WSLB 108 Handwritten letter from Schenker to Hertzka (UE), dated April 19, 1912 Schenker returns proofs for his Instrumentations-Tabelle and five gatherings of Beethovens neunte Sinfonie, pointing out a serious error. He also responds on the title of the latter. WSLB 109 Handwritten letter from Schenker to Hertzka (UE), dated April 29, 1912 Schenker sends first and second proofs with comments. WSLB 110 Handwritten express postcard from Schenker to Hertzka (UE), dated May 5, 1912 Schenker is unable to comply with Hertzka's invitation on account of teaching commitments. OC 52/433 Handwritten letter from Hertzka (UE) to Schenker, dated May 7, 1912 Hertzka explains the reason for his need to see Schenker in person: it concerns the numbering of bars in the second movement of Beethoven's Ninth Symphony in Schenker's monograph on that work, and the planned edition of the score of the symphony; but Hertzka will be away for up to ten days. OJ 9/6, [56] Handwritten postcard from Eugen d’Albert to Schenker, postmarked May 11, 1912 Eugen d'Albert has instructed Felix Hupka to call on Schenker, and asks Schenker to listen to his compositions. WSLB 112 Handwritten letter from Schenker to Hertzka (UE), dated May 11, 1912 Schenker responds to Hertzka's suggestions on bar numbering in the Scherzo of Beethoven's Ninth Symphony as reflected in Schenker's monograph and the proposed new edition of the score, and offers a counter-proposal; he also responds on the formal terminology. -- He inquires as to the number of copies of the new edition of the Niloff Instrumentations-Tabelle so far released. WSLB 111 Handwritten letter from Schenker to Hertzka (UE), dated May 16, 1912 Schenker points to inconsistent usage of "Sinfonie" and "Symphonie" in the type-setting of his monograph Beethovens neunte Sinfonie and suggests adherence to the former; he submits the Foreword, and asks for one copy of each of his previous UE publications. WSLB 113 Handwritten letter from Schenker to Hertzka (UE), dated May 18, 1912 Schenker asks to see the entire volume of his monograph on Beethoven's Ninth Symphony again for a final check, and urges that the work be published in time for the Vienna Music Festival Week, and that UE be advertizing the book now in Germany. WSLB-Hds 94477 Handwritten letter from Schenker to Seligmann, dated May 22, 1912 Schenker congratulates Seligmann on the recent exhibition of his paintings. He is about to send him a copy of his Beethoven’s Ninth Symphony and asks him to read the section on the secondary literature and consider whether the same might be applied to the literature on painting. WSLB 114 Handwritten postcard from Schenker to Hertzka (UE), dated May 24, 1912 Schenker puts another proposal on how to present the bar numbering of the Scherzo of Beethoven's Ninth Symphony in the text and diagram of his monograph. OC 52/434 Typewritten letter from Hertzka (UE) to Schenker, with holograph insertions, dated May 28, 1912 Hertzka invites Schenker to his home for a discussion of the monograph Beethovens neunte Sinfonie. WSLB 115 Handwritten letter from Schenker to Hertzka (UE), dated May 29, 1912 Schenker accepts Hertzka's invitation to his home on June 1, and declares his willingness to cooperate. He acknowledges receipt of a set of his previous UE publications. OC 52/435 Typewritten postcard from Hertzka (UE) to Schenker, dated May 31, 1912 Hertzka asks Schenker to collect him from his office on June 1 for their meeting. OJ 15/16, [4] Handwritten letter from Weisse to Schenker, dated June 1, 1912 Weisse is concerned that Schenker will turn his attention from himself to Felix Hupka, whom Schenker has just taken on as a pupil. WSLB 116 Handwritten letter from Schenker to Hertzka (UE), dated June 2, 1912 Schenker observes acidly that the Ninth Symphony score project has been dropped. He asks [in the face of the threat of author correction cost demands] for an honorarium for correcting the proofs of his monograph Beethovens neunte Sinfonie. He demands to know whether Hertzka is serious about the plan for an edition of the last five Beethoven sonatas. He repeats his inquiry as to the number of copies of his Instrumentations-Tabelle, 2nd edition, that have so far been released. WSLB 117 Handwritter letter from Schenker to Hertzka (UE), dated June 3, 1912 Schenker returns the [complete] proof copy of his Beethovens neunte Sinfonie with corrections. He asks about the placement of the Table of Contents in the volume. OC 52/427 Typewritten letter from Hertzka (UE) to Schenker, dated June 3, 1912 Hertzka addresses Schenker's request for an honorarium for correcting proofs of Beethovens neunte Sinfonie; he counters that the total author corrections have run to 600 Kronen. He is sending the volume to the printers today. -- He commits in principle to the editing of the last five Beethoven piano sonatas [Erläuterungsausgabe], but on the basis of the Chromatic Fantasy and Fugue sales he cannot accede to Schenker's demands; he makes a counter-proposal. WSLB 118 Handwritten letter from Schenker to Hertzka (UE), date June 4, 1912 Schenker urges Hertzka to contact Dr. Harpner in connection with the planned Organization. He reiterates his demands regarding payment for the planned last five Beethoven sonata edition, specifying the sums, and disputes Hertzka's counterargument. WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912 Schenker inquires about the print-run and retail cost of his Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for clarity on a payment he has just received, stressing his probity. OC 52/493 Typewritten letter from Hertzka (UE) to Schenker, dated June 8, 1912 Hertzka makes a firm proposition on payment for the Beethoven last five sonatas, and seeks clarification on contact with Dr. Harpner. WSLB 120 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1912 A long letter, biblical in tone, in which Schenker prophesies that a "Flood of the moderns" will come to pass, and in Noah's ark his works will "occupy the place of honor," and that a "bright new light" will establish Universal Edition as superior to the German publishers. He accepts Hertzka's terms for the Beethoven Last Five Sonatas edition for now. He again urges Hertzka to contact Dr. Harpner regarding the planned Organization of Creative and Performing Musicians. He encourages Hertzka to deal more generously with Hans Weisse. OC 52/406 Typewritten letter from Hertzka (UE) to Schenker, dated June 10, 1912 Hertzka explains UE's recent 100 Kronen payment, and answers Schenker's question on the edition number and retail price of his Instrumentations-Tabelle. OJ 9/6, [57] Handwritten letter from Eugen d’Albert to Schenker, dated June 11, 1912 Eugen d'Albert suggests they attend a concert together on June 24. BNba Frimmel Nachl, [4] Handwritten letter from Schenker to Frimmel, dated June 13, 1912 Schenker asks for guidance on the location of autograph manuscripts of Beethoven's last five piano sonatas, in particular that of Op. 109. WSLB 121 Handwritter letter from Schenker to Hertzka (UE), dated June 13[?], 1912 Schenker reports the state of play [on the Organisation] and again urges Hertzka to contact Dr. Harpner. OJ 11/10, [15] Handwritten letter from Frimmel to Schenker, dated June 17, 1912 In response to Schenker's inquiry as to the locations of autograph manuscripts of Beethoven's last five piano sonatas, Frimmel refers Schenker to the Berlin Academy's Urtext edition and to Nottebohm's writings. OJ 11/22, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Marchet, Krause) to Schenker, dated June 21, 1912 The writers announce plans to institute a regular program of lectures under the auspices of the Gesellschaft der Musikfreunde, and invite Schenker to participate by offering a lecture or lecture series. WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912 Schenker reports improved agreement among the supporters of the planned Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for the fee for correcting proofs of Beethovens neunte Sinfonie. OJ 15/16, [5] Handwritten letter from Weisse to Schenker, dated June 27, 1912 Weisse asks to be informed of Schenker's contact with Emil Hertzka; Mahler's Ninth Symphony is "filth"; Schenker's Beethovens Neunte Sinfonie has just appeared and he will study it. WSLB 124 Handwritter letter from Schenker to Hertzka (UE), dated June 27, 1912 Schenker asks for copies of his Beethovens neunte Sinfonie to be sent to himself and others. -- He reports that the Gesellschaft der Musikfreunde has invited him to teach. OC 52/90 Typewritten letter from Hertzka (UE) to Schenker, dated June 28, 1912 Hertzka is unable to complete the contract for Die letzten fünf Sonaten Beethovens this week; he will send it next week. OJ 5/14, [1] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated June 29, 1912 Schenker responds the the Gesellschaft der Musikfreunde's invitation to give a lecture or series of lectures on a topic of his own choosing; commenting on the reasons behind the proposal, and the style of lecture expected, he expresses his willingness, proposes a subject, and states his fee. WSLB 125 Handwritten letter from Schenker to Hertzka (UE), dated July 5, 1912 Schenker provides his summer address and looks forward to working on the musicians' organization when be returns. OJ 15/16, [6] Handwritten letter from Weisse to Schenker, dated July 7, 1912 Weisse asks Schenker a technical question about musical form; reports that Julia Culp is considering singing his Mädchen-Lieder. WSLB 126 Handwritten letter from Schenker to Hertzka (UE), dated July 11, 1912 Schenker has referred a textual anomaly in Beethoven Op. 109 to Ernst Rudorff, and asks for the contract for Die letzten fünf Sonaten to be sent to him. WSLB 127 Handwritten postcard from Schenker to Hertzka (UE), dated July 12, 1912 Schenker asks for a copy of his edition of the Chromatic Fantasy and Fugue, to forward to a "colleague." OC 52/91 Typewritten letter from Hertzka (UE) to Schenker, dated July 13, 1912 The Chromatic Fantasy edition and Ninth Symphony monograph will be sent as requested; the [contract for the] Letzen fünf Sonaten edition will be dealt with. OJ 11/17, [2] Handwritten letter from Eduard Gärtner to Schenker, dated July 14, 1912 Eduard Gärtner regrets that he is unable to help. OJ 13/37, 14 Handwritten letter from Rudorff to Schenker, dated July 18, 1912 Rudorff writes admiringly of Schenker's new book, Beethovens Neunte Sinfonie; — He responds to Schenker's question about the whereabouts of the autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109, speaking also of his own former editorial work. OC 52/92 Typewritten letter from Hertzka (UE) to Schenker, dated July 19, 1912 Hertzka sends the draft contract for Die letzten fünf Sonaten, and will deal with the Musicians' Organization in the fall. OJ 15/16, [7] Handwritten letter from Weisse to Schenker, dated July 21, 1912 Weisse reports on progress with his string quintet. WSLB 128 Handwritten letter from Schenker to Hertzka (UE), dated July 21, 1912 Beethovens neunte Sinfonie: Schenker justifies the higher number of proof corrections and reiterates his demand for a supplementary honorarium. -- Die letzten fünf Sonaten: he objects to a clause in the draft contract concerning correction costs, and emphasizes the expenses that he himself is incurring in preparing the edition. OC 52/94 Handwritten and typewritten postcard from UE to Schenker, dated July 23, 1912 Hertzka is out of town. OJ 15/6, [10] Handwritten letter from Fritz Wahle to Schenker, dated July 26, 1912 Fritz Wahle thanks Schenker profusely for sending him his book on Beethoven’s Ninth Symphony, which he will read through quickly. He has acquired a copy of the score of the work. OJ 12/29, [4] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker, dated July 27, 1912 Lafite acknowledges OJ 5/14, [1] and Schenker's assent to taking part in the planned series of lectures. OJ 9/6, [57a] Handwritten postcard from Eugen d’Albert to Schenker, undated [July/August 1912] Schenker has sent Eugen d'Albert a text as a possible basis for an opera libretto, and d'Albert explains his reasons for rejecting it. BNba Frimmel Nachl, [5] Handwritten letter from Schenker to Frimmel, dated August 4, 1912 Schenker reports that he has heard from Mandyczewski that the autograph of Beethoven's piano sonata Op. 109 is owned by Poldy Wittgenstein. He will need to go to Berlin for the remaining manuscripts. OJ 15/15,[I] Handwritten letter from Weisse to Schenker, dated August 4, [1912] Weisse reports of progress with his string quintet; expresses his delight at Schenker's monograph on Beethoven's Ninth Symphony, and speaks of "a bridge between art and theory"; and expresses misgivings about Moriz Violin's pamphlet on the Vienna Academy. He appeals to Schenker to give him piano lessons, and reports other matters. WSLB 129 Handwritten letter from Schenker to Hertzka (UE), dated August 6, 1912 Schenker informs Hertzka that he has been approached by the Gesellschaft der Musikfreunde with a view to his teaching a course at the Society's new "free high school" beginning in October, and inquires whether Hertzka will meet his demands so that he can proceed with Die letzen fünf Sonaten Beethovens. OJ 13/37, 15 Handwritten notecard from Rudorff to Schenker, dated August 7, 1912 Rudorff is convinced the autograph of Op. 109 was acquired from the Joachim estate by Mrs. Wittgenstein. OJ 15/16, [8] Handwritten letter from Weisse to Schenker, dated August 10, 1912 Weisse speaks of Schenker's monograph on Beethoven's Ninth Symphony and progress with his own string quintet; — reiterates his desire to transfer from Violin to Schenker for piano lessons; — refers to lectures that he is about to take with Guido Adler, and quotes from Florence May's biography of Brahms. — He will write to Lorle Meissner; — gives his address in Pontresina. OJ 15/6, [11] Handwritten letter from Fritz Wahle to Schenker, dated August 10, 1912 Fritz Wahle explains how he came to acquire Schenker’s book on Beethoven’s Ninth Symphony. He has read Moriz Violin’s pamphlet about the leadership of the Vienna Academy and hopes that some good will come of it. In response to a letter from Schenker, he expresses his agreement with what Schenker has to say about Wagner, and again praises his friend for the serious intent of his writings. OC 52/437 Typewritten letter from Hertzka (UE) to Schenker, dated August 12, 1912 Die letzten fünf Sonaten: Hertzka finds Schenker's suggested rewording too general; Beethovens neunte Sinfonie: Hertzka will pay the supplementary fee demanded by Schenker, but only after 500 copies have been sold. WSLB 130 Handwritten letter from Schenker to Hertzka (UE), dated August 14, 1912 In the most aggressive letter yet on Hertzka's approach over honoraria and correction costs, Schenker asserts that UE ought to subsidize his works through the takings on the lucrative works of others. UE acquires Schenker's works for a fraction of their true value, yet is held responsible for UE's costs. Schenker refuses to sign the draft contract for his Die letzten fünf Sonaten Beethovens with an implied threat of withdrawal. OJ 15/16, [9] Handwritten letter from Weisse to Schenker, dated August 15, 1912 Weisse asks detailed question on musical form for the Scherzo of his string quintet. OC 52/95-96 Typewritten letter from Hertzka (UE) to Schenker, dated August 22, 1912 Die letzten fünf Sonaten: Hertzka backs down on the contested contract clause; Beethovens neunte Sinfonie: Hertzka refuses to budge on his proposal for the supplementary honorarium, but assures Schenker of his good will toward him. OJ 9/30, [2] Handwritten letter from Tony Colbert to Schenker, dated August 23, [1912] Mrs. Colbert pleads to resume piano lessons with Schenker. OC 52/494 Printed contract, with handwritten entries, between UE and Schenker, dated August 25, 1912 Contract for Schenker's edition of Beethovens letzte fünf Sonaten, with special clause on correction costs WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912 Schenker returns the contract for Die letzten fünf Sonaten von Beethoven signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that tradition, which will spawn a new generation of composers superior to the present "cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of Musicians project in the fall. WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26, 1912] Recounting the backstory of the move to found an [Austrian] organization of musicians, and painting it as a rearguard action by performers against the dominance of Neue freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he complains at the timid tone of Universal Edition's advertising of his own works. OJ 15/16, [10] Handwritten letter from Weisse to Schenker, dated August 27, 1912 Weisse has been studying an example of rondo form in Mozart; he is enjoying the culture of Basel; gives his return date to Bad Ischl. OC 52/97 Typewritten letter from Hertzka (UE) to Schenker, dated August 28, 1912 In an important letter on the plan for an organization of composers and concert musicians, Hertzka declares himself willing to be involved, sets out a timetable, issues a caution, and raises the issue of finance; in dealings with Hugo Heller, UE's and his own name should not yet be divulged. OJ 12/21, [1] Handwritten letter from Carl Krebs to Schenker, dated August 30, 1912 Krebs is unable to give Schenker information as to the whereabouts of the autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109 WSLB 134 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912 Schenker asks for the first installment of his honorarium for Die letzten fünf Sonaten Beethovens to be sent, now that he is back in Vienna. — He reports on the Organization plan, and on progress on Op. 109. — He reiterates his claim for a supplementary honorarium for proof correction of Beethovens neunte Sinfonie. OJ 12/29, [5] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker, dated September 14, 1912 Lafite invites Schenker to call on him to discuss the conditions of the lectures. OC 1 B/15 Handwritten draft letter from Schenker to Carl Colbert, dated September 15, 1912 Schenker explains why he deprecates strongly giving a student only one lesson a week and positively recommends two or three; he leaves the matter to Colbert, but gives him a difficult choice. WSLB 135 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912 Schenker insistently reiterates his request for the first half honorarium for Die letzten fünf Sonaten Beethovens. — He alludes to an announcement by the Gesellschaft der Musikfreunde. GdM Exh.332, [2] Handwritten letter from Schenker to Carl Lafite (Gesellschaft der Musik), dated September 16, 1912 Schenker declines Lafite's invitation to discuss in person the topic, date and fee of his proposed lectures to the Society, and asks him to put suggestions in writing. OC 52/98 Typewritten letter from Hertzka (UE) to Schenker, dated September 16, 1912 In sending the first installment of Schenker's honorarium for the Last Five Sonatas of Beethoven, Hertzka apologizes for its delay. — He asks for a meeting about the Organization. OJ 9/30, [3] Handwritten letter from Tony Colbert to Schenker, undated [September 16, 1912] Mrs. Colbert begs to be accepted back as a pupil on one lesson a week. She has asked Sofie Deutsch whether she would give over one of her two lessons to her and Mrs. Deutsch has declined; she now asks whether Mrs. Stirling might agree to do the same. OJ 12/29, [6] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker, dated September 18, 1912 The Gesellschaft der Musikfreunde can accommodate a series of only three lectures for Schenker; Lafite proposes days and times, asks Schenker for a revised topic, and proposes a fee. GdM Exh.332, [3] Handwritten letter from Schenker to Carl Lafite (Gesellschaft der Musikfreunde), dated September 20, 1912 Schenker turns down Lafite's proposal in polemical manner. GdM Exh.332, [4] Handwritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker, dated September 20, 1912 Lafite rejects Schenker's rebukes and regrets that because of the tone of Schenker's letter he is unable to pursue any further a yearlong course that he had had in mind for the next season. WSLB 136 Handwritten letter from Schenker to Hertzka (UE), dated September 21, 1912 Schenker reports the stormy end to the prospect of his teaching in the Gesellschaft der Musikfreunde's "Hochschule." WSLB 137 Handwritten letter from Schenker to Hertzka (UE), dated September 24, 1912 Schenker reports developments on the Organization front and also the Gesellschaft der Musikfreunde's "Hochschule" front. OJ 12/29, [8] Typewritten postcard from Carl Lafite to Schenker, dated September 25, 1912 Since several letters to Schenker have been returned unopened, Lafite regrets that the Gesellschaft der Musikfreunde must renounce its collaboration with Schenker in the lecture series. OJ 15/6, [12] Handwritten notecard from Fritz Wahle to Schenker, dated September 25, 1912 Fritz Wahle thanks Schenker for his book on Beethoven’s Ninth Symphony and expresses his agreement about the concept of program music. He hopes that the two of them could get together for a few hours, and sends his greetings to their mutual friend Moriz Violin. OC 52/100 Typewritten letter from Hertzka (UE) to Schenker, dated September 27, 1912 Hertzka has tried and failed to telephone Dr. Harpner because he is ill. OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der Musikfreunde), dated September 27, 1912 Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he lodges his complaint at the way in which he has been treated, which he considers impolite and publicly demeaning, and withdraws his offer of lectures. OJ 9/30, [4] Handwritten letter from Tony Colbert to Schenker, dated September 27, 1912 Mrs. Colbert suggests works she might study. -- She is enjoying Schenker's (newly published) monograph on Beethoven's Ninth Symphony. WSLB 138 Handwritten postcard from Schenker to Hertzka (UE), dated September 30, 1912 Ludwig Karpath has complained at not having received a review copy of Schenker's Beethovens neunte Sinfonie. — Schenker prompts Hertzka on the often demanded supplementary honorarium for proof correction of the monograph. OC 52/101 Typewritten postcard from UE to Schenker, dated October 1, 1912 As instructed, UE has sent Schenker's Beethovens neunte Sinfonie to Ludwig Karpath. OC 52/102 Typewritten letter from Hertzka (UE) to Schenker, dated October 3, 1912 Hertzka gives his reaction to a letter from Hugo Heller to Schenker. WSLB 139 Handwritten letter from Schenker to Hertzka (UE), dated October 3, 1912 Schenker forwards a letter from Hugo Heller [from Germany] and asks how he should handle the matter [of the proposed Organisation], pointing out that a comparable movement has already be launched in Germany. OJ 15/16, [11] Handwritten letter from Weisse to Schenker, dated October 6, 1912 Weisse has heard nothing from Moriz Violin and is anxious to transfer to Schenker for piano lessons. OJ 9/6, [55a] Handwritten letter from Eugen d’Albert to Schenker, undated [?May 10, 1912] Eugen d'Albert proposes that Schenker take on a 15-year old musician. WSLB 140 Handwritten letter from Schenker to Hertzka (UE), dated October14, 1912 Dr. Harpner is recovered; Schenker hopes to see Hugo Heller shortly. -- He prompts yet again for the "supplementary honorarium." OC 52/103 Handwritten and typewritten postcard from UE to Schenker, dated October 15, 1912 Hertzka is out of town. OC 52/104 Typewritten letter from Hertzka (UE) to Schenker, dated October 23, 1912 Hertzka will speak with Harpner next week. OC B/179 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated October 31, 1912 Kopfermann informs Schenker which late Beethoven piano sonatas the Library has autograph pages of, and the arrangements for making photographs. WSLB 141 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1912 In a satyrical letter, Schenker asks Hertzka to make up his mind about the compositions of Hans Weisse submitted for publication. OC 52/105 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1912 Hertzka returns the compositions by Hans Weisse submitted for consideration, giving reasons. — He has to stand aside for a time from the "Alliance" [recte Organization] on health grounds. OJ 13/29, [8] Handwritten letter from Rosenthal to Schenker, dated November 10, 1912 Rosenthal apologizes for mishandling of ticket issue, and raises the matter of forming an artists' organization. WSLB 142 Handwritten letter from Schenker to Hertzka (UE), dated November 10, 1912 Schenker responds to Hertzka's claim of overwork and strained nerves, remarking that everybody [on the matter of the proposed Organization] is "holding back," even he himself. WSLB 143 Handwritten letter from Schenker to Hertzka (UE), dated November 27[–28], 1912 Schenker requests another copy of Beethoven Op. 109, and lists the sources he has now consulted, the communications with scholars, the cost and time involved, proclaims the "spectacular" findings made, and the incompetence of all previous editors unmasked. OC 52/495 Typewritten letter from Hertzka (UE) to Schenker, dated November 28, 1912 Hertzka is sending another copy of Beethoven Op. 109, and is pleased to hear of Schenker's discoveries. -- He asks for a discussion regarding the proposed "Alliance" [recte "Organization"], on which he has some new ideas. -- He may look again at Hans Weisse's music in 1913. OJ 9/6, [58] Handwritten letter from Eugen d’Albert to Schenker, dated December 4, 1912 Eugen d'Albert thanks Schenker for his communication, and hopes to meet with him, perhaps in mid-December. OJ 15/16, [12] Handwritten letter from Weisse to Schenker, dated December 18, 1912 Diatribe by Weisse against Otto Vrieslander's plan to produce a simplified version of Schenker's Harmonielehre, impugning Vrieslander's motives. OJ 15/16, [13] Handwritten letter from Weisse to Schenker, dated February 11, 1913 Weisse proposes composing a completely new first movement for his string quintet. OJ 15/15, [E] Handwritten lettercard from Weisse to Schenker, undated, [February 1913] Weisse reports that Bruno Walter, whom he encountered in the street, does not know the difference between counterpoint and fugue. OJ 15/16, [14] Handwritten letter from Weisse to Schenker, dated March 29, 1913 Weisse apologizes for having interrupted Robert Brünauer's lesson, and declares his allegiance to Schenker effusively. He asks to call on March 31 (his birthday). OJ 12/9, [6] Handwritten letter from Karpath to Schenker, dated April 3, 1913 Karpath exchanges newspaper clippings with Schenker. — Announces a forthcoming review of Schenker's monograph on Beethoven's Ninth Symphony (1912). — Tells of a potential new pupil for Schenker who is currently studying with Schreker. — Complains at being persecuted by supporters of Schoenberg. OJ 13/23, [1] Printed form letter from Hugo Riemann to Schenker, postmarked April 15, 1913 Riemann requests autobiographical information for his Lexikon. OJ 15/16, [15] Handwritten letter from Weisse to Schenker, dated April 15, 1913 Weisse comments on Brahms's juxtaposition of the diatonic and chromatic and use of modal mixture in his Waltz in C# major, Op. 36, No. 6, and asks Schenker to write about this. OC B/205 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated April 26, 1913 Schmidt identifies the autograph manuscript material of Beethoven Op. 111 held by the Beethoven-Haus, and the extent to which photography of it has been carried out. OC B/277 Handwritten calling card from Carl Krebs to Schenker, dated April 27, 1913 Krebs gives information about the whereabouts of Beethoven's Piano Sonata Op. 101, but not of Op. 106. WSLB-Hds 95658 Handwritten postcard from Schenker to Seligmann, postmarked May 11, 1913 Schenker congratulates Seligmann on his latest feuilleton, especially on the enduring values of the classical and Romantic artists. — His critical edition of Beethoven’s Op. 109 will appear soon. — He has received a personal request from Hugo Riemann to provide biographical details for an entry in Riemann’s Musiklexikon. OJ 15/16, [16] Handwritten letter from Weisse to Schenker, dated June 9, 1913 Weisse reports receipt of a letter from Moriz Violin. WSLB-Hds 191.579 Handwritten letter from Otto Erich Deutsch to Schenker, dated June 25, 1913 Schenker informs Otto Erich Deutsch of the whereabouts of the collector Meinert. OJ 15/16, [17] Handwritten letter from Weisse to Schenker, dated July 8, 1913 Weisse sends a copy of a book [unidentified] and thanks Schenker again for his teaching. OJ 15/16, [18] Handwritten letter from Weisse to Schenker, dated July 16, 1913 Weisse asks for guidance on technical questions in his rewriting of the first movement of his string quintet. OJ 15/16, [19] Handwritten letter from Weisse to Schenker, dated August 12, 1913 Weisse reports on progress with his string quintet, and lists his travel plans for late September. OJ 15/15, [1] Handwritten postcard from Weisse to Schenker, dated September 1, 1913 At the end of a relatively unproductive summer, Weisse is looking forward to seeing his teacher. OJ 10/3, [1] Part of handwritten letter from Ludwig Scheibler to Otto Erich Deutsch, dated September 6, 1913 Scheibler states that the pieces contained in Schenker's C. P. E. Bach: Klavierwerke are late works and inferior to the early and middle-period works. OJ 15/15, [2] Handwritten postcard from Weisse to Schenker, dated October 10?, 1913 Weisse asks for advice about modal mixture. OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913 Hammer approaches Schenker regarding piano lessons for his wife. OJ 15/16, [20] Handwritten letter from Weisse to Schenker, dated September 13, 1913 Weisse reports a conversation with Franz Steiner about Richard Strauss and his alleged interest in Schenker's work. — Weisse looks forward to having three lessons a week with Schenker. OC 1A/16-17 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 16, 1913 Schenker regrets that he is unable to offer Newlov lessons in the coming season. OJ 11/36, [2] Handwritten letter from Hammer to Schenker dated September 17, [1913] Hammer cannot afford Schenker's fee; he dislikes the modern piano and has a Stein grand piano, a Hammerklavier copy, and a clavichord. OJ 15/15, [H] Handwritten letter from Weisse to Schenker, dated [September] 23, [1913] Weisse expresses his delight at the approach just made to his teacher from publishing house of C. F. Peters. He affirms his indebtedness to his teacher for all that he has learned and, regarding himself more a son than a mere pupil of Schenker’s, he asks to be addressed in future by the familiar "Du," though he would want to continue to use "Sie" when addressing his teacher. OC 1A/25-26 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 24, 1913 Schenker says he has not received an alleged letter from Newlov; — he asks about payment outstanding from 1912/13 season. OJ 12/9, [7] Typewritten letter from Karpath to Schenker, dated September 24, 1913 Karpath is pleased to have introduced Paul Breisach to Schenker as a new pupil. He wants to send another young man ‒ whose mother is divorced and could pay only a reduced fee ‒ to him for instruction. OC 1A/27-29 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 25, 1913 Angry letter in which Schenker defends himself against the accusation that he is demanding a fee that has already been paid: he has all her letters, copies of his own, and all her payment slips. He describes her unorthodox payment system, comparing it with that of other pupils. He details her payment record for 1912/13 and insists on payment for June 1913. OJ 10/3, [3] Typewritten postcard from Otto Erich Deutsch to Schenker, dated September 25, 1913 Deutsch has forwarded Schenker's (non-extant) reply to Ludwig Scheibler, and states that Louis Koch has taken over the autograph manuscripts of Carl Meinert. OJ 11/36, [3] Handwritten letter from Hammer to Schenker undated [September 26, 1913] Hammer regrets Schenker's refusal to teach his wife. OC B/276 Typewritten letter from Louis Koch to Schenker, dated October 3, 1913 Koch will send required information. OJ 15/16, [21] Handwritten letter from Weisse to Schenker, dated October 7, 1913 Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op. 109. OJ 12/9, [8] Handwritten letter from Karpath to Schenker, dated October 9, 1913 Karpath had asked Schenker for support for Mittelmann and complains at Schenker's rude reaction. OJ 15/6, [13] Handwritten notecard from Fritz Wahle to Schenker, dated October 15, 1913 Fritz Wahle thanks Schenker for sending his critical edition of Beethoven’s Op. 109, which he has not yet had time to read carefully. OC B/178 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated October 21, 1913 The Library's photographer has been inundated with work and unable to start on Schenker's order. OJ 15/15, [L] Handwritten letter from Weisse to Schenker, undated [October 22, 1913] Weisse reiterates his congratulations on the approach from C. F. Peters, and sends his teacher two newspaper clippings of Johannes Messchaert's recital, given the day before. OC B/273 Typewritten letter from Louis Koch to Schenker, dated October 23, 1913 Koch lists the Beethoven manuscript items in his possession. OC B/272 Typewritten letter from Louis Koch to Schenker, dated October 28, 1913 Koch agrees to supply photographs of Op. 110. OC B/177 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated October 30, 1913 Kopfermann notifies Schenker of the dispatch of photographs and of the cost. OJ 15/15,[C] Handwritten letter from Weisse to Schenker, undated [October 31, 1913] Returning home from a lesson with Schenker, Weisse makes observations on the second part of the Brahms's Waltz in B minor, Op. 39, No. 11, and seeks his teacher's approval of his interpretation. OJ 9/7, [1] Handwritten letter from Hermine d’Albert to Schenker, dated November 1, 1913 Hermine d'Albert writes that Schenker's letter to her husband has caused him some distress, and he will provide an explanation in person. She hopes that Schenker will be sitting near to her at the concert. OJ 9/7, [A] Handwritten letter from Hermine d’Albert to Schenker, undated Hermine d'Albert on behalf of her husband invites Schenker for tomorrow. OJ 10/1, [1] Handwritten letter from Dahms to Schenker, dated November 9, 1913 Dahms acknowledges receipt of Schenker's letter of September 27 and the Erläuterungsausgabe of Op. 109, is reading other work of Schenker's, and is glad to be disseminating his work. OJ 5/27, [2] Handwritten letter from Schenker to Evelina Pairamall, dated November 12, 1913 Schenker thanks Evelina Pairamall warmly for sending him an article by Saint-Saens on manuscripts in Berlin, which covers an autograph manuscript of Beethoven's Ninth Symphony, and reports to her his own work on another autograph of that work. -- He asks if she is returning to Vienna soon, and promises to show her his discoveries, concluding with a joke employing musical technical terms. OJ 15/15, [K] Handwritten letter from Weisse to Schenker, undated [November 1913] This communication consists of three parts: p. 1 offers an interpretation of a passage from Brahms's Horn Trio, first movement; p. 2 is a quotation from Schopenhauer concerning the ethical status of a search for artistic truth; p. 3 offers an interpretation of the Waltz No. 12 from Brahms's Op. 39. OC B/176 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated November 18, 1913 Kopfermann provides an estimate for the photography of Beethoven's Ninth Symphony that Schenker has requested; and notifies him of another source of this work in the Library's holdings. OC B/275 Handwritten letter from Louis Koch to Schenker, dated November 22, 1913 Koch gives the provenance of the Op. 110 manuscript in his possession, and other information. BNba 304g, [1] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated November 27, 1913 Schenker asks the Beethoven-Haus to prepare and supply him with photographs of the autograph manuscript of the first movement of Beethoven's Piano Sonata in C minor, Op. 111, and announces the publication of his Erläuterungsausgabe of Op. 109 and monograph on Beethoven's Ninth Symphony. OC B/279 Typewritten letter from Leo Liepmannssohn to Schenker, dated November 29, 1913 Liepmannssohn has none of the manuscripts Schenker seeks. OC B/280 Handwritten letter from Max Meinert to Schenker, dated December 1, 1913 Max Meinert does not know the whereabouts of the autograph manuscripts of Op. 101 and Op. 106. BNba 304g, [2] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated December 3, 1913 Schmidt consults Zitelmann as to whether to make photographs of the first movement of Beethoven Op. 111 for Schenker, OC B/204 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December 3, 1913 Schmidt suggests Schenker commission the Beethoven-Haus photographer, Heinrich Rose, direct in ordering photographs of the autograph manuscript of the first movement of Beethoven's Op. 111. He asks Schenker to supply a copy of his monograph on the Ninth Symphony to the Beethoven-Haus library. BNba 318, [1] Handwritten letter from Schenker to Heinrich Rose, dated December 9, 1913 Schenker places an order for photographs of Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28. BNba 318, [2] Handwritten letter from Schenker to F. A. Schmidt, dated December 9, 1913 Schenker states that he is writing a letter placing an order for photographs of Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28, and hoping that Schmidt will extend his permission to cover the latter two manuscripts. OC B/203 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December 13, 1913 Schmidt thanks Schenker for the copy of his monograph Beethovens neunte Sinfonie, and raises points of detail about the photography of the three requested works. BNba 304g, [3] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated December 14, 1913 Schmidt consults Zitelmann as to whether Schenker should be granted permission for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28; then proceeds to other Beethoven-Haus business. BNba 304g, [4] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to an unknown colleague, dated December 14, 1913 Schmidt suggests that permission for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28 should be granted to Schenker; and deals with other Beethoven-Haus business. OC B/281 Handwritten letter from Max Meinert to Schenker, dated December 16, 1913 Meinert has been unable to obtain further information. OC B/175 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated December 20, 1913 Kopfermann inquires after Schenker's photographic requirements. OC B/174 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated December 22, 1913 Kopfermann sends five photographic prints. OJ 15/15, [M] Handwritten postcard from Weisse to Schenker, undated [December 24?, 1913?] Photograph of Hans Weisse with inscription.. BNba 304g, [5]-[6] Handwritten letter and declaration from Schenker to Ernst Zitelmann, dated February 28, 1914 Schenker submits a declaration on his usage of photographic materials received. BNba 304g, [7] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated March 2, 1914 Schmidt forwards Schenker's "Declaration" to Zitelmann. OJ 10/1, [2] Handwritten letter from Dahms to Schenker, dated March 27, 1914 Dahms wishes to start his musical studies afresh in Schenker's "shool," asks whether there is anyone in Berlin who can teach him, also explores the possibility of coming to Vienna. OJ 10/1, [3] Handwritten letter from Dahms to Schenker, dated April 13, 1914 Schenker outlines his financial situation and rehearses alternative plans for study with Schenker. OJ 15/15, [3] Handwritten postcard from Weisse to Schenker, dated April 17, 1914 Weisse gives Schenker the ancient Greek term for the German verb "anschauen." OJ 9/6, [59] Handwritten calling card from Eugen d’Albert to Schenker, dated April 19, 1914 Eugen d'Albert thanks Schenker for his [50th birthday] congratulations. UG 32/5, [1] Handwritten letter from Schenker to Guido Adler, dated April 21, 1914 Letter of recommendation for Hans Weisse OJ 10/1, [4] Handwritten letter from Dahms to Schenker, dated June 2, 1914 Dahms says he is not well liked in some Berlin quarters for opposing "fashionable music." — He plans to study Schenker's theory autodidactically in Berlin, then come to Vienna in the winter. BNba 304g, [8] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated June 19, 1914 Schenker asks if the Beethoven-Haus Archive has a copy of the Cappi & Diabelli early edition of Op. 111. OC B/172 Printed form-letter with handwritten additions, from Wilhelm Altmann (Königliche Bibliothek zu Berlin) to Schenker, dated June 19, 1914 Altmann sends three early editions of Op. 111 on lean. OJ 10/1, [5] Handwritten letter from Dahms to Schenker, dated June 26, 1914 Dahms inquires after Schenker's study of Op. 110, and hopes to review it. He is sure there will come a day when Schenker's work is fully appreciated. OJ 15/16, [22] Handwritten letter from Weisse to Schenker, dated July 7, 1914 Weisse reports that he is engrossed in reading Jean-Paul, is resting, practising piano, and studying Brahms's Second Symphony. OJ 10/1, [6] Handwritten letter from Dahms to Schenker, dated July 15, 1914 Dahms communicates from the Black Forest, commiserating over Schenker's experiences with the Vienna Konzerthausgesellschaft. OJ 15/16, [23] Handwritten letter from Weisse to Schenker, dated July 16, 1914 Weisse thanks Schenker for clippings of two articles from the Münchener Zeitung. Returning them, he critiques Alexander Berrsche's references there to the theory of the trill as expounded in Schenker's Beitrag zur Ornamentik. OJ 9/30, [5] Handwritten letter from Tony Colbert to Schenker, undated [September 13, 1914] Mrs. Colbert pleads for reduction of lessons to once every other week on account of the war work she is doing and the difficulties that she and her husband are facing. OJ 15/16, [24] Handwritten letter from Weisse to Schenker, dated September 17, 1914 Commenting on an article by Paumgartner, Weisse asks to come and play some new compositions, and warns that he may be called up for war service. OJ 13/26, [3] Handwritten postcard from Richard Robert to Schenker, dated September 18, 1914 Robert asks Schenker meet with him, prefereably to visit him, on Saturday or Sunday. OJ 15/34, [1] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, dated September 23, [1914] Zuckerkandl asks to call on Schenker. OJ 9/30, [6] Handwritten letter from Tony Colbert to Schenker, dated November[?] 2[?], 1914 Mrs. Colbert has done no piano practice, and explains her circumstances; but she asks Schenker to fit her in for a lesson every two weeks. OJ 12/9, [9] Typewritten letter from Karpath to Schenker, dated November 14, 1914 Karpath invites Schenker to contribute to the periodical Der Merker, of which he has recently become the editor-in-chief. OJ 12/9, [10] Typewritten letter from Karpath to Schenker, dated November 21, 1914 Karpath describes his editorial policy for the periodical Der Merker and asks Schenker for contributions. OJ 10/1, [7] Handwritten field postcard from Dahms to Schenker, dated April 5, 1915 Dahms has been conscripted and writes from the battle front. He has submitted an article on Schenker's edition of Op. 110. OJ 10/1, [8] Handwritten field postcard from Dahms to Schenker, dated April 25, 1915 Dahms writes of the "fatherland" and of Hindenburg's "voice-leading." OJ 10/1, [9] Handwritten field postcard from Dahms to Schenker, dated June 4, 1915 Dahms echoes Schenker: The German character must prevail over others. OJ 5/45, [1] Copy letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated June 17, 1915 In a six-page letter, and following harsh exchanges the previous day, Schenker castigates Weisse for trying to avoid paying for four lessons, speaking of his own difficulties in managing the profession of private teacher, and the unfair ways in which artists are treated financially. OJ 15/34, [2] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, undated [August 20, 1915] Zuckerkandl reports on life in the military. OJ 10/1, [10] Handwritten field postcard from Dahms to Schenker, dated October 2, 1915 Dahms is unable to describe his [wartime] experiences. He has had to revise his opinions. OJ 10/1, [11] Handwritten field postcard from Dahms to Schenker, dated October 13, 1915 Dahms is sick. OJ 10/1, [12] Handwritten field postcard from Dahms to Schenker, dated October 29, 1915 Dahms inquires why Schenker singled out Strauss's Alpine Symphony. OJ 10/1, [13] Handwritten letter from Dahms to Schenker, undated but presumably November 1, 1915 Dahms acknowledges Schenker's letter with joy; he is committed to the struggle against the "other side." OC B/270 Typewritten letter from Louis Koch to Schenker, dated November 29, 1915 Koch thanks Schenker for a copy of his elucidatory edition of Op. 111, and reports his Chopin holdings. OJ 10/1, [14] Handwritten field postcard from Dahms to Schenker, dated January 8, 1916 Dahms is able to do some work, longs for peace, looks forward to Op. 111. OJ 12/9, [12] Handwritten letter from Karpath to Schenker, dated January 13, 1916 Karpath accepts an article of Schenker's [for Der Merker] and asks for a modification. OJ 10/1, [15] Handwritten field postcard from Dahms to Schenker, dated January 15, 1916 Dahms cannot write openly because of censorship. OJ 10/4, [1] Handwritten letter from Sophie Deutsch to Schenker, dated January 26, 1916 Sofie Deutsch informs Schenker of the bequest of a sum of money to fund his future publications; she wishes him success in his "selfless work," and signs herself "your grateful pupil." OJ 12/9, [13] Handwritten letter from Karpath to Schenker, dated January 26, 1916 Karpath is worried about the disappearance of Aron Mittelmann, and asks Schenker to help him search. OJ 12/9, [14] Handwritten lettercard from Karpath to Schenker, dated January 28, 1916 Karpath reports a summons to appear before a military court with respect to Aron Mittelmann. OJ 12/9, [15] Handwritten postcard from Karpath to Schenker, postmarked February 1, 1916 After attendance at the court [regarding Mittelmann], Karpath asks Schenker to be in touch with him. OJ 12/9, [16] Handwritten letter from Karpath to Schenker, dated February 2, 1916 Following an unanounced and abortive visit by Schenker, Karpath asks Schenker to call him by telephone. OJ 12/9, [17] Handwritten letter from Karpath to Schenker, dated February 6, 1916 Karpath sends an unidentified letter [from Mittelmann]. — He asks Schenker before his attendance at court to take on jointly with himself the surety for Mittelmann. OJ 12/9, [19] Handwritten letter from Karpath to Schenker, dated February 8, 1916 Karpath reports attorney Kammerer's assessment and recommendations on the Mittelmann case. OJ 10/1, [16] Handwritten field postcard from Dahms to Schenker, dated February 21, 1916 Visit to Vienna has to be deferred. OJ 71/19a, [1] Fragment of a typewritten letter from Emil Kammerer to Ludwig Karpath, undated; Handwritten letter from Ludwig Karpath to Schenker, dated March 6, 1916 Karpath forwards a letter from the attorney Kammerer's office saying that the conclusion of the case against Mittelmann is expected soon. OJ 11/22, [5] Handwritten postcard from the Gesellschaft der Musikfreunde (Bella) to Schenker, dated March 8[?], [1916] Mandyczewski invites Schenker to the Archive for March 10. OJ 10/1, [18] Handwritten letter from Dahms to Schenker, dated March 31, 1916 Dahms acknowledges Op. 111; Schenker's achievement will outlive the "moderns". — Reports on a Brahms concert attended. — He is in a rest home and working. OJ 15/16, [25] Handwritten letter from Weisse to Schenker, dated April 7, 1916 Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op. 111, but expresses reservations about the political footnotes. He asks to bring a new song to Schenker, since he is about to go to the battlefield. OJ 10/1, [19] Handwritten letter from Dahms to Schenker, undated but presumably May 1, 1916 Dahms laments the state of music and criticism in Berlin. — When the war is over he plans to draw a line under his life so far and start again. OJ 10/1, [20] Handwritten letter from Dahms to Schenker, dated June 15, 1916 Dahms may be transferred to Wilna. — Has reviewed Op. 111 for the Kreuz-Zeitung. OJ 10/1, [21] Handwritten letter from Dahms to Schenker, dated June 30, 1916 Dahms holds out hope for the position of music critic at Der Abend of Vienna, about which Schenker has inquired.— He reviews his past work; coming to Vienna is imperative. OJ 15/16, [26] Handwritten letter, with original poetry, from Weisse to Schenker, dated July 3, 1916 As a sign of his recovery, Weisse sends Schenker two poems while stationed in Berezhany, “Der alte Jude” and “Die Dirne." OJ 9/30, [6a] Handwritten letter from Tony Colbert to Schenker, dated July 13 Mrs. Colbert thanks Schenker for flowers sent while she was in the sanatorium. WSLB-Hds 95654 Handwritten letter from Schenker to Seligmann, dated July 24, 1916 Schenker tells Seligmann that he has arranged for copies of his critical editions of Beethoven’s Op. 110 and Op. 111 to be sent to him. He speaks of the positive interest his works have received in Germany, and about Hugo Riemann asking him to provide autobiographical material for an entry in the next edition of his music lexicon. OJ 15/16, [27] Handwritten letter from Weisse to Schenker, dated August 3, 1916 Weisse hopes to see Kontrapunkt II soon. — He reflects on the state of humanity in the light of being in the midst of the war. — He incloses a cutting of an article [about sources of Saint-Saëns's music.] WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916 Schenker explains why he is reluctant to produce a critical edition with commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could be freed from some of his teaching obligations, and also the autograph manuscript and other sources are missing. He also defends his sharp tongue in discussions of the secondary literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical editions of the late Beethoven piano sonatas). OJ 10/1, [22] Handwritten postcard from Dahms to Schenker, dated November [recte August] 9, 1916 Dahms hopes to be going to Wilna. OJ 10/1, [23] Handwritten letter from Dahms to Schenker, dated August 27, 1916 Dahms may be posted to Wilna, or may be discharged. He asks about the position of music critic at the Vienna Der Abend. OC 1 B/13 Handwritten draft letter from Schenker to Carl Colbert, dated September 18, 1916 Schenker excuses the raising of the name of Walter Dahms in connection with an inquiry by Tony Colbert. OJ 10/1, [24] Handwritten letter from Dahms to Schenker, dated October 13, 1916 Dahms reacts to the news that the music-critic position at Der Abend is taken; laments continued lack of opportunity to work. OJ 10/1, [25] Handwritten letter from Dahms to Schenker, dated November 26, 1916 Dahms reports on his situation, and seeks Schenker's interest in a forthcoming lecture in Vienna by Willi von Möllendorf. OJ 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December 1916] Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to Universal Edition. OJ 15/16, [28] Handwritten letter from Weisse to Schenker, dated December 1, 1916 Weisse is looking forward to leave in mid-December and to seeing Schenker. OJ 15/16, [31] Handwritten letter from Weisse to Schenker, dated November 9, 1917 Weisse now has a piano in his army lodgings, plays in the evenings, expects to send Schenker an analysis of Brahms Intermezzo, Op. 119, No. 2, shortly. The Italian defeat is near. He has sent a pamphlet by Walther Rathenau. OJ 12/26, [2] Typewritten letter from the Rothschild Artists' Foundation to Schenker, dated December 3, 1916 The Rothschild Artists' Foundation invites Schenker to serve on a panel of jurors with Guido Adler and Alfred Grünfeld. OJ 11/58, [1] Typewritten letter from the Israelitische Kultusgemeinde to Schenker, dated December 17, 1916 President Alfred Stern expresses his regret at Schenker's refusal to serve as a juror alongside Guido Adler for the Rothschild Artists' Foundation. OJ 11/35, 1 Handwritten letter from Halm to Schenker, dated January 4, 1917 Halm reports on his recent and forthcoming publications OJ 12/52, [1] Typewritten letter from Fritz Mendl to Schenker, dated January 12, 1917 Fritz Mendl informs Schenker of the bequests to him in Sofie Deutsch's will, and asks him to come to a meeting. OJ 15/16, [29] Handwritten lettercard from Weisse to Schenker, dated January 16, 1917 Back in military service after Christmas leave, Weisse reflects on the nature of duty, and recommends F. W. Foerster’s Lebensführung to Schenker. OJ 11/35, 2 Handwritten letter from Halm to Schenker, dated January 27, 1917 Halm reports on his current piano and chamber music publishing plans, and employment. OJ 11/35, 9a Handwritten postcard from Halm to Schenker, dated February 3, 1917 Halm acknowledges Schenker's letters, and will write. OJ 15/16, [30] Handwritten lettercard from Weisse to Schenker, dated February 3, 1917 Weisse asks if Schenker has not received his previous message; he is reading Kontrapunkt I. OJ 10/1, [26] Handwritten letter from Dahms to Schenker, dated March 2, 1917 Dahms's nerves are bad and he has difficulty doing any serious reading. — Moellendorf has sent a review of the quarter-tone harmonium, and Dahms comments. OC 16/27-29 Typewritten letter from Siegfried Türkel to Schenker, dated March 10, 1917 Concerning the Sofie Deutsch estate, Siegrfriel Türkel recommends Schenker to put in a claim for his honorarium without delay. OC 16/30v-33v Typewritten letter from Siegfried Türkel to Schenker, dated March 13, 1917 Dr. Türkel apologizes for failing to realize that Schenker was a fellow-lawyer, and announces that the 5,000 Kronen bequeathed in Sofie Deutsch's will have now reached him. OJ 10/1, [27] Handwritten letter from Dahms to Schenker, dated March 18, 1917 Dahms reacts to Schenker's suggestion of a stipendium for study in Vienna. OJ 11/35, 4 Handwritten letter from Halm to Schenker, dated March 18, 1917 Halm attempts to identify the fundamental differences between their two views, with reference to Beethoven, Bruckner and Brahms. He and Karl Grunsky have been estranged for some years. OJ 10/1, [28] Handwritten letter from Dahms to Schenker, dated April 20, 1917 Dahms comments on the political situation and decries widespread corruption. OC 38/146v Fragment of a typewritten letter from Siegfried Türkel to Schenker, dated March 13, 1917 Fragment of letter. OJ 10/1, [29] Handwritten letter from Dahms to Schenker, dated June 8, 1917 Dahms hopes for a posting to Berlin; he is gaining strength from reading Kierkegaard. OJ 11/35, 5 Handwritten letter from Halm to Schenker, dated July 2, 1917 Halm seeks advice on choice of edition for the Beethoven variations, and offers advice in negotiating with publishers. DLA 69.930/1 Handwritten letter from Schenker to Halm, July 8, 1917 Schenker acknowledges Halm's letter; he discusses the relative merits of editions of Beethoven variations, and looks forward to seeing Halm's review of his "Beethoven editions"; he is putting the finishing touches to Kontrapunkt 2. OJ 10/1, [30] Handwritten letter from Dahms to Schenker, dated July 10, 1917 Dahms decries democracy's reliance on the "common man" and deplores its disregard of intellectuals and artists. OJ 11/35, 9b Handwritten postcard from Halm to Schenker, dated July 21, 1917 Halm thanks Schenker for arranging that Cotta send him NMTP vols. I and II/1. OJ 8/3, [49] Handwritten postcard from Schenker to Moriz Violin, dated October 7, 1917 Heinrich and Jeanette are unable to visit. Remarks on parliaments of the regions. OJ 15/15, [4] Handwritten field postcard from Weisse to Schenker, dated October 16, 1917 Back in military service, Weisse thanks Schenker profusely for his teaching. OJ 10/1, [31] Handwritten letter from Dahms to Schenker, dated November 9, 1917 Dahms is now with the War Ministry in Berlin. He comments on Korngold and Bruckner. OJ 8/3, [50] Handwritten postcard from Schenker to Valerie Violin, dated November 16, 1917 Schenker requests Moriz's full army address; pressure of work precludes a visit; a parcel has gone astray. OJ 8/3, [51] Handwritten postcard from Schenker to Moriz Violin, dated November 23, 1917 Schenker thinks the worst is over [in World War I]; accepts promised jam. OJ 10/1, [32] Handwritten letter from Dahms to Schenker, dated December 27, 1917 Dahms is expecting peace soon. Refers to Schenker's remarks on Bruckner. OJ 6/6, [5] Handwritten letter from Schenker to Valerie Violin, dated December 30, 1917 In response to the Violins' condolences on the death of his mother, Schenker reflects sadly on her life and needs between 1890 and the late 1910s, attributing blame largely to his younger brother Moriz, less to his older brother Wilhelm; — He explains why he and Jeanette are unable to visit the Violins in the cold and without adequate clothing. OJ 15/16, [32] Handwritten letter from Weisse to Schenker, dated January 2, 1918 Weisse, in a fieldpost letter, writing in Sütterlinschrift, copies out a passage from Goethe quoted in Chamberlain's "Grundlagen des neunzehnten Jahrhunderts," and informs Schenker of his imminent change of address. OJ 15/34, [3] Handwritten letter from Viktor Zuckerkandl to Schenker, dated January 14, [1918] Acknowledges one postcard; the other reaches him while writing the letter. Reports and comments on article by Hans Friedrich in Der Merker. Remarks on the nature of hatred, national and personal, in wartime. OJ 11/35, 7 Handwritten letter from Halm to Schenker, dated January 20, 1918 Acknowledges DLA 69.930/2, January 17, 1918. Schenker has accused him of a contradiction, and he concedes it, referring to several of his publications. UE has not responded to his request for review copies of Schenker's works, so suggests a reciprocal exchange. OC 52/203 Typed letter from Hertzka (UE) to Schenker, dated February 5, 1918 Hertzka acknowledges WSLB 292 and apologizes for late reply; he knows nothing of August Halm's request for review copies of Schenker's other works, but has ordered a complete set to be sent to him. OJ 14/45, [10] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 5, 1918 Schenker, Violin alleges, has accused him of a dearth of subject matter in letter writing; Violin defends himself on grounds that his life has been disrupted by military service and the impact of that on his physical and mental state. He accuses Schenker of insensitivity, and treating him like his pupils. He defends his wife for giving food to the Schenkers, and explains her motivation for so doing. OJ 5/38, [2] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm and Dodi Schenker, dated February 5, 1918 Heinrich relays back the price of transferring Julia Schenker's body from Waidhofen to Vienna, and would hope to get a discount on that price via the Jewish Religious Community. He reports on the planned Festschrift for his 50th birthday, and his current troubles with UE. Jeanette characterizes their life as "farcical," and asks Dodi's advice in obtaining twine for repairing shirts. She comments on the Versailles Council of War as confirming Heinrich's warnings. DLA 69.930/3 Handwritten letter from Schenker to Halm, dated February 7, 1918 Schenker writes scathingly of UE's business practices; describes his counter-tactics, and his experiences over Niloff, Instrumentations-Tabelle. He will read all of Halm's writings and asks for a reading-list OJ 11/35, 8 Handwritten letter from Halm to Schenker, dated February 12, 1918 Halm acknowledges receipt of item from Schenker's publisher, and plans to reciprocate, but has little time in which to order items. Copies of his essay about Schenker have been misdirected. OJ 14/33, [3] Handwritten letter from Steglich to Schenker, dated February 15, 1918 Steglich accepts Schenker's offer of a copy of the Op. 111 Erläuterungsausgabe; he is a Riemann pupil, and has a keen interest in analyses. OJ 15/16, [33] Handwritten letter from Weisse to Schenker, dated February 18, 1918 Weisse apologizes profusely for not having paid his condolences to Schenker upon the death of his mother. OJ 15/16, [34] Handwritten letter from Weisse to Schenker, dated February 26, 1918 Weisse expresses his concerns about a proposed Festschrift in celebration of Schenker's fiftieth birthday, fearing that the work will be written largely by eminent people and journalists who have little knowledge of his teaching and so will not do justice to him as a theorist; asks Schenker for his own opinion of the matter. OC 52/559 Typed letter from Hertzka (UE) to Schenker, dated March 5, 1918 Hertzka will inquire about a review published in Lausanne; has dispatched Op. 111 to Steglich and encloses invoice and payment order; in light of Brest-Litovsk, he inquires about Kontrapunkt2 and the Kleine Bibibliothek. OJ 14/33, [4] Handwritten field postcard from Steglich to Schenker, dated March 25, 1918 Steglich, on the battlefront in the Ukraine, acknowledges receipt of Schenker's Erläuterungsausgabe Op. 111, and hopes to study it when things are quieter. OC 52/205 Typed letter from Hertzka (UE) to Schenker, dated April 10, 1918 Hertzka returns the Bekker review with thanks, and reflects on Schenker's remarks concerning Urtext editions; he encloses the requested copy of the Gazette de Lausanne. OC 52/206 Typed postcard from Hertzka (UE) to Schenker, dated April 18, 1918 Hertzka acknowledges return of Gazette de Lausanne article and concurs with Schenker's view on editing. OJ 15/15, [5] Handwritten postcard from Weisse to Schenker, dated April 20, 1918 Weisse apologizes for not having written recently, expresses his frustration that the war continues. OJ 15/16, [35] Handwritten letter from Weisse to Schenker, dated May 5, 1918 Weisse reports his renewed interest in counterpoint through the rereading of the first volume of Schenker's Kontrapunkt; he has also come across Bussler's Freier Satz and has heard mainly positive things about Ernst Kurth's Linearer Kontrapunkt, a book which he will order and report on to his teacher. OJ 15/15, [6] Handwritten postcard from Weisse to Schenker, dated May 27, 1918 Weisse, on three-month leave (June-August 1918) to finish work towards his doctoral degree, asks Schenker for tuition in counterpoint and thoroughbass. OJ 10/1, [33] Handwritten letter from Dahms to Schenker, dated June 15, 1918 Dahms sends 50th birthday wishes [and encloses a published article]. OJ 12/9, [22] Handwritten postcard from Karpath to Schenker, dated July 18, 1918 Karpath regrets that Schenker's letter came too late, and he was unable to act on it. OJ 14/33, [5] Handwritten letter from Steglich to Schenker, dated July 22, 1918 Steglich has studied the Op. 111 Erläuterungsausgabe. Rejecting the polemic as redundant, he makes detailed suggestions concerning the relationship of the Arietta to the coda of the first movement. OJ 14/5, [5] Handwritten postcard from Moriz Schenker to Heinrich Schenker, dated July 22, 1918 Moriz Schenker has received Heinrich's letter and will visit him in a few days' time. OJ 12/9, [23] Typewritten letter from Karpath to Schenker, dated July 28, 1918 Karpath contests Schenker's argument that failing to write an obituary for Eduard Gärtner was a neglect of duty, defends the position of the music critic, and draws attention to a commemorative article on Gärtner. OJ 10/1, [34] Handwritten letter from Dahms to Schenker, dated July 29, 1918 Dahms thanks Schenker for his long letter; reports on his vacation in Munich and visit with Vrieslander; he is looking forward to studying with Schenker in Vienna. OJ 14/5, [6] Handwritten fieldpostcard from Moriz Schenker and Hans Guttmann to Heinrich Schenker, dated August 8, 1918 Moriz Schenker regrets not having spoken to Heinrich but hopes to be in Vienna again soon; he has Hans Guttmann staying, and has written to Sophie Guttmann; note by Hans Guttmann. OJ 15/5, [1] Handwritten letter from Eberhard von Waechter to Schenker, dated August 21, 1918 Waechter asks for a copy of Schenker's Kontrapunkt 2, because he is making a critique of the Neue Musuikalische Theorien und Phantasien; he requests an article for Das Neue Oesterreich from Schenker, and hopes for regular contributions in future. OJ 14/5, [7] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated August 28, 1918 Moriz Schenker reports that he has received a letter from Sophie and Salo Guttmann; he has dispatched flour to Heinrich's Vienna address; he will be in Vienna soon and hopes to call on Heinrich. OJ 14/5, [8] Handwritten letter from Moriz Schenker to Sophie and Salo Guttmann, dated August 28, 1918 Moriz Schenker promises Sophie and Salo Guttmann that he will help them by writing to a senior official and guaranteeing their war loan, and asks for details. — He will be traveling on business and hopes to see Hans Guttmann and Heinrich Schenker. OJ 14/5, [10] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 15, 1919 Moriz Schenker found Schenker not at home; can come Thursday; Heinrich's money is available for collection. OJ 15/5, [2] Handwritten letter from Eberhard von Waechter to Schenker, dated September 17, 1918 Waechter tries again to elicit contributions from Schenker to Das Neue Oesterreich, and asks Schenker's opinion on an analysis of a Schubert song. Schenker's honorarium for lessons is too high. OJ 15/16, [36] Handwritten letter from Weisse to Schenker, dated September 30, 1918 Still in military service, Weisse asks Schenker for advice regarding the interpretation of the ritardandos in the first movement of Beethoven's Eighth Symphony. OJ 11/30, [1] Handwritten postcard from Wilibald Gurlitt to Schenker, dated October 7, 1918 Gurlitt expresses admiration for Schenker's Beethovens Neunte Sinfonie, and inquires whether his "Formenlehre" or "Kunst des Vortrags" has yet been published. OJ 14/37, [3] Handwritten letter from Paula Szalit to Schenker, dated November 9, 1918 Paula Szalit describes her desire to return to the concert and teaching worlds, and asks for a consultation. OJ 10/1, [35] Handwritten postcard from Dahms to Schenker, dated December 13, 1918 Dahms and his wife have moved to Wasserburg, and he is beginning work again. OJ 11/35, 9c Handwritten postcard from Halm to Schenker, dated December 13, 1918 Halm acknowledges DLA 69.930/4 and help, and promises to write soon. OJ 11/35, 10 Handwritten letter from Halm to Schenker, dated December 14, 1918 Halm thanks Schenker for assistance over stipend; asks if Schenker has received compositions sent to him; Halm's post-War prospects may be better. OJ 15/16, [37] Handwritten letter from Weisse to Schenker, dated December 24, 1918 Weisse sends Schenker a volume [Handel keyboard works] as a Christmas present. OJ 14/40, [1a] Typed letter from Türkel to Schenker, dated December 27, 1918 Acknowledges letter of December 25, 1918 [not surviving]; Türkel distances himself from Schenker's recent actions [over stipends]; Schenker cannot count on restitution of money overspent; these matters have nothing to do with Türkel or the Deutsch estate. Encloses[?] copy of earlier "disclaimer" [= OJ 14/40, [1b]]. DLA 69.930/6 Printed/typed bank authorization to Halm, dated December 28, 1918 856 Marks transferred to Halm. OJ 11/35, [10a] Handwritten letter from Halm to Schenker, dated December 31, 1918 Halm acknowledges DLA 69.930/6; asks for payment to be made to his Esslingen bank a/c; comments on effects of currency changes; refers to assistance offered by Schenker. OJ 11/35,9d Handwritten postcard from Halm to Schenker, dated January 12, 1919 Halm acknowledges receipt of 856 Mk. OJ 13/10, [6] Handwritten letter from Oppel to Schenker, dated February 19, 1919 Oppel thanks Schenker for EA, Opp. 110 and 111, which he has enjoyed, inquires after EA, Opp. 101 and 106, and Kontrapunkt 2, and raises a possible thematic link between two movements of Op. 110 (music example). His plan to study with Schenker has to be deferred; he will soon send compositions, and asks for unsparing criticism. OJ 12/9, [24] Typewritten letter from Karpath to Schenker, dated March 11, 1919 The amount [for Hammerschlag] was 500, not 400, Kronen. OJ 10/1, [36] Handwritten letter from Dahms to Schenker, dated March 15, 1919 Dahms is spending time with Otto Vrieslander, working through Schenker's Harmonielehre with him and preparing himself for study with Schenker. He rejoices at the crushing of German militarism. OJ 12/9, [25] Handwritten letter from Karpath to Schenker, dated March 27, 1919 Mittelmann refused Schenker's 100 Kronen. Karpath has terminated Mittelmann's working relationship with him. OC 52/207 Typed postcard from Ernst Roth (UE) to Schenker, dated May 20, 1919 Hertzka is away and expected back in 8-10 days. OC 52/923 Typed letter from Hertzka (UE) to Schenker, dated June 6, 1919 Hertzka acknowledges receipt of WSLB 302; he cannot entertain early publication of Weisse's work but wishes to get to know it now. — He hopes to have work from Schenker's pen as soon as work for Cotta is finished. — He proposes that the Foreword to Die letzten fünf Sonaten von Beethoven ... op. 111 be omitted [in an future edition]. OJ 10/1, [37] Handwritten letter from Dahms to Schenker, dated June 11, 1919 Dahms sends greetings on Schenker's birthday, finds solace in Nietzsche and Kierkegaard, and is studying counterpoint with Vrieslander. OC 52/924 Typed letter from Hertzka (UE) to Schenker, dated June 16, 1919 Hertzka acknowledges WSLB 303 and seeks a meeting; the Foreword [to Op. 111] will remain unchanged. OJ 15/16, [38] Handwritten letter from Weisse to Schenker, dated July 15, 1919 On hearing that Schenker is already on holiday, and being not far from him (In Bad Ischl), Weisse inquires about the possibility of paying a visit. OJ 10/1, [38] Handwritten postcard from Dahms to Schenker, dated July 22, 1919 Dahms thanks Schenker for his postcard and letter, hopes to visit Schenker, and asks how long he will be staying at Schloss Tantalier. OJ 15/16, [39] Handwritten letter from Weisse to Schenker, dated August 2, 1919 Weisse accepts Schenker's invitation to visit him while on holiday. OJ 10/1, [39] Handwritten letter from Dahms to Schenker, dated August 9, 1919 Dahms is busy writing; hopes to visit Schenker around August 25. OJ 10/1, [40] Handwritten letter from Dahms to Schenker, dated August 23, 1919 Dahms gives his travel plans. OJ 10/1, [43] Handwritten postcard from Dahms to Schenker, dated August 31, 1919 Dahms reports on his journey home and sends thanks for an unforgettable experience. OJ 15/16, [40] Handwritten letter from Weisse to Schenker, dated September 1, 1919 Weisse thanks Schenker for his hospitality, and is glad to learn that he and Jeanette will be able to remain on holiday at Klammerth's castle. OJ 15/5, [3] Handwritten letter from Eberhard von Waechter to Schenker, dated September 2, 1919 Waechter is sending copy of his Schubert study, and offers to send the manuscript of his forthcoming book for Schenker's assessment. OJ 14/5, [9] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 3, 1919 Moriz Schenker assures Heinrich that his deposited money is safe, and expresses delight that all impediment to the marriage has been rescinded. OJ 13/10, [7] Handwritten letter from Oppel to Schenker, dated September 7, 1919 Oppel expresses his pessimism in the aftermath of the war and the prospects for his generation. He sends a chaconne for Schenker's comment, and reports his appointment as a teacher in theory and composition at the Kiel Conservatory. Alfred Einstein asked him for a review of the Erläuterungsausgabe, but he declined. OJ 10/3, [2] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 8, 1913 Deutsch encloses part of a letter from Ludwig Scheibler, which he says will interest Schenker. He has finished work on two volumes of his documentary biography. OJ 10/1, [44] Handwritten letter from Dahms to Schenker, dated September 10, 1919 Dahms thanks the Schenker's for his time with them, and reports what he is doing currently; he endorses Nietzsche's view of Germany and the Germans, and speaks of the unprincipledness that its legal system and officialdom fosters. OJ 10/1, [45] Handwritten letter from Dahms to Schenker, dated September 26, 1919 Dahms responds to Schenker's letter (non-extant). He reflects on Prussian militarism. He declares that there is no such things as "military genius"; Germany was as guilty as the Entente Powers for the war; soldiers were treated as slaves by their officers, with Wilhelm II bearing the ultimate guilt. He rejects all political parties. England does not treat its people as Germany does. He believes only in the German spirit, which he regards as the spirit of the world. He cannot wait to leave Germany, and wants only to immerse himself in Schenker's work. OJ 15/5, [4] Handwritten letter from Eberhard von Waechter to Schenker, dated October 1, 1919 Waechter asks for an article on performance for Der Merker, remarking that analysis takes the performer only so far, after which the latter's feelings must take over. He praises Schenker's prowess in analysis, and asks again if he may send the manuscript of his latest book for Schenker's appraisal. OJ 15/18, [2] Credit slip from Wiener Bank-Verein, dated October 10, 1919 Credits Schenker with 346.92 Marks and converts them to 1,121.40 Kronen. OJ 15/18, [3] Account from Wiener Bank-Verein, dated October 10, 1919 Statement of account, balance 1,121.40 Kronen. OJ 15/5, [5] Handwritten note from Eberhard von Waechter to Schenker, dated October 11, 1919 Waechter regrets Schenker's refusal to agree to write articles for Der Merker, and expresses doubts about his "prophetic zeal." OJ 10/1, [46] Handwritten postcard from Dahms to Schenker, dated October 17, 1919 Dahms reports on the present whereabouts of the autograph manuscript of Beethoven Op. 101. OJ 15/5, [6] Handwritten letter from Eberhard von Waechter to Schenker, dated October 19, 1919 Waechter understands Schenker's wish not to pre-publish his Art of Performance in article form, and hopes that Schenker will provide a universal solution to the performance problem; explains the editorial control of Der Merker, encouraging Weisse to submit his two articles to it; expresses pleasure that he has procured from Halm reviews of Schenker's Harmonielehre and Kontrapunkt 1; is unable to send his Musikkritik der Gegenwart at present. OJ 11/16, [A] Handwritten letter from Furtwängler to Schenker, undated Furtwängler asks if he can call on Schenker that evening. OJ 11/16, [B] Handwritten letter from Furtwängler to Schenker, undated Furtwängler asks if he can call on Schenker the coming Friday. OJ 11/16, [C] Handwritten letter from Furtwängler to Schenker, undated Furtwängler asks if he can call on Schenker the coming Sunday. OJ 11/16, [D] Handwritten letter from Furtwängler to Schenker, undated Furtwängler hopes to visit Schenker in about a week's time. OJ 11/16, [E] Handwritten letter from Furtwängler to Schenker, undated [1928‒30] Furtwängler cancels meeting on account of illness. OJ 11/16, [F] Handwritten letter from Furtwängler to Schenker, undated Furtwängler asks for a meeting this evening at Meißl. OC 16/37v-36v Typed letter from Türkel to Schenker, dated November 3, 1919 Tükel reports the contents of a letter he has received from Dr. Friedmann. OJ 11/35, 11 Handwritten letter from Halm to Schenker, dated November 3, 1919 Acknowledges DLA 69.930/8, October 27, 1919, sends a serenade and asks for comments. Sends best wishes for relocation to Germany and inquires as to city. OC 52/210 Typed letter from Hertzka (UE) to Schenker, dated November 8, 1919 Hertzka has arranged for a copy of his monograph Beethovens Neunte Sinfone to be sent, and welcomes Schenker's remarks about resuming work for UE. PS: He is sending the first issue of Musikblätter des Anbruch. OC 52/211 Typed letter from Hertzka (UE) to Schenker, dated November 14, 1919 Hertzka will correct the price of Beethovens Neunte Sinfonie and send a copy of Die letzten fünf Sonaten von Beethoven ... op. 111 to Dolfi Baudrexel. He hopes that Schenker will contribute to Musikblätter des Anbruch. OJ 10/3, [4] Handwritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1919 Deutsch announces that he has taken over a book dealership, and seeks custom. OJ 11/16, [1] Handwritten letter from Furtwängler to Schenker, dated November [18 or 19,] 1919 Furtwängler prizes Schenker's approval higher than that of others; he is uncertain what role he is destined to play in the musical life of Vienna; he hopes to talk with Schenker. OJ 11/16, [2] Handwritten letter from Furtwängler to Schenker, dated November 27, 1919 Furtwängler proposes that they meet in a restaurant on Saturday evening. OJ 10/1, [47] Handwritten letter from Dahms to Schenker, dated November 28, 1919 Dahms discusses his future prospects for study, particular where to study (he discusses conditions in several cities), and with whom. He asks Schenker's advice. He is resolved to leave Vrieslander because of the latter's pessimism. OC 52/212-213 Typed letter from Hertzka (UE) to Schenker, dated December 1, 1919 Hertzka is pleased to hear that the availability of the autograph manuscript of Op. 101 means that the series Die letzten fünf Sonaten von Beethoven can go forward, and is in agreement with Schenker's proposal to edit the remaining twenty-seven Beethoven sonatas. He asks for a meeting to discuss the honorarium. OC 52/214 Typed postcard from Hertzka (UE) to Schenker, dated December 9, 1919 Hertzka agrees to place and time of a meeting on Friday May 12. OC B/268 Typewritten letter from Louis Koch to Schenker, dated December 10, 1919 Koch asks about the format of the required photography. OC 16/38v Typed letter from Türkel to Schenker, dated December 13, 1919 Türkel acknowledges letter and requests explanation. OC 52/507-508 Typed letter from Hertzka (UE) to Schenker, dated December 19, 1919 Hertzka is pleased that Louis Koch has given his consent [for Op. 101]; he suggests that UE obtain certain sources from the Gesellschaft der Musikfreunde Archive on loan at the office for Schenker to work on; and offers a larger fee for Op. 101, and cautions Schenker about growing costs of photographic work. OJ 10/1, [48] Handwritten letter from Dahms to Schenker, dated December 21, 1919 Dahms thanks Schenker for his advice on the next stage of instruction. He wrote to Halm, who confirmed what Schenker had said. He congratulates Schenker on the superhuman work that he is doing under current adverse circumstances. OJ 10/1, [49] Handwritten letter from Dahms to Schenker, dated December 27, 1919 Thanking Schenker for his kindness, he agrees that Schenker should delay the payment of a sum of money to him, and asks if he might stay near Schenker for a few weeks during the summer of 1920. OC B/170 Typewritten letter from Wilhelm Altmann to Schenker, dated January 5, 1920 Altmann will have photographs [of sketches of Beethoven, Op. 101] prepared upon receipt of application form. OJ 11/35, 14 Handwritten letter from Halm to Schenker, dated January 5, 1920 Halm offers advice on securing satisfactory contractual terms, favoring percentages over one-time payments. OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8, 1920 Deutsch reports that Hertzka wants the music connoisseur edition of the "Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch outlines the basis of the contract (editors will receive 8% of the retail price) and the production timetable. He asks if Schenker would rather take on a different facsimile due to competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in Vienna. OJ 10/3, [6] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 9, 1920 Deutsch is sorry that a customer prevented him for speaking with the Schenkers when they visited his store. Photographic originals will be needed for the connoisseur edition. OJ 11/35, 15 Handwritten letter from Halm to Schenker, dated January 11, 1920 Halm expresses reservations about Kleine Bibliothek plan; wishes Schenker might write history of music. —PS: Advises Sschenker to insure a regular income before moving to Germany. OJ 8/3, [80] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 12, 1920 Schenker comments acerbically on the settlement with Emil Kornfeld. — Reports on a contract Halm has shown him. — Inquires about the children's health and reports that Wilhelm has been taken ill. OC 52/446 Typed letter from Hertzka (UE) to Schenker, dated January 14, 1920 Hertzka has not yet gone to Frankfurt.—- He wants to publish the "Moonlight" Sonata in a series edited by Otto Erich Deutsch. — Would like to do new edition of complete Beethoven sonatas, but without wholesale reengraving. — Discusses financial arrangements for the latter, and for the Kleine Bibliothek. — Encloses the contract for Die letzten fünf Sonaten von Beethoven ... op. 101. OJ 10/3, [7] Handwritten letter from Otto Erich Deutsch Deutsch to Schenker, dated January 16, 1920 Deutsch will write to the Beethoven House in Bonn to seek permission to reproduce the manuscript of the "Moonlight" Sonata. He suggests using the first edition as the source for the missing opening and closing bars, and asks Schenker to refrain from polemics in his commentary. Copies of the manuscripts of Beethoven's piano sonatas Opp. 28, 109, 110 and 111 should not be difficult to obtain, and he has made inquiries regarding the manuscripts of Beethoven's Piano Sonata Op. 106 and Mozart's A minor Rondo K. 511. OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22, 1920 OC 52/215 Typed letter from Hertzka (UE) to Schenker, dated January 23, 1920 Hertzka is sending the publisher's copy of the contract for Die letzten fünf Sonaten von Beethoven ... op. 101 and the first tranche of honorarium, discusses the facsimile edition of the "Moonlight" Sonata, raises issues regarding the prospective Beethoven collected sonatas edition and Kleine Bibliothek, and expresses pleasure that he and Schenker are again in accord. OC 16/39v-40v Typed letter from Türkel to Schenker, dated January 26, 1920 Following affirmative reaction from Fritz Mendel, Türkel asks Schenker to call on him. OJ 8/3, [81] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 31, 1920 Schenker asks Violin to inquire about availability of the apartment of one of the Rosé String Quartet members. OC B/168 Typewritten postcard from Wilhelm Altmann to Schenker, dated February 5, 1920 The photographs of Op. 101 are ready and will be sent. OJ 10/3, [8] Handwritten postcard from Otto Erich Deutsch Deutsch to Schenker, dated February 12, 1920 The Beethoven House will only allow reproduction of the manuscript of the "Moonlight" Sonata in return for a royalty. Deutsch has offered 5% of the retail price. OJ 8/3, [82] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated February 13, 1920 Amount of divorce settlement and its investment. — Op. 101/3 sketches arrived. OC 52/218 Typed letter from Fischmann (UE) to Schenker, dated February 19, 1920 Acting for the Schutzverband deutscher Schriftsteller in Wien, Fischmann offers Schenker advice on the draft contract for the Kleine Bibliothek. OJ 11/35, 16 Handwritten letter from Halm to Schenker, dated February 10, 1920 Halm acknowledges 69.930/9 and return of contracts. H is looking for a new publisher for his compositions, and wonders whether Schenker would put in a good word to UE on his behalf, or whether Schenker knows of a small press that might be suitable. Wishes Furtwängler would perform something of his. OC B/168 Typewritten letter from Wilhelm Altmann to Schenker, dated February 25, 1920 Altmann is glad Schenker hopes to visit the Library; photography of Chopin Etudes Op. 10 is in progress. OC B/267 Typewritten letter from Louis Koch to Schenker, dated February 27, 1920 Koch is sending photographs separately. OJ 10/3, [9] Handwritten postcard from Otto Erich Deutsch to Schenker, dated March 1, 1920 Deutsch thanks Schenker for his suggestion of Brahms's Op. 117; Mr. Kalbeck has suggested Brahms's "Sapphische Ode" (Op. 95, No. 4) and "Nachtwandler" (Op. 86, No. 3). OJ 10/1, [50] Handwritten picture postcard from Dahms to Schenker, dated March 6, 1920 Dahms sends greetings from Berlin. OJ 8/3, [83] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 8, 1920 Tonschl's report on conversation with Moriz Schenker, and advice. OC 52/219 Typed postcard from Rothe (UE) to Schenker, dated March 9, 1920 Vol. II of the Beethoven sonatas is being dispatched to Schenker. OC 52/220 Typed letter from Hertzka (UE) to Schenker, dated March 13, 1920 Hertzka thanks Schenker for commiserations, expresses pleasure that the photographs [of Op. 101] have arrived, and seeks a meeting to discuss the Kleine Bibliothek. OJ 8/3, [84] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 16, 1920 Moriz Schenker extends invitation to meet, confirms sum of 68,080 Kronen. — Meeting with Hertzka scheduled for next day. OC 52/223 Handwritten draft contract, in Jeanette Schenker's hand, between UE and Schenker for the Kleine Bibliothek and Beethoven sonatas edition, undated [March 17,?] 1920 Handwritten draft contract jointly for the Kleine Bibliothek and Beethoven sonatas edition. OC 52/221 Typed letter from Hertzka (UE) to Schenker, dated March 26, 1920 Hertzka seeks a meeting to discuss the letter of agreement about the Beethoven sonatas edition, and laments their difficulty in meeting. OC 52/222 Typed letter from Fischmann to Schenker, dated March 26, 1920 Fischmann asks Schenker to call on him on March 31. OC 52/224 Typed letter from Fischmann (UE) to Schenker, dated April 3, 1920 Fischmann gives advice on Schenker's contracts for the Kleine Bibliothek and the collected Beethoven piano sonatas. OC 16/41v-42v Typed letter from Türkel to Schenker, dated April 6, 1920 Türkel corrects Schenker and suggests he make inquiries with Friedmann. OC 52/225 Typed postcard from Hertzka/Rothe (UE) to Schenker, dated April 7, 1920 Hertzka agrees to meet Schenker. OC 52/409 Typed letter from Hertzka (UE) to Schenker, dated April 12, 1920 Hertzka encloses the contracts for the Kleine Bibliothek and collected Beethoven sonatas, hoping that it will meet with approval. -- He explains the rise in price of the Instrumentations-Tabelle. OJ 8/3, [85] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 12, 1920 Schenker inquires about Furtwängler, and reports progress with Hertzka. OJ 11/35, 17 Handwritten letter from Halm to Schenker, dated April 13, 1920 Halm acknowledges receipt of DLA 69.930/9; voices misgivings about publishing with UE and discusses publishers' unscrupulous tactics and the difficulty of legal redress. OC 52/226 Typed letter from Hertzka (UE) to Schenker, dated April 16, 1920 Hertzka agrees to pay extra costs for photography [of Op. 53], but sets conditions. OC 52/227 Typed letter from Fischmann (UE) to Schenker, dated April 17, 1920 Fischmann sees two points still outstanding over the contracts for the Kleine Bibliothek and Beethoven sonatas, and advises him how to handle them. OC B/162 Typewritten letter from Wilhelm Altmann to Schenker, dated April 19, 1920 Altmann advises Schenker on the early sources of Beethoven piano sonatas in the Library's possession. OC 52/228 Typed postcard from Hertzka (UE) to Schenker, dated April 22, 1920 Hertzka regrets the difficulties that Schenker has made over the letter of agreement, and will be away for several weeks. OC 32/29v-27v Typed letter from Friedmann to Schenker, dated April 23, 1920 Friedmann asks Schenker if he might explain the situation in person. OJ 8/3, [86] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated May 5, 1920 Schenker writes scathingly about his brother Moriz's attitude to Schenker's problems. OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920 OJ 10/1, [52] Handwritten letter from Dahms to Schenker, dated June 9, 1920 Reflecting on the difficulty of finding housing and provisions, and on the recent German federal elections, Dahms asks whether mastery of chorale and fugue is to be obtained solely by exercises in the manner of [E. F.] Richter and others. — He inquires whether Schenker knows Kurth's Grundlagen des linearen Kontrapunkts, and whether there are any worthwhile [musical] people in Salzburg. OJ 10/1, [53] Handwritten letter from Dahms to Schenker, dated June 15, 1920 Dahms sends birthday greetings and reflects on the sorry conditions for the arts prevailing in the current political climate. OJ 10/3, [10] Handwritten postcard from Otto Erich Deutsch to Schenker, dated June 15, 1920 The Beethoven House has given permission for the reproduction of the "Moonlight" Sonata, and have suggested a photographer. Before arranging for the reproduction, Deutsch asks Schenker to send his existing prints to determine if they are suitable. OC 52/229 Typed letter from Hertzka (UE) to Schenker, dated June 24, 1920 Hertzka will meet with Schenker on Friday July 2 to receive the manuscript of Schenker's Op. 101 monograph and photographs of the "Moonlight" Sonata. OJ 15/16, [41] Handwritten letter from Weisse to Schenker, dated "end of June, 1920" Taking his leave of Schenker as a pupil, Weisse expresses his gratitude for all that Schenker has done for his artistic and human development, and declares himself ready to continue in the service of his teacher's highest ideals. OC 52/448 Typed contract between UE and Schenker for the Beethoven sonatas edition, dated July 10, 1920 Contract between UE and Schenker for the Beethoven sonatas collected edition. OJ 15/16, [42] Handwritten letter from Weisse to Schenker, dated July 11, 1920 Weisse wishes Schenker an enjoyable summer holiday, and looks forward to visiting him. He inquires about the possibility of moving into Reisnerstraße 38, in the event that the Schenkers move elsewhere, and informs his teacher about the organization of a lecture series at the Vienna Urania. He concludes with some remarks about literary works, Wedekind's Schloß Wetterstein and Jean Paul's Levana. OJ 10/1, [54] Handwritten postcard from Dahms to Schenker, dated July 12, 1920 Dahms is pleased that Schenker is in the mountains, and hopes for a meeting with him in Munich on Schenker's way to Stuttgart. OJ 10/3, [12] Typewritten postcard from Otto Erich Deutsch to Schenker, dated July 12, 1920 Deutsch has written to Edward Speyer about the sketchleaf [of the "Moonlight" Sonata], and wishes Schenker success with his contract for the Little Library and Complete Edition. OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14, 1920 The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit them? OJ 15/16, [43] Handwritten letter from Weisse to Schenker, dated July 19, 1920 Weisse reports his arrival for the summer in Ischl, and the grave illness that has befallen his grandfather there. He sends Schenker three excerpts from Jean Paul's review of Mme. de Staël's "On Germany" (1810), which he expects his teacher will find useful as cultural and political ammunition against the French. OC 52/517 Typed contract from between UE and Schenker for the Kleine Bibliothek, dated July 10, 1920 Contract between UE and Schenker for the Kleine Bibliothek. OJ 10/1, [55] Handwritten letter from Dahms to Schenker, dated July 30, 1920 Dahms finds the Berlin musicians on vacation to be ignorant – "artistic bolshevism." — He now understands Kurth's work better for Schenker's comments. OJ 8/3, [88] Handwritten postcard from Heinrich & Jeanette Schenker to Moriz Violin, dated July 30, 1920 Schenker reports that the attempt to procure an apartment in Reisnerstraße 17 has failed, and complains about the corrupt circumstances. OJ 10/3, [13] Typewritten postcard from Otto Erich Deutsch to Schenker, dated August 5, 1920 The photograph of Speyer's sketchleaves is still forthcoming. Deutsch has discovered that a Dr. Wilhelm Kux possesses a further sketchleaf of the "Moonlight" Sonata, and asks Schenker if he wants Deutsch to try secure a reproduction of it. OJ 15/16, [44] Handwritten letter from Weisse to Schenker, dated August 10, 1920 Weisse explains that his grandfather's death prevents him from visiting Schenker in Seefeld, but hopes that he might nonetheless visit him elsewhere before the end of the summer holidays. OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16, 1920 Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight" Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside. Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him to write to the Museum to request a photograph of the sketchleaf. OJ 10/1, [56] Handwritten letter from Dahms to Schenker, dated August 19, 1920 Dahms is having difficulty obtaining a passport, but still hopes to see Schenker this summer, perhaps in Munich. — He sends his three biographical books to Schenker, but is apprehensive of the latter's reaction to their hemeneutic elements; he hopes to writes something more fitting. OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920 Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp. 109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's attentions. OJ 11/35,18a Handwritten postcard from Halm to Schenker, dated August 21, 1920 Halm advises Schenker on choice of carbon copy systems. OJ 8/3, [89] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 23, 1920 Gives date of return to Vienna, and confirms Tuesday meeting. OJ 10/1, [57] Handwritten postcard from Dahms to Schenker, dated August 25, 1920 Dahms understands that he cannot meet with Schenker; the three books are about to be dispatched. OJ 10/1, [58] Handwritten postcard from Dahms to Schenker, dated September 2, 1920 Dahms explains the sources of the three books. — Vrieslander gave him an enthusiastic account of his time in Seefeld. OJ 9/30, [7] Handwritten letter from Carl Colbert to Schenker, dated September 6, 1920 Carl Colbert invites Schenker to submit an article to Der Abend for the 150th anniversary of Beethoven's birth. OC 52/231 Typed letter from Kalmus and Detoni (UE) to Schenker, dated September 8, 1920 Kalmus encloses print samples of type-sizes for the Kleine Bibliothek, and promises samples of the engraving, and copies requested. OJ 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13, 1920 Deutsch asks Schenker to clarify whether bars are missing from the start of the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal Edition's intended format for the volume, and ask if Schenker approves of their proposals. Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical Times. OC B/159 Typewritten postcard from Wilhelm Altmann to Schenker, dated September 20, 1920 The photographs of Beethoven's Fifth Symphony, first movement, should be dispatched next week. OC 52/233 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 23, 1920 UE is sending over large and small engraving samples of the Kleine Bibliothek for Schenker's approval, and confirms receipt of the documentary evidence and Schenker's previous letter. OC B/158 Handwritten postcard from Wilhelm Altmann to Schenker, dated September 25, 1920 Altmann notifies Schenker of the cost of photographic work done. OJ 10/3, [16] Typewritten letter from Otto Erich Deutsch to Schenker, dated October 1, 1920 Deutsch encloses images of Wilhelm Kux's sketchleaf of the "Moonlight" Sonata for Schenker to study. He is writing to the [Fitzwilliam] Museum in Cambridge about their sketchleaf of the Sonata. OC 52/234 Typed postcard from Nella Balassa (UE) to Schenker, dated October 4, 1920 Schenker is asked to send the figure back with messenger. OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October 16, 1920 Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit Wally next Sunday. OJ 8/3, [90] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, undated, postmarked [October] 17, 1920 The Schenkers are unable to visit Wally this Sunday, but will do so the following Sunday. OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920 Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about the autograph manuscript for which Schenker is waiting. OJ 15/15, [8] Handwritten postcard from Weisse to Schenker, dated November 2, 1920 Weisse asks for help in explaining the development section of the first movement of Brahms's Piano Trio No. 1 in B major, Op. 8; asks for the address of Fräulein Fried. OC 52/237 Typed letter from Kalmus (UE) to Schenker, dated November 5, 1920 Kalmus confirms that the "Secondary Literature" section of Op. 101 will be set in small type; he is writing to Paris about the "Appassionata." OJ 10/3, [17] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 6, 1920 Deutsch encloses two photographic prints of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaf. Edward Speyer has not yet had his sketchleaf photographed, but has sent a description of its content, which Deutsch passes on. OJ 10/3, [18] Typewritten postcard from Otto Erich Deutsch to Schenker, dated November 13, 1920 Deutsch has obtained a sheet with corrections for Beethoven's "Hammerklavier" Sonata, which he would like to show Schenker. The photographic images of the "Moonlight" Sonata will be made this week. OJ 10/3, [19] Typewritten postcard from Leo Fischmann to Schenker, dated November 22, 1920 Leo Fischmann (legal attorney) invites Schenker to visit him at home. OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26, 1920 Replying to Schenker's postcard of November 20th, Deutsch writes that the connoisseur edition is to be reproduced using photolithography, and repeats the particulars of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111). Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks for sight of the draft of Schenker's Preface. OJ 11/16, [3] Handwritten letter from Furtwängler to Schenker, dated November 26, 1920 Furtwängler proposes that they meet on Tuesday [November 30, 1920]. OC 52/238 Typed letter from Rothe (UE) to Schenker, dated December 6, 1920 UE are delivering [first] proofs of Op. 111 and second proofs of figures [for "Schubert: Ihr Bild"]. OJ 10/3, [21] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 11, 1920 Deutsch encloses the photographs of Edward Speyer's "Moonlight" Sonata sketchleaves and asks Schenker to revise his Preface accordingly, before forwarding the photographs and Preface to him. The photographic reproduction of the Sonata manuscript in Bonn has been delayed by a chemical and glass shortage. Schenker's corrections were used for the prospectus. OC 52/485 Contract between Otto Erich Deutsch and Schenker, dated December 16, 1920 Contract between Otto Erich Deutsch and Schenker for the facsimile edition of Beethoven, "Moonlight" Sonata. OC 52/239-240 Typed letter from Hertzka (UE) to Schenker, dated December 18, 1920 Hertzka and Schenker will discuss the Niloff Instrumentations-Tabelle; Hertzka offers two alternative solutions to UE's taking over of Kontrapunkt 2. OC 52/241 Typed letter from Kalmus (UE) to Schenker, dated December 21, 1920 UE acknowledges receipt of the manuscript of "Beethoven's Fifth Symphony" and notifies Schenker that he will be receiving proofs of Die letzten fünf Sonaten von Beethoven ... op. 101. OJ 10/1, [59] Handwritten letter from Dahms to Schenker, dated December 22, 1920 Dahms sends the Schenkers best wishes for Christmas and the New Year; speaks of Schenker as "our great leader"; inquires about progress on publication of three Schenker works and whether Schenker has sufficient fuel and other necessities. OJ 10/3, [22] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 23, 1920 Deutsch confirms receipt of Schenker preface for the "Moonlight" Sonata edition and five photographs of sketchleaves. He will send a formal contract in the next few days. OC B/155 Typewritten letter from Wilhelm Altmann to Schenker, dated December 28, 1920 Altmann reports extra cost of photographic work. OJ 10/1, [60] Handwritten letter from Dahms to Schenker, dated December 29, 1920 Dahms thanks Schenker for his assessment of the three of his books that he has sent him; gives a chapter synopsis of his next book, concerning Nietzsche and music; reports on his movement in the coming months. OC 52/561 Typed letter from Hertzka (UE) to Schenker, dated December 30, 1920 Hertzka wishes to discuss the transfer of Kontrapunkt 2 in person. He also wishes urgently to discuss "The Mission of German Genius." [This crucial letter marks the beginning of the deterioration of relations between Schenker, Hertzka, and UE between 1920 and 1925.] OJ 11/35, 18b Handwritten letter from Halm to Schenker, dated December 30, 1920 Halm acknowledges letter, sends one newly-published composition, and tells Schenker of a forthcoming performance of a concerto by him, and three compositions turned down for publication. OC 52/242 Typed postcard from Hertzka (UE) to Schenker, dated January 3, 1921 Hertzka confirms day and time of meeting. OJ 10/1, [61] Handwritten letter from Dahms to Schenker, dated January 5, 1921 Dahms thanks Schenker for a photograph. OJ 8/4, [1] Handwritten postcard from Schenker to Moriz Violin, dated January 10, 1921 Schenker asks Violin to arrange for payments and currency conversion. OC 52/244 Typed letter from Hertzka (UE) to Schenker, dated January 12, 1921 Hertzka sends contracts for NMTP and Kontrapunkt 2, and discusses the take-over from Cotta, requesting Schenker's estimate of remaining stocks, and asking whether changes would be required in a second edition of Kontrapunkt I. OC B/156 Typewritten postcard from Wilhelm Altmann to Schenker, postmarked January 18, 1921 Photographing of movements 2-4 of Beethoven's Fifth Symphony will be delayed until February. OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30, 1921 The overdue ["Moonlight" Sonata edition] contract is finally ready, and Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready. Schenker should expect to receive an edited version of his commentary, and perhaps also an English translation. OJ 8/4, [2] Handwritten postcard from Schenker to Moriz Violin, dated February 6, 1921 Schenker congratulates Violin on obtaining a teaching post in Hamburg and reports on progress on his written work and publications. OJ 8/4, [3] Handwritten postcard from Schenker to Valerie Violin, dated February 8, 1921 Schenker accepts an invitation to lunch from Valerie Violin. OJ 14/1, [4] Handwritten postcard from Felix Hupka to Schenker, dated February 18, 1921 In Leipzig Hupka reports that he has met Karl Straube, who inquired as to the possibility of tempting Schenker to move to Leipzig, and also Alfred Heuss and Walter Niemann. OJ 8/4, [4] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, dated February 26, 1921 Schenker inquires about a series of payments from Miss Reich for lessons. OJ 10/1, [62] Handwritten letter from Dahms to Schenker, dated April 4, 1921 Dahms asks Schenker to recommend him to Cotta re: the book he is writing on Italian opera. OJ 8/4, [5] Handwritten postcard from Schenker to Moriz Violin, dated April 29, 1921 Schenker describes some of the last-minute activities prior to their moving to a new apartment, at No. 8 Keilgasse, lists his works that are about to be published, and reports that Buxbaum has been dismissed as cellist of the Arnold Rosé Quartet. OC B/151 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 10, 1921 Altmann sends Schenker Beethoven Op. 31, No. 3 in the Simrock edition on loan. OJ 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921 Schenker gives an account of the move into Keilgasse 8 and describes his study in the apartment. He outlines his holiday plans, and explains how he is raising the fees for lessons in the autumn. OJ 10/1, [63] Handwritten letter from Dahms to Schenker, dated June 17, 1921 Dahms sends birthday greetings. — Cotta has turned down his book proposal. — He will soon obtain a passport and hopes to visit the Schenkers during the summer. OC 24/22 Typewritten postcard from Otto Erich Deutsch to Schenker, dated June 28, 1921 Deutsch thanks Schenker for his postcard of June 26, 1921, and wishes him good luck in his new home and with his summer trip to Galtür. Deutsch has read issue 1 of Tonwille with great interest, and hopes that their connoisseur edition will be as successful. OC B/152 Handwritten postcard from Wilhelm Altmann to Schenker, dated June 30, 1921 Altmann reports on holdings of Handel keyboard works edition (1702). OJ 8/4, [6] Handwritten picture postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated June 30, 1921 On holiday (for the first time) in Galtür in the Paznaun Valley, Schenker composes two short verses in local dialect, and Jeanette a third, to convey something of the Tyrolean atmosphere. OJ 8/4, [7] Handwritten picture postcard from Schenker to Moriz Violin, dated July 6, 1921 In anticipation of preparing an edition of Handel's keyboard works, Schenker asks Violin for the address of a library in Hamburg that would be likely to have an early print or handwritten copy of Handel's first book of Suites. OJ 10/1, [64] Handwritten letter from Dahms to Schenker, dated July 14, 1921 Dahms has to go to Berlin, after which he will explore visiting the Schenkers in Galtür. OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921 Weisse has completed a string quartet, the parts of which are being copied out, after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept because his knowledge of English is insufficient. He enquires about the progress of Schenker's current projects. OJ 11/35, 19 Handwritten letter from Halm to Schenker, dated July 28, 1921 Halm discusses an "intended gift," and the merits of Matthäus Hentz and K. T. Schmid to receive it. Halm reports that he has moved from Esslingen to Wickersdorf, and that his Concerto for Large Orchestra has been performed by Fritz Busch in Stuttgart, and comments on Cotta's hand-over of Kontrapunkt. OC 24/20 Handwritten letter from Frimmel to Schenker, dated August 1, 1921 Frimmel acknowledges receipt of a complimentary copy of Tonwille 1, comments neutrally on Schenker's incursions into politics, imagines something rather different by the concept of "Tonwille," and while agreeing with the criticism of Riemann thinks it could have been done more gently. — He asks for review copies of Schenker's editions of Beethoven Op. 110 and 101. OC 24/4-5 Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 3, 1921 Violin expresses his awe concerning the first issue of Der Tonwille, and declares himself ready to offer his services in making Schenker's work better understood. OJ 14/23, [20] Handwritten postcard from Seligmann to Schenker, undated [probably August 1921] Seligmann thanks Schenker for arranging to have one of his books sent to him, but it has not yet reached him. He looks forward to seeing him in the autumn. OJ 10/1, [65] Handwritten letter from Dahms to Schenker, dated August 21, 1921 Dahms is unable to visit the Schenkers in Galtür. — He criticizes Berlin and its artists and critics. OJ 15/15, [9] Handwritten postcard from Weisse to Schenker, postmarked August 22, 1921 Weisse is taking a very late summer holiday and so cannot visit Schenker in Galtür. He has finished composing a sonata and is writing out a fair copy. OJ 14/45, [11] Handwritten letter from Moriz Violin to Schenker, dated September 1, 1921 Violin announces the formation of a piano trio ensemble with a violinist named Wolfsthal and the cellist Friedrich Buxbaum, inquires about the proposed edition of Handel's keyboard works, and reports on the incipient civil unrest in the wake of a national movement in Germany. OC B/148 Typewritten letter from Wilhelm Altmann to Schenker, dated September 9, 1921 Altmann reports on holdings of Handel keyboard works; and on progress in photographing Beethoven's Symphony No. 5; and thanks Schenker for sending Tonwille 1 and Op. 101. OJ 15/15, [10] Handwritten postcard from Weisse to Schenker, dated September 12, 1921 Nearing the end of a two-week holiday in Bad Ischl, Weisse hopes to see Schenker in Vienna the following Sunday. OC 65/57v Handwritten letter from Anna Fried to Schenker, dated September 20, 1921 Anna Fried has to suspend her lessons, hoping to resume later. OJ 10/1, [66] Handwritten picture postcard from Margarete and Walter Dahms to Schenker, dated September 22, 1921 Dahms and his wife send greetings from Munich. OJ 8/4, [8] Handwritten postcard from Schenker to Moriz Violin, dated September 23, 1921 Schenker alerts Violin to the imminent arrival of a payment. OJ 10/3, [24] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 24, 1921 Deutsch reports that the "Moonlight" Sonata edition is almost finished, but because of translation problems he has asked Dr. Kalmus to show Schenker the latest revision of the English preface. Schenker's photographic reproductions will be returned once a sample print-out of the edition has been prepared and approved. The edition will launch in the autumn, and Schenker's fee will have increased because of the delay. OJ 11/10, [16] Handwritten letter from Frimmel to Schenker, dated September 26, 1921 Frimmel thanks Schenker for delivery of the latter's elucidatory editions of Beethoven's piano sonatas Opp. 101 and 111, and expresses admiration. OJ 14/45, [105] Handwritten postcard from Moriz Violin to Heinrich Schenker, dated October 6, 1921 Violin acknowledges receipt of payment, inquires about reviews of Der Tonwille. OJ 10/1, [67] Handwritten postcard from Dahms to Schenker, dated October 12, 1921 Dahms reports on his Italian sojourn and work. OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921 Violin reports on his work, and on musicians in Hamburg, and congratulates Schenker on his (publication) successes. 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 14/1, [5] Handwritten letter from Felix Hupka to Schenker, dated November 18, 1921 Hupka reports on his latest concert, in Munich. Otto Vrieslander and Herman Roth were present, and Hupka reports their critical reactions to his program. He visited the home of Paul Hirsch. OJ 10/1, [68] Handwritten letter from Dahms to Schenker, dated November 22, 1921 Rome has been overtaken by commerce. — [material missing] — Berlin regards Dahms as stuck in the past. OJ 15/15, [11] Handwritten postcard from Hertha and Hans Weisse to Schenker, dated December 1, 1921 Weisse has returned a score to Universal Edition and written to Moriz Violin. He has, with some reluctance, raised his lesson fee. OJ 11/36, [4] Handwritten letter from Hammer to Schenker, dated December 9, 1921 Hammer owns several of Schenker's books and is beginning to understand their concepts. JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921 Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie". JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921 Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie". JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921 Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie". OC 65/59v Handwritten letter from Anna Fried to Schenker, dated December 28, 1921 Anna Fried sends New Year's greetings. OJ 10/3, [26] Typewritten postcard from Otto Erich Deutsch to Schenker, dated December 28, 1921 A payment of 1,200 marks from Seidel's Book Dealership, on behalf of Deutsch, has been made to Schenker's Deutsche Bank account. OJ 10/3, [27] Typewritten postcard from Österreichisches Credit-Institut to Schenker, dated December 30, 1921 The Österreichisches Credit-Institut informs Schenker that 1,200 marks has been paid into his account from Seidel's Book Dealership, O. E. Deutsch & Co, Vienna. OC 52/486 Typewritten letter from Otto Erich Deutsch to Julie Kalbeck, Heinrich Schenker, Eusebius Mandyczewski, and Hugo Schwarz, dated January 3, 1922 Otto Erich Deutsch writes concerning the contract for the series Musikalische Seltenheiten, of which he is the general editor, and Universal Edition the publisher. In view of the introduction by UE of "50 to 100" additional copies to the print-run of 500 in a new luxury edition (handmade paper and half-leather binding) of each volume, Deutsch seeks to obtain from UE improved royalty returns for all the volume editors. He makes three recommendations, which he asks the four current volume editors to affirm. OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922 Schenker offers to lend Violin his performing materials for two keyboard concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most recent work, continues to despair of his financial situation. OJ 14/45, [13] Handwritten letter from Moriz Violin to Schenker, dated February 2, 1922 In this direct reply to Schenker's previous letter, OJ 6/7, [2], Violin expresses his dismay that some of the performing material for keyboard concertos by C. P. E. Bach, including original cadenzas by Schenker, appear to have gone missing. — He reports on his growing number of pupils, on the acquisition of a piano for his apartment, and on Hamburg's extremely conservative musical tastes. OJ 10/3, [28] Typewritten letter from Deutsch to Schenker, dated February 14, 1922 Deutsch offers to provide several books to Schenker instead of two or three hardback copies of the "Moonlight" Sonata edition, and then details several misprints and factual errors in Romain Rolland's biography of Beethoven. OJ 14/21, [3] Delivery note from Seidel'sche Buchhandlung to Schenker, dated February 15, 1922 Delivery note from Deutsch's bookshop (Seidel'sche Buchhandlung) to Schenker for works by J. S. Bach, Mozart and Brahms. OC 12/1 Handwritten letter from Theodor Frimmel to Deutsch, dated February 22, 1922 (forwarded from Deutsch to Schenker with marginal note dated Feburary 27, 1922) Deutsch forwards Schenker a letter from Theodor Frimmel regarding errors in Rolland's Beethoven biography. In the original letter, Frimmel asks Deutsch to send his regards to the Schenkers. OJ 10/1, [69] Typed letter from Dahms to Schenker, dated March 11, 1922 Dahms's book, which has earned an award, is delayed at the bindery. He blames this on the prevailing undisciplined conditions in Germany, criticizes the current government, and predicts war. OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922 Deutsch writes that the "Moonlight" Sonata facsimile edition is still being printed, and that he cannot make a decision on the production of a second facsimile edition until the new contract has been agreed with Universal Edition. The contract has been delayed by Universal Edition's dispute with Drei Masken. If they have to abandon plans for the facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute, Deutsch suggests Beethoven's String Quartet Op. 95 as an alternative. OJ 11/36, [5] Handwritten letter from Hammer to Schenker dated March 23, 1922 Hammer praises Schenker's edition of Bach's Chromatic Fantasy & Fugue, raising an issue about fingering on the clavichord.— He inquires after Tonwille 2, and hopes to visit Schenker in Vienna soon. OJ 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922 Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven manuscript. OJ 8/4, [11] Handwritten postcard from Schenker to Moriz Violin, dated April 9, 1922 Schenker apologizes for not having been in touch with Violin, mainly owing to overwork and a severe diabetic reaction, which required medical attention. He reports on a new series of Beethoven sonata editions – an "Urlinie-Ausgabe" – he is planning to undertake. OJ 10/3, [31] Typewritten letter from Deutsch to Schenker, dated April 18, 1922 Deutsch informs Schenker that Drei Masken is publishing a facsimile of Beethoven's Piano Sonata in C minor, Op. 111. OJ 10/3, [32] Typewritten postcard from Deutsch to Schenker, dated April 20, 1922 Deutsch thanks Schenker for his suggestions [for further facsimile editions] and has passed them on to Universal Edition. OJ 10/3, [33] Typewritten postcard from Deutsch to Schenker, dated April 21, 1922 Deutsch has already written to Universal Edition about [Schenker's proposal for a facsimile edition of] Beethoven's Piano Sonata Op. 109. Should this plan be realized, he hopes that Schenker will provide a foreword. OJ 10/3, [34] Typewritten letter from Deutsch to Schenker, dated April 26, 1922 Deutsch reports that Universal Edition has agreed to publish facsimile editions of Beethoven's Piano Sonatas Opp. 109 and 110; he asks what sources Schenker could make available. Deutsch would also like to know which Beethoven string quartet Schenker would recommend for a further facsimile edition. OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922 This wide-ranging letter describes the difficulties encountered with Emil Hertzka at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the "Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's generosity. — Ends with generous praise for Violin's musicianship. OJ 10/3, [35] Typewritten letter from Deutsch to Schenker, dated May 12, 1922 Deutsch has passed Schenker's suggestions for facsimile editions on to Universal Edition, and asks for a reference for the Bekker article that Schenker mentioned. OJ 15/15, [12] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated May 20, 1922 Hertha Weisse gives Jeanette Schenker the name and address of a tailor who can make her a coat, and tells her how much material she needs to buy. OJ 10/3, [36] Typewritten postcard from Deutsch to Schenker, dated May 22, 1922 Deutsch asks Schenker to visit him in his office in the next few days. JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922 Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to read Fiedler and Hildebrand. OJ 10/3, [37] Typewritten postcard from Deutsch to Schenker, dated May 26, 1922 Deutsch reports that Drei Masken will not publish a facsimile edition of Beethoven's "Spring" Sonata Op. 24, and will instead publish editions of Beethoven's Piano Sonata in F-sharp Op. 78, a string quartet by Haydn, and Schubert's Winterreise and B minor Symphony. OJ 11/36, [6] Handwritten letter from Hammer to Schenker dated May 29, 1922 Hammer thanks Schenker for his letter and generosity, and invites Heinrich and Jeanette to visit, suggesting May 31; — proofs of his monograph have arrived. OJ 14/46, [1] Handwritten postcard from Fanny Violin to Jeanette Schenker, dated May 29, 1922 Fanny apologizes for missing Jeanette and plans to visit. JOB 94-3, [3] Handwritten postcard from Schenker to Hammer dated May 29, 1922 Schenker accepts Hammer's invitation for May 31. OJ 11/36, [7] Handwritten postcard from Hammer to Schenker, postmarked May 30, 1922 Hammer changes time of Schenker visit. OJ 8/4, [12] Handwritten postcard from Schenker to Moriz Violin, undated [June 17, 1922] Schenker explains why the "Miscellanea" is missing from Tonwille 2; he likens Hertzka's heavy-handedness to Prince Metternich's police-state tactics. OJ 10/1, [70] Handwritten postcard from Margarete and Walter Dahms to Schenker, dated June 19, 1922 The Dahmses sent birthday greetings and report on their life in Italy. OJ 14/21, [4] Invoice from Seidel'sche Buchhandlung to Schenker, dated June 30, 1922 Invoice from Deutsch's bookshop (Seidel'sche Buchhandlung) for works by Mozart and Brahms, and a book by Hildebrand, which also shows a credit remittance for one copy of Schenker's facsimile edition of Beethoven's "Moonlight" Sonata. OJ 10/1, [71] Handwritten picture postcard from Dahms to Schenker, dated July 12, 1922 Acknowledges and praises Tonwille 2; inquires about Thal Verlag. OJ 15/15, [13] Handwritten postcard from Weisse to Schenker, dated July 17, 1922 Weisse has returned to Vienna, thanks Schenker for the Galtür visit, and will order the bread [for diabetics] the next day. OJ 15/16, [46] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 21, 1922 Weisse reports from Vienna that a sum of money has arrived, and will be paid to its intended recipient (Kohn), and gives an account of his and Hertha Weisse's travels in Vorarlberg following a visit to the Schenkers in Galtür. OJ 8/4, [13] Handwritten postcard from Schenker to Moriz Violin, dated July 9, 1922 Schenker reports the publication of the second part of Kontrapunkt and continued difficulties with Universal Edition. OJ 11/35, 20 Handwritten letter from Halm to Schenker, dated July 24 and August 19, 1922 Halm announces publication of his three suites for piano trio, and has arranged for two of them to be sent to Schenker. He thanks Schenker for sending him Kontrapunkt II, and expresses admiration for the "power of the broad conception" of Schenker's work. He is distressed at Schenker's attacks on other countries and glorification of Germany, and speaks with appreciation of French and Russian music. He describes his new publisher. OJ 14/45, [14] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1922 In this highly emotional letter, Violin describes his personal difficulties in the face of spiraling inflation in Germany. OJ 8/4, [14] Handwritten postcard from Schenker to Moriz Violin, dated August 5, 1922 Schenker commends Walter Dahm's latest book, Die Offenbarung der Musik, to Violin as one which ought to have important consequences for the course of music. OJ 10/18, [1] Handwritten letter from Elias to Schenker, dated August 10, 1922 Miss Elias is unable to get to Galtüt on account of bad weather. — She compares prices in the Tyrol with those in Vienna. — She hopes to meet up with the Schenkers in Innsbruck on the homeward journey. — She confirms that she will be able to meet her financial obligations in teh coming year. OJ 15/16, [47] Handwritten letter from Hans and Hertha Weisse to Schenker, dated August 11, 1922 Weisse reports that he is dealing with business matters entrusted to him by Schenker, and thanks his teacher for arranging the posting of Kontrapunkt 2, which he is in the midst of reading. OJ 13/35, [2] Handwritten letter from Hilde Rubinraut to Schenker, dated September 1, 1922 Hilde Rubinraut explains her difficulties as a resident of Prague visiting Vienna under current conditions; she asks Schenker in which currency she should pay his fee; and seeks advice as to whether she should continue taking one piano and one theory lesson, or opt, for a time, for two piano lessons. OJ 14/45, [15] Handwritten letter from Moriz Violin to Schenker, dated September 3, 1922 Violin reports that his son Karl has suffered several setbacks of health, including inflammation of a cardiac muscle. Plans for Musikhochschule in Hamburg are making strides. OJ 13/35, [3] Handwritten letter from Hilde Rubinraut to Schenker, dated September 7, 1922 Hilde Rubinraut asks Schenker to name a gilt-edged currency in which to pay him, and decides to opt for two piano lessons per 3-weekly visit. OJ 8/4, [15] Handwritten postcard from Schenker to Moriz Violin, dated September 10, 1922 Hearing of the Violins' son Karl's recent illness, Schenker sends his sympathy, then reports on his financial troubles. His application for a post at the University of Leipzig was received without enthusiasm, on the grounds that he is "more an artist than a scholar." OJ 14/45, [16] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922 Violin reports briefly about his son's health, then goes into the practical issues arising from Schenker's active search for a post at a German music institute. OJ 14/45, [17] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922 Apparently having returned from a visit to Vienna, Violin expresses his joy at having seen Schenker recently. DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922 Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him; speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker, Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development" and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to become brain); Schenker deplores "artifice" (French) as against nature (German). — Things French: praises German superiority over French in its joy of work. — Higher Plane: the German should not abase himself before the Frenchman. OC B/145 Typewritten letter from Wilhelm Altmann to Schenker, dated September 25, 1922 Altmann has dispatched two items to Schenker, and asks Schenker to instruct UE to send copies of Der Tonwille to the Preussische Staatsbibliothek. OJ 8/4, [16] Handwritten postcard from Schenker to Moriz Violin, dated September 29, 1922 Schenker reports, among other things, that Hans Weisse has returned as a paying pupil. OC B/143 Typewritten letter from Wilhelm Altmann to Schenker, dated October 9, 1922 Altmann acknowledges receipt of Der Tonwille and return of two editions, and refers to Universal Edition. OJ 10/1, [72] Handwritten letter from Dahms to Schenker, dated October 28, 1922 Dahms chooses to remain in Italy in view of the "moral and physical devastation" that he hears reported from Germany. — He is committed to Schust & Loeffler for a Haydn biography. He reports on a review of his book "Offenbarung." OJ 10/3, [38] Typewritten postcard from Deutsch to Schenker, dated October 30, 1922 Deutsch apologizes for the delay to Schenker's payment for the "Moonlight" Sonata facsimile edition, for which Deutsch himself is to blame. Schenker's debt to Seidel's Book Dealership is 301 marks and 300 kronen, which should be balanced by his income from the facsimile edition. OJ 12/59, [1] Handwritten letter from Siegfried Fritz Müller to Schenker, October 31, 1922 Siegfried Fritz Müller suspends his lessons with Schenker on account of his father's financial circumstances. DLA 69.930/11 Handwritten letter from Schenker to Halm, dated November 2, 1922 Schenker acknowledges receipt of two booklets on youth and the new republic, returns them, comments on them critically: idealistic German democrats desire maximal remuneration with minimal work; illustrates point by difficulties with maids in Schenker household; German democrats naively overestimate social and intellectual status of non-German commoners (French, British, American); Schenker decries cosmopolitanism and those Germans who advocate individuality at the expense of society; Schenker praises the fascists as countering communism and social leveling, compares Mussolini's Italy favorably with present-day Germany. OJ 11/35, 21 Handwritten letter from Halm to Schenker, dated September 30, 1922] Halm acknowledges receipt of a letter, and returns newspaper clippings. OJ 14/45, [106] Handwritten postcard from Moriz Violin to Schenker, dated December 19, 1922 Violin points out that Universal Edition is advertising Schoenberg's Harmonielehre but not Schenker's. OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922 Schenker reports the imminent publication of Tonwille 3, and some new publishing ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the Short Preludes by J. S. Bach. OJ 8/4, [17] Handwritten postcard from Schenker to Moriz Violin, dated December 23, 1922 Amplifying a thought expressed in a recent letter, Schenker speaks of a plan to silence the throng that worships Schoenberg and the moderns, but money for it is lacking. OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27, 1922 Dahms has been trying to improve his publishers' financial terms. — He is in low-grade accommodation; housing in the "German colonies" is available only to officials. — Reports on the concert season in Rome. — Die Musik would not accept an article from him on Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's "sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on his latest book, for which he is arranging a de luxe edition by subscription. — Reports unfavorably on an incident in which Otto Klemperer played the Italian fascist hymn. OJ 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922 Deutsch provides a full overview of Schenker income from the current sales reported by Universal Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the publication. OJ 13/35, [4] Handwritten letter from Hilde Rubinraut to Schenker, dated January 5, 1923 Hilde Rubinraut reports that she has her permanent Austrian visa. -- She is pregnant, and will have to defer visits to Vienna for a few weeks. JOB 94-3, [4] Handwritten postcard from Schenker to Hammer dated January 21, 1923 Schenker alerts Hammer to the publication of Tonwille 3. OJ 14/45, [20] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 6, 1923 Violin thanks Schenker for Tonwille 3 and reports on growing social unrest and anti-French feeling in Germany. OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923 Dahms reports change of address and explains circumstances; has sent a prospectus to UE; progress on subscriptions to his de luxe edition and a new American contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille 3, and comments on Schenker's understanding of democracy. OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923 Baroness Fischer responds to Schenker's plan for distribution of issues of Der Tonwille by suggesting contacts in the Vienna music schools and professional association. OJ 11/2, [2] Handwritten letter from Emma Fischer to Schenker, dated February 23, 1923 Baroness Fischer gives names and addresses of five of her pupils to whom Der Tonwille should be sent; she regrets that Schenker will not spread his theory further by means of lectures. OJ 14/23, [21] Handwritten postcard from Seligmann to Schenker, postmarked February 24, 1923 Seligmann accepts an invitation to the Schenkers’ place for the following Wednesday (February 28, 1923). OJ 14/23, [22] Handwritten postcard from Seligmann to Schenker, postmarked September 30, 1924 Seligmann thanks Schenker for sending him a copy of Tonwille 7; he would like to accept the Schenker’s invitation, but must wait for the neuralgia in his leg to subside. OJ 8/4, [21] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 5, 1923 Schenker asks after Violin and his family, reports on progress with Der Tonwille and the edition of the Beethoven sonatas. OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26, 1923 Not having heard from him for a long time, Schenker’s asks for news of Violin and his family. OJ 14/45, [21] Handwritten letter from Moriz Violin to Heinrich Schenker, dated April 28, 1923 Violin reports on a brief trip to Berlin for respite from the strain of teaching and his son’s illness. He is reading the second volume of Schenker’s Counterpoint, but asks him for clarification of a matter concerning second-species counterpoint in two voices, discussed in volume 1. OJ 10/1, [75] Handwritten postcard from Dahms to Schenker, dated May 7, 1923 Dahms has received Vrieslander's essay on Schenker; reports progress on subscriptions for his de luxe edition, proofs, and his work on Haydn; political comment. OJ 10/1, [76] Handwritten postcard from Dahms to Schenker, dated May 19, 1923 Hertzka's excuse for not subscribing; gives summer address; asks ornamentation question about the "Les adieux" sonata. OJ 14/45, [22] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated May 31, 1923 Apparently replying to a letter from Schenker (not recorded in his diary), Violin describes the widespread self-disparagement among Germans, and blames Jewish intellectuals for the defeatist atmosphere in Germany. OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11, 1923 Responding to a letter from Violin despairing of the political situation in Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which resonate with his own views that German society is, in effect, ruled by foreign despots. OJ 10/1, [77] Handwritten letter from Dahms to Schenker, dated June 15, 1923 Dahms sends best wishes on Schenker's [55th] birthday, thanks him for his assistance, and praises vol. I of Schenker's Beethoven sonata edition. Members of the German community in Rome reject his assertions about genius. OJ 11/10, [17] Handwritten postcard from Frimmel to Schenker, dated July 6, 1923 Frimmel makes a word-play on a feuilleton of the same date by Korngold relating to Sigenfeld. OJ 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9, 1923 Having settled into country life in the Tyrol, Schenker returns to his work, in particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks Violin’s opinion about a subscription plan for a periodical that would appear four times a year (instead of the current two), and hopes that his friend might spare a few days to visit him in Galtür. OJ 12/59, [2] Handwritten letter from Siegfried Fritz Müller to Schenker, dated July 12, 1923 Siegfried Fritz Müller asks for a testimonial for a piano teaching position. OJ 14/45, [23] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated July 12, 1923 Violin writes approvingly of Schenker’s scheme to make Der Tonwille available by subscription, as a periodical publication, and has a plan in mind. He inquires about the cost of staying in Galtür. OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923 Violin has met an industrialist by the name of Max Temming who would be willing to help make Schenker’s work more widely accessible. Violin will probably not visit the Schenkers in Galtür this summer, as prices have gone up in Germany. OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923 Weisse summarizes his recent travels in northern Italy and Switzerland, and inquires about progress on Der freie Satz, a work which he thinks will be an indispensable foundation for the analyses in Der Tonwille. OJ 12/58, [1] Handwritten letter from Paul Müller to Schenker, dated July 19, 1923 Paul Müller asks Schenker to write a testimonial for his son, Siegfried Fritz, and expresses satisfaction at the latter's progress. OJ 12/58, [2] Handwritten letter from Paul Müller to Schenker, dated July 20, 1923 Paul Müller thanks Schenker for a testimonial for his son, Siegfried Fritz. OJ 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20, 1923 Schenker describes his efforts to make Der Tonwille more widely read, through its distribution by his pupils and its display in music shop windows. He needs more help from pupils and friends with the dissemination of his work, but complains that Hans Weisse has let him down on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about whether he should accept an invitation to speak at a conference in Leipzig, or whether he should simply stay at home and continue to write. OJ 8/4, [24] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 9, [1923] Concerned that Violin has not arrived in Galtür, Schenker asks him if something has gone amiss with his plans to visit. OJ 14/45, [25] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 16, 1923 Violin cannot come to the Tyrol to visit the Schenkers, on account of the turmoil in Germany and horrendous currency situation; he will come to Vienna for Christmas, but only for a few days. OJ 10/1, [78] Handwritten letter from Dahms to Schenker, dated August 23, 1923 Dahms has received Tonwille 4 but not yet examined it. — Has deferred work on his Haydn book because of financial problems over Musik des Südens and poor take-up of subscriptions. — Debates whether to attend the Leipzig musicology conference. — Comments on German politics as the occupation of the Ruhr unfolds, and compares German attitudes with Italian. OJ 12/59, [3] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 7, 1923 Siegfried Fritz Müller reports on a recital that he has given, inclosing the program and early reviews. –- He has just done an audition for the position for which he has applied. -- He has to do a short period of military service, after which he will continue his studies with Schenker. OJ 15/16, [49] Handwritten letter from Weisse to Schenker, dated September 7, 1923 Weisse asks Schenker why he and his wife treated him so coldly when they recently met on the street; he suspects this had something to do with his recent trip to Italy, protests his innocence but affirms his unchanged love for his teacher. OC 12/7-9 Handwritten letter from Halm to Schenker dated November 6‒10, 1923 Halm has sent the published score of a string quartet to Schenker. —Patronage has enabled him to publish three volumes of compositions; reports on current and past composition activities and publications. —Discusses what he has learned from Schenker's theories, and questions whether it would be a fault were Bruckner's symphonies not to contain the Urlinie; Halm's book on Bruckner's symphonies has gone into its second edition. —Halm suspects that Schenker may not "agree with" his compositions, and asks whether Schenker wishes to receives further scores. —Halm considers socialism a "historical necessity." OJ 12/11, [1] Handwritten letter from Klenau to Schenker, dated September 17, 1923 First approach from Klenau: asks to visit Schenker. OJ 12/11, [2] Handwritten letter from Klenau to Schenker, dated September 19, 1923 Klenau agrees the date and time for his visit to Schenker. OJ 12/17, [1] Handwritten letter from Komorn to Heinrich Schenker, dated September 20, 1923 Miss Komorn is transferring her studies from Hans Weisse to Schenker. She asks for suggested pieces to prepare, and for the day and time of her first lesson. OJ 12/11, [3] Handwritten letter from Klenau to Schenker, dated September 25, 1923 Klenau thanks Schenker for their discussion on September 21. OJ 12/17, [2] Handwritten postcard from Komorn to Schenker, dated October 1, 1923 Mrs. Komorn will turn up for her first lesson as notified. OJ 11/16, [4] Handwritten postcard from Furtwängler to Schenker, undated [October 3, 1923] Furtwängler proposes that they meet on Thursday [October 4, 1923]. OJ 8/4, [25] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 3, 1923 Schenker asks for a few lines from Violin, just to let him know that things are all right, so that he can send him a longer message. OJ 12/11, [4] Handwritten letter from Klenau to Schenker, dated October 4, 1923 Klenau asks Schenker questions about the performance of the "Eroica" Symphony. OJ 14/45, [26] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated October 9, 1923 In response to Schenker’s recent postcard, Violin reports that his family are mainly well, but that the political situation in Germany is so depressing that it is almost impossible to write. He would be glad to have some news from Schenker. OC 54/333-336 Handwritten letter (copy) from Schenker to Klenau, dated October 9‒10, 1923 Schenker offers further advice on performing the "Eroica" Symphony. OJ 12/11, [5] Handwritten letter from Klenau to Schenker, dated October 21, 1923 Klenau thanks Schenker for advice on performing the "Eroica" Symphony. OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21, 1923 In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving health, and goes on to mention a number of personal successes he has lately had, including a visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa solemnis. He has also had some unexpected support from his publisher, who wants to expand Der Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts (three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are overtaking Furtwängler as conductors in Vienna by accepting more modest fees. OJ 11/36, [8] Handwritten letter from Hammer to Schenker dated October 22, 1923 Hammer buys all Schenker's publications, including Tonwille, but admits he has difficulty understanding Schenker's Harmonielehre; — asks for loan of Halm's [Klavierübung]; — gives his forthcoming dates;— comments on the lute and its tablature; — considers Busoni's [Entwurf] wrong-headed. OJ 15/15, [14] Handwritten postcard from Weisse to Schenker, dated October 23, 1923 Weisse accepts a social invitation from the Schenkers, and hopes to reciprocate soon. JOB 94-3, [5] Handwritten letter from Schenker to Hammer dated October 24, 1923 Schenker invites Hammer and his wife for November 7; — The problem of the "middleman" (performer, etc.) in music, by contrast with painting; — he reports on Hertzka's proposal to make Tonwille a quarterly publication. OJ 11/36, [9] Handwritten letter from Hammer to Schenker undated [October 25, 1923] Hammer sympathizes with the composer's dilemma over middlemen, but points to cases in which the painter has suffered a similar fate. OJ 10/1, [79] Handwritten letter from Dahms to Schenker, dated November 1, 1923 Dahms has devoted a chapter of his Musik des Südens to "genius" in which he asserts its absoluteness and the gulf between genius and mediocrity. — He concurs with Hertzka's judgement of Furtwängler as a "coward"; In his quest for success, the latter has compromised his belief in genius by pandering to Schoenberg. The Korngolds are coming to Rome in August. OJ 12/59, [4] Handwritten letter from Siegfried Fritz Müller to Schenker, dated November 13, 1923 Siegfried Fritz Müller has a teaching job and reports how it is going. -- He is studying Schenker's writings. -- He gives an unfavorable reaction to Walter Dahm's book [Die Offenbarung der Musik: Eine Apotheose Friedrich Nietzsches]. -- He reports Carl Bamberger's trip to Finland. OJ 10/1, [80] Handwritten letter from Dahms to Schenker, undated [c. November 18, 1923] Having sent a subscription copy of Musik des Südens to Moriz Schenker and received no acknowledgement, Dahms asks Schenker's help. OJ 10/1, [81] Handwritten letter from Dahms to Schenker, dated November 20, 1923 Dahms has now received acknowledgement from Moriz Schenker. — He asks Schenker's help in approaching financier Castiglioni for financial backing for his planned bel canto book. OJ 11/16, [5] Handwritten postcard from Furtwängler to Schenker, dated November 25, 1923 Furtwängler had been hoping to speak with Schenker at the performance of [Handel's] Samson but realizes this is not possible; mentions his December program, hopes to see Schenker. OJ 11/36, [10] Handwritten letter from Hammer to Schenker dated November 25, 1923 Hammer thanks Schenker for hospitality on November 7, and recommends Eugen Steinhof for lessons. JOB 94-3, [6] Handwritten letter from Schenker to Hammer dated December 2, 1923 Schenker has heard nothing from Eugen Steinhof; — he commends Hammer's reaction to Halm's work, and comments unfavorably on the latter's musicianship, character, and opinions; — he writes disparagingly of Robert Brünauer. OJ 12/31, [1] Typewritten letter from Ernst Lamberg to Schenker, dated December 7, 1923 Concerning the Sofie Deutsch estate, Lamberg now has 2M Kronen to remit to Schenker, and also 1.5M Kronen for the January 1924 disbursement of the Deutsch stipends. He also sets out the arrangement that has been made for the event that the Verein zur Speisung is dissolved. OJ 14/45, [27] Handwritten letter from Moriz Violin to Heinrich Schenker, dated December 11, 1923 Violin reports the conversion to a new, stable currency in Germany; Hamburg has been among the first cities to benefit from this, as a result of which he is somewhat better off and the prospects for the future appear brighter. He plans to come to Vienna for Christmas, if only for a few days; this will give him an opportunity to discuss arrangements for the distribution of copies of Der Tonwille to libraries and schools. OC 52/483 Handwritten letter from Elias to Schenker dated December 21, 1923 Miss Elias has obtained vols II-III of Schenker's Beethoven piano sonata edition as a Christmas present for Marianne Kahn. OJ 10/1, [82] Handwritten letter from Dahms to Schenker, dated December 28, 1923 Dahms gratefully acknowledges receipt of a grant from Schenker, reports on his book writing, and sends New Year greetings to Heinrich and Jeanette. OJ 12/11, [6] Handwritten letter from Klenau to Schenker, dated December 28, 1923 Klenau praises Schenker's monograph Beethovens Neunte Sinfonie; regrets being unable to visit Schenker and Schenker's being unable to attend his performance of the Missa solemnis. OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924 Schenker responds to Klenau's remarks on atonal composers and a coming Renaissance; invites him to visit on a Wednesday. OJ 10/1, [83] Handwritten letter from Dahms to Schenker, dated January 4, 1924 Money has arrived. Dahms hopes for better conditions in 1924. OJ 11/36, [11] Handwritten letter from Hammer to Schenker, dated January 5, 1923 [recte 1924] Hammer refers to the making of a portrait; — he discusses German and Austrian art with respect to Italian and French; — he comments favorably on Der Tonwille, but defends the art of the French. OJ 5/45, [5] Copy of letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated January 12, 1924 Schenker outlines his attitude to Bamberger's leaving him, and offers advice to Weisse. JOB 94-3, [7] Handwritten letter from Schenker to Hammer dated January 13, 1924 Schenker responds to a long letter from Hammer by, first, agreeing to his proposal to sittings for a portrait, and, second, saying that there is no one in music now capable of judging the artistry of musicians. Schenker feels he has uniquely this ability, but others in music do not understand him. OJ 15/16, [51] Handwritten letter from Weisse to Schenker, dated January 14, 1924 Responding to Schenker's explanation of a recent coldness between them, Weisse asserts that his questions arise only from his own studies, not from work with his pupils; it is not fear, but dependency on Schenker as a "medium," that drives him to ask such questions. OJ 11/35, 22 Handwritten letter from Halm to Schenker, dated January 22, 1924 Halm checks that Schenker has received a letter and score from him. — He asks for guidance over Oppel's music. OJ 15/31, [1] Handwritten letter from Hermann Wunsch to Schenker, dated January 31, 1924 Hermann Wunsch thanks Schenker for the award of 2M Kronen as a stipend from the Sofie Deutsch bequest, and reports on his recent compositional activity. OJ 12/17, [3] Handwritten notecard from Komorn to Schenker, dated February 1, 1924 Miss Komorn acquiesces to the fee increase; she is fortunate to have the small number of lessons that she does. OJ 14/21, [5] Handwritten receipt for payment by Schenker to Seidel'sche Buchhandlung, dated February 1, 1924 Receipt for a 180,000 kronen payment by Schenker to Seidel'sche Buchhandlung. OJ 14/21, [6] Interim invoice from Seidel'sche Buchhandlung to Schenker, dated February 2, 1924 Delivery note from Seidel'sche Buchhandlung to Schenker for Beethoven's Piano Sonata in F-sharp, Op. 78. OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924 Violin reports that Max Temming is keen to support his plan to promote Schenker's work. Following discussions with Schenker in Vienna, he makes some provisional calculations on how the gift of money would give Schenker more time to devote to his writings. He also thinks about the happy prospect of Schenker coming to Hamburg. OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924 Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111; he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a passage exhibiting non-genius in his or Oppel's music and discuss it in Der Tonwille. OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924 Schenker reports continuing trouble with Hertzka, especially over delays to the publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is beginning to think about legal action. Hertzka has made his position so difficult that he feels obliged to turn down Max Temming's offer of direct financial support for his work. He asks Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if Violin received any of the four volumes of the Beethoven piano sonata edition. OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924 Dahms thanks Schenker for information about Castiglione. The Deutsche Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong reaction outside Germany. OJ 14/45, [31] Handwritten letter from Moriz Violin to Schenker, dated March 16, 1924 Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In the former, he finds the graphs of the short preludes by Bach more difficult than anything that Schenker has previously done. He will write to Bamberger with the offer of help (in finding an accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of his pupils, he offers an explanation for the falling direction of the transitional theme (measures 24-30) and its reappearance in the development section (measures 94-100) in inverted, ascending form; he asks if this interpretation is sensible. OJ 15/31, [3] Handwritten letter from Hermann Wunsch to Schenker, dated March 29, 1924 Hermann Wunsch encloses a review of his second symphony, and asks for Schenker's help in securing a performance in Vienna. OJ 12/17, [4] Handwritten postcard from Komorn to Schenker, dated March 30, 1924 Mrs. Komorn asks for an extra lesson. OJ 8/4, [28] Handwritten postcard from Schenker to Moriz Violin, undated [March 30, 1924] Schenker confirms Violin's interpretation [given in his previous letter] of the "Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has written to say that he and his son are using Schenker's analyses of Bach preludes in their counterpoint classes, and expresses the hope that one day they will continue Schenker's work independently. OC 12/13-14 Handwritten letter from Halm to Schenker dated March 15, 1924 and April 1, 1924 Halm attacks Schenker for condemning Berlioz's melodic practice without substantiating his argument, and for harsh language. Halm compares Berlioz favorably to Mendelssohn. DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924 In response to matters raised by Halm in two previous letters, Schenker discusses figuration, distinguishing between that which works only on the surface and that which arises out of the middle and background, drawing on primal intervals. He also concedes that he heard Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for forthcoming volumes of Der Tonwille. OJ 8/4, [29] Handwritten postcard from Schenker to Moriz Violin, undated [April 11, 1924] Schenker offers Violin advice about holidaying in Austria, recommending the Tyrol above all. He expects that Otto Vrieslander and possibly Herman Roth will visit them [in Galtür]. He also inquires about the establishment of a Hochschule for music in Hamburg. OJ 11/36, [12] Handwritten letter from Hammer to Schenker, dated May 1, 1924 Hammer invites Schenker to a first sitting for his portrait. JOB 94-3, [8] Handwritten letter from Schenker to Hammer dated May 3, 1924 Schenker agrees to come on May 27 to sit for his portrait, and tells Hammer of the forthcoming historical Beethoven Ninth Symphony concert. OC 12/15-17 Handwritten letter from Halm to Schenker dated April 7, April 14, and May 6, 1924] Halm again asks Schenker to point out an instance of non-genius in his [Halm's] music. — Has long believed that foreground (= corporeality) has been neglected at the expense of background (= spirituality) in music. — Defends Kurth against Schenker's critical remarks. — Suggests an explanation for the Bruckner classroom incident. — Will send parts of his [A major] String Quartet and promises a copy of his "Von Grenzen und Ländern". — Accepts offer of assistance with publication costs. — Comments on Reger. OJ 10/3, [40] Typewritten letter from Deutsch to Schenker, dated May 9, 1924 Deutsch thanks Schenker for the most recent (sixth) issue of Tonwille. He read Schenker's comments on Schubert's "Gretchen am Spinnrade" (Op. 2) with great interest, although he did not fully understand them. Deutsch encloses an announcement from the publisher Vieweg that may be of interest to Schenker. OJ 12/11, [7] Handwritten calling card from Klenau to Schenker, dated May 13, 1924 Klenau asks to make a brief visit. OJ 12/11, [8] Handwritten letter from Klenau to Schenker, undated [May 20, 1924] Klenau asks Schenker to read over an article that he has written. OJ 11/36, [13] Handwritten postcard from Hammer to Schenker, postmarked May 21, 1924 Hammer reschedules the next sitting for the portrait. UMdK Z 312 D/1924, [1] Typewritten letter from the Verein zur Speisung to the Akademie für Musik, dated May 21, 1924 The letter quotes the will of Mrs Sofie Deutsch, then announces that the Verein is in process of dissolution, and decrees that the capital in question be devolved upon the Akademie für Musik und darstellende Kunst, and refers the Akademie to its attorney. OC B/183 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 12, 1924 The Library does not possess the autograph of J. S. Bach's Kleine Präludien. OJ 11/36, [15] Handwritten postcard from Hammer to Schenker, dated June 16, 1924 Hammer invites Schenker to resume sitting for his portrait. OJ 11/36, [16] Handwritten postcard from Hammer to Schenker, postmarked June 17, 1924 Hammer sets the arrival time for the portrait sitting on June 18. OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924 The Dahmses send birthday greetings. They are staying in the Abruzzi; will not get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest. OJ 12/17, [5] Handwritten letter from Komorn to Heinrich Schenker, dated June 18, 1924 Miss Komorn thanks Schenker profusely for all that he has taught her in the past year. OJ 14/46, [2] Handwritten letter from Fanny Violin to Heinrich Schenker, dated June 18, 1924 Fanny thanks Schenker for sending Tonwille 5 and 6 and reports holiday plans. OC B/184 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 27, 1924 Altmann states the cost of photographing autograph parts of the St Matthew Passion. UMdK Z 312 D/1924, [2] Typewritten internal memorandum of the Akademie für Musik, dated June 27, 1924 Records receipt of UMdK Z 312 D/1924, [1] and includes the texts of letters to be sent to attorney Ernst Lambert and the Ministry of Education. UMdK Z 312 D/1924, [3] Typewritten letter from Lamberg to Julius Zappert (Verein zur Speisung), dated June 30, 1924 The letter quotes that of the Akademie für Musik to the Verein zur Speisung, and requests transfer of sum of money tothe Akademie. OJ 12/31, [2] Typewritten letter from Ernst Lamberg to Schenker, dated July 1, 1924 Ernst Lamberg informs Schenker that the Association for Feeding ... has resolved to dissolve itself, and to make over a proportion of its capital to the Academy for Music and Performing Arts. OJ 12/31, [3] Typewritten letter from Ernst Lamberg to Schenker, dated July 11, 1924 Ernst Lamberg declines to write, as requested, to Josef Marx. JOB 94-3, [9] Handwritten picture postcard from Heinrich and Jeanette Schenker to Hammer, dated July 19 [1924] Heinrich and Jeanette send greetings from the Tyrol; they are expecting the Vrieslanders. OJ 14/45, [32] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1924 Writing from the nearby town of Schruns, in the Montafun Valley (Vorarlberg), Violin asks Schenker to suggest a day when he and his wife might visit them in Galtür. 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 15/15, [15] Handwritten postcard from Weisse to Schenker, dated August 2, 1924 Responding to a request for information about Brahms's meeting with Wagner, Weisse promises to send Schenker the relevant volume of Max Kalbeck's biography of Brahms. OJ 15/15, [16] Handwritten postcard from Weisse to Schenker, dated August 4, 1924 Weisse has sent Schenker a volume of Kalbeck's Brahms biography, and reports that Universal Edition is about to send him the proofs for two of his compositions, a set of vocal quartets and a string quartet. OJ 8/4, [32] Handwritten picture postcard from Schenker to Moriz Violin, dated August 5, 1924 Schenker sends a greeting on the occasion of the Violins' return to Hamburg after their holiday in Austria, writing a picture postcard showing the cottage where they presumably went for a meal. 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. OJ 14/45, [107] Handwritten postcard from Moriz Violin to Schenker, dated August 14, 1924 Violin thanks Schenker for his recent postcard, and reports that he will resume negotiations with Max Temming concerning the distribution of copies of Der Tonwille when the latter return to Hamburg. OJ 15/16, [52] Handwritten letter from Weisse to Schenker, dated August 28, 1924 Weisse is so absorbed in his work that he is unable to give Schenker a precise number of subscribers to Der Tonwille among his circle of pupils. He will see Gerald Warburg soon, but confesses that the latter felt hurt by Schenker’s article “The Mission of German Genius.” — Weisse will devote much time to composition during the coming season, and for this reason will forego taking further lessons from Schenker. OJ 14/45, [33] Handwritten letter from Moriz Violin to Schenker, dated August 29, 1924 Violin reports on continued negotiations with Max Temming on the distribution of free copies of Der Tonwille, and gives a brief description of the Hamburger Fremdenblatt (in which something about Schenker's writings may have recently appeared). He expresses his embarrassment regarding the essay he had written at the behest of Otto Vrieslander on the occasion of Schenker's 50th birthday, but agrees to let him see it. OJ 15/16, [53] Handwritten letter from Weisse to Schenker, dated September 6, 1924 Weisse apologizes for not writing sooner, saying that he will return to Vienna by the middle of the following week. OJ 12/17, [6] Handwritten postcard from Komorn to Schenker, dated September 12, 1924 Mrs. Komorn inquires whether Schenker is back from vacation. OJ 12/11, [9] Handwritten letter from Klenau to Schenker, dated September 17, 1924 Klenau sends a letter he has received from Heinrich Rickert, and thanks Schenker for a discussion earlier the same day. OJ 12/59, [5] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 21, 1924 Siegfried Fritz Müller has met with resistence in rural Switzerland to Schenker's ideas. -- He describes his daily working practices. -- He plans to return to Schenker for lessons in Spring 1925 and lists the works in his prepared programs. OJ 12/11, [10] Handwritten letter from Klenau to Schenker, dated September 23, 1924 Klenau sends a letter he has received from Felix Weingartner and his own response. WSLB-Hds 95659 Handwritten postcard from Schenker to Seligmann, dated September 26, 1924 Schenker reports a visit from a Munich art historian, Wilhelm Hausenstein; despite their strong artistic and political differences, the afternoon was entirely civilized. OJ 9/12, [1] Handwritten letter from Carl Bamberger to Schenker, dated October 6, 1924 Bamberger writes of his pleasure at working in a theater, and his liking of Danzig as a medieval city. He is studying Schenker's edition of the Beethoven sonatas, and has ordered Harmonielehre and Kontrapunkt I and II. He is subscribing to Der Tonwille, and is interesting one of his colleagues in Schenker's ideas. He inquires after two Schenker pupils. OJ 14/45, [34] Handwritten letter from Moriz Violin to Schenker, dated October 8, 1924 Violin has secured the agreement of Max Temming to subsidize 100 subscriptions to Der Tonwille, and asks for a list of names and addresses for the recipients. With money growing scarce, he has raised his fees, as a result of which several have left; but he has also gained some new ones. OJ 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924 After thanking Violin for his touching fiftieth-birthday tribute of 1918, Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate more on the dissemination of Der Tonwille, with a new publisher. OJ 5/7a, [1] (formerly vC 1) Handwritten postcard from Schenker to Cube, dated October 19, 1924 Schenker sends Cube a prospective student, and recommends level of payment. OJ 11/54, [1] Handwritten letter from Hoboken to Schenker, dated October 20, 1924 Hoboken encloses photographs; reports his summer travel; is now living in Paris. OJ 14/45, [36] Handwritten letter from Moriz Violin to Schenker, dated October 22, 1924 In the process of arranging for copies of Der Tonwille to be distributed, Violin discovers that a pupil of his paid twice as much for one issue as the marked price in Austria. He has made some inquiries into this matter, and asks Schenker what an issue currently costs in Austria. There are no respectable music institutions in Hamburg, so Violin will distribute copies there personally. OJ 14/45, [37] Handwritten letter from Moriz Violin to Schenker, dated November 23, 1924 Violin sends thanks to Jeanette for copying out the article he wrote in 1918. He has sent off ten letters [re distribution of copies of Der Tonwille] and placed the order with UE. He reports on Buxbaum and Pollak, and also Blüthner. OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924 Schenker names ten universities that should receive complimentary copies of Der Tonwille, explaining that university music departments (Seminare) are more suitable recipients than conservatories and other types of music schools. With 1924 coming to an end, he will resign from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The latter have agreed to publish his study of Beethoven's Sonata Op. 106 OC B/185 Handwritten postcard from Wilhelm Altmann to Schenker, dated October 30, 1924 Altmann is about to send Schenker the autograph parts of J. S. Bach's St Matthew Passion, and asks for remittance. OJ 15/16, [54] Handwritten letter from Weisse to Schenker, dated November 3, 1924 Weisse acknowledges Schenker’s recent letter, wants to speak with him face to face about a number of things but uses this letter to defend his "hypersensitivity" towards Schenker as stemming from the love and honor that he bestows on him. OJ 6/7, [11] Handwritten letter from Schenker to Moriz Violin, dated November 6, 1924 Schenker has received a photographic reproduction of the opening chorus of Bach's St Matthew Passion. — Gives account of delays to the publication of Tonwille 8/9 and 10, blaming Hertzka for being slow to send work to the engraver, and has written to him with a request to dissolve the Tonwille contract with UE. — Refers to a recent review by (Julius) Korngold, and recounts a long story about his piano dealer, Bernhard Kohn. OJ 10/1, [86] Handwritten postcard from Dahms to Schenker, dated November 8, 1924 Dahms visited Germany for two weeks; invites the Schenkers to visit him in Venice. OJ 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924 Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. — Encloses a draft of a letter to the university music departments chosen to be given copies of Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution of complimentary copies of Der Tonwille to needy scholars. OJ 6/7, [13] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1924 Schenker sends Violin Jeanette's handwritten copy of the essay Violin had composed for Schenker's fiftieth birthday in 1918, and hopes that it may one day be published. — Has received a conciliatory letter from Hertzka, but is determined to move Der Tonwille to a Munich publisher. OC B/187 Handwritten postcard from Wilhelm Altmann to Schenker, dated November 14, 1924 Schenker may hold on to the parts of the St Matthew Passion for some time. OC B/188 Handwritten letter from Wilhelm Altmann to Schenker, dated November 17, 1924 Altmann asks Schenker to send the balance of the charge for the Bach St Matthew Passion parts. OC 54/2 Typed letter from Alfred Einstein & August Demblin (DMV) to Schenker, dated November 27, 1924 Having had soundings from Otto Vrieslander about taking over the publishing of Der Tonwille, Drei Masken Verlag now approach Schenker directly, asking him to come to an agreement with Universal Edition about the the future of the publication. UMdK Z 641 D/1924, [1] Handwritten letter from Schenker to Joseph Marx (Akademie für Musik) to Schenker, dated December 3, 1924 Schenker appeals to Marx that the full conditions laid down by Sofie Deutsch for the stipends be honored. OC 54/3 Typed letter from Theodor Baumgarten to Schenker, dated December 9, 1924 Schenker’s lawyer, Theodor Baumgarten, advises caution in dealing with Universal Edition over the winding-up of Der Tonwille, and with Drei Masken Verlag over the future of the new venture. OC 54/4 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated December 9, 1924 Drei Masken Verlag acknowledge the receipt of Schenker’s letter of December 5, 1924. OJ 14/45, [39] Handwritten letter from Moriz Violin to Schenker, dated December 10, 1924 This somewhat cryptic letter, possibly relating to a subscription order for Der Tonwille, was sent with an enclosure that required some interpretation or action on the part of Schenker. Violin also reports that the music department at the University of Berlin has received, with gratitude, the copies of Der Tonwille. OJ 12/51, [1] Typewritten letter from Joseph Marx (Akademie für Musik) to Schenker, dated December 13, 1924 Marx has submitted the form of award of the Sophie Deutsch stipends to the Ministry of Education. UMdK Z 641 D/1924, [2] Handwritten internal memorandum of the Akademie für Musik, dated December 13, 1924 Drafts of letters to (1) the Federal Ministry of Education, (2) Schenker, both regarding Schenker's appeal to Marx of December 3. OC 54/9 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated December 22, 1924 DMV acknowledge receipt of Schenker’s letter of December 9, 1924 and promise to reply after the Christmas holidays. OC 54/10 Typed letter from Theodor Baumgarten to Schenker, dated January 15, 1925 Baumgarten expresses his concerns about Schenker’s negotiations with a new publisher, and cautiously advises that his client might instead wish to reach a peaceful agreement with Universal Edition. OC 54/11 Typewritten postcard from Otto Vrieslander to Schenker, dated January 19, 1925 Vrieslander thanks Schenker for Tonwille 10, remarks about negotiations with Universal Edition and Drei Masken Verlag, and promises to send him an offprint of his recent essay on C. P. E. Bach. OJ 14/45, [41] Handwritten letter from Moriz Violin to Schenker, dated January 19, 1925 Violin reports on a successful concert in which he performed both as a soloist and with the Klingler String Quartet. He thanks Schenker for Tonwille 10. He has received a copy of Hans Weisse’s recent vocal quartets, and is puzzled by how a limited talent can write such good music. He is going to see Max Temming, and has received four courteous letters of acknowledgement from university music departments for copies of Der Tonwille. OC 54/12 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January 20, 1925 Drei Masken Verlag offer to publish Schenker's future work as a yearbook, entitled "Das Meisterwerk in der Musik," in volumes comprising fifteen gatherings (180 pages). The manuscript would need to be delivered in July in order for the book to be published in time for Christmas. OJ 9/34, [1] Handwritten letter from Cube to Schenker, dated January 21, 1925 Cube has had to extend his holiday to take care of his father, who has been forced to abandon his second marriage under pressure from his firm. OJ 15/15, [17] Handwritten postcard from Weisse to Schenker, dated January 22, 1925 Weisse alerts Schenker to the January 1925 issue of Die Musik, which contains two pieces concerned with him. He suggests that Schenker travel to Munich, to negotiate a deal with Alfred Einstein at Drei Masken-Verlag concerning the publication of a successor to Der Tonwille. OC 54/14 Handwritten postcard from Theodor Baumgarten to Schenker, dated January 23, 1925 Baumgarten will let Schenker know whether he is able to visit him the following Monday (January 26, 1925), to discuss Drei Masken Verlag's letter of January 20 (OC 54/12). OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24, 1925 Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred Einstein, whose character he rates highly and who assured him that he was looking forward to publishing Schenker's work. OJ 6/7, [16] Handwritten letter from Schenker to Moriz Violin, dated January 24, 1925 Responding point by point to Violin's previously letter (OJ 14/45, [41]), Schenker congratulates his friend on the success of his recent concert. He writes at length about Hertzka's last efforts to hold onto Der Tonwille, and about successful negotiations with Drei Masken Verlag over its successor, Das Meisterwerk in der Musik. He has now to prepare enough material for a yearbook comprising fifteen gatherings by July 1, so that the volume can be published by Christmas. Finally, he echoes Violin's assessment of Hans Weisse, adding a few disparaging remarks about his character. OJ 14/45, [42] Handwritten letter from Moriz Violin to Schenker, dated January 30, 1925 Violin lends Schenker the letters sent by university music departments acknowledging receipt of their copies of Der Tonwille. The reviews of his recent concert were cooler than the audience’s reception, and the concert suffered a financial loss; nonetheless he hopes to persevere with public performances as a pianist. Finally, he wishes Schenker luck with his new publisher, Drei Masken Verlag. OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925 Schenker, repeating some of the points made in earlier letters, continues to give an account of Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists; the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the canonic composers. OC 54/19 Typewritten letter from August Demblin (DMV) to Schenker, dated February 3, 1925 Replying to Schenker's earlier queries, Drei Masken Verlag explain that Schenker will receive a royalty of 15% of the selling price of a paperback copy for each Yearbook sold, whether hardback or paperback. They offer an advance of 500 marks against expected sales at the time of publication (early November), and can give him half that sum upon receipt of his manuscript at the end of June. OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925 Violin explains why, and how, the number of free copies of Der Tonwille distributed to German university music departments was reduced from 10 per university to 7. He has seen Paul Bekker's recent book, which includes a survey of recent trends in music theory. OC 54/23 Typed letter from August Demblin (DMV) to Schenker, dated February 11, 1925 A copy of the Mozart-Jahrbuch II will be sent to Schenker as a model for Meisterwerk. OC 52/639 Handwritten letter from Siegfried Fritz Müller to Schenker, dated February 13, 1925 Siegfried Fritz Müller reports his subscriptions to Tonwille and asks for clarity regarding dealings with Drei Masken-Verlag. OJ 8/4, [35] Handwritten postcard from Schenker to Moriz Violin, dated February 14, 1925 Schenker asks Violin urgently to send him the receipt for payment made to Universal Edition (for the copies of Der Tonwille paid for by Max Temming). OJ 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18, 1925 Bamberger reports that after six months of repetiteur work he has been granted some conducting. -- He laments the lack of musical education of the Danzig citizens, and its impact on the theater's repertory. Talent is not appreciated by the theater's administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks Schenker a question about Schubert's song "Wohin?" OC 52/636 Handwritten letter from Robert Brünauer to Schenker, dated February 19, 1925 Robert Brünauer reports on the subscriptions to Der Tonwille that he has taken out. OC 54/25 Typed letter from August Demblin (DMV) to Schenker, dated February 21, 1925 Drei Masken Verlag acknowledge Schenker's acceptance of their terms and issue a contract for the Meisterwerk Yearbooks. OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925 Schenker thanks Violin for his recent letter (and enclosure), which contains evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the publication of Weisse's recently published vocal quartets than to his writings. Leaving Der Tonwille behind, which has earned him little money and caused him much misery, he has written a lengthy study of Bach's solo violin works, which will be published in the first volume of Das Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen Kontrapunkts. OJ 9/12, [3] Handwritten letter from Carl Bamberger to Schenker, dated February 23, 1925 As a follow-up to his previous letter, Bamberger gives a full account of the number of subscriptions to Der Tonwille that he has either instigated himself or encouraged others to take on. UMdK Z 163 D/1925, [1] Typewritten letter from Kallina (Bundesministerium) to the Akademie für Musik, dated February 23, 1925 The Akademie is instructed to draw up an endowment letter concerning the Sophie Deutsch stipends, and to avoid inclusion of slates of candidates; Schenker must determine how adjudication should be conducted after his death. OJ 14/45, [109] Handwritten postcard from Moriz Violin to Schenker, undated, postmarked February 24, 1925 Visiting his dying brother Eduard in the Sophienspital in Vienna, Violin hopes to see Schenker if at all possible. OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925 Dahms reports on the Vrieslanders' Italian travels; compares Hertzka unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold. OJ 11/36, [17] Handwritten letter from Hammer to Schenker, dated March 1, 1925 Hammer describes his travels and work in the past eight months, and compares the piano playing of Otto Vrieslander with that of Schenker. OC 54/28 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated March 3, 1925 Drei Masken Verlag is willing to use Der Tonwille as the title of Schenker's Yearbook, but only with the approval of Hertzka at Universal Edition. OJ 9/12, [4] Handwritten letter from Carl Bamberger to Schenker, dated March 4, 1925 Bamberger seeks Schenker's advice on the choice of works for a series of Sunday morning concerts that is included in his new contract with Danzig. OC 52/648 Handwritten letter from Moriz Violin to Schenker, dated March 5, 1925 Violin sends Schenker receipts for the purchase of Der Tonwille. 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. OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925 The St. Matthew Passion parts may be retained until mid-July; Altmann is pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in Galtür next summer. OJ 12/17, [7] Handwritten letter from Komorn to Heinrich Schenker, dated April 7, 1925 Miss Komorn tries to arrange a meeting with Furtwangler. OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925 Continuing the story of the ongoing financial battle against Hertzka and Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr. Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact – outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this issue is still in demand, despite Hertzka's claims to the contrary. He has attended a performance of Hans Weisse's Sextet, of which he found the variation movement and the trio section of the scherzo to be the most satisfactory parts. OJ 11/35, 23 Handwritten letter from Halm to Schenker, dated April 6 and 15, 1925 Halm explains why he has not written before and reports successful performance of his A major Symphony; wishes Schenker luck with move from UE to Drei-Masken Verlag; reports events at Freie Schulgemeinde. OJ 10/1, [88] Typewritten postcard from Dahms to Schenker, dated April 20, 1925 Dahms gives his new temporary address. OC 52/644 Handwritten letter from Moriz Violin to Schenker, dated April 21, 1925 Violin has had the order for nine copies of Tonwille 1 placed in Berlin, and has collected the receipts. He has not heard from Weisse, but attended a performance of his String Sextet and, like Schenker, found the variations and the trio section of the scherzo the most successful. OJ 8/4, [36] Handwritten postcard from Schenker to Moriz Violin, dated April 23, 1925 Schenker thanks Violin for ordering copies of Tonwille 1. He gives a brief account of a visit from Furtwängler, and mentions the arrival of the bronze medallion with his likeness (designed by Alfred Rothberger). OJ 15/15, [18] Handwritten postcard from Weisse to Schenker, dated April 27, 1925 Weisse has come across a letter from Brahms to his publisher Fritz Simrock, which he thinks will be of interest to his teacher. OJ 10/1, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925] Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers to visit. — Hindenburg's election as German President has given a "jolt" to Europe and pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will be able to lift Germany out of mediocrity. OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925 In a wide-ranging letter, Schenker sends Violin money for arranging the order of Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative, Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action. Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact that does not prevent him from earning huge fees for conducting in New York. He has turned down a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish to spend some time with him in Galtür. He enquires about the personal difficulties that Violin writes about in his letter, and asks him to say more; they will invite his sister for a visit. He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor Hammer is not yet finished. OJ 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925 Making preparations with his solicitor for the legal action against Universal Edition, Schenker asks Violin to find out whether Max Temming paid for the additional subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk yearbook and asks Violin whether he has yet made summer plans and whether these might include a trip to Galtür. OC 52/618 Handwritten letter from Moriz Violin to Schenker, dated May 26, 1925 Dealing at the same time with a family matter, Violin sends Schenker the receipt for Max Temming's purchase of subscriptions to Der Tonwille and confirms that the money for this was sent to the Leipzig office of Universal Edition. He is not planning any summer holiday this year. OJ 11/54, [2] Handwritten letter from Hoboken to Schenker, May 29, 1925 Hoboken wishes to become a pupil of Schenker; he has studied Schenker's theoretical works under Vrieslander, and describes his progress so far; outlines previous education in piano and music theory at the Hoch Conservatory,Frankfurt, and activity as composer and conductor; after breaking his shoulder, he neglected his musical studies; outlines the areas he wishes to study with Schenker; if accepted, he would take up residence in Vienna. OJ 6/7, [22] Handwritten letter from Schenker to Moriz Violin, dated May 30, 1925 Schenker thanks Violin for his latest efforts to account for subscriptions to Der Tonwille. He sends him the smaller version of the bronze medallion designed by Alfred Rothberger. OJ 14/45, [43] Handwritten letter from Moriz Violin to Schenker, dated June 4, 1925 Violin thanks Schenker for sending him the small version of the medallion designed by Alfred Rothberger. He does not want to give an account of the difficult times he is facing, expecting that things will eventually turn out for the better. He returns some money, left over from the purchase of copies of Tonwille 10, which Schenker had previously sent him. OJ 8/4, [37] Handwritten postcard from Schenker to Moriz Violin, dated June 9, 1925 Schenker asks Violin to write to one of the German university music departments who received subscriptions to Der Tonwille through the generosity of Max Temming, to find out if, and when, they received Tonwille 10, which was published in January. He reports being on the verge of completing the first Meisterwerk Yearbook. OC 54/29 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated June 10, 1925 Drei Masken Verlag requests that Schenker send the manuscript of the first Meisterwerk Yearbook directly to their Munich office. OJ 11/54, [3] Handwritten letter from Hoboken to Schenker, dated June 10, 1925 Acknowledges Schenker's communication; is pleased to become a pupil of Schenker; accepts fee and agrees to three lessons per week. OC 52/631 Handwritten letter from Elias to Heinrich Schenker, dated June 13, 1925 Miss Elias reports on the pricing of issues of Der Tonwille in two music stores. OC 52/649 Handwritten letter from Moriz Violin to Schenker, dated June 15, 1925 Violin has received letters from the music departments of two German universities, which show that the tenth issue of Der Tonwille (published in January 1925) was not received until June 10. OC B/190 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked June 15, 1925 Altmann thanks Schenker for the medallion; he will be unable to visit Galtür. OJ 10/1, [90] Handwritten letter from Dahms to Schenker, dated June 16, 1925 Dahms sends birthday greetings to Schenker, and gratitude for the [Rothberger] medallion. — Margarete Dahms has given birth to a girl. — Speaks of "rotten German laws." OJ 12/20, [1] Handwritten postcard from Hedwig Kraus (Gesellschaft der Musikfreunde) to Schenker, dated June 17, 1925 OJ 8/4, [38] Handwritten postcard from Schenker to Moriz Violin, dated June 22, 1925 Schenker thanks Violin for his most recent efforts concerning the subscriptions to Der Tonwille; he is astonished to learn that Tonwille 10, published in January 1925, did not reach some subscribers until June. He hopes that Violin will be able to visit him in the Tyrol this summer, as he is expecting Vrieslander with his son. OC 54/15 Typewritten letter from Moriz Schenker to Heinrich Schenker, dated July 24, 1925 Moriz Schenker tells his brother that he will ask his friend Sobotka to intervene directly in the matter of obtaining the advance of 250 marks from Drei Masken Verlag JOB 94-3, [11] Handwritten picture postcard from Schenker to Hammer, dated July 26, 1925 Schenker inquires as to Hammer's whereabouts, referring to a current scandal surrounding the Albertina gallery in Vienna. He asks about "the first print." 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. OC 54/32 Typed letter from Moriz Schenker to Schenker, dated July 28, 1925 Moriz Schenker has seen his friend Sobotka, who will arrange for the advance from Drei Masken Verlag to be paid into his account. OJ 14/45, [108] Handwritten postcard from Moriz Violin to Schenker, dated July 28, 1925 Unable to leave Hamburg this summer because of financial difficulties, but having nothing worth saying in a letter, Violin asks for some news from Schenker. OJ 15/16, [55] Handwritten letter from Weisse to Schenker, incomplete, written c. August 5, 1925 Weisse apologizes for not having written for a long time. He has seen Furtwängler and reports that the conductor knows nothing of his writings and has no idea about the Urlinie. Universal Edition have declined to publish his Sextet. (In the missing portion of the letter, which is summarized in Schenker's diary, he asks his teacher's help in finding another publisher, perhaps with Wilhelm Altmann's intervention.) 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. OJ 11/36, [18] Handwritten letter from Hammer to Schenker, dated August 18, 1925 Hammer enloses a first pull of the mezzotint of Schenker, but expresses dissatisfaction with it. Gives his itinerary. 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 8/4, [39] Handwritten picture postcard from Schenker to Moriz Violin, undated, postmarked August 27, 1925 Schenker sends greetings from the Tyrol, reports the publication of an article on him by Elsa Bienenfeld, which includes a reproduction of his pupil Alfred Rothberger's bronze medallion. OJ 14/45, [45] Handwritten letter from Moriz Violin to Schenker, dated August 28, 1925 Violin, in a philosophical mood, thanks Schenker for his concerns; he paints a pessimistic picture of the world in general, embracing the injustices that his friend must also suffer. OC 54/33 Typewritten letter from C. Alberti (DMV) to Schenker, dated September 1, 1925 In response to Schenker's request for proofs for the first Meisterwerk Yearbook, Drei Masken Verlag explain that they have not yet decided on a printing house. They advise Schenker to submit his next manuscript earlier in the year, on account of the complexity of the work. OJ 11/36, [19] Handwritten letter from Hammer to Schenker, dated September 1, 1925 Hammer explains why he can't just take the test print of his Schenker mezzotint as the final product. -- He speaks of money difficulties. OJ 9/35, [1] Handwritten letter from Gustav von Cube to Schenker, dated September 7, 1925 Finding himself adversely affected by the current financial crisis, Gustav von Cube asks Schenker to help find work for his son Felix, to help help him finance his studies. JOB 94-3, [13] Handwritten letter from Schenker to Hammer, dated September 8, 1925 Heinrich discusses the drawing from which the Schenker mezzotint was made, and its prospects for sale. The Keilgasse house is undergoing deep cleaning. JOB 94-3, [14] Handwritten letter from Schenker to Hammer, dated September 9, 1925 Schenker informs Hammer that the drawing from which the Schenker mezzotint was made has been sold. OJ 11/10, [18] Handwritten postcard from Frimmel to Schenker, dated September 10, 1925 Frimmel will correct [errors pointed out by Schenker], and reports that his Beethovenhandbuch is in press. OJ 11/36, [20] Handwritten letter from Hammer to Schenker, dated September 11, 1925 Hammer is working on the plate of the Schenker mezzotint. 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. OC 54/34 Typewritten letter from August Demblin (DMV) to Schenker, dated September 16, 1925 Drei Masken Verlag tell Schenker that a printer for the first Meisterwerk Yearbook has not yet been found, owing to the high costs of this work, and that first proofs will not be ready for another two weeks. OJ 11/36, [21] Handwritten postcard from Hammer to Schenker, dated September 17, 1925 Hammer asks for a short sitting the next day. OJ 11/36, [22] Handwritten postcard from Hammer to Schenker, dated September 17, 1925 Hammer asks for a short sitting the next day. OC 54/35 Typewritten postcard from August Demblin (DMV) to Schenker, dated September 22, 1925 Drei Masken Verlag arranges for Schenker to be paid his advance of 250 marks. OJ 9/12, [5] Handwritten letter from Carl Bamberger to Schenker, dated September 27, 1925 Bamberger is officially a "conductor" at Danzig. -- He asks how to obtain a Rothberger medallion of Schenker and inquires after Hammer's etching. -- He reports on Hupka's progress in Cologne, and inquires after F.E. von Cube. OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925 Van Hoboken reports on his recent travels, describing the house that he has rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on October 13, 1925; encloses $60 in advance monthly payment. OJ 9/8, [1] Handwritten letter from Wilhelm Altmann to Schenker, dated October 3, 1925 Altmann asks Schenker to send his [Hammer] portrait to the editor of Die Musik. JOB 94-3, [15] Handwritten letter from Schenker to Hammer, continued by Weisse, dated October 5, 1925 Schenker informs Hammer that he has recommended Otto Vrieslander as the author of a short article about him to accompany the Hammer mezzotint for publication in the journal Die Musik. Weisse continues the letter, ordering prints of the mezzotint for Schenker and himself, and detailing arrangements for payment. OJ 12/17, [8] Handwritten letter from Komorn to Heinrich Schenker, dated October 5, 1925 Cessation of lessons comes as a blow, but Mrs. Komorn thanks Schenker unreservedly for all she has learned. OJ 11/36, [23] Handwritten letter from Hammer to Schenker, dated October 6, 1925 Hammer encloses as a gift two prints of his mezzotint of Schenker; Weisse will convey to Schenker a print from which the printing block of the mezzotint can be made for Die Musik's purposes. -- The Albertina has just purchased one of the proofs. 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. JOB 94-3, [16] Handwritten letter from Schenker to Hammer, dated November [recte October] 11, 1925 Schenker reports that the tube [containing a print of the mezzotint portrait of him, for making a printing block] has been sent to the publisher [of Die Musik], and he now waits to see whether the latter will commission an article to accompany it. He comments on the Albertina's purchase of a print of the portrait. OJ 11/54, [5] Handwritten letter from van Hoboken to Schenker, dated October 11, 1925 Van Hoboken will leave Munich for Vienna on October 14 and attend lesson on October 15. FS 40/27, [1] Handwritten letter from Weisse to Schenker, dated October 12, 1925 Weisse has come across a letter from Haydn to Carl Friedrich Zelter expressing gratitude and admiration for Zelter's analysis of "The Representation of Chaos" from The Creation, and thinks that it might be worth looking up Zelter's work in connection with Schenker's forthcoming study of the same work. OC B/191 Typewritten postcard from Wilhelm Altmann to Schenker, dated October 12, 1925 Conditions under which Altmann could purchase Brahms autograph for Library. OC 54/36 Typewritten postcard from August Demblin (DMV) to Schenker, dated October 13, 1925 Drei Masken Verlag has still not found a suitable printing house, and informs Schenker that the first Meisterwerk Yearbook cannot be published in 1925. OC 54/37 Copy of letter from Schenker to Drei Masken Verlag, dated October 16, 1925 Expressing his distress at the delays, Schenker expresses his hope that the first Meisterwerk Yearbook might nonetheless be published by December and, if not, that it should still bear the date of 1925. FS 40/27, [2] Handwritten letter from Weisse to Schenker, dated October 17, 1925 Weisse has found Zelter's review of Haydn's Creation and has copied out the section concerned with "The Representation of Chaos." He finds nothing of value in the review, but says it must have pleased Haydn because it shows that the composer was entirely conscious of how he went about writing the work. JOB 94-3, [17] Handwritten postcard from Schenker to Hammer, dated October 18, 1925 Schenker quotes Schuster's response acknowledging receipt of the portrait and anticipates publishing it [in Die Musik], perhaps with an accompanying essay. WSLB-Hds 191.557 Handwritten letter from Schenker to Deutsch, dated October 18, 1925 Responding to Deutsch's request, Schenker sends his text for inclusion in the forthcoming Schubert issue of Moderne Welt, and invites the Deutsches for an afternoon snack. OC 54/39 Typewritten letter from August Demblin (DMV) to Schenker, dated October 19, 1925 Drei Masken Verlag are near agreement with a printer; Yearbook I will be backdated to 1925. OJ 10/3, [41] Typewritten postcard from Deutsch to Schenker, dated October 20, 1925 Deutsch thanks Schenker for quickly providing his text [for the forthcoming Schubert issue of Moderne Welt]. He has written to Thomas Mann regarding the reference to Schubert's "Der Lindenbaum" in Mann's novel Der Zauberberg. The Deutsches accept Schenker's invitation for an afternoon snack, but can only come on a Sunday after Novemeber 2. OJ 9/4, [1] Typewritten letter from Franz Schmidt (Akademie für Musik) to Schenker, dated October 21, 1925 Schmidt reports the response from the Federal Ministry of Education. OJ 14/45, [46] Handwritten letter from Moriz Violin to Schenker, dated October 23, 1925 Informing Schenker that he is beginning to recover after a disastrous year, Violin reports that he has formed a trio with the violinist Mauritz van den Berg and the cellist Friederich Buxbaum, and has scheduled concerts for January. His son has started school, which he also regards as a blessing. 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. UMdK Z 641 D/1925, [1] Handwritten letter from Schenker to Franz Schmidt (Akademie für Musik), dated October 30, 1925 Schenker determines how the Sofie Deutsch stipend should be adjudicated after his death. OC 54/41 Typewritten letter from August Demblin (DMV) to Schenker, dated November 6, 1925 Drei Masken Verlag in Munich have now transferred all matters of production concerning Meisterwerk I to their office in Vienna. OC 54/42 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 6, 1925 Drei Masken Verlag in Vienna report that Waldheim-Eberle has been chosen as the printing house for Yearbook I; they ask Schenker for the precise wording of the title of the book, and issue instructions for dealing with the galley-proofs. OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925 Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven manuscript at Heck's. OJ 10/3, [43] Typewritten postcard from Deutsch to Schenker, dated November 7, 1925 Deutsch thanks Schenker for agreeing to the cuts to his article, and asks to come to the Schenkers on November 22 for the planned snack. WSLB-Hds 191.558 Handwritten letter from Schenker to Deutsch, dated November 7, 1925 Schenker agrees to the cuts to his article, and invites the Deutsches for a snack and chat on November 12 or 15. Schenker is planning to see Heck's Beethoven manuscript. OC 54/43 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 18, 1925 New stamps for the printing of Schenker's careted numbers must be ordered before the proofs of the first Meisterwerk Yearbook can be completed; they will therefore be delayed by a few days. OC 54/44 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 21, 1925 The printing-house has just received the stamps with the special characters needed to set the first Yearbook, and the proofs will be ready in a few days. OJ 9/8, [2] Handwritten postcard from Wilhelm Altmann to Schenker, dated November 21, 1925 Altmann acknowledges receipt of the [Hammer] portrait. — He refers to a booklet explaining Schenker's Urlinie. OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925 Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing Deutsch's collection of Schubert first editions. OC 54/45 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 28, 1925 The text of Yearbook I has been set, but the music examples will require more time. OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925 The [Hammer] mezzotint has arrived; Dahms expresses a reservation about it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE. OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925 Violin gives Schenker the program of his concerts with van den Berg and Buxbaum. OJ 14/14, [1] Handwritten letter from Artur Schnabel to Schenker, dated December 6, 1925 Schnabel divulges only some details of his publisher's contract. OC 54/48 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated December 9, 1925 Drei Masken Verlag acknowledge receipt of the Foreword to Meisterwerk I. They note that he has made a large number of corrections to the proofs, and warn him that, though they can be incorporated in the final text, he will have to bear the expense if they exceed 10% of the overall printing costs. 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 10/3, [46] Typewritten postcard from Deutsch to Schenker, dated December 15, 1925 Deutsch thanks Schenker for his postcard [not known to survive] and hopes to speak to him soon about the matters raised therein. Deutsch, however, could neither read nor understand a sentence from Schenker's postcard and affixes it to this reply. OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21, 1925 Interrupting his correcting of the proofs for the first Meisterwerk Yearbook, Schenker sends Christmas greetings to the Violins, and informs his friend that an out-of-court settlement was made with Universal Edition. Recent concert appearances of the cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be sent to Hamburg. OJ 14/45, [47] Handwritten letter from Moriz Violin to Schenker, dated December 25, 1925 Catching up on his correspondence on Christmas Day, Violin thanks Schenker for his recent postcard, and hopes that 1926 will be a less troublesome year for him. He quotes an extract from a negative review of Berg's Wozzeck, and reports on his practice and rehearsal plans for the trios that he will perform with van der Berg and Buxbaum in a month's time. OJ 11/54, [6] Handwritten letter from van Hoboken to Schenker, dated January 3, 1926 Van Hoboken sends New Year greetings; reports that he is to see in the Paris Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson on January 9. OJ 14/45, [50] Handwritten letter from Moriz Violin to Schenker, dated January 12, 1926 Violin asks Schenker if he would consider taking one of his pupils, Miss Agnes Becker, as a pupil for the remainder of the teaching year. OC 54/56 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 14, 1926 Drei-Masken Verlag says that there are plans to publish the autograph manuscript of Mozart’s Don Giovanni in facsimile. They are in the process of finishing the first Meisterwerk Yearbook, note Schenker’s wish for wider Urlinie graphs in future yearbooks. OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926 Drei Masken Verlag in Munich have now transferred all matters of production concerning the first Meisterwerk Yearbook to their office in Vienna. 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. OC 54/58 Typewritten letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January 16, 1926 The facsimile edition of Mozart’s Don Giovanni will not be ready for some time; a facsimile of Beethoven’s Op. 57 is planned, not by DMV but by a Paris printing-house. OC 54/59 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 21, 1926 Drei Masken Verlag announce that the second galley-proofs are on their way to Schenker and explain that, owing to the complexity of the publication, it will take time to complete the corrections to the text and the music examples. OC 54/60 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 25, 1926 Drei Masken Verlag are sending Schenker the second galley-proofs for the first Meisterwerk Yearbook, together with a separate printout of the music examples. OC 54/62 Typed letter from Alfred Böhme (DMV) to Schenker, dated February 3, 1926 The Vienna branch of Drei Masken Verlag are forwarding Schenker’s request for an announcement about the Meisterwerk Yearbooks to their Munich office. They explain that difficulties in printing the music examples have delayed the production of Yearbook 1. OC 54/63 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated February 5, 1926 Drei Masken Verlag invite Schenker to write a short announcement about the Meisterwerk Yearbook, to be sent to newspapers and music journals in advance of publication. OJ 9/3, [4] Typewritten letter from Guido Adler to Schenker, dated February 10, 1926 Invitation to join the Conference Committee of the Beethoven Centennial Celebration 1927. OJ 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11, 1926 Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in putting together the first Meisterwerk Yearbook, on account of the numerous music examples and separate Urlinie graphs, and summarizes the contents of the second Yearbook. OJ 10/3, [47] Typewritten postcard from Deutsch to Schenker, dated February 15, 1926 Deutsch has received Schenker's request for a subscription to Die literarische Welt and has dispatched the required payment transfer form. OJ 14/45, [51] Handwritten letter from Moriz Violin to Schenker, dated February 18, 1926 Violin, in the aftermath of two enormously successful trio concerts with Mauritz van den Berg and Friedrich Buxbaum, gives an account of Buxbaum's vanity and the difficulty this causes in rehearsals and more generally for the ensemble. His doctor has recommended that he spends three weeks in Bad Gastein this summer. He has not yet received Hammer's portrait of Schenker. OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926 In a wide-ranging letter responding to Moriz Violin's previous letter, Schenker asks his friend to confide in him his personal troubles. He offers his support in the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to find a way of getting the Hammer portrait to him safely, possibly by having it sent directly from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil Agnes Becker, recently arrived from Hamburg where Violin had been teaching her. OC 54/68 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 4, 1926 Drei Masken Verlag reprimands Schenker for introducing so many changes to the music examples, and ask him to consider whether he wishes to bear the additional cost of reingraving the music example plates. OJ 14/45, [52] Handwritten letter from Moriz Violin to Schenker, dated March 6, 1926 Responding to Schenker's continuing queries, Violin gives some details of recent illnesses, the cure for which his doctor has ordered him to spend part of the summer in Bad Gastein. He is awaiting the arrival of the Hammer portrait, and is considering the future of his piano trio ensemble. OC 54/69 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 10, 1926 Drei Masken Verlag report a short delay in the production of the first Meisterwerk Yearbook. OJ 14/45, [111] Handwritten postcard from Moriz Violin to Schenker, dated March 13, 1926 Violin thanks Schenker for Hammer's excellent portrait of him, which has finally arrived. OC 54/70 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 15, 1926 Drei Masken Verlag agree to print a list of corrections at the end of Meisterwerk 1, and announce that they have now completed the revision of the volume. OJ 10/3, [49] Handwritten letter from Hanna Deutsch to Schenker, dated March 20, 1926 Hanna Deutsch invites the Schenkers to afternoon tea on March 28, 1926. 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. OC 82/27-28 Handwritten letter from Georg Dohrn to Schenker, dated April 2, 1926 Dohrn inquires as to the performance of the opening of the second movement of Beethoven's Ninth Symphony. OJ 5/9a, [1] Handwritten letter from Schenker to Georg Dohrn, dated April 5, 1926 Schenker answers Dohrn's inquiry as to the performance of the opening of the second movement of Beethoven's Ninth Symphony. WSLB 369 Handwritten letter from Schenker to UE, dated April 7, 1926 Schenker encloses an order from Bauer and asks for it to be fulfilled. 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. OC 52/545 Typed postcard from Hugo Winter (UE) to Schenker, dated April 9, 1926 Winter acknowledges order from Otto Bauer. OC 54/74 Typed letter from Alfred Böhme (DMV) to Schenker, dated April 15, 1926 Drei Masken Verlag inform Schenker that the proof-copy of Meisterwerk 1 has been sent to Dr. Einstein in Munich for final checking. They confirm that the majority of the music examples will appear as an unbound supplement at the end of the book, agree to correct two errors in the typesetting, and confirm the appearance of the cover. OJ 15/15, [20] Handwritten postcard from Weisse to Schenker, dated April 16, 1926 Schenker has, mistakenly, sent Weisse a copy of Reger's "Telemann" Variations (Op. 134) instead of the "Bach" Variations (Op. 81) which he had lent him. Weisse asks what is holding up the publication of the first Meisterwerk Yearbook, and suggests that Schenker might write about Bruckner in the next one. A Brahms analysis would help strengthen his position against his opponents. He also recommends that Schenker discuss a work that is less than perfect, and cites Eduard Mörike's "Um Mitternacht" as an example of a poem whose opening verses are beautiful but which deteriorates in meaning and poetic quality. OC 54/75 Typed letter from DMV to Schenker, dated April 24, 1926 Drei Masken Verlag will send Schenker new page-proofs for the first gathering, to ensure that the title-page and the list of printing errors are correct. They also ask about the binding of the separate pages of musical illustration, and the notice about his earlier publications. OJ 9/5, [1] Handwritten letter from Gerhard Albersheim to Schenker, dated May 3, 1926 Albersheim asks Schenker to take him on as pupil. OC 54/76 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 4, 1926 Drei Masken Verlag are sending Schenker the proofs for the first gathering of his first Meisterwerk Yearbook, with the list of printing errors. There is not enough room for a special notice about the new series, but they will include the contents of the ten issues of Der Tonwille. OC 54/77 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 7, 1926 Drei Masken Verlag alert Schenker to the printing error in the proof of the advertisement page, which was to be included in the first Meisterwerk volume, and ask that he disregard the imprimatur. They send linen swatches for the cover and recommend using coloured lettering for the title. OC 54/78 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 14, 1926 A further mistake has been found in the text of the first Meisterwerk Yearbook, and Schenker is asked to confirm the correction by return of post. 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. OJ 11/54, [7] Handwritten letter from Hoboken to Schenker, dated May 22, 1926 Hoboken excuses himself from May 22 lesson, looks forward to May 25 lesson. OC 54/79 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 5, 1926 The binding of the first Meisterwerk Yearbook has been transferred to another firm, mainly because the printing-house of Waldheim-Eberle would not do this work for the agreed price. Schenker is asked not to press for an early release of the book, before the bindings have had a chance to dry thoroughly. OJ 14/45, [53] Handwritten letter from Moriz Violin to Schenker, dated June 7, 1926 Violin thanks Schenker for his recent postcard, gives a brief account of his own illnesses, and gives a somewhat longer account of those of his son Karl, which will complicate summer travel plans. He has learned from music shops in Hamburg that the Erläuterungsausgabe of Op. 106 is not yet published, and has also heard that Schenker's Beethoven sonata edition is no longer available; he asks Schenker if this is true. 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 54/80 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 11, 1926 Drei Masken Verlag acknowledge receipt of the manuscript of Das Meisterwerk in der Musik, vol. 2. OC 54/82 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated June 14, 1926 The Munich office of Drei Masken Verlag acknowledges receipt of the manuscript for Das Meisterwerk in der Musik, volume 2. 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 9/12, [6] Handwritten letter from Carl Bamberger to Schenker, dated June 15, 1926 Bamberger has introduced pianist Stefan Askenase to Schenker's Erläuterungsausgabe of Op. 111, to the latter's delight. He would like to visit the Schenkers in Galtür. OC 54/84 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 16, 1926 Drei Masken Verlag ask Schenker to exchange five paper-bound copies of the first Meisterwerk Yearbook for five of the hard-bound copies they had recently sent him. OJ 10/1, [93] Handwritten letter from Walter and Margarete Dahms to Schenker, dated June 17, 1926 Birthday greetings. OC 54/87 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 19, 1926 Drei Masken Verlag inform Schenker that the distribution of the first Meisterwerk volume will be delayed until their Munich branch have announced the retail price. OC 54/88 Typed letter from August Demblin (DMV) to Schenker, dated June 21, 1926 Drei Masken Verlag will arrange to have the remainder of the advance for the first Meisterwerk Yearbook paid in shillings, but they are reducing the royalties because the corrections he made exceed 10% of the printing costs. They are also reserving judgment on the publication of the second Yearbook until they see some sales figures for the first. (Pencil annotations to the letter indicate Schenker’s displeasure at this news.) OC 54/89 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 22, 1926 Drei Masken Verlag in Vienna report having paid the remainder of the advance for the first Meisterwerk Yearbook into Schenker’s account. OC 54/90 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 23, 1926 In response to Schenker’s query regarding advance payments for Das Meisterwerk in der Musik, the Vienna office of Drei Masken Verlag explain that they have instructions only to offer the remainder of the advance on the first Yearbook, and that no decision has yet been made with regard to the second. OC 54/91-92 Draft of a letter from Schenker to DMV in Schenker’s hand, dated June 24, 1926 In response to Drei Masken Verlag’s delay in initiating production of the second Meisterwerk Yearbook, Schenker points out that the publishers are in breach of paragraph 8 of the contract between them for not informing him the previous summer. He threatens them with legal action if he has not had a reply within a week, or if they insist on delaying production. OC 54/94 Typed letter from Hirsch to Schenker, dated June 26, 1926 Treuga Bank confirm that the General Director has read through the contract and letters regarding payment for the first Meisterwerk volume. He will send a report as soon as he has discussed the matter with the Consul General. 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 10/1, [95] Handwritten letter from Dahms to Schenker, undated, presumably late June or early July, 1926 Dahms's almanach plans have failed. — Germany has shown its gratitude for his work by denying him a divorce [from Agnes] for 15 years. OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926 Violin announces his arrival in Bad Gastein, to improve his health. The rest of his family is in Bistrai, near Bielitz, in Silesia. OJ 8/4, [43] Handwritten postcard from Schenker to Moriz Violin, written July 8, 1926 Schenker expresses his pleasure that the Violins are on holiday in Badgastein; he enquires about whether Violin has received a complimentary copy of Meisterwerk 1, which his publishers seem slow to dispatch, and whether he has further plans to give piano trio concerts. OC 54/95 Typed letter from August Demblin (DMV) to Schenker, dated July 9, 1926 Drei Masken Verlag ask Schenker to agree to a delay until October 1926 before a decision is reached about proceeding with production of the second Meisterwerk Yearbook. WSLB 370 Handwritten postcard from Schenker to Hugo Winter (UE), dated July 12, 1926 Schenker requests final account for the series Musikalische Theorien und Phantasien. OJ 14/45, [54] Handwritten letter from Moriz Violin to Schenker, undated, written July 13, 1926 Replying to Schenker's postcard of July 8 and the receipt of the first Meisterwerk Yearbook, Violin singles out the article "Weg mit dem Phrasierungsbogen" and remarks on passages in two Chopin etudes and in Beethoven's "Pathétique" Sonata which Schenker would find interesting. There is no news concerning his piano trio (with Mauritz van den Berg and Friedrich Buxbaum) but he is considering playing a concerto in the 1926-27 season. OC 52/907 Typed letter from Hugo Winter (UE) to Schenker, dated July 14, 1926 UE have mailed Schenker's statement of account to Galtür. OJ 10/1, [96] Handwritten letter from Dahms to Schenker, dated July 14, 1926 Dahms acknowledges receipt of Das Meisterwerk 1, and will review it for the Allgemeine Musikzeitung and his Almanach. — Is going to Berlin. — PS on acoustics of under-dominant. OC B/193 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked August 3, 1926 Altmann thanks Schenker for Meisterwerk I and describes his summer travels. OJ 10/1, [97] Handwritten postcard from Dahms to Schenker, dated August 11, 1926 Dahms gives his travel plans and [temporary] Berlin address. OJ 11/35, 24 Handwritten postcard from Halm to Schenker, dated August 11, 1926 Halm acknowledges receipt of Meisterwerk vol. I. OJ 9/34, [2] Handwritten letter from Cube to Schenker, dated August 14, 1926 Cube is having difficulty getting his father to pay Schenker for lessons given over the previous year, and asks Schenker to write firmly to the latter; speaks of his attempts to make contacts within Düsseldorf artistic circles. OJ 5/8 [1] Handwritten letter from Schenker to Gustav von Cube, dated August 18, 1926 Schenker insists that Gustav von Cube pay the fee for his son Felix’s last three months of lessons with him. He does not teach without being paid, explaining that this would be self-degrading – in his case all the more so, as he lives frugally and teaches only much as is necessary to afford to pursue his own research. OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926 The composition of a clarinet quintet has kept Weisse from writing to Schenker. Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to meet with him in Vienna to discuss its content. 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 9/35, [2] Handwritten letter from Gustav von Cube to Schenker, dated August 24, 1926 Responding to Schenker’s demand for final payment for his son’s lessons, Gustav von Cube has arranged for 250 Marks to be paid to Schenker in Galtür; he will send the remainder to Vienna. OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926 Schenker has received indication of part-payment from Cube's father [for Cube's lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has completed a clarinet quintet. OJ 5/7a, [4] (formerly vC 4) Handwritten postcard from Schenker to Cube, dated September 4, 1926 Schenker acknowledges Cube's note, sends best wishes, and refers to Der freie Satz. OJ 14/45, [55] Handwritten letter from Moriz Violin to Schenker, dated September 5, 1926 Violin reports that he had to cut short his holiday in Bad Gastein because his son Karl was again seriously ill. The costs of treatment amounted to nearly 4000 Marks, and this sum must be paid by the end of the year. 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 5/7a, [5] (formerly vC 5) Handwritten letter from Schenker to Cube, undated [c. October 7, 1926] Schenker praises Cube's talent as a writer; informs Cube of forthcoming article on Schenker by Vrieslander with portrait by Hammer; expresses his wish that Cube's father would pay all that he owes him. OJ 14/45, [56] Handwritten letter from Moriz Violin to Schenker, dated October 10, 1926 Violin reports that his son Karl's health has improved, but that he has to find a new apartment because Karl cannot stay on the ground floor. He will obtain a copy of the current issue of Die Musik, and reports that a review of (presumably) Meisterwerk 1 has appeared in the Hamburger Fremdenblatt. WSLB 371 Handwritten letter from Schenker to UE, dated October 10, 1926 Schenker thanks UE for the advertisement in Die Musik, and asks if they can obtain a review in Rivista musicale italiana. OC 54/101 Typed letter from Drei Masken Verlag (Vienna) to Schenker, dated October 12, 1926 Drei Masken Verlag in Vienna will forward Schenker’s query about the lack of publicity for the first Meisterwerk Yearbook to their Munich office. OC 52/831 Typed postcard from Barbara Rothe (UE) to Schenker, dated October 13, 1926 UE have written for review in Rivista musicale italiana. OC 54/104 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated October 15, 1926 Drei Masken Verlag think that an advertisement for the first Meisterwerk Yearbook in the December 1926 issue of Die Musik would be timely; they also report that sales of the book have been slow. OJ 11/51, [1] Typed letter from Hindemith to Schenker, dated October 25, 1926 Finding his name mentioned adversely in Meisterwerk 1, Hindemith writes that he has always striven to fulfill in his own work the fundamental truths that are stated in Schenker's books. He encloses two scores, and is convinced Schenker will find the Urlinie in them. OC 52/832 Typed letter from Barbara Rothe (UE) to Schenker, dated October 26, 1926 Rothe encloses review from Rivista musicale italiana. WSLB 372 Handwritten letter from Schenker to UE, dated November 2, 1926 Schenker returns the review in Rivista musicale italiana. OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926] In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable with material property; the music of today is quite different from that of the past, the rules of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to speak his own mind. OJ 8/4, [44] Handwritten postcard from Schenker to Moriz Violin, dated November 10, 1926 Schenker enquires about the health of Violin and his son Karl. He has received a cordial letter from Hindemith, assuring him that the fruits of his theory may be found in his works, including the Urlinie; he has responded politely but candidly. OJ 10/1, [98] Handwritten postcard from Dahms to Schenker, dated November 13, 1926 Dahms has written his review of Meisterwerk, and has dispatched a copy of his Almanach to Schenker. OJ 14/45, [57] Handwritten letter from Moriz Violin to Schenker, dated November 17, 1926 Violin reports on having moved to a new apartment, no longer on the ground floor, which his sister and (especially) a friend in Berlin named Martha Loeb have helped to finance. He is amused what Schenker told him about his letter from Hindemith, whose words, he believes, ought to be taken at face value. OJ 9/34, [3] Handwritten letter from Cube to Schenker, dated November 25, 1926 Cube asks for a letter of recommendation to be sent to the Provincial School Council. OC 54/108 Typed letter from Alfred Böhme (DMV) to Schenker, dated November 26, 1926 Drei Masken Verlag are not at liberty to make a direct approach to a retailer’s customers. They suggest that Schenker contact the firm of Gutmann directly, and that the appeal to his readers is personally composed; they will offer Gutmann a reduction in the cost of copies ordered or sold by the firm. OJ 5/7a, [6] (formerly vC 6) Handwritten postcard from Schenker to Cube, dated November 28, 1926 Schenker acknowledges receipt OJ 9/34, [3]; has written letter of recommendation to Koblenz authorities, and supporting letter to recipient. OJ 11/54, [9] Handwritten postcard from van Hoboken to Schenker, dated December 2, 1926 Hoboken cannot attend December 3 lesson. OC 54/109 Typed letter from Alfred Einstein (DMV) to Schenker, dated December 11, 1926 Although he is confident that Drei Masken Verlag is not bound to publishing Schenker’s second Meisterwerk Yearbook, Einstein suggests that the two of them come to a new financial agreement so that production can take place. OJ 9/34, [4] Handwritten letter from Cube to Schenker, dated December 14, 1926 Cube was not given recognition, and has to take an examination for purposes of the appointment. Sends Christmas greetings. OC 54/110 Typed letter from Alfred Böhme (DMV) to Schenker, dated December 17, 1926 Drei Masken Verlag inform Schenker that a glowing review of the first Meisterwerk volume has appeared in Der Abend, and ask that he send them details of interested individuals to whom they can forward the review. UMdK Z 767 D/1926, [1] Handwritten letter from Schenker to the Akademie für Musik, dated December 17, 1926 Schenker inquires whether interest on the capital will be available for him to award the Sofie Deutsch stipend in 1927. OJ 5/7a, [7] (formerly vC 7) Handwritten postcard from Schenker to Cube, dated December 19, 1926 Schenker acknowledges receipt OJ 9/34, [4], and asks to be told outcome. 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. OJ 9/4, [2] Typewritten letter from the Alexander Wunderer (Akademie für Musik) to Schenker, dated December 21, 1926 The accumulated interest is available for distribution for the Sofie Deutsch stipend. UMdK Z 767 D/1926, [3] Typewritten internal memorandum of the Akademie für Musik, dated December 21, 1926 Records the interest for 1925 and 1926 for the Sophie Deutsch Stipend of 1927. OC 52/908 Typed letter from Hugo Winter (UE) to Schenker, dated December 28, 1926 Payments for Beethoven sonatas and Der Tonwille have been transferred. OJ 10/1, [99] Handwritten postcard from Dahms to Schenker, dated December 28, 1926 Dahms's review of Meisterwerk 1 is out. Christmas greetings. WSLB 373 Handwritten letter from Schenker to Hugo Winter (UE), dated December 30, 1926 Schenker requests continuation of half-yearly statements for the Musikalische Theorien und Phantasien. OJ 9/34, [5] Handwritten letter from Cube to Schenker, dated December 31, 1926 Teaching situation has been resolved; asks Schenker's advice on an Urlinie graph; will hear from Conservatory in New Year; sends New Year's greetings. UMdK Z 767 D/1926, [4] Handwritten letter from Schenker to the Akademie für Musik, dated December 31, 1926 Schenker asks the amount of interest that will be available for the Sofie Deutsch stipends in 1927. OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927 Violin reports on his son Karl's continued health problems and also his affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for two pianos by C. P. E. Bach in an arrangement by Schenker. OC 52/909 Typed letter from Hugo Winter (UE) to Schenker, dated January 4, 1927 Encloses Schenker's royalty statement for the second half of 1926. 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. UMdK Z 767 D/1927, [2] Typewritten letter (carbon copy) from Hans Waizmann (Akademie für Musik) to Schenker, dated January 11, 1927 Waizmann reports the amount of the interest on the Sophie Deutsch stipend. OJ 10/3, [52] Typewritten postcard from Deutsch to Schenker, dated January 15, 1927 Deutsch asks Schenker if a (recent) edition of Beethoven’s Ninth Symphony was based on the facsimile edition. He has sent the manuscript (of Schenker’s second Meisterwerk yearbook) to the publishers. A Haydn facsimile and a Handel print can be discussed later. OJ 10/3, [53] Typewritten postcard from Deutsch to Schenker, dated January 16, 1927 Deutsch asks Schenker what he wrote about Domenico Scarlatti and Chopin as non-German geniuses, for his forthcoming trip to Sweden. He has learned that Schubert was paid for two summers’ teaching for the Esterházy family; he has valued two song manuscripts belonging to the family at 4,000 marks. OJ 11/54, [10] Handwritten letter from van Hoboken to Schenker, dated January 16, 1927 Van Hoboken acknowledges [non-extant] missive; has been unable to look up Gerald Warburg; asks for John Petrie Dunn's address; has seen Otto Vrieslander. BerkAE 7/898, [4] Handwritten postcard from Schenker to Deutsch, dated January 16, 1927 Schenker responds to Deutsch’s request for information about the recent facsimile edition of Beethoven’s Ninth Symphony, and the new edition of the symphony published by the Philharmonischer Verlag. He had made changes to the text of the first movement, but subsequently withdrew from the editing. OC 54/119 Typed letter from August Demblin (DMV) to Schenker, dated January 17, 1927 Drei Masken Verlag agree to publish the second Meisterwerk Yearbook, under terms suggested by Otto Erich Deutsch, and will send Schenker an advance of 250 marks. OC 54/120 Typed letter from August Demblin (DMV) to Schenker, dated January 18, 1927 Drei Masken Verlag inform Schenker that they have sent the manuscript of his second Meisterwerk Yearbook to the typesetter, Mandruck (Munich), from whom he will receive the galley-proofs. OJ 10/3, [54] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January 18, 1927 Vrieslander would like to give a lecture on Schenker and Beethoven at the centenary celebrations in Vienna; Deutsch asks Schenker to contact Vrieslander directly about this. OJ 10/3, [55] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January 18, 1927 Deutsch asks Schenker not to mention his name in connection with the “curiosity” about Schubert mentioned in his postcard of January 15. OC 54/122 Handwritten postcard from Alfred Einstein (DMV) to Schenker, dated January 19, 1927 Einstein thanks Schenker for the information provided (via Otto Erich Deutsch) about the manuscripts of Beethoven’s Ninth Symphony, and uses the opportunity to express his happiness that production of the second Meisterwerk Yearbook is now underway. OC 54/124 Typed letter from Otto Vrieslander to Schenker, dated January 20, 1927 Vrieslander has received the Urlinie graphs for two essays in the second Meisterwerk Yearbook, and explains to Schenker that he will exercise the utmost care in preparing them for publication. OC 54/125 Typed postcard from August Demblin (DMV) to Schenker, dated January 21, 1927 Drei Masken Verlag agree to send Schenker proofs of the text and the music examples at the same time. OJ 15/15, [21] Handwritten postcard from Weisse to Schenker, dated January 21, 1927 Weisse provides Schenker with Gerald Warburg's address in New York City. He also asks a question about Schenker's fingerings for the trills in the second movement of Beethoven's Op. 111. DLA 69.930/14 Handwritten postcard from Schenker to Halm, dated January 22, 1927 Schenker thanks Halm for sending his book, and hopes to read it soon. OJ 9/34, [6] Handwritten letter from Cube to Schenker, dated January 24, 1927 Acknowledges Schenker's reply and corrections. There will be no problem with his teacher's examination in May. Reports on recent activities. OC 54/126 Typed letter from August Demblin (DMV) to Schenker, dated January 27, 1927 Drei Masken Verlag have enclosed a page of music examples and a letter from the printers. They request a response as soon as possible. OJ 11/54, [12] Handwritten letter from van Hoboken to Schenker, dated January 28, 1927 Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. — He reports on library visits in London and Paris, discusses manuscripts and conditions for photography, purchases. — He plans no further trips this season. OJ 9/3, [5] Typewritten letter from Adler to Schenker, dated January 28, 1927 Invitation to give a lecture to the conference associated with the Beethoven Centennial Celebration [March 1927]. OJ 5/7a, [8] (formerly vC 8) Handwritten postcard from Schenker to Cube, undated [January 31, 1927] Schenker wishes Cube well in his new job, offers encouragement over his graphing technique, and praises his writing. OJ 9/4, [3] Typewritten letter from Joseph Marx and Alexander Wunderer (Akademie für Musik) to Schenker, dated February 3, 1927 Schenker is asked to give the Federal Ministry of Education his opinion as to how the Sofie Deutsch stipends should be adjudicated after his death. OJ 9/34, [7] Handwritten letter from Cube to Schenker, dated February 7 1927 Cube reports on his careers as critic and teacher. OC 54/129 Typed letter from Otto Vrieslander to Schenker, dated February 10, 1927 Vrieslander assures Schenker that he has prepared the graphs for Mozart’s Symphony in G minor with the utmost care, with due regard to his instructions. OC 54/130 Typed postcard from August Demblin (DMV) to Schenker, dated February 12, 1927 Drei Masken Verlag inform Schenker that the proofs will be sent in the manner that he has requested. OC 54/131 Typed postcard from Otto Vrieslander to Schenker, postmarked February 14, 1927 Vrieslander explains the way he has dealt with Schenker’s detailed comments on the graph of Mozart’s Symphony in G minor. 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 54/133 Copy of a letter from Otto Vrieslander to Alfred Einstein (DMV), dated February 15, 1927 Following Einstein’s determination to have the Urlinie graphs engraved, not hand-drawn, Vrieslander asks that the engraver pays particular attention to the shape of the large slurs, and suggests a meeting with the engraver to go over further problems. If the graphs were relegated to an appendix, they could be as wide as necessary, for sake of clarity. OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927 Schenker acknowledges and returns Cube's review; reports on the progress of his own publications. OJ 6/7, [32] Handwritten letter from Schenker to Violin, dated February 16, 1927, with postscript from Fanny Violin Replying to Violin's previous letter, Schenker expresses surprise about (Egon) Pollak's enthusiasm for C. P. E. Bach's Double Concerto. He also expresses uncertainty about whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and adaptation of part of his Counterpoint, vol. 2, has been prepared; and Herman Roth's book on counterpoint has also been published. He sends little Karl a picture of himself, and leaves space for Violin's sister Fanny to add a short greeting. 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. OC B/228 Typewritten letter from V. A. Heck to Schenker, dated February 21, 1927 Heck informs Schenker of a Beethoven manuscript in his hands. OJ 13/25, [1] Handwritten letter from Albert Trentini (on behalf of Hermann Rinn) to Schenker, dated February 23, 1927 Trentini invites Schenker to contribute to Der Kunstwart. OJ 14/45, [61] Handwritten letter from Moriz Violin to Schenker, dated February 23, 1927 Following a brief description of a recent illness, Violin replies to Schenker's question about accepting the Order of Merit from the Viennese Academy of Art and Science and advises him to accept it. He realizes that staying in Hamburg would be bad for his son's long-term health and has spoken to Artur Schnabel about the possibility of moving to Berlin or Frankfurt. An influential man in Frankfurt is the father-in-law of Paul Klenau; Violin knows of Klenau's respect for Schenker, and asks his friend to write to Klenau in support of his application for a post there. OC 54/135 Typed letter from DMV to Schenker, dated February 24, 1927 Drei Masken Verlag inform Schenker that there is a delay with the production of the music examples for the second Meisterwerk yearbook. They anticipate that he will receive the proofs soon. OC B/227 Typewritten letter from V. A. Heck to Schenker, dated February 25, 1927 Heck has sent the sketchleaves for photographic reproduction. OJ 8/4, [46] Handwritten postcard from Schenker to Violin, postmarked [February] 26, 1927 Responding to a request from Violin, Schenker says he will write to Paul von Klenau on behalf of Violin, apparently in connection with a possible position in Frankfurt. OJ 8/4, [47] Handwritten postcard from Schenker to Violin, dated February 27, 1927 Schenker is about to write to Paul von Klenau on Violin's behalf, but asks whether he should wait until Easter, as suggested in Violin's previous letter. 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. OJ 14/45, [62] Handwritten letter from Violin to Schenker, dated March 2, 1927 Violin thanks Schenker for his willingness to intervene on his behalf with regard to a position in Frankfurt, and asks him to get in touch with Paul von Klenau before a possible meeting in person at Easter. OC 54/136 Typed letter from August Demblin (DMV) to Schenker, dated March 4, 1927 Drei Masken Verlag send Schenker a proof of the Urlinie graph for Chopin’s Op. 15, No. 2, and ask him to correct and return it. OC B/226 Typewritten letter from V. A. Heck to Schenker, dated March 4, 1927 Heck asks Schenker to proof read the galleys of an article. OJ 10/3, [56] Typewritten letter from Deutsch to Schenker, dated March 7, 1927 Deutsch is touched by Schenker’s letter explaining why he doesn’t wish to be considered for an honor (from the Austrian Republic), and will send Karl Kobald a summary of its main points. OC B/224 Typewritten letter from V. A. Heck to Schenker, dated March 10, 1927 Heck asks Schenker to identify a Beethoven sketchleaf. OC B/223 Typewritten letter from V. A. Heck to Schenker, dated March 12, 1927 Heck thanks Schenker for information supplied, and will send a photograph. OJ 10/3, [57] Typewritten postcard from Deutsch to Schenker, dated March 13, 1927 Deutsch asks Schenker to recommend Dr. Willy Kahl (Cologne) to write for the Bonn General-Anzeiger. He reports the arrival of galley proofs (for the second Meisterwerk yearbook). OC 54/137 Typed letter from Otto Erich Deutsch to Schenker, dated March 16, 1927 Deutsch returns part of the proofs of the second Meisterwerk Yearbook and provides bibliographical details of a Haydn sketch-leaf to be reproduced for the essay on “The Representation of Chaos.” OC 54/139 Typed letter from August Demblin (DMV) to Schenker, dated March 18, 1927 In response to queries about the typography in the second Meisterwerk Yearbook, Drei Masken Verlag ask Schenker to return the proof-sheets with the corrections indicated, so that they can investigate the specific problems. OJ 12/11, [11] Handwritten letter from Klenau to Schenker, undated [c. March 23, 1927] Klenau agrees to approach his brother-in-law to help Moriz Violin. — He responds to a comment by Schenker about Albert Schweizer. 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. OC 54/141 Typed postcard from August Demblin (DMV) to Schenker, dated March 24, 1927 Drei Masken Verlag confirm that the facsimile sketch for Haydn’s “Chaos” will be stereotyped. OJ 10/3, [58] Typewritten postcard from Deutsch to Schenker, dated March 24, 1927 Deutsch will probably attend a lecture given by Wolfgang Graeser, and encourages Schenker to do the same. OJ 8/4, [48] Handwritten picture postcard from Schenker to Violin, dated March 27, 1927 Schenker has written to Paul von Klenau on Violin's behalf, and received an assurance that Klenau will write to his brother-in-law (not father-in-law, as Violin had originally thought) but thinks that Artur Schnabel will be more influential. Klenau will visit the Schenkers on Saturday. OJ 8/4, [49] Handwritten postcard from Schenker to Violin, dated March 29, 1927 In advance of seeing Klenau, Schenker reports on a meeting with Wilhelm Altmann and Ludwig Rottenberg, who believe that only people under 30 years old are likely to be appointed to a post of the sort that Violin is seeking in Frankfurt – a situation that he finds appalling. OJ 14/45, [63] Handwritten letter from Violin to Schenker, dated March 31, 1927 In reply to Schenker's recent postcards, Violin maintains that Klenau's support for his appointment in Frankfurt is important, as the Ministry of Education in Berlin can exert only a limited amount of pressure on the Frankfurt circle. OC 54/143 Typed postcard from August Demblin (DMV) to Schenker, dated April 5, 1927 Drei Masken Verlag confirm receipt of the corrected graphs and freshly copied music examples for Meisterwerk 2. OJ 13/25, [2] Typewritten letter from Rinn to Schenker, dated April 6, 1927 Having received a letter from Schenker to Albert Trentini, Rinn welcomes the prospect of Schenker contributing the occasional article to Der Kunstwart, and asks for a title. OJ 14/45, [113] Handwritten postcard from Violin to Schenker, dated April 6, 1927 In a reply to a recent letter, Violin thanks Schenker for the news concerning the position he is hoping to obtain in Frankfurt and asks him whether Klenau might discover what the people in Frankfurt think of him as a candidate. OC B/222 Typewritten letter from V. A. Heck to Schenker, dated April 12, 1927 Heck sends a Beethoven sketchleaf and asks Schenker's opinion of it. OJ 10/1, [100] Typewritten letter from Dahms to Schenker, dated April 13, 1927 His Almanach has been a success but produced no financial return in a hostile environment. — They are leaving Berlin for the south; he has lost faith in German spirit, intellect, and morality. 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 14/45, [64] Handwritten letter from Violin to Schenker, dated April 14, 1927 Violin thanks Schenker for his article (on Beethoven). He is still hoping for a positive reply regarding Paul von Klenau's support for him in Frankfurt. OJ 15/15, [22] Handwritten postcard from Weisse to Schenker, dated April 14, 1927 Weisse calls his teacher's attention to a recent article by Edmund Schmid, which questions the objectivity of Schenker's Beethoven research and deplores the slavish adherence of his disciples to the concept of Urlinie. 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 11/54, [13] Handwritten postcard from van Hoboken to Schenker, dated April 22, 1927 Hoboken invites the Schenkers to a quartet concert. OC 54/145 Typed letter from August Demblin (DMV) to Schenker, dated April 25, 1927 Drei Masken Verlag inform Schenker that they have sent all of the material for the second Meisterwerk volume to the printers, and that he should expect to receive three copies of the page proofs and two copies of the music examples in due course. OJ 8/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated April 25, 1927 Schenker explains that what he is doing behind the scene to assist Violin in obtaining a post in Frankfurt, and hopes for some news from Wilhelm Altmann. Artur Schnabel will be more useful to his cause than Paul von Klenau and his brother-in-law Heinrich Simon. WSLB 375 Handwritten letter from Schenker to UE, dated April 25, 1927 Having gained access to the facsimile of the "Appassionata" Sonata, Schenker sends revisions to his edition. OC 52/834 Typed letter from Barbara Rothe (UE), dated April 26, 1927 Rothe acknowledges corrections to the "Appassionata" Sonata and promises proofs. OJ 15/16, [57] Handwritten letter from Weisse to Schenker, dated April 29, 1927 Lacking an official state teaching certificate, Weisse asks Schenker for a testimonial that states that he studied with him from 1908 to 1915, and in 1919, and that he is fully qualified to teach harmony, counterpoint, composition, and piano. OC 54/147 Typed postcard from August Demblin (DMV) to Schenker, dated April 30, 1927 Drei Masken Verlag inform Schenker that they have forwarded the imprimatur engravings to the printers, along with his query about Fig. 33. OC 54/149 Typed postcard from August Demblin (DMV) to Schenker, dated May 3, 1927 Drei Masken Verlag confirm that they have arranged for two copies of the page proofs for the second Meisterwerk volume to be sent to him, and the third to Otto Erich Deutsch. OC 54/154 Typed postcard from August Demblin (DMV) to Schenker, dated May 9, 1927 Drei Masken Verlag confirm receipt of the imprimatur copy of Figure 33 for the second Meisterwerk volume. They request that Schenker now send the galley proofs for pages 1–30. OJ 10/3, [61] Typewritten postcard from Deutsch to Schenker, dated May 9, 1927 Deutsch asks Schenker to lend him the April 1927 issue of Der Schriftsteller. He is grateful for having been introduced to the artist Viktor Hammer. He recommends that Schenker visit the Beethoven exposition in the City Hall, and also the Planetarium, where an “optical organ” is on display. OJ 11/1, [1] Typewritten letter from Atelier Pietzner-Fayer to Schenker, dated May 10, 1927 Pietzner-Fayer extends the deadline for portrait photography to May 20. OJ 9/12, [7] Handwritten letter from Carl Bamberger to Schenker, dated May 10, 1927 Bamberger has been appointed second conductor at the Darmstadt operahouse. He asks to visit Schenker in Vienna. 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. OC 52/835 Typed letter from Kalmus (UE) to Schenker, dated May 13, 1927 Kalmus notifies Schenker that proofs of the newly-revised "Appassionata" Sonata are on their way. OC 54/157 Typed postcard from August Demblin (DMV) to Schenker, dated May 13, 1927 Drei Masken Verlag inform Schenker that they have forwarded his requested corrections to the printing house, and will be in touch soon regarding the completion of the graphs for the second Meisterwerk volume. OC 54/158 Typed letter from August Demblin (DMV) to Schenker, dated May 16, 1927 Drei Masken Verlag notify Schenker that they will send him the missing galley proofs for the second Meisterwerk volume that day, and inform him that his requests for corrections regarding the Mozart graph have been successfully processed. WSLB 378 Handwritten letter from Schenker to UE, dated May 17, 1927 Schenker returns proofs of the "Appassionata" Sonata. OC 54/162 Typed letter from Mandruck to Drei Masken Verlag, dated May 19, 1927 Mandruck notify Drei Masken Verlag that they have enclosed a new set of proofs for the second Meisterwerk volume, amended in accordance with Schenker's wishes. OC 52/837 Typed postcard from Kalmus (UE) to Schenker, dated May 20, 1927 Kalmus acknowledges the "Appassionata" proofs. OC 54/163 Typed letter from August Demblin (DMV) to Schenker, dated May 20, 1927 Drei Masken Verlag notify Schenker that they have enclosed a set of amended proofs for the second Meisterwerk yearbook. OC 54/164 Typed letter from August Demblin (DMV) to Schenker, dated May 23, 1927 Drei Masken Verlag confirm receipt of Schenker's imprimatur graphs and amended proofs for the second Meisterwerk yearbook, assuring him that the requested correction in the Mozart Symphony has been made. OJ 9/8, [3] Handwritten postcard from Wilhelm Altmann to Schenker, dated May 26, 1927 Altmann reports on conversion of Hoch Conservatory to Hochschule. OC 52/838 Typed postcard from Kalmus (UE) to Schenker, dated May 27, 1927 Proofs of the defective pages of the revised "Appassionata" Symphony have been dispatched to Schenker. OJ 6/7, [33] Handwritten letter from Schenker to Violin, dated May 27, 1927 Schenker has tried to find out more about the plans for the conservatory in Frankfurt to be upgraded to a music Hochschule (and, presumably, for Violin to be posted there), but he is reluctant to press his contacts too far, as this may prove counterproductive. WSLB 380 Handwritten postcard from Schenker to UE, dated May 27, 1927 Schenker asks that a complimentary copy of his Fifth Symphony monograph be sent to Vrieslander. OJ 9/34, [8] Handwritten letter from Cube to Schenker, dated May 28, 1927 Cube reports on the state teaching examination, on which he was graded "satisfactory," deploring the way it was conducted. OC 54/167 Typed letter from August Demblin (DMV) to Schenker, dated May 30, 1927 Drei Masken Verlag have enclosed the sample proofs of the first two gatherings for Meisterwerk 2, and request that he responds to their query about the size and placement of music examples as soon as possible. WSLB 382 Handwritten letter from Schenker to UE, dated May 30, 1927 Schenker returns final proofs of "Appassionata" Sonata with imprimatur. OC 52/840 Typed postcard from Barbara Rothe (UE) to Schenker, dated May 31, 1927 A copy of Schenker's Fifth Symphony monograph has been dispatched to Vrieslander as requested. 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. OJ 10/3, [63] Typewritten postcard from Deutsch to Schenker, dated June 4, 1927 Deutsch has found a reference to the autograph manuscript of Beethoven’s Piano Sonata in G, Op. 79, and tells Schenker he can find out more about it from the British Museum. The Hammers are visiting him on Wednesday (June 8), and he hopes that the Schenkers will be able to join them. OJ 14/45, [65] Handwritten letter from Violin to Schenker, dated June 6, 1927 Violin still maintains that Paul von Klenau's petitioning on his behalf would provide a strong measure of support for his application for a post in Frankfurt. 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. OC 54/169 Typed postcard from August Demblin (DMV) to Schenker, dated June 7, 1927 Drei Masken Verlag inform Schenker that the page proofs for the second Meisterwerk volume will be completed in around two weeks time. OC 52/841 Typed postcard from Kalmus and unknown signatory (UE) to Schenker, dated June 9, 1927 Acknowledges second proofs of "Appassionata" Sonata. OC 54/171 Typed letter from Mandruck to Schenker, dated June 11, 1927 Mandruck enclose two sets of gatherings for the second Meisterwerk yearbook, along with the galley proofs. They request an explanation regarding Figure 75a. OC 54/174 Typed postcard from Mandruck to Schenker, dated June 14, 1927 Mandruck have enclosed the page proofs for the second Meisterwerk volume, along with a printout of the galley proofs and gatherings 5–6. OC 54/175 Typed postcard from August Demblin (DMV) to Schenker, dated June 15, 1927 Drei Masken Verlag enclose a paper sample intended for the second Meisterwerk Yearbook, and request Schenker's approval. OJ 14/45, [66] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1927 In deepest admiration and gratitude, Violin sends Schenker (59th) birthday greetings and pictures of his children. OC 54/177 Typed letter from August Demblin to Schenker, dated June 21, 1927 Drei Masken Verlag confirm that Schenker's requests regarding the music examples for the second Meisterwerk volume have been honoured, and inform him that he will receive a complete copy of the proofs once the pagination has been completed. OC 54/178 Typed letter from Mandruck to Schenker, dated June 21, 1927 Mandruck have enclosed further page proofs for the second Meisterwerk volume, and request that he return the previous set as soon as possible. OJ 10/3, [64] Typewritten letter from Deutsch to Schenker, dated June 24, 1927 Deutsch has received the second galley proofs to the second Meisterwerk yearbook but did not read them as he did not have a source with which to compare them. He will, however, assist Schenker correcting the page proofs, if necessary. 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. WSLB 385 Handwritten postcard from Schenker to UE, dated June 30, 1927 Has UE forgotten to send him a copy of his own revised edition of the "Appassionata" Sonata? 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. OC 52/842 Typed postcard from Barbara Rothe to Schenker, dated July 6, 1927 The revised edition of Schenker's "Appassonata" Sonata edition has not yet appeared. OC 54/181 Typed letter from Mandruck to Schenker, dated July 8, 1927 Mandruck enclose the remaining page proofs for the second Meisterwerk volume, along with copies of the relevant music examples. They request guidance on the positioning of the music examples. DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927 Thanking Halm for his Beethoven book, he believes that their misunderstandings could be removed and hopes Der freie Satz will help bring that about; gives order of publication for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his correspondence with Hindemith. 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 10/3, [66] Typewritten postcard from Deutsch to Schenker, dated August 2, 1927 Deutsch has obtained a copy of the first edition of Schindler’s Beethoven biography, which he will send to Galtür. OC 54/183 Typed postcard from C. Alberti (DMV) to Schenker, dated August 5, 1927 Drei Masken Verlag inform Schenker that they expect to receive a complete, corrected copy of the second Meisterwerk volume in around a week, and anticipate that it will be released in September. OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927 In a wide-ranging letter, Schenker underscores the importance of his friend's taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where he will teach from Schenker's texts. He comments at length on the decline of society, as exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders; until it is published, he will be working on Der freier Satz. OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927 Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He has made progress on his index of Haydn's works, and has purchased some Beethoven first editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn. OJ 9/5, [2] Handwritten letter from Josef Albersheim to Schenker, dated August 8, 1927 The costs of his son's lessons with Schenker are a burden to Josef Albersheim; he asks Schenker for some "accommodation," asserting that with teachers of Schenker's caliber pupils normally attend for fewer lessons a month. OJ 14/45, [67] Handwritten letter from Violin to Schenker, dated August 13, 1927 Violin reports that he was hoping to get away, but things came up that he had to deal with, which made the summer the saddest of his life. His wife and son will move to Vienna in the fall, and he will be there for Christmas. 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 11/32, [1] Typed letter from Robert Haas to Schenker, dated August 19, 1927 Acknowledges "Appeal"; looks forward to working with Schenker. OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927 Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and expresses the hope that it will be possible to interest Furtwängler in performance according to the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and discusses negotiations with the Austrian National Library and Ministry of Education. — Comments on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. — Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory. OJ 11/54, [16] Handwritten letter from van Hoboken to Schenker, dated August 30, 1927 Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early sources. -- Gives addresses for forthcoming travels. OJ 11/54, [17] Handwritten letter from van Hoboken to Schenker, dated September 6, 1927 Van Hoboken reports from Drei Masken Verlag that Vrieslander's text for the Meisterwerk prospectus is overlength, and seeks Schenker's opinion. OC 52/843 Typed postcard from Barbara Rothe to Schenker, dated September 7, 1927 A copy of Schenker's new edition of the "Appassionata" Sonata is on its way. 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. WSLB 388 Handwritten postcard from Schenker to UE, dated September 10, 1927 Acknowledges copy of revised edition of the "Appassionata" Sonata. 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 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927 Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to visit C. S. Terry. OJ 11/54, [19] Handwritten letter from van Hoboken to Schenker, dated September 29, 1927 Van Hoboken reports receipt of Meisterwerk II and reports progress in photographing manuscripts in London and Paris. OC 54/188 Typed postcard from August Demblin (DMV) to Schenker, dated September 30, 1927 Drei Masken Verlag confirm that the complimentary hardbound copies of the second Meisterwerk volume are on their way to Schenker, and inform him that the first set of bound copies will be dispatched from the bindery in the next few days. OJ 11/32, [2] Typed letter from Robert Haas to Schenker, dated September 30, 1927 Haas invites Schenker to view the Photogrammarchiv. OJ 8/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated October 5, 1927 Schenker has asked a former pupil (Felix-Eberhard von Cube), who knows Dr. Simon in Frankfurt, about the likely opening date of a music Hochschule there, but has received little information in return. the second volume of Meisterwerk will be published very soon. 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. WSLB 389 Handwritten letter from Schenker to UE, dated October 6, 1927 Schenker inquires after revised edition of Beethoven, Piano Sonata Op.78. OJ 12/8, [1] Typed letter from Kalmus (UE) to Schenker, dated October 10, 1927 Kalmus explains the situation over Beethoven Sonata Op. 78. OJ 10/3, [70] Typewritten picture postcard from Deutsch to Schenker, dated October 11, 1927 Deutsch has seen Otto Vrieslander, who surprisingly did not mention the recent publication of his songs. He explains how different early print-runs of Beethoven’s works may display telling differences, and how parallel publications in different cities could sometimes show changes attributable to the composer (as is typically found in Chopin). 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. OC 54/191 List of customs charges, October 21, 1927 List of customs charges for receipt of the second Meisterwerk volume. OJ 10/3, [72] Typewritten picture postcard from Deutsch to Schenker, dated October 24, 1927 Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished” Symphony. Kalmus said that time was pressing and he was unable to show the two men the changes before the work went to press. OJ 15/16, [58] Handwritten letter from Weisse to Schenker, dated October 27, 1927 Weisse congratulates Schenker on the publication of the second Meisterwerk Yearbook, of which has expresses mainly admiration. But he is unhappy with Schenker's dismissal of the fugue from Reger's Variations and Fugue on a theme of Bach, and with his reading of the Urlinie in Schubert's Waltz Op. 9 (D. 365), No. 5, and Beethoven's Sonata Op. 10, No. 2. OJ 9/34, [9] Handwritten letter from Cube to Schenker, dated October 29, 1927 Cube has had 'flu; reports on his [conservatory] teaching of Schenkerian theory (though disguised from the authorities), his private teaching, his work in composition; he has joined the Reichsverband deutscher Tonkünstler und Musiklehrer. Dunn has sent him his translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that of Vrieslander. He is enjoying using his radio; sends two Galtür portraits; his father has had a son. OJ 9/8, [4] Handwritten picture postcard from Wilhelm Altmann to Schenker, dated November 8, 1927 Altmann thanks Schenker for Masterwork 2; — Has retired but is temporarily continuing in his position; — Reports publication of his handbook for string quartet players. 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 11/10, [19] Handwritten picture postcard from Frimmel to Schenker, dated November 11, 1927 Frimmel thanks Schenker for having had Meisterwerk II sent to him. OJ 14/45, [68] Handwritten letter from Violin to Schenker, dated November 13, 1927 Violin thanks Schenker for sending him the second volume of Meisterwerk, which he regards as a milestone in offering the strongest statement of his theories. He is accompanying a cellist in early January and will not be able to get to Vienna at Christmas after all. His wife and son – who is now able to get up and around – are hoping to go to Vienna at Easter. OJ 10/1, [101] Handwritten postcard from Dahms to Schenker, undated [c. November 14, 1927] Meisterwerk 2 has still not arrived; Dahms gives an address in Nice. OJ 10/3, [73] Typewritten postcard from Deutsch to Schenker, dated November 14, 1927 Deutsch has had a telephone call from Alfred Kalmus, who reported that Schenker’s revised copy of Schubert’s “Unfinished” Symphony has been messed up, that it will be returned to him, with a second, clean copy, and that Kalmus may visit Schenker to apologize for this. – Deutsch will lend Schenker a copy of stories by Balzac, two of which may be of interest from a musical point of view. He also hopes that work can be found for the precocious Gerald Warburg. OJ 11/54, [20] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927] Van Hoboken inquires whether the next day is a holiday or lesson day, provisionally suggesting a discussion with Robert Haas. OJ 11/54, [21] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927] Van Hoboken confirms meeting with Robert Haas. OJ 8/4, [52] Handwritten postcard from Schenker to Violin, dated November 16, 1927 Schenker congratulates Violin on obtaining many private pupils, and for his continued activity as a performer. He expresses his joy that Violin's son Karl will be visiting Vienna next year. DLA 69.930/16 Handwritten postcard from Schenker to Halm, dated November 21, 1927 Schenker asks for confirmation of receipt of Meisterwerk II, and thanks Halm for the parcel of sheet music. 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 11/35, 25 Handwritten postcard from Halm to Schenker, dated November 22, 1927 Halm acknowledges receipt of Meisterwerk vol. I. 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 10/3, [75] Typewritten letter from Deutsch to Schenker, dated December 2, 1927 Deutsch encloses Schenker’s score of the “Unfinished” Symphony that was used used for the new edition and Alfred Kalmus’s apologetic letter. He mentions the pianist Heinz Jolles’ interest in Schenker’s editorial work, in the hope that Schenker might at some point tackle Beethoven’s “Diabelli” Variations. 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. PhA/Ar 56, [2] Handwritten letter from Schenker to Haas, dated December 7, 1927 Schenker sends Haas photographic copies of five Beethoven works. OJ 15/15, [23] Handwritten postcard from Weisse to Schenker, dated December 9, 1927 Weisse asks Schenker if he could see him about a matter of mutual interest. OJ 15/15, [24] Handwritten postcard from Weisse to Schenker, dated December 10, 1927 Weisse arranges to meet with Schenker the following morning (Sunday, December 11, 1927). 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. OC 52/844 Typed letter from Ernst Roth (UE) to Schenker, dated December 19, 1927 Roth announces that UE has stitched stocks of Der Tonwille issues together to form three year-volumes. WSLB 392 Handwritten letter from Schenker to UE, dated December 21, 1927 Schenker thanks UE for its promotion of Der Tonwille. OJ 10/18, [2] Handwritten letter from Elias to Schenker, dated December 25, 1927 Miss Elias begs Schenker to accept her present of the Brahms piano works. OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927 Violin reports that his concert (cello recital) has been put back a week because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his recent written work, but he feels that Vrieslander does not truly understand Schenker's cause, does not have the same "orientation" towards it as he, and expresses himself poorly. (Weisse, he says, could have done things better.) However, all this pettiness is nothing compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon follow. OC 52/910 Typed letter from Hugo Winter (UE) to Schenker, dated December 29, 1927 Announces that Schenker's 1927 royalty has been transferred. OJ 6/7, [36] Handwritten letter from Schenker to Moriz Violin, dated December 29, 1927 Sending greetings for the New Year, Schenker expresses the hope that his friend's fortunes will begin to improve in 1928. He agrees with Violin's pronouncements on Vrieslander’s character and ability to convey Schenker's thoughts, and has no idea of what to expect in Vrieslander's (supposedly) forthcoming monograph on him. Weisse, whom he regards as a more skilled interpreter of his work, has announced plans for a monthly journal, Die Tonkunst, to be edited with his pupils Oswald Jonas and Felix Salzer, which will be based exclusively on Schenker's theoretical approach. But he is afraid that Weisse might leave Vienna, to teach at Damrosch's music school. OJ 15/15, [26] Handwritten postcard from Weisse to Schenker, dated January 2, 1928 Weisse gives Schenker Bruno Walter's address in Vienna, and informs his teacher that invitations to contribute to Die Tonkunst have been sent out. OJ 12/38, [2] Handwritten picture postcard from Hans Liebstoeckl to Schenker, dated January 11, 1928 Without naming the composer or title, Liebstöckl expresses himself in disparaging terms about Ernst Krenek and the latter's opera, Jonny spielt auf. WSLB 394 Handwritten postcard from Schenker to Winter (UE), dated January 11, 1928 Schenker asks for settlement of royalties. OJ 15/15, [27] Handwritten postcard from Weisse to Schenker, dated Januray 21, 1928 Weisse is trying to arrange a time to see Schenker. He has not heard from Reinhard Oppel (presumably about his projected periodical, Die Tonkunst, but has received a letter from Moriz Violin. OJ 15/15, [28] Handwritten postcard from Weisse to Schenker, dated January 25, 1928 Weisse accepts a social invitation from Schenker, asks whether Viktor Hammer might also join them. WSLB-Hds 191.560 Handwritten letter from Schenker to Deutsch, dated January 25, 1928 Schenker comments on the text of Deutsch’s forthcoming radio broadcast about the Photogram Archive, noting in particular that the word “scientific” (wissenschaftlich) has no place in the study of music, which is a unique art form. OJ 10/3, [76] Typewritten picture postcard from Deutsch to Schenker, dated January 27, 1928 Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished” Symphony. Kalmus said that time was pressing and he was unable to show the two men the changes before the work went to press. 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." PhA/Ar 56, [6] Handwritten postcard from Schenker to Kromer, dated February 1, 1928 Schenker asks Kromer to send the Appeal to Hans Weisse. PhA/Ar 56, [7] Handwritten postcard from Schenker to Kromer, dated February 2, 1928 Schenker asks Kromer to send copies of the Appeal to Felix-Eberhard von Cube. WSLB-Hds 191.561 Handwritten picture postcard from Schenker to Deutsch, postmarked February 6, 1928 Schenker congratulates Deutsch on his two most recent radio broadcasts, and on his impending appointment as editor of a monthly music journal. OJ 12/6, [2] Handwritten postcard from Jonas to Schenker, dated February 9, 1928 Jonas asks for address of John Petrie Dunn. OJ 5/7a, [13] (formerly vC 13) Handwritten letter from Schenker to Cube, dated February 12, 1928 Schenker expresses joy at Cube's report of his class and private teaching; refers to Hoboken's "Aufruf" and Vrieslander's prospectus; reports Weisse's plan for a monthly periodical; thanks Cube for his efforts with book dealers in Duisburg and Essen. OJ 10/3, [77] Handwritten letter from Hanna and Otto Erich Deutsch to Schenker, dated March 1, 1928 The Deutsches accept the Schenkers’ invitation for the afternoon of Wednesday, March 7. OJ 11/32, [3] Typed letter from Robert Haas to Schenker, dated March 1, 1928 The Photogrammarchiv has a source that Schenker is at liberty to consult. OJ 10/3, [78] Handwritten letter from Hanna Deutsch to Schenker, dated March 2, 1928 Hanna asks Schenker to accept her apologies for not being able to visit them on March 7, as Otto Erich has been invited to tea with the President of the Republic.. OJ 12/6, [3] Handwritten letter from Jonas to Schenker, dated March 3, 1928 Discusses the proposal to create a "journal," raised in previous correspondence, and airs Schenker's misgivings. Plans to send an invitation to 2,000 people. 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 10/3, [80] Typewritten postcard from Deutsch to Schenker, dated March 19, 1928 Deutsch reports that Eusebius Mandyczewski, the Archivist at the Gesellschaft der Musikfreunde, would like to prepare a revised edition of Schubert’s “Unfinished” Symphony, and asks Schenker if he would be prepared to make his textual notes on the symphony available to him. 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, [81] Typewritten postcard from Deutsch to Schenker, dated March 25, 1928 Deutsch’s plans to give a pre-concert talk on the radio have been messed up by Max Ast at Austrian Radio. -- He asks Schenker to tell him about the authentic copies of Beethoven’s works made for Archduke Rudolph. -- He has been on the track of a German mass for the dead by Schubert (the Deutsche Trauermesse) and would like to show Schenker his work on it. 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 8/4, [54] Handwritten postcard from Schenker to Moriz Violin, dated April 2, 1928 The Schenkers invite Violin to an evening meal at their apartment. OJ 15/15, [29] Handwritten postcard from Weisse to Schenker, dated April 13, 1928 Recovering from illness, Weisse is unable to join the Schenkers for lunch, suggests instead seeing Schenker on Sunday morning. OJ 10/3, [83] Typewritten picture postcard from Deutsch to Schenker, dated April 16, 1928 Deutsch has had sharp words with Max Ast at Austrian Radio. He wants to give a talk on Schubert’s lost “Gastein” (or “Gmunden”) Symphony and hopes that publicity from the broadcasting company will eventually lead to the rediscovery of the manuscript. Eusebius Mandyczewski is preparing a new edition of the “Unfinished” Symphony for Breitkopf & Härtel; the Philharmonia pocket score, with Schenker’s and Deutsch’s revisions, is now in print. Deutsch has discovered that the first edition of Beethoven’s Piano Sonata Op. 90 exists in two versions. OJ 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. WSLB 395 Handwritten postcard from Schenker to UE, dated April 25, 1928 Schenkers asks for the Tonwille volumes to be sent to Julius Gold. OC 52/911 Typed letter from Hugo Winter (UE) to Schenker, dated April 27, 1928 Encloses invoice for sending Der Tonwille to San Francisco. OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928 Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer. OJ 10/3, [84] Typewritten picture postcard from Deutsch to Schenker, dated May 1, 1928 Deutsch has picked up a copy of his and Schenker’s recent edition of the “Unfinished” Symphony; he has made a complaint to Universal Edition and let the publisher know of Schenker’s displeasure with the-- He is going away for a few days, but returning to give a radio broadcast on Schubert’s settings of Walter Scott. OJ 10/3, [85] Typewritten picture postcard from Deutsch to Schenker, dated May 15, 1928 Deutsch thanks Schenker for his kind words (about his recent radio broadcast) and describes the difficulties in preparing things for publication in Radio Wien. He informs Schenker that Brahms’s arrangement of a Schubert song has already been published. He has discovered that the Guitar Quartet believed to be by Schubert is an arrangement, and that an early cantata, Die Advokaten, is also based on the work of another composer. WSLB-Hds 191.562 Handwritten letter from Schenker to Deutsch, dated May 17, 1928 Responding to Deutsch’s previous message, Schenker confirms that the Deutsche Trauermesse must, on musical grounds, be a work by Franz Schubert. He also agrees with Deutsch that the Quartet for guitar, flute, violin, and cello must be an arrangement of a work by a fashionable composer of the time. OJ 10/3, [86] Typewritten picture postcard from Deutsch to Schenker, dated May 22, 1928 Deutsch thanks Schenker for his most recent letter, and is sending him in return the original version of the finale of Schubert’s Divertissement à l’hongroise. 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, [30] Handwritten postcard from Weisse to Schenker, dated May 25, 1928 About to leave Vienna, Weisse asks if he can see Schenker to say good-bye. OJ 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928 Schenker sends Cube an article written for the Beethoven centenary festival and suggests a "connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA; outlines summer plans. 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 10/3, [89] Typewritten letter from Deutsch to Schenker, dated June 17, 1928 Deutsch sends Schenker birthday greetings; he hopes that the last volume of his “great work” [i.e. Der freie Satz] will bring satisfaction to him and comfort to the world. OJ 14/45, [70] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1928 Violin sends 60th birthday greetings to Schenker, adding that he is unlikely to leave Hamburg this summer. OJ 9/10, [1] Telegram from the Photogrammarchiv to Schenker, dated June 19, 1928 Best wishes [on Schenker's 60th birthday] 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. WSLB-Hds 191.563 Handwritten letter from Schenker to Deutsch, dated June 22, 1928 Schenker thanks Deutsch for his birthday greetings, explaining that, although he feels alienated from the musical world of the present day, he is convinced that his work will have a lasting effect on future generations. 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 10/3, [90] Typewritten letter from Deutsch to Schenker, dated June 27, 1928 Touched by Schenker’s response to his birthday greetings, Deutsch quotes a passage from Johann Mayrhofer’s recollections of Schubert. He notes that the Columbia Phonograph Company has sponsored a competition that could be viewed as a kind of Nobel Prize for music. WSLB-Hds 191.564 Handwritten picture postcard from Schenker to Deutsch, dated and postmarked June 30, 1928 Schenker congratulates Deutsch on being granted the title of “Professor”; he makes an ironic comment on a hypothetical Nobel Prize for music. OJ 5/7a, [16] (formerly vC 16) Handwritten picture postcard from Schenker to Cube, dated July 3, 1928 Schenker inquires whether Cube has encounted obstacles to his plans. OJ 8/4, [55] Handwritten picture postcard from Schenker to Moriz Violin, dated July 3, 1928 Schenker asks Violin to write to Fritz Stein, to ask him to return one of his arrangements of a musical work. OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928 Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses associated newspaper article; also on recent lecturing and composition activity. He is unlikely to visit Schenker this year; recalls people at Galtür. OJ 10/18, [3] Handwritten letter from Elias to Schenker, dated July 11, 1928 Miss Elias is glad that Schenker is "not dissatisfied" with her graphings of his piano piece Op. 4, No. 1 and looks forward to her October lessons for a detailed discussion. — She inquires about Vrieslander's "monograph." — She was interested to see the autograph and first edition of "Erlkönig" juxtaposed in a Schubert exhibition. 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 14/45, [71] Handwritten letter from Moriz Violin to Schenker, dated July 18, 1928 Owing to a "complete breakdown," Violin is recovering at a sanatorium in Schierke, from where he writes. In response to Schenker's previous postcard, Violin had written more than once to Prof. [Fritz?] Stein for the return of the manuscript of a Handel arrangement by Schenker, and he will chase him up in August. A pupil of his, Harry Hahn, has taken upon himself to lecture on Schenker's theories at the local society of composers; for this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude and a Schubert waltz, and has proved a surprisingly competent and persuasive speaker. OJ 6/7, [39] Handwritten envelope from Schenker to Moriz Violin, postmarked July 22, 1928 Schenker asks about Violin's breakdown, and comments on Halm's avoidance of fearful situations and on Cube's shop window exhibition. OJ 8/4, [56] Handwritten picture postcard from Schenker to Moriz Violin, dated July 25, 1928 Writing to the sanatorium in the Harz mountains, Schenker ask Violin how things are with him. 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. WSLB 397 Handwritten postcard from Schenker to UE, dated August 5, 1928 Schenker asks why he has not received his royalty. OC 52/913 Typed letter from Hugo Winter (UE) to Schenker, dated August 7, 1928 UE has written to the Postal Savings Bank about the royalty payment. OC 52/914 Typed letter from Ernst Roth (UE) to Schenker, dated August 20, 1928 UE understands that the royalty payment has now been made. 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 8/4, [57] Handwritten postcard from Schenker to Moriz Violin, postmarked September 5, 1928 Having just returned from the Tyrol, Schenker asks how Violin and his family. He would also like to see the voice-leading diagrams that Violin's pupil Harry Hahn has prepared for his lectures. 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 9/5, [3] Handwritten letter from Gerhard Albersheim to Schenker, dated September 5, 1928 Josef Albersheim has approved the continuation of his son's three lessons a week; Gerhard looks forward to resumption. OJ 5/7a, [18] (formerly vC 18) Handwritten postcard from Schenker to Cube, dated September 6, 1928 Freier Satz will be prepared for publication this year; gives news of former pupils and supporters. OJ 10/3, [91] Typewritten letter from Deutsch to Schenker, dated September 16, 1928 Deutsch belatedly answers Schenker’s postcard greeting from the summer and invites him to tea on Wednesday, September 19. OJ 14/45, [72] Handwritten letter from Moriz Violin to Schenker, dated September 21, 1928 Violin apologizes for not writing sooner; he has suffered a further health setback. His pupil Harry Hahn will send Schenker the illustrations and a copy of his lecture (on the Schubert waltz and Bach prelude). He enquires about Der freie Satz. OJ 10/3, [92] Typewritten postcard from Deutsch to Schenker, dated September 27, 1928 Deutsch gives Schenker information about Brahms’s arrangement of a Schubert song ("Ellens zweiter Gesang") and the guitar quartet attributed to Schubert. OJ 15/15, [32] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated September 28, 1928 In reply to a postcard from Jeanette Schenker, Hertha Weisse recommends linoleum as a covering for the flat surfaces of a sideboard and bench. OJ 10/3, [93] Typewritten letter from Deutsch to Schenker, dated September 29, 1928 Deutsch arranges to meet Schenker in [Hoboken’s] library on October 2. OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928 Schenker has received large-format Urlinie charts from Harry Hahn and recommends format to Cube. OJ 10/3, [94] Typewritten postcard from Deutsch to Schenker, dated October 3, 1928 Deutsch apologies for being late to his meeting with Schenker, because his clock was running 10 minutes slow. OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928 Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to return the Hammer etching. OJ 10/3, [95] Typewritten picture postcard from Deutsch to Schenker, dated October 8, 1928 Deutsch has received information from Breitkopf & Härtel concerning the three volumes of piano sonatas by Haydn in the collected edition; he thinks that they are very expensive. 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 8/4, [58] Handwritten postcard from Schenker to Moriz Violin, dated October 9, 1928 Schenker is glad to hear that his friend's setback was only a minor one. He has received a nice letter from Harry Hahn, together with a copy of his lecture and the splendid voice-leading diagrams. OJ 8/4, [59] Handwritten postcard from Schenker to Moriz Violin, dated October 22, 1928 The large-format graphs prepared by Harry Hahn have been greeted enthusiastically by Schenker's pupils and friends; Schenker suggests that a "light projection apparatus" (i.e. an overhead projector), which is now often available in schools and hospitals, might be more practical. OJ 15/15, [33] Handwritten postcard from Weisse to Schenker, dated October 23, 1928 Weisse points out a part-writing error in Schenker's Counterpoint, vol. 2. He suggests that his teacher looks at Alois Haba's recently published Neue Harmonielehre, and commends Oppel's recent article on Bach's fugal technique. OJ 14/45, [73] Handwritten letter from Moriz Violin to Schenker, dated October 26, 1928 Violin queries Schenker's suggestion for displaying graphic work by light-projection. He has recently made the acquaintance of a Hamburg organist name Hahnemann, who teaches only according to Schenker's theory. Finally he asks whether the "last volume" (Der freie Satz) has been published. 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. OJ 10/1, [103] Typewritten letter from Dahms to Schenker, dated November 23, 1928 Dahms is unable to attend the Schubert conference in Vienna. — His latest appeals on marital situation have been rejected. OC B/300 Typewritten letter from V. A. Heck to Schenker, dated November 24, 1928 Heck consults Schenker on another Beethoven sketchleaf. 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." OC B/301 Typewritten letter from V. A. Heck to Schenker, dated November 29, 1928 Heck thanks Schenker for information regarding a Beethoven sketchleaf. OC 52/846 Typed letter from Kalmus (UE) to Schenker, dated December 1, 1928 Hertzka is away until mid-December. WSLB-Hds 191.519 Handwritten letter from Frimmel to Schenker, dated beginning of December 1929 [recte 1928] Frimmel thanks Schenker for his good wishes. He is unable to visit Schenker to give him certain information and regarding a supposed Beethoven portrait. OJ 13/25, [3] Typewritten letter from Rinn to Schenker, dated December 7, 1928 Rinn enthusiastically thanks Schenker for his intention to write an article, and for arranging to have the necessary photographic reproductions prepared. OJ 10/3, [96] Typewritten letter from Deutsch to Schenker, dated December 11, 1928 Deutsch outlines plans for the publication of catalogues of music manuscripts worldwide and, in particular, new thematic catalogues of the music of Schubert, Mozart and Beethoven. With the intervention of Leopold Richtera, he has been assured of a good working relationship with the director of music at Radio Wien (RAVAG). PhA/Ar 56, [9] Typewritten letter of confirmation from Schenker to Kromer, dated December 12, 1928 Schenker acknowledges receipt of Beethoven photograms. OJ 15/16, [60] Handwritten letter from Weisse to Schenker, dated December 16, 1928 Weisse reports the birth of his (first) child, a girl. In a postscript, he informs Schenker that C. P. E. Bach's "Prussian" and "Württemberg" sets of keyboard sonatas have been published in a modern edition. OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928 Hertzka welcomes Schenker's intention now to produce [his elucidatory edition of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the "Eroica" study and Der freie Satz but cannot schedule them until after 1929. OJ 8/4, [60] Handwritten poscard from Schenker to Moriz Violin, dated December 22, 1928 The Schenkers send the Violins their best wishes. 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 14/45, [74] Handwritten letter from Moriz Violin to Schenker, dated December 24, 1928 On his first teaching-free day, Violin writes to say that his health is good, and to wish the Schenkers a happy holiday. His organist friend Hahnemann will probably write to Schenker soon about performing some of his arrangements. Schnabel, too, wants to obtain the score, parts and cadenzas for the keyboard concertos of C. P. E. Bach that Schenker has prepared. OC 52/915 Typed letter from Hugo Winter (UE) to Schenker, dated December 27, 1928 Announces that Schenker's 1928 royalty has been transferred. OJ 15/15, [34] Handwritten postcard from Weisse to Schenker, dated January 2, 1929 Weisse invites the Schenkers for a Sunday morning get-together. WSLB 405 Handwritten letter from Schenker to Hertzka (UE), dated January 9, 1929 Schenker sets deadline for decision on publishing "Eroica" monograph; stresses urgency. OC 52/849 Typed letter from Hertzka (UE) to Schenker, dated January 15, 1929 Hertzka asks for Schenker's deadline for the "Eroica" monograph decision to be put off to the end of 1929. OJ 15/15, [35] Handwritten postcard from Weisse to Schenker, dated January 18, 1929 Weisse regrets that Schenker is still unable to visit. He has arranged for a photograph to be made of a Brahms sonata autograph manuscript. WSLB 407 Handwritten postcard from Schenker to Hugo Winter (UE), dated January 24, 1929 Schenker reminds Winter to send him his half-yearly statement. OJ 13/25, [4] Typewritten letter from Rinn to Schenker, dated February 7, 1929 Rinn reports that publication of "Eine Rettung der klassischen Musik-Texte" must be delayed because a copy of the faulty Peters edition of Schubert's Sonata (Op. 78, in G major), which is the subject of Schenker's essay, cannot be found anywhere in Munich. He asks Schenker to send him his own copy, so that it can be used for the reproduction of the musical text. He also mentions the death of August Halm, and his intention of marking the event in the same issue in which Schenker's article is now to appear. OJ 10/3, [97] Typewritten picture postcard from Deutsch to Schenker, dated February 12, 1929 Deutsch thanks Schenker for his recent postcard, then describes the circumstances of his recent and forthcoming radio programs, which include a series of concerts given by a “Kammerensemble” (chamber group) which includes professors from the Vienna Academy. He has been to a man named Villers, who has been reconstructing orchestral scores from piano reductions. OJ 15/15, [36] Handwritten postcard from Weisse to Schenker, dated February 20, 1929 Owing to family illness, the Schenker's forthcoming visit is postponed. OJ 14/45, [75] Handwritten letter from Violin to Schenker, dated February 25, 1929 Violin has heard terrible things from Vienna on account of the extremely cold weather, and hope that the Schenkers are in good health. His brother-in-law will take him on holiday at Easter, and also pay for a family holiday in the summer. 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 15/15, [37] Handwritten postcard from Weisse to Schenker, postmarked March 2, 1929 Weisse asks Schenker to postpone a planned visit to the following Sunday, as there is a Philharmonic Concert this Sunday. OJ 14/45, [76] Handwritten letter from Moriz Violin to Schenker, dated March 3, 1929 On the point of departing for the Riviera with his brother-in-law – possibly via Vienna – Violin asks Schenker to make a quick assessment of his voice-leading reduction of Bach's first Two-Part Invention, in C major. OJ 13/25, [5] Typewritten letter from Rinn to Schenker, dated March 7, 1929 Rinn apologizes for the small format in which the autograph of Schubert's minuet was reproduced for Schenker's article "Eine Rettung der klassischen Musik-Texte." He has publicized the work, and intends to send copies of it to university music departments and inform other newspapers and journals of it. He expresses thanks for the efforts that Schenker made in contributing to Der Kunstwart, and for his remarks on Bruckner's Ninth Symphony. OJ 6/7, [42] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated March 7, 1929 In reply to Violin's previous letter, Schenker writes out a graphic analysis of Bach's Two-Part Invention in C major, and wishes him an enjoyable holiday on the French Riviera. OJ 15/15, [38] Handwritten postcard from Weisse to Schenker, dated March 8, 1929 Weisse confirms an invitation to the Schenkers for the following Sunday. OJ 14/45, [77] Handwritten letter from Violin to Schenker, dated March 20, 1929 Violin thanks Schenker for his letter with the voice-leading sketch of Bach's C major Invention, and for the article from Der Kunstwart on the Photogram Archive. He is enjoying the climate of Nice, and seems to be getting on well with the French language; a lady who overheard him playing the piano praised his expressive playing. OJ 10/3, [98] Typewritten letter from Deutsch to Schenker, dated , March 22, 1929 Deutsch sends Schenker a newspaper clipping related to an idea of his concerning the “League of Nations”. OJ 13/25, [6] Typewritten letter from Rinn to Schenker, dated March 22, 1929 Rinn tells Schenker that Alfred Einstein has expressed an interest in promoting Schenker's work on autograph manuscripts with a notice in the Berliner Tageblatt. 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 10/3, [99] Typewritten picture postcard from Deutsch to Schenker, dated March 27, 1929 Deutsch asks which edition of the Schubert Minuet in B minor he had consulted when writing an article in Der Kunstwart. 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 12/50, [1] Handwritten letter from Bernhard Martin to Schenker, dated March 27, 1929 Bernhard Martin sends Schenker an analytical sketch and a composition study, for comment. He expresses his gratitude for all that he has learned from his lessons with Schenker. 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 9/34, [17] Handwritten letter from Cube to Schenker, dated April 5, 1929 Miss Edith Sauerbrey may call on Schenker. OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929) Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17], and offers advice and a warning: ordinary people are not interested in beauty in art, but look for quick, easy judgments. OJ 15/15, [39] Handwritten postcard from Weisse to Schenker, dated April 13, 1929 Weisse arranges to meet Schenker outside the Musikverein before a performance of Beethoven's Ninth Symphony. OJ 15/15, [40] Handwritten postcard from Weisse to Schenker, dated April 16, 1929 In response to a query from Schenker concerning a pupil (Gerhard Albersheim), Weisse explains the requirements of the state examination for prospective music teachers who have not had a formal training at the Academy. OJ 14/45, [78] Handwritten letter from Moriz Violin to Schenker, dated April 29, 1929 Violin has finally paid off a large debt, and promises to save enough money so that he can spend a few days in Galtür with the Schenkers. He apologizes for any indiscretion on the part of his sister Fanny. OJ 8/4, [62] Handwritten postcard from Schenker to Violin, dated May 3, 1929 Schenker assures Violin that there is no friction whatever between his sister Fanny and himself; he looks forward to seeing him in the summer. OJ 10/3, [100] Typewritten picture postcard from Deutsch to Schenker, dated May 6, 1929 Deutsch invites the Schenkers to their place on Wednesday, May 8, or the following Wednesday. OJ 10/3, [101] Typewritten letter from Deutsch to Schenker, dated May 8, 1929 Deutsch reports that his series of radio concerts with professors from the Vienna Academy is in jeopardy, because of Max Ast’s lack of enthusiasm for them, and that Leopold Richtera has also let him down. 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 9/34, [18] Handwritten letter from Cube to Schenker, dated May 14, 1929 Cube explores the possibility of a student of his, Erich Voss, studying with Schenker. OJ 5/7a, [23] (formerly vC 23) Handwritten letter from Schenker to Cube, dated May 15, 1929 Gerhard Albersheim will leave a space in Schenker's calendar that Schenker offers to Erich Voss; will teach him himself because Weisse may not be up to date with Der freie Satz; Voss to contact him. OJ 15/16, [61] Handwritten letter from Weisse to Schenker, dated May 29, 1929 Weisse reports that Gerhard Albersheim is going to see him about the possibility of having lessons from him. He congratulates Schenker on completing his study of the "Eroica" Symphony, and hopes to be able to get together with his teacher sometime in the next two weeks. OJ 15/15, [41] Handwritten postcard from Weisse to Schenker, dated June 3, 1929 Weisse arranges to meet Schenker on Wednesday, June 11, 1929. OJ 15/15, [42] Handwritten postcard from Weisse to Schenker, dated June 5, 1929 Weisse confirms arrangements to meet Schenker on June 11. 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 12/50, [2] Handwritten letter from Bernhard Martin to Schenker, dated June 15, 1929 Bernhard Martin sends Schenker a "little treasure box" and wishes him and Jeanette a recuperative vacation. OJ 14/45, [79] Handwritten letter from Violin to Schenker, dated June 16, 1929 In spite of an earlier promise, Violin says he cannot visit the Schenkers in Galtür because he must stay with his son, who has had an inflammation of his kidney following the news of the death of Otto Schreier. He will instead take his son on a holiday in the Harz Mountains, and hopes to visit Vienna in the autumn or over Christmas. WSLB 408 Handwritten letter from Schenker to Hertzka (UE), dated June 19, 1929 Schenker inquires after Hertzka's decision on the "Eroica" monograph; gives his vacation address. OC 52/850 Typed letter from Hertzka (UE) to Schenker, dated June 21, 1929 No decision on the "Eroica" monograph yet. WSLB 410 Handwritten letter from Schenker to Hertzka (UE), dated June 28, 1929 Schenker will be patient until 1930. OJ 12/50, [3] Handwritten letter from Bernhard Martin to Schenker, dated July 3, 1929 Bernhard Martin is working on Schenker's graphings of the E-flat major piano sonata of Haydn in connection with his class teaching. He has obtained a copy of Schenker's facsimile of the "Moonlight" Sonata and is seeking his edition of the Chromatic Fantasy and Fugue. He inquires after the [projected] Erläuterungsausgabe of Op. 106 and Schenker's periodical articles. OJ 5/7a, [24] (formerly vC 24) Handwritten postcard from Schenker to Cube, dated July 6, 1929 Schenker has heard again from Erich Voß about lessons and shows signs of annoyance. Has completed his "Eroica" study, and Der freie Satz looms. OJ 89/3, [2] Handwritten letter from Schenker to Hoboken, dated July 6, 1929 Schenker encloses a newspaper clipping regarding a Haydn manuscript find, and the statement from Vrieslander. PhA/Ar 56, [3] Handwritten letter from Schenker to Haas, dated July 6, 1929 Schenker draws Haas's attention to an article in the Neue Freie Presse regarding Haydn manuscripts. OJ 89/3, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 7, 1929 Hoboken recounts recent travels. — Is now at Kliffende, where he is about to build a house. — Reports meetings with Hubermann and Harburger; encloses a letter and articles from the latter. — Refers to a Vrieslander problem. OJ 89/3, [4] Handwritten letter from Schenker to Hoboken, dated July 12, 1929 Schenker thanks Hoboken for the Harburger items and agrees to write to Vrieslander. OJ 5/7a, [25] (formerly vC 25) Handwritten postcard from Schenker to Cube, dated July 14, 1929 Voß is coming to Vienna. OJ 14/45, [114] Handwritten picture postcard from Moriz and Karl Violin to Schenker, undated, postmarked July 16, [1929] Violin and his son have taken a bus to Brocken in the Harz mountains, the highest point in northern Germany. OJ 9/34, [19] Handwritten letter from Cube to Schenker, dated July 18, 1929 Acknowledges two postcards; no word from Eric Voss; reports on teaching activities; reports on composing and sends two sonatas for Schenker's comment. WSLB 411 Handwritten picture postcard from Schenker to UE, dated July 19, 1929 Requests half-yearly statement of account. OJ 5/7a, [26] (formerly vC 26) Handwritten postcard from Schenker to Cube, dated July 22, 1929 Acknowledges the sonatas Cube sent with OJ 9/34, [19]; reports on Reinhard Oppel and on Hans Weisse's recent publication success; Schenker approves of Cube's use of pianistic diminution. OJ 89/3, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 22, 1929 Hoboken gives his view on Vrieslander's honorarium demand.— He is not yet finished with analyzing Brahms Op. 117, No. 1. OC 52/916 Typed letter from Hugo Winter (UE) to Schenker, dated July 23, 1929 Schenker should have received the statement and money meantime. OC 52/851 Typed letter from Kalmus (UE) to Schenker, dated July 24, 1929 Encloses remarks made by Edmund Schmid. WSLB 414 Handwritten letter from Schenker to UE, dated July 27, 1929 Schenker comments on Schmid's remarks; inquires after editorship of Mozart edition. 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. OC 52/852 Typed letter from Ernst Roth (UE) to Schenker, dated July 30, 1929 Names the revisers of the Mozart sonata edition. 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. OC 52/853 Typed letter from Ernst Roth (UE) to Schenker, with enclosure, dated August 5, 1929 Encloses additional remarks by Edmund Schmid. OJ 15/16, [62] Handwritten letter from Weisse to Schenker, dated August 5, 1929 Weisse, absorbed by Schenker's ideas (especially the concept of "tonal space") tells of his plans to write about his teacher's significance as a contemporary theorist. He describes his progress in composition, which includes the completion of a set of six bagatelles for piano and a Clarinet Quintet, and much work on an Octet. He asks about progress on Der freie Satz and about the publication of Schenker's analysis of the "Eroica" Symphony, and reports his and Hertha's joy in parenthood. 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? WSLB 417 Handwritten letter from Schenker to UE, dated August 9, 1929 Reacting to Edmund Schmid's follow-up remarks, Schenker points up a favorable passage and comments wrily on a critical one. OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929 Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ 9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music, after which publication should ensue. Schenker gives detailed comments, with music examples, on Cube's two piano sonatas, praising them highly and making suggestions for improvement. 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 15/7, [1] Handwritten letter from Arthur Waldeck to Schenker, dated August 27, 1929 Introductory letter from Arthur Waldeck to Schenker. OJ 11/16, [7] Handwritten letter from Furtwängler to Schenker, dated August 30, 1929 Furtwängler comments retrospectively on the Heidelberg affair, and rejoices over the "Eroica" monograph. 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 10/3, [106] Typewritten picture postcard from Deutsch to Schenker, dated September 18, 1929 Deutsch asks Schenker to name a convenient time to speak with him in private or, alternatively, for the Schenkers to come to his place some afternoon. 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 10/18, [4] Handwritten letter from Elias to Schenker, dated September 23, 1929 Miss Elias confirms her forthcoming lesson for October 1, and plans to finish her voice-leading sketch of a fugue by Handel. OJ 5/44, [1] Handwritten letter from Schenker to Arthur Waldeck, dated September 23, 1929 Schenker encourages Waldeck to spread his (Schenker's) ideas in America, and apprises him of Dunn's translation of Kontrapunkt and his own recent and forthcoming publications. OJ 10/3, [107] Typewritten letter from Deutsch to Schenker, dated October 1, 1929 Deutsch gives Schenker information and advice about a standing lamp. 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 15/15, [44] Handwritten postcard from Weisse to Schenker, postmarked October 13, 1929 Weisse seeks to arrange a meeting with Schenker during the week. OJ 10/3, [109] Typewritten picture postcard from Deutsch to Schenker, dated October 14, 1929 Deutsch agrees that there should be momentum associated with the Photogram Archive, but Haas can probably not be persuaded [to approve of Hoboken’s taking the editorial duties]. --- He reports that work on Haydn (with Hoboken) has resumed. 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 12/50, [4] Handwritten letter from Bernhard Martin to Schenker, dated October 31, 1929 Bernhard Martin sends Schenker graphings of a Mendelssohn Lied ohne Worte and a J. S. Bach Kleines Präludium. -- He describes the duplicated and missing pages in his misbound copy of Schenker's Harmonielehre. -- He suggests a correction to Schenker's use of the term "portamento." -- Having read Otto Vrieslander's biography of C. P. E. Bach, he proposes to perform a cantata by the latter and describes the concert program in which it will feature. OJ 10/3, [110] Typewritten picture postcard from Deutsch to Schenker, dated November 8, 1929 Deutsch has come in second place in the application to the Society of the Friends of Music [for the directorship of its Archive], and will not accept an inferior position there. He proposes a meeting with Schenker on Tuesday [the 12th] or Friday [the 15th]. OJ 10/3, [111] Handwritten picture postcard from Deutsch to Schenker, dated , November 11, 1929 Deutsch accepts Schenker’s invitation for Tuesday, November 12, 1929. 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 14/45, [80] Handwritten letter from Violin to Schenker, dated November 19, 1929 Violin apologizes for not having written, but does not want to burden Schenker with negative thoughts. He will try to help find a publisher for the "Eroica" analysis, and also offers some thoughts of comfort on hearing the news that Schenker's brother and sister-in-law have separated. He has little energy left, but is somehow able to muster it when needed, e.g. at a sold-out orchestral concert in which he played better than ever. He promises to be in Vienna over Christmas. PhA/Ar 56, [10] Handwritten postcard from Schenker to Kromer, dated November 22, 1929 Inquiry as to the whereabouts of the autograph of Beethoven Op. 90. OJ 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929 After reply to some of the more personal points in Violin's previous letter, Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books are still in print and his status as a theorist has been acknowledged by the the fact that the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when approaching a publisher. That same issue also contains an article by Schoenberg touching on various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1; Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet). He feels that it is beneath his dignity to make a formal reply; but to illustrate what he means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs and other music examples concerning these works. OJ 13/25, [7] Typewritten letter from Rinn to Schenker, dated December 2, 1929 Rinn sends Schenker the October and November 1929 issues of Der Kunstwart. In contrast to his own journal, he describes the progressive Münchener Neueste Nachrichten (for whom Wilhelm Hausenstein, Joseph Roth, and Felix Salten were writing) as belonging to "the other side." OJ 15/15, [45] Handwritten postcard from Weisse to Schenker, dated December 10, 1929 Weisse will introduce Victor Vaughn Lytle to Schenker on Sunday morning; he asks to borrow an issue (November 5, 1929) of the Deutsche Tonkünstler-Zeitung, which Schenker has mentioned in his previous letter. OJ 11/16, [8] Handwritten letter from Furtwängler to Schenker, dated December 16, 1929 Furtwängler asks to visit Schenker on December 19th. 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 14/45, [81] Handwritten letter from Violin to Schenker, dated December 19, 1929 Violin has two possible publishers for the "Eroica" monograph. One of these he names as Rather in Leipzig, which has recently bought up Simrock. The other, Breitkopf & Härtel, has been suggested by Furtwängler, who believes that the proposal would be supported by Karl Straube. Violin also considers the possibility replying to a recent article by Schoenberg. WSLB 418/1 Handwritten letter from Schenker to Hertzka (UE), undated [December 19, 1929] Schenker recommends an essay by Gerhard Albersheim; raises possibility of unchanged re-issue of Harmonielehre. OC 52/857 Typed letter from Hertzka (UE) to Schenker, dated December 20, 1929 Hertzka is interested in the Albersheim essay; prospects for a re-edition of Harmonielehre not good. OJ 6/7, [45] Handwritten letter from Schenker to Violin, dated December 23, 1929 Schenker, expressing misgivings about the medical profession, nonetheless hopes that Karl Violin's impending operation is successful. He is still awaiting news about a publisher for the "Eroica" monograph; Furtwängler's illness has delayed some lines of enquiry, and Hertzka (at Universal Edition) has not been cooperative. OJ 10/3, [112] Handwritten picture postcard from Hanna Deutsch to Schenker, dated December 24, 1929 The Deutsches accept Schenker’s invitation for Friday, December 27, 1929. They thank him for his expression of sympathy over their son’s illness. WSLB 419 Handwritten letter from Schenker to Hertzka (UE), dated December 28, 1929 Reminder of Hertzka's promise to decide about the "Eroica" monograph. OC 52/859 Typed postcard from Hugo Winter (UE) to Schenker, dated December 30, 1929 Sum of 1,250 shillings transferred. 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. OC 52/858 Typed postcard from Alfred Kalmus (UE) to Schenker, dated December 31, 1929 Hertzka will respond after returning mid-January. OJ 12/50, [5] Handwritten letter from Bernhard Martin to Schenker, undated [January 1 or 2, 1930] In thanking Schenker for all that he has learned from him, Bernhard Martin sends New Year's greetings to Heinrich and Jeanette. He looks forward to the "Eroica monograph." OJ 13/25, [8] Typewritten letter from Rinn to Schenker, dated January 2, 1930 Rinn has sent Schenker copies of Der Kunstwart and will be in touch with him about his next contribution, the extracts from the Masterwork yearbooks. OJ 9/34, [20] Handwritten letter from Cube to Schenker, January 2, 1930 Offers New Year greetings; reports on his current mood, on the Conservatory, his private teaching, and publication plans. Describes Urlinie of C major Prelude from WTC I. Reports on compositional activity and reading. OJ 5/7a, [28] (formerly vC 28) Handwritten letter from Schenker to Cube, dated January 12, 1930 Acknowledges OJ 9/34, [20], and gives detailed critique of Cube's analysis of the C major Prelude from WTC I, including graphs; advises on additional reading and Cube's plans to publish the analysis. OC 52/860 Typewritten letter from Hertzka (UE) to Schenker, dated January 16, 1930 Hertzka sees no prospect of publishing the "Eroica" study as a monograph. WSLB 420 Handwritten postcard from Schenker to Hugo Winter (UE), dated January 17, 1930 Schenker reminds Winter to send him his [half-yearly] statement. 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 14/45, [83] Handwritten letter from Violin to Schenker, dated January 24, 1930 Violin has learned that the proprietor of Rather-Verlag is unwell, and that there would be no chance of Schenker's having his "Eroica" Symphony monograph published there. He also reports on declining cultural and human values, of which the recent success of jazz-based works, staged in German opera houses, is emblematic. He is going to Berlin to investigate possible employment there. OJ 10/3, [115] Typewritten picture postcard from Deutsch to Schenker, dated January 27, 1930 Deutsch clarifies one or two misunderstandings in Schenker’s previous postcard: Vrieslander has been contracted by the publisher Strache to bring out some unpublished sonatas by C. P. E. Bach. 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, [117] Handwritten picture postcard from Hanna Deutsch to Schenker, dated February 3, 1930 Hanna Deutsch accepts Schenker’s choice of date for supper (February 6). 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. FS 40/1, [1] Handwritten letter from Schenker to Salzer, dated February 8, 1930 The Schenkers accept Salzer's invitation to attend a performance of Weisse's Octet. OC 54/221 Letter from Waldheim-Eberle to Schenker, dated February 13, 1930 Cost estimate of production costs for the third Meisterwerk yearbook. 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 15/16, [63] Handwritten letter from Weisse to Schenker, dated March 3, 1930 Weisse has delayed in replying to Schenker's recent letter because he has been corrected copies of his Clarinet Quintet and Octet, which he will submit to the City of Vienna Prize competition. He asks Schenker to help publicize the first performance of the Octet, at the small auditorium of the Musikverein, and asks for the addresses of Angi Elias and Marianne Kahn so that he can send them personal invitations. His wife is about to give birth to a second child, and he hopes that Schenker's personal doctor Julius Halberstam might also be interested in hearing the Octet. 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 13/25, [9] Typewritten letter from Rinn to Schenker, dated March 8, 1930 Vrieslander's article about Schenker for Der Kunstwart is too technical and too long for a journal with amateur readership; he has asked Vrieslander to shorten it. — He expresses enthusiasm for Schenker's idea of writing about the relationship of the great German poets to music. OJ 10/3, [122] Typewritten picture postcard from Deutsch to Schenker, dated March 17, 1930 Deutsch was unable to hear Weisse’s new composition; he has sympathy for the work of Eduard Beninger. OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19, 1930 Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of his own, and that for Schenker. OC B/136-138 Handwritten letter from Gerhard Albersheim to Schenker, dated March 20–21, 1930 After correction by Schenker, Albersheim has finalized an article on Schenker's work, which he will submit to a journal. He will now prepare himself for the state examinations. OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930 Weisse has seen Furtwängler, who will write a letter of recommendation to Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want to consult Schenker about it, and asks his teacher not to be overly modest about the work of one of his pupils, and to stress the need for an arrangement of the work for piano four hands. OC 54/223 Typed letter from Waldheim Eberle to Schenker, dated March 22, 1930 Waldheim Eberle gratefully acknowledge receipt of Schenker's letter, and are delighted to have been chosen as the printing house for the third Meisterwerk volume. 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. OC B/139 Typewritten letter from Alfred Einstein (ZfMw) to Schenker, dated March 28, 1930 Einstein returns to Schenker an article submitted by Gerhard Albersheim. -- He acknowledges receipt of a correction from Schenker. OJ 89/4, [4] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 29, 1930 Hoboken questions Schenker's separation of "artist" from "person," and says that he does not want to become an eternal student. 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 5/9, [2] Handwritten letter from Schenker to Deutsch, dated April 3, 1930 Schenker confirms that a Beethoven sketch for "Neue Liebe, neues Leben" is related to the earlier of his two settings of the song. Although he is grateful for Nottebohm’s work on the Beethoven sketches, he transcribed only from the surface, not from the depths of the composition. -- In a postscript, Schenker complains that, in a recent feuilleton, the music critic Julius Korngold has quoted his terminology (e.g. Auskomponierung) but failed to mention his name. 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 15/15, [46] Handwritten postcard from Weisse to Schenker, dated April 14, 1930 Weisse expresses his unease about the dedication to Furtwängler of an article on the "Urlinie," by Walter Riezler. He thinks that Furtwängler, who does not really understand the term, may have put Riezler up to writing it. OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930 Furtwängler encloses a letter from Karl Straube, and cautions Schenker against publishing with Breitkopf. OC 54/297 Handwritten letter from Furtwängler to Schenker, dated April 19, 1930 Furtwängler has forwarded Schenker's letter on to Straube for direct reply. 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 54/218 Handwritten letter from Karl Straube to Schenker, dated May 14–16, 1930 Straube informs Schenker that, owing to the acute slump in sales of musical textbooks, he has been unable to secure a publishing deal for the third Meisterwerk yearbook with both Breitkopf & Härtel and C. F. Peters. OJ 13/25, [10] Typewritten letter from Rinn to Schenker, dated May 15, 1930 Rinn sends a copy of Vrieslander's article on Schenker, which will appear in the next issue of Der Kunstwart. — He looks forward to receiving Schenker's essay on German poets and music, and hopes that Schenker will consider writing some commentary-style pieces for him. OJ 14/45, [84] Handwritten letter from Moriz Violin to Schenker, dated May 15, 1930 Violin apologizes for not having written, but his family have moved to a more affordable apartment and, around the same time, his wife was taken seriously ill with appendicitis. Things are better now. OJ 5/9, [3] Handwritten letter from Schenker to Deutsch, dated May 15, 1930 Discusses Beethoven's song "Neue Liebe, neues Leben" (Op. 75, No. 2). Dr. Rinn will be inviting Deutsch to collaborate. OJ 6/7, [48] Handwritten letter from Schenker to Moriz Violin, dated May 19, [1930] After congratulating Violin on moving house, Schenker reports that an article that is critical of the "Urlinie", by Walter Riezler, has apparently offended Furtwängler, a childhood friend of the author. Furtwängler hoped that Hans Weisse might write a response; in the end, Brünauer wrote one, and Weisse has sent it to Furtwängler. Schenker has himself replied to an article by Eduard Beninger in the February 1930 issue of the Zeitschrift für Musik. Owing to overwork, he was required to rest during the day between lessons; now he is better. Oppel is again coming to Galtür and Schenker hopes that Violin will join him there, too. OJ 10/3, [127] Handwritten picture postcard from Deutsch to Schenker, dated May 23, 1930 Deutsch thanks Schenker for his musical illustration relating to Beethoven’s "Neue Liebe, neues Leben" and gives details of the second of two outdoor music events [Leopoldsplatz], scheduled for June 12. OJ 10/3, [128] Handwritten picture postcard from Deutsch to Schenker, dated May 25, 1930 Deutsch is delighted that Schenker is happy with Drei Masken Verlag’s willingness to publish the Eroica monograph as a third Meisterwerk yearbook. He has encountered difficulties with the Vienna Philharmonic Orchestra regarding the program for the first of two Serenades in the Leopoldsplatz in June. FS 40/1, [2] Handwritten letter from Schenker to Salzer, dated May 26, 1930 Schenker thanks Salzer for sending an offprint of an article of his, and comments. OC 54/303 Handwritten letter from Deutsch to Schenker, dated May 30, 1930 Schenker is advised to visit the lithographer Karl Piller concerning the preparation of his music examples and illustrations [for the Eroica monograph]. Deutsch will write immediately to Drei Masken Verlag about the type of paper to be used. OC 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930 Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has resigned his Vienna position. OJ 10/3, [129] Handwritten letter from Deutsch to Schenker, dated June 6, 1930 Deutsch has discussed the printing of the music illustrations for Schenker’s "Eroica" monograph with the lithographers Elbemühl. He hopes that Georg Tomay will complete his calligraphic work before Schenker leaves for Galtür. OJ 10/3, [130] Handwritten picture postcard from Deutsch to Schenker, dated June 7, 1930 Deutsch comments on the Beethoven military march (tattoo) he came across; he is still looking for an arranger for Schubert’s marches for piano. OJ 5/7a, [29] (formerly vC 29) Handwritten postcard from Schenker to Cube, undated [June 8, 1930] Schenker sends copy of Vrieslander's article and comments on it, comparing it unfavorably with Meisterwerk III; inquires about Cube's "article," asks whether Erich Voß is with him; reports departure date for Galtür. OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930 Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about Schenker difficult to read. He advises him to proceed with the printing of his essay on the "Eroica" Symphony, even if it proves possible for another publisher to take it over at a late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for orchestra or wind band]. OJ 13/25, [11] Typewritten letter from Rinn to Schenker, dated June 13, 1930 Rinn hopes Schenker will soon finish his great work (i.e. Free Composition) soon and devote himself to writing for Der Kunstwart. OJ 14/45, [85] Handwritten letter from Moriz Violin to Jeanette Schenker, dated June 16, 1930 Violin thanks Jeanette Schenker for sending him a recent article. His wife and daughter will spend the summer holiday with his brother-in-law, who is also paying for a three-week holiday for him and his son Karl. 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. OJ 9/34, [21] Handwritten letter from Cube to Schenker, dated June 25, 1930 Acknowledges OJ 5/7a, [29] and offers mitigation for Vrieslander's non-acquaintance with the Urlinie (to which Cube has just introduced new violin teachers). Reports on Erich Voß, and on concert plans at Conservatory. Reports on his teaching. Threat of financial difficulties; he has offered his services to the Hochschule für Musik in Berlin. OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930 Furtwängler reports on his meeting with Breitkopf & Härtel. OC 54/307 Typewritten letter from Deutsch to Schenker, dated June 27, 1930 Deutsch has been in touch with the production team and the publishers of the third Meisterwerk yearbook and transmits to Schenker the estimated costs of producing the book, including details of text printing, lithography and paper. -- In a postscript, he offers to help with the proof corrections of the text. OC 54/308 Handwritten picture postcard from Deutsch to Schenker, dated June 28, 1930 A printer’s sample make-up for the third Meisterwerk yearbook is on its way to Schenker; Deutsch asks Schenker to return it together with his comments. OC 54/197 Handwritten letter from Georg Tomay to Schenker, dated July 1, 1930 Tomay informs Schenker that Karl Piller has been entrusted with printing the third Meisterwerk volume. He also encloses a manuscript leaf of Fig. 49 and requests direction on how to proceed. OJ 14/45, [115] Handwritten postcard from Moriz Violin to Schenker, dated July 3, 1930 Violin is spending two weeks with Karl in Schierke, in the Harz Mountains. In the fall, he will have to make a decision about what to do about his son. 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. OC 54/199-200 Handwritten letter from Georg Tomay to Schenker, dated July 9, 1930 Tomay encloses the imprints of the music examples for the third Meisterwerk volume, along with the original manuscripts, and requests clarification on various matters. He invites Schenker to send corrections at his earliest convenience, and informs him that the printing of the appendix will be undertaken in Leipzig instead of Vienna owing to a significant reduction in production costs. OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10, 1930] Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." -- Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. -- He asks about Furtwängler's studies with Schenker. OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930 Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie Satz. 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. OC 54/312 Handwritten picture postcard from Deutsch to Schenker, dated July 21, 1930 Deutsch is sending the text manuscript of Schenker’s third Meisterwerk yearbook to Drei Masken Verlag. OJ 14/45, [86] Handwritten letter from Moriz Violin to Schenker, dated July 23, 1930 Violin despairs of the future for his son, who has just turned 17, and about life in general. He has faith only in Schenker, whom he sees as truly a product of his time, because of his intimate attachment to the great achievements of bygone eras. He thinks that the rest of the world will recognize in half a century what he knows now; he has no interest in Furtwängler, who may appear to be modest in Schenker's company, but is no less arrogant than any other idiot when left to his own devices. He is concerned about things that might interfere with the completion of Schenker's last works. WSLB 421 Handwritten postcard from Schenker to Hugo Winter (UE), dated July 23, 1930 Schenker reminds Winter to send him his [half-yearly] statement. OC 54/203 Handwritten letter from Georg Tomay to Schenker, dated July 24, 1930 Tomay encloses blueprint matrices of select music examples for the third Meisterwerk yearbook for Schenker's consideration, and anticipates that the pages for the fourth movement will reach him in approximately one week. OC 54/204 Handwritten letter from Georg Tomay to Schenker, dated July 26, 1930 Tomay encloses various figures for the third Meisterwerk volume for Schenker's consideration, and also informs Schenker that he will soon dispatch corrected copies of the figures concerning movements 1–3 of Beethoven's Third Symphony for his approval to publish. OC 52/861 Typed letter from Alfred Kalmus (UE) to Schenker, dated July 28, 1930 50.66 shillings has been transferred. OC 54/314 Typewritten picture postcard from Deutsch to Schenker, dated July 28, 1930 Deutsch asks Schenker not to return any proof corrections (to the text of the third Meisterwerk yearbook) until he has seen his own. OC 54/206 Handwritten letter from Georg Tomay to Schenker, dated July 29, 1930 Tomay responds to Schenker's questions about marking up corrections in the music examples for the third Meisterwerk volume, and notifies him that he will send blueprints of the music examples as soon as they have been produced. OC 54/315 Typewritten letter from Deutsch to Schenker, dated July 30, 1930 Deutsch makes further reports on the anticipated costs of the third Meisterwerk yearbook. -- He has come across an arrangement of Beethoven’s Op. 74 Quartet as a symphony and found some important early editions of the Op. 22 Sonata. -- He would like Schenker to meet his friend [Leopold] Liegler, whose theories about literature resonate with the concept of Urlinie. OC 54/207 Handwritten letter from Georg Tomay to Schenker, dated July 31, 1930 Tomay encloses blueprints of music examples for the third Meisterwerk volume for Schenker's consideration. He anticipates that he will soon be in a position to send corrected copies of the graphs for movements 1–3 of Beethoven's Third Symphony, with the hope to secure Schenker's approval to publish. 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. WSLB-Hds 191.566 Handwritten letter from Schenker to Deutsch, dated August 5, 1930 Replying to Deutsch’s letter of July 30, Schenker warmly recommends his long-standing pupil Marianne Kahn as a teacher for Deutsch’s brother. -- He then comments at length on a newspaper article by Richard Benz (of which Deutsch had sent a clipping), using a medical metaphor to describe the current pathological state of music. 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. OC 54/211 Handwritten letter from Georg Tomay to Schenker, dated August 13, 1930 Tomay encloses sepia prints of music examples for the third Meisterwerk yearbook, and asks Schenker to check them thoroughly and mark up any final corrections. WSLB-Hds 191.567 Handwritten letter from Schenker to Deutsch, dated August 15, [1930] Schenker thanks Deutsch for his careful, helpful reading of the proofs to the third Meisterwerk yearbook. -- Tomay has assigned the autography of the foreground graphs for the second movement of the "Eroica" Symphony to an apprentice; these are full of mistakes and will have to be done again. But Tomay’s own work, on the third and fourth movements, is excellent. -- In a postscript, he comments on his entry in the most recent Meyers Lexikon, and on a review of the second Meisterwerk yearbook in the Deutsche Tonkünstler-Zeitung. WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930 Schenker is sending Deutsch copies of letters written by Leo Kestenberg praising his theories for their practical application to composition and performance, noting that Furtwängler is championing his cause everywhere. -- He then launches into a tirade against the city of Vienna for snubbing him and his work. OC 54/318 Typewritten picture postcard from Deutsch to Schenker, dated August 27, 1930 Deutsch has no objection to Schenker adding a note about a possible source for the “Eroica” Symphony in his notes on the text of the work. -- He is happy that reading the proofs of the third Meisterwerk yearbook has been useful. -- He suggests that the [Austrian] Minister for Education ought to see the letters that Leo Kestenberg has written about Schenker’s work. -- He asks Schenker for a possible journalist contact in Aussig. OC 54/319 Typewritten picture postcard from Deutsch to Schenker, dated August 30, 1930 Deutsch asks Schenker to suggest a time when the two of them can get together in Vienna. OC 54/301 Handwritten letter from Furtwängler to Schenker, dated September 2, 1930 Furtwängler wishes to visit Schenker in the Tyrol. WSLB-Hds 191.569 Handwritten letter from Schenker to Deutsch, dated September 10, 1930 Schenker requests a meeting with Deutsch and Robert Haas. -- The page-proofs for the third Meisterwerk yearbook will arrive soon. -- Schenker will also look at the early edition of Beethoven’s Sonata Op. 22, recently acquired by Hoboken, and discuss any outstanding matters between them then. OC 54/214 Handwritten letter from Georg Tomay to Schenker, dated September 11, 1930 Tomay requests 200 shillings for payment to Jahoda, and notifies Schenker of the outstanding fees for his work on the third Meisterwerk yearbook. OC 54/320 Handwritten letter from Deutsch to Schenker, dated September 11, 1930 Deutsch asks Schenker to look carefully at two passages in the proofs of the music examples to the third Meisterwerk yearbook and send them to him immediately. He also wants Schenker to change the ending of the final item in the yearbook’s “Miscellanea.” OC 54/321 Typewritten picture postcard from Deutsch to Schenker, dated September 15, 1930 Deutsch wishes Schenker a speedy recovery from an accident or illness. PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker, dated September 15, 1930 Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to check in connection with a planned new collected edition of the works of that composer. OC 54/322 Handwritten letter from Deutsch to Schenker, dated September 19, 1930 Deutsch cannot see Schenker until Sunday, September 21, 1930. OC 54/323 Handwritten picture postcard from Deutsch to Schenker, dated September 26, 1930 Deutsch has learned that a number of Beethoven items have been transferred from Olmütz [now Olomouc, in the Czech Republic] to the monastery at Kremsier. 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 54/324 Typewritten picture postcard from Deutsch to Schenker, dated October 3, 1930 Deutsch has learned that the sources that may have once been in Archduke Rudolph’s collection in Olmütz were not transferred to Kremsier, and that the last footnote (NB) on p. 87 of the third Meisterwerk yearbook ought to be changed. OC 54/237 Typewritten letter from Drei Masken Verlag to Schenker, dated October 8, 1930 Drei Masken Verlag say the printers cannot be held responsible for mistakes in the page-proofs and layout of the third Meisterwerk yearbook that Schenker failed to note in the galley-proofs. A new set of page-proofs will be issued, and the last section of the book will be repaginated. 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 54/326 Typewritten picture postcard from Deutsch to Schenker, dated October 12, 1930 Deutsch explains to Schenker that it is a publisher’s duty to contact an author in the event of some possible errors, especially of a technical nature, even if it has not actually financed the work itself. OJ 14/45, [87] Handwritten letter from Moriz Violin to Schenker, dated October 13, 1930 Violin has just heard that Hans Weisse will be lecturing in Berlin in December; he plans to go there to hear him. His pupil Agnes Becker, returning from a trip to London, has discovered that Schenker's Beethoven sonata edition is much in demand, especially from students at the Royal Academy of Music. WSLB 422 Handwritten letter from Schenker to UE, dated October 13, 1930 Schenker inquires as to the likely costs of an unrevised second edition of Harmonielehre. OC 54/238 Typewritten letter from Drei Masken Verlag to Schenker, dated October 14, 1930 Drei Masken Verlag confirms that the printers should not be held responsible for changes that were not indicated in the galley proofs. They will send printouts of the music examples and Urlinie pages in a few days; Schenker is asked to approve the way in which they are bound and inserted into the yearbook. OC 54/327 Handwritten letter from Deutsch to Schenker, dated October 15, 1930 Deutsch makes some late corrections to the proofs of the third Meisterwerk yearbook. He also suggests mentioning the supplementary music illustrations and foreground graphs in the table of contents. OC 54/215 Handwritten letter from Georg Tomay to Schenker, dated October 17, 1930 Tomay asks whether Schenker has received any new proofs from the printing house, and sends a gentle reminder concerning the outstanding fees. WSLB-Hds 191.571 Letter from Schenker to Deutsch, in Jeanette Schenker’s hand, dated October 17, 1930 Enclosing two recent letters from Drei Masken Verlag, Schenker asks Deutsch’s advice on what further action to take, if any. His doctor has pronounced him fit. OC 54/216 Handwritten receipt from Georg Tomay to Schenker, dated October 18, 1930 Tomay confirms receipt of the outstanding payment for his work on the third Meisterwerk yearbook. OJ 14/45, [88] Handwritten letter from Moriz Violin to Jeanette Schenker, dated October 18, 1930 Upon hearing from Furtwängler that Schenker is unwell, Violin asks Jeanette for news about him. 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. OC 54/329 Handwritten letter from Deutsch to Schenker, dated October 24, 1930 Deutsch makes further suggestions about how the musical material for the "Eroica" – the booklet of Urlinie graphs, and other illustrations (“figures”) – should fit into the third Meisterwerk yearbook. He also recommends fully paginating the booklet. OC 54/330 Handwritten letter from Deutsch to Schenker, dated October 24, 1930 Deutsch recommends three modifications to the layout of the supplements for the third Meisterwerk yearbook. OJ 5/7a, [31] (formerly vC 31) Handwritten letter from Schenker to Cube, dated November 1, 1930 Dr. Leo Kestenberg of the Prussian Ministry of Art and Education has, at Furtwangler's recommendation, asked Hans Weisse to deliver three lectures on Schenker's theory in Berlin, to be repeated elsewhere. Cube should take heart from this turn of events. OC 52/863 Typewritten letter from Ernst Roth (UE) to Schenker, dated November 4, 1930 Roth supplies the costing requested. OJ 10/3, [131] Handwritten letter from Deutsch to Schenker, dated November 5, 1930 Deutsch advises Schenker to send a sample of proofs of the third Meisterwerk yearbook to the editor of Der Kunstwart. He thanks him for copies of the letters written by Leo Kestenberg. OJ 5/7a, [32] (formerly vC 32) Handwritten postcard from Schenker to Cube, dated November 7, 1930 Schenker denies knowing a pupil-imposter; advises Cube to wait until after Weisse's lectures in Berlin. OJ 15/15, [47] Handwritten postcard from Weisse to Schenker, dated November 9, 1930 Weisse asks Schenker for the address of Reinhard Oppel, who may be able to provide names of people in Berlin whom Weisse could invite to his forthcoming lecture there. OC 52/864 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 10, 1930 Kalmus reports an inquiry from the Kiel student body. OJ 5/7a, [33] (formerly vC 33) Handwritten postcard from Schenker to Cube, dated November 10, [1930] Discusses attendance at Weisse's forthcoming lecture in Berlin; refers to two articles in Die Musik. WSLB 423 Handwritten postcard from Schenker to UE, dated November 11, 1930 Schenker confirms the consent he has given to the Kiel student body. PhA/Ar 56, [4] Handwritten letter from Schenker to Haas, dated November 12, 1930 Schenker offers Haas a line of inquiry for tracing Beethoven source materials. OC 52/865 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 13, 1930 UE have granted permission to the Kiel student body. OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930 The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker and Hoboken soon. OJ 12/6, [4] Handwritten letter from Jonas to Schenker, dated November 17, 1930 Jonas reports from Berlin on a lecture given shortly before in Munich to introduce Schenker's teaching. Requests a letter of recommendation for use in Berlin. OJ 13/25, [12] Typewritten letter from Rinn to Schenker, dated November 17, 1930 Rinn recommends an discussion in the Münchener Zeitung involving one of his assistants, Alexander Berrsche. He looks forward to seeing the third Masterwork yearbook and speaks of publishing a selection of "aphorisms" from the second and third yearbooks. OJ 9/34, [22] Handwritten letter from Cube to Schenker, dated November 22, 1930 Cube thinks attending Weisse's lectures would enable him to make contact with "people of stature" in Berlin, where he would like to teach Schenker's theory, and asks Schenker for the time and place, referring to the difficulties of travel in these "catastrophic times." Will check up on Reichert. Has been invited to give six lectures locally, and has a concert of his compositions coming up. OC 54/331 Typewritten picture postcard from Deutsch to Schenker, dated November 24, 1930 Deutsch has been unable to speak with Mr. Tal [about Roeder’s invoice for the production of the third Meisterwerk yearbook]. OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November 26, 1930 Schenker summarizes the achievements and ambitions of several of his pupils and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse is the most ambitious of all of these though he is not completely at home in the new theory. He fears that something might go wrong at Weisse's forthcoming lecture at the Central Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse will give a trial run of the lecture at the Schenkers' apartment. 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 15/15, [48] Handwritten postcard from Weisse to Schenker, dated November 27, 1930 Weisse, having received a copy of the page-proofs for "Rameau oder Beethoven?" from the third Meisterwerk Yearbook, calls Schenker's attention to two misprints. OJ 15/16, [65] Handwritten letter from Weisse to Schenker, dated November 27, 1930 Weisse thanks Schenker for the essay "Rameau oder Beethoven?". He is surprised to hear that Jonas has sought Schenker's help in finding employment, and urges Schenker not to write a letter of recommendation until a concrete piece of work materializes. He is about to go to Berlin to deliver two lectures on Schenker's theories, and has heard that Moriz Violin and Reinhard Oppel will be there; he would like to give one of these lectures at Schenker's home before a small audience of his most dedicated pupils, and suggests a date and time for this. OJ 12/6, [5] Handwritten letter from Jonas to Schenker, dated November 28, 1930 Jonas regrets any misunderstanding over his request for "a few lines of recommendation"; he had intended only to ask for "general lines," not recommendations to individuals. Jonas clarifies Schenker's confusion over his Munich lecture, and points to his devotion to Schenker's cause for fifteen years, stating what he considers to be the core of Schenker's thought as he would publicly represent it. OJ 15/15, [49] Handwritten postcard from Weisse to Schenker, dated November 28, 1930 Weisse is delighted by the chance to rehearse his forthcoming lecture at Schenker's apartment. His Sextet will be performed at the Musikverein in Vienna; he goes through a list of Schenker's circle of adherents who might be invited to his forthcoming lectures at the Central Institute for Music Education and Teaching in Berlin. OJ 11/32, [5] Typed letter from Robert Haas to Schenker, dated November 29, 1930 Accepts Schenker's invitation to Hans Weisse's lecture, and gives two pieces of information. OJ 15/15, [50] Handwritten postcard from Weisse to Schenker, dated November 30, 1930 Weisse gives Schenker the address of the Central Institute for Education and Teaching in Berlin, where he is about to deliver lectures on his teachers theory. OJ 10/3, [132] Typewritten picture postcard from Deutsch to Schenker, dated December 1, 1930 Deutsch accepts Schenker’s invitation for Friday, December 5 [to attend Hans Weisse’s talk, given in preparation for his lectures on Schenker’s theories in Berlin]. OJ 8/5, [1] Handwritten postcard from Schenker to Moriz Violin, dated December 2, 1930 Schenker suspects that Weisse, with Leo Kestenberg's support and Furtwängler's help, is hoping for an appointment in Berlin. OJ 10/3, [133] Handwritten picture postcard from Deutsch to Schenker, dated December 3, 1930 Deutsch has an engagement on Friday evening, December 5, and cannot stay for the whole of Hans Weisse’s talk. OJ 15/15, [51] Handwritten postcard from Weisse to Schenker, dated [December] 3, 1930 Carl Bamberger has just returned from Tokyo, and Weisse would like to bring him to the Schenkers on Friday (December 5). OJ 11/32, [6] Handwritten postcard from Robert Haas to Schenker, dated December 5, 1930 Haas is unable to attend [Weisse's lecture]. OJ 12/6, [6] Handwritten letter from Jonas to Schenker, dated December 5, [1930] Jonas thanks Schenker for OJ 5/18, [3a], outlines the contents of the general letter of recommendation requested, and informs Schenker that the Edwin Fischer circle is very interested is Schenker's work. OJ 13/25, [13] Typewritten postcard from Rinn to Schenker, dated December 5, [1930] Rinn has extracted "aphorisms" from the three Meisterwerk volumes and sent the page-proofs to Otto Vrieslander. — He would like to see the Tonwille pamphlets, with a view to reprinting some of its articles. 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. WSLB 424 Handwritten letter from Schenker to UE, dated December 8, 1930 Schenker requests that a full set of Tonwille issues be sent to Hermann Rinn. OC 52/866 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated December 10, 1930 UE has sent a complimentary copy of Der Tonwille to Hermann Rinn. 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 11/32, [7] Typewritten letter from Robert Haas to Schenker, dated December 11, 1930 Haas refers to the cancelation of the C. P. E. Bach edition. He explains why he had to withdraw from Weisse's lecture at the last moment. OJ 10/3, [134] Handwritten picture postcard from Deutsch to Schenker, dated December 14, 1930 Deutsch thanks Schenker -- and Hans Weisse -- for Weisse’s lecture. Hoboken has recently acquired a second edition of Beethoven’s Sonata Op. 22, which Schenker may wish to consult. OJ 15/15, [52] Handwritten postcard from Weisse to Schenker, dated December 17, 1930 Weisse asks Schenker if he can come on Sunday to report on the lectures he has recently given in Berlin. OJ 10/3, [135] Handwritten letter from Deutsch to Schenker, dated December 25, 1930 Deutsch’s son Peter has broken a leg ice-skating. He is devastated by the news of Hoboken’s withdrawal of support for the C. P. E. Bach collected edition). He will discuss the terms [of payment] regarding the third Meisterwerk yearbook in person, and advises that review copies be sent out in January. OJ 15/15, [53] Handwritten postcard from Weisse to Schenker, dated December 27, 1930 Weisse thanks Schenker for his support; he has sent off the manuscripts (of his lectures) to Drei Masken Verlag. He commends his teacher for the clarity of the analytical graphing of the "Eroica" Symphony. OC 52/867 Typewritten letter from Hugo Winter (UE) to Schenker, dated December 29, 1930 UE has transferred 1,250 shillings, and sends New Year's best wishes. OJ 10/3, [136] Handwritten picture postcard from Hannah Deutsch to Schenker, dated December 30, 1930 The Deutsches invite the Schenkers for the afternoon of January 4, 1931. OJ 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931 Hearing that Schenker expects to complete Der freie Satz by early spring, Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the author against Schenker. OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931 In this long and wide-ranging two-part letter, which includes a graphic analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald Warburg), or even found an institute that would give employment to Felix Salzer and other Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg. For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes with a tirade against those who have caused him financial misery (including his brother Mozio), culminating in a cynical passage in which Schenker advises his friend to look after himself and engage some dull pedagog to teach conventional theory. In the end, he wishes Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s clutches. OJ 10/3, [137] Typewritten letter from Deutsch to Schenker, dated January 24, 1931 Deutsch is sorry not to be able to meet with Schenker and Felix Salzer. — He is concerned that others may think that he had a part to play in Hoboken’s withdrawing his financial support for a collected edition of C. P. E. Bach’s works. OJ 11/54, [31] Handwritten picture postcard from Hoboken to Schenker, dated February 3, 1931 Hoboken will miss today's lesson for health reasons. OJ 12/9, [26] Handwritten letter from Karpath to Schenker, dated February 3, 1931 Karpath replies to a letter from Schenker showing himself to be in need of help. — Karpath reports on contact with Robert Brünauer, who was seeking financial support. OJ 10/3, [138] Typewritten picture postcard from Deutsch to Schenker, dated February 4, 1931 Deutsch accepts an invitation to visit the Schenkers on Sunday, February 15. OJ 15/15, [54] Handwritten picture postcard from Weisse to Schenker, dated February 5, 1931 Weisse reports having given a successful talk to the Society for Music Pedagogy on the importance of counterpoint; Schenker’s concept of line made a big impression on the audience. OJ 10/1, [104] Typewritten letter from Dahms to Schenker, dated February 7, 1931 Dahms is looking forward to reading Meisterwerk III and inquires after Der freie Satz. — He has cut himself off from Berlin and Germany; his marital situation has finally been resolved, and he and his wife and child have settled in Paris. OJ 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 15/15, [55] Handwritten picture postcard from Weisse to Schenker, dated February 13, 1931 Weisse thanks Schenker for sending him a Mozart quotation, asks for a source for it, and makes a reference to a certain "Preetorius." OJ 5/30, [1a] Handwritten draft letter from Schenker to Preetorius, undated [February 12–13, 1931] Schenker draws Preetorius's attention to part of Meisterwerk III, and invites him to consider his (Schenker's) theory of coherence in music as a basis for that in other arts, hence unity among the arts. -- He envisions a "club" of artists to discuss these matters. OJ 15/16, [68] Handwritten letter from Weisse to Schenker, dated February 17, 1931 Weisse thanks Schenker for sending him letters from Felix-Eberhard von Cube und Walter Braunfels, and in return sends Schenker a letter from Wilhelm Furtwängler. He repeats a request for information about the source of a Mozart letter that he has been quoting in a lecture to the Viennese Society for Music Pedagogy. OJ 15/16, [68] Handwritten letter from Weisse to Schenker, dated February 17, 1931 Weisse thanks Schenker for sending him letters from Felix-Eberhard von Cube und Walter Braunfels, and in return sends Schenker a letter from Wilhelm Furtwängler. He repeats a request for information about the source of a Mozart letter that he has been quoting in a lecture to the Viennese Society for Music Pedagogy. OC 20/402 Handwritten letter from Weisse to Schenker, dated February 20, 1931 Weisse describes the extraordinary success of his second lecture (at the Society for Music Pedagogy in Vienna). He asks his teacher's opinion about his rhythmic interpretation of the Bach's Prelude in D minor, BWV 926, and of the third movement of Brahms's String Quartet in C minor, Op. 51, No. 2. OJ 10/1, [105] Handwritten picture postcard from Dahms to Schenker, dated February 23, 1931 Dahms acknowleges receipt of Meisterwerk 3. OJ 12/9, [27] Typewritten picture postcard from Karpath to Schenker, dated February 23, 1931 Karpath thanks Schenker for sending volume III of the Yearbook. 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 12/6, [7] Handwritten letter from Jonas to Schenker, dated February 25, 1931 Jonas sends three essays and asks for Schenker's comments. OJ 15/15, [56] Handwritten picture postcard from Weisse to Schenker, dated February 25, 1931 Weisse thanks Schenker and clarifies a remark of his own regarding the analysis of a Bach prelude; comments on the content of an edition of Mozart’s letters, and expresses shock at the death of John Petrie Dunn. WSLB-Hds 94479 Handwritten letter from Schenker to Seligmann, dated February 26, 1931 Schenker asks Seligmann to read the opening essay in the third volume of Das Meisterwerk in der Musik. He quotes from a letter to his pupil Hans Weisse which demonstrates the attention his theories have been gaining in Germany, especially Berlin, and expresses his regret that no one in Vienna shows similar respect for him. 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 14/23, [23] Handwritten picture postcard from Seligmann to Schenker, undated [February 28, 1931] Seligmann thanks Schenker for his recent correspondence, is heartened by what Hans Weisse has written (about the reception of Schenker’s work in Berlin); he looks forward to reading about Rameau (in the third Meisterwerk yearbook). OJ 8/5, [2] Handwritten picture postcard from Schenker to Violin, dated February 28, 1931 Schenker has heard about Violin’s letter to Weisse [concerning the founding of a Schenker Institute in Hamburg] and expresses his interest in it, noting that it will be possible to teach composition only after Free Composition has been published. OJ 5/18, 3c Handwritten picture postcard from Schenker to Jonas, dated March 1, 1931 Schenker acknowledges receipt [of essays]. OJ 10/3, [140] Handwritten picture postcard from Hannah Deutsch to Schenker, dated March 2, 1931 Deutsch will meet Schenker at the Café Aspang on Thursday, March 5. OJ 15/15, [57] Handwritten picture postcard from Weisse to Schenker, dated March 5, 1931 Weisse describes the extraordinary success of his lecture on Bach's Prelude in D minor, at the Society for Music Pedagogy in Vienna. 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 12/50, [7] Handwritten letter from Bernhard Martin to Schenker, undated [1931?] Bernhard Martin sends Schenker a circular sketch diagram of the opening of the C minor fugue from WTC, Book I, which he has used in his class teaching. He has for two years been developing from Schenker's publications proposals for music instruction in schools, including counterpoint with practical exercises. OJ 14/23, [24] Handwritten postcard from Seligmann to Schenker, postmarked March 11, 1931 Seligmann thanks Schenker for sending him the third Meisterwerk yearbook and says he greatly enjoyed learning about Rameau in the opening essay. But, he says, Schenker can hardly be surprised that he is ignored by the Ministry [of Education] if he constantly offends the people who are responsible to the Minister. OeNB Mus.Hs. 36390/1 [1] Handwritten letter from Violin to Schenker, dated March 12, 1931 Violin says that things are in order [with the planned Schenker Institute in Hamburg], but that Hans Weisse will not take part. He will visit Vienna at the end of the month to consult his friend, whom he asks to say nothing about the matter to Weisse. OJ 10/3, [144] Handwritten picture postcard from Deutsch to Schenker, dated March 13, 1931 In this cryptic message, Deutsch creates a relationship among Beethoven, Schenker, the music critic Julius Korngold, and the writer on music Richard Specht. OJ 8/5, [3] Handwritten picture postcard from Schenker to Violin, dated March 14, 1931 Schenker expresses his delight that Violin will soon be coming to Vienna. 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 15/16, [69] Handwritten letter from Weisse to Schenker, dated March 19, 1931 Weisse asks Schenker’s approval to approach Furtwängler about Der freie Satz, presumably to seek financial assistance for its publication. He has been given a copy of a letter from Mozart to Baron van Swieten, but expresses his doubts about the tone of one of Mozart’s phrases; he hopes to meet Schenker soon, to talk about Bruckner. OJ 15/15, [58] Handwritten picture postcard from Weisse to Schenker, dated March 20, 1931 Weisse arranges to bring Furtwängler to Schenker’s apartment. OJ 15/16, [70] Handwritten letter from Weisse to Schenker, dated March 21, 1931 Weisse reports to Schenker Furtwängler's confidence about obtaining money from two wealthy people in Berlin to defray the publication costs of Der freie Satz and the analysis of Beethoven’s "Eroica" Symphony, i.e. third volume of Das Meisterwerk in der Musik. Weisse has suggested a sum of 4,000 marks for the former, as a conservative estimate. OJ 15/16, [71] Handwritten letter from Weisse to Schenker, dated March 25, 1931 Weisse, remaining confident that Furtwängler will provide financial assistance with Schenker’s publications, thinks it is best to ask for help with the “Eroica” analysis (Meisterwerk III) and Der freie Satz together; he will emphasize that the subvention for the “Eroica” is the more urgent, and the cost of publishing the latter could be met by subscription. From what Furtwängler has hinted, the prospects for Weisse lecturing, and eventually teaching, in Berlin are not good; but Weisse may have other plans. OJ 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 12/6, [8] Handwritten postcard from Jonas to Schenker, dated March 30, [1931] Jonas thanks Schenker for OJ 5/18, 4; — reports that his own essay and a review of Das Meisterwerk III will appear in the Zeitschrift für Musikwissenschaft; — asks question about a discussion in Der Tonwille of a Bach fugue copied out by Beethoven. OJ 15/16, [72] Handwritten letter from Weisse to Schenker, dated March 30, 1931 Following up a discussion with Schenker in the presence of Wilhelm Furtwängler, Weisse draws up a list of Schenker’s early essays. Oswald Jonas and his wife have been copying them and Jonas plans to write a Foreword to a new edition of these writings. OJ 10/3, [145] Handwritten picture postcard from Deutsch to Schenker, dated April 2, 1931 Deutsch comments on Schenker’s essay on a “lost Mozart letter,” to be published in Der Kunstwart. He does not himself question its authenticity but advises Schenker to get in touch with Richard Benz in Heidelberg about it. OJ 5/18, 7 Handwritten picture postcard from Schenker to Jonas, undated [c.April 2, 1931(?)] Schenker asks for reprint of essay. OJ 15/15, [59] Handwritten picture postcard from Weisse to Schenker, dated April 3, 1931 Weisse thanks Schenker for copies of the [Mozart calling] card – He has given the one intended for Felix Salzer to another pupil, and asks if Schenker has an extra one for Salzer. OJ 15/22, [1] Handwritten letter from Willfort to Schenker, dated April 3, 1931 Willfort thanks Schenker for the card with quotation from Mozart letter. OJ 15/16, [73] Handwritten letter from Weisse to Schenker, dated April 7, 1931 Weisse continues to urge a cautious approach to Furtwängler with regard to financial support for recent and forthcoming publications. OJ 12/24, [1] Handwritten letter from Kromer to Schenker, dated April 9, 1931 Kromer asks to meet with Schenker. OJ 5/45, [6] Handwritten draft letter of recommendation by Schenker for Hans Weisse, dated April 13, 1931 In a letter of recommendation Schenker praises Weisse's creativity and pedagogical skill, and declares him the best representative of his own theory. WSLB-Hds 191.572 Handwritten letter from Schenker to Deutsch, dated April 13, 1931 Schenker explains some of the details of the conclusion he has written for an unfinished, untexted Schubert song, D. 555. OJ 6/8, [2] Handwritten letter from Schenker to Violin, dated April 14, 1931 Having heard that Weisse is leaving for America, Schenker asks if Violin has had a response from Cube. He has had a postcard from a pupil of Cube’s, Erich Voss, who would like to know the content of Der freie Satz. OJ 15/16, [74] Handwritten letter from Weisse to Schenker, dated April 15, 1931 Weisse thanks Schenker for a letter of reference [for his teaching post at the Mannes School of Music], and asks for some modifications. — He has not heard from Furtwängler, whom he has also asked for a reference, and urges Schenker to be patient with Furtwängler, too. — He is completing a set of three-voice piano pieces and wishes to dedicate them to Schenker on the occasion of his leaving Vienna. OJ 5/45, [7] Handwritten draft letter of recommendation by Schenker for Hans Weisse, dated April 15, 1931 In the second draft of a letter of recommendation Schenker praises Weisse's creativity and pedagogical skill, his qualifications as a teacher of composition, and declares him the best representative of his own theory. OJ 12/6, [9] Handwritten letter from Jonas to Schenker, dated April 17, 1931 Acknowledges OJ 5/18, 6. Discusses plan for collected publication of Schenker's essays and reviews. — Gives news of his own forthcoming publication. OJ 5/18, 5 Handwritten picture postcard from Schenker to Jonas, dated April 19, 1931 Schenker acknowledges OJ 12/6, [9]. — The planned collection essays is premature: 1,000 Marks is better spent on new works. — But the collection should be a selection. OJ 15/15, [60] Handwritten picture postcard from Weisse to Schenker, dated April 21, 1931 Weisse suggests possible dates and times for a meeting between himself and Schenker, without Furtwängler. OJ 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]. WSLB-Hds 191.573 Handwritten postcard from Schenker to Deutsch, dated April 23, 1931 Schenker explains to Deutsch how the text (as yet unwritten) of the Schubert song fragment, D. 555, should fit into his completion. He has heard that Ludwig Karpath has referred to him as Austria’s best music theorist. OJ 15/16, [76] Handwritten letter from Weisse to Schenker, dated April 24, 1931 Under increasing pressure from Schenker, Weisse assures his teacher that Furtwängler will not be long in making up his mind to seek financial support for Schenker’s publications. He asks to see Schenker. OJ 9/34, [24] Handwritten letter from Cube to Schenker, dated April 25, 1931 Cube is busy disposing of his house and dealing with his father's estate; he is moving to Hamburg to work with Moriz Violin after a short holiday. 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 15/15, [61] Handwritten picture postcard from Weisse to Schenker, dated May 1, 1931 Weisse tries to arrange a date to meet Schenker. 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 10/3, [148] Typewritten picture postcard from Deutsch to Schenker, dated May 6, 1931 Deutsch thanks Schenker for his advice about summer holiday accommodation; he will make inquiries in Ischgl. OJ 9/34, [25] Handwritten letter from Cube to Schenker, dated May 9, 1931 Cube describes his feelings and final dealings with the Conservatory in Duisburg, and preparations for work with Violin in Hamburg; he reports on his two best pupils, Erich Voss and Lieselotte Müller. OJ 15/15, [62] Handwritten picture postcard from Weisse to Schenker, dated May 19, 1931 Weisse arranges to meet Schenker; he has written again to Furtwängler. OJ 6/8, [3] Handwritten letter from Schenker to Violin, dated May 24, 1931 Schenker sends Violin clippings of a positive anonymous review of Das Meisterwerk 3, and an article by Bruno Walter from the Neue freie Presse mentioning him. 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 5/7a, [36] (formerly vC 36) Handwritten postcard from Schenker to Cube, dated June 6, 1931 Schenker will write to Cube from Galtür, with Mozart calling card. OJ 8/5, [4] Handwritten picture postcard from Schenker to Violin, postmarked June 6, 1931 Furtwängler has sent 3,000 Marks via Hans Weisse for the costs of Das Meisterwerk 3, and Weisse will continue to seek the funds for Der freie Satz. OJ 10/3, [149] Typewritten letter from Deutsch to Schenker, dated June 11, 1931 Deutsch will not be spending the summer holiday in Ischgl, but with a family in Nauders. He hopes to see Schenker before the Schenkers go on holiday. OJ 6/8, [4] Handwritten letter from Schenker to Violin, dated June 11, 1931 Schenker expresses his feelings about the establishment of a music school in Hamburg named after him, believing it to represent a spiritual union of Violin with himself. He is sending him some recent compositions by Weisse, which he finds well composed. OJ 15/16, [78] Handwritten letter from Weisse to Schenker, dated June 12, 1931 Weisse expresses his joy and gratitude at Schenker's approval of the three-voice piano pieces he has dedicated to him. Having sent his teacher several copies of them, he asks for the names of the recipients of the other copies. OJ 5/7a, [37] (formerly vC 37) Handwritten postcard from Schenker to Cube, dated June 12, 1931 Schenker sends pieces by Hans Weisse; promises letter from Galtür. OJ 15/16, [79] Handwritten letter from Weisse to Schenker, dated June 13, 1931 Weisse sends Schenker further corrections of printing errors [in Meisterwerk III], and notes that the book has recently been reviewed. OJ 11/32, [8] Typed letter from Robert Haas to Schenker, dated June 27, 1931 Haas sends summer greetings, and agrees to advise Angi Elias. OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931 Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice; comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete rest. OJ 10/3, [150] Handwritten picture postcard from Deutsch to Schenker, dated July 1, 1931 Deutsch expresses concern that his last letter may have been misunderstood. The question of textual corruption of musical masterworks may be raised at the Department of International Intellectual Collaboration in Geneva. The Mozart letter on which Schenker elaborated was mentioned in the first edition of Jahn but now survives only in poetic and philosophical biographies of the composer. OJ 8/5, [5] Handwritten picture postcard from Schenker to Violin, dated July 13, [1931] Schenker asks Violin if he has yet seen the review of Meisterwerk 3 in the current issue of Die Musik, which has raised his standing in the world. OC 50/14 Typewritten letter from Elsa Bienenfeld to Schenker, dated July 15, 1931 Bienenfeld explains her disagreement with Schenker’s acceptance in an article of a Mozart letter of questionable authenticity, and inquires whether in the event of a negative judgment he still wishes there to be a review. OJ 14/23, [25] Handwritten picture postcard from Seligmann to Schenker, postmarked July 17, 1931 Seligmann acknowledges the receipt of Schenker’s article about a lost Mozart letter, published in Der Kunstwart. He was surprised to learn that some Mozart scholars doubted its authenticity. OC 38/155v Handwritten letter (fragment) from Violin to Schenker, dated July 18, 1931 Violin’s son collapsed while away on a school holiday, but is now recovering. The family are about to move to a new apartment in Hamburg, and Violin is sending Schenker a copy of the prospectus for the Schenker Institute. OJ 8/5, [6] Handwritten picture postcard from Schenker to Violin, dated July 24, 1931 Schenker expresses his astonishment at what the Violin family has had to endure, and thanks him for the Schenker Institute prospectus. 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 9/34, [26] Handwritten letter from Cube to Schenker, dated August 19, 1931 Cube informs Schenker that Moriz Violin's son has been taken ill; Cube sends Schenker a copy of the Schenker Institute prospectus. OJ 5/7a, [39] (formerly vC 39) Handwritten postcard from Schenker to Cube, undated [August 22, 1931] Acknowledges OJ 9/34, [26] and asks for further copies of the prospectus of the Schenker Institute, Hamburg. OJ 15/16, [80] Handwritten letter from Weisse to Schenker, dated August 25, 1931 Weisse, on holiday, will not be returning to Vienna before making his way ‒ via Nuremberg and Berlin ‒ to Hamburg, where his ship to America sets sail on September 17. He gives Schenker the address of the Mannes Music School, and reports that he has heard nothing of late from Furtwängler. OJ 15/16, [81] Handwritten letter from Weisse to Schenker, dated September 5, 1931 Weisse outlines his travel plans before leaving for America. He has accepted an invitation from Moriz Violin to give a lecture in Hamburg on September 16, the day before he sets sail. OJ 6/8, [5] Handwritten letter from Schenker to Violin, dated September 6, 1931 In this long, sentimental letter, Schenker thanks Violin for founding a Schenker Institute in Hamburg and reflects on the intertwining of their fates through their connection with C. P. E. Bach. He also advises on the wording of the Institute’s prospectus. OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931 Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at a lecture given by Hans Weisse. FS 40/1, [3] Handwritten letter from Schenker to Salzer, dated September 14, 1931 Schenker asks for a meetings to discuss lesson schedule. OJ 10/3, [153] Typewritten picture postcard from Deutsch to Schenker, dated September 25, 1931 Deutsch is back in Vienna, and hopes to see Schenker the following week. 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 12/9, [28] Typewritten letter and envelope from Karpath to Schenker, dated October 23, 1931 To Schenker's inquiry regarding Moriz Violin, Karpath gives information as to how in the era of Perger and Bopp at the Vienna Conservatory professors and teachers were addressed. OJ 10/3, [154] Typewritten letter from Deutsch to Schenker, dated October 8, 1931 Deutsch has been in touch with Robert Haas about a civic honor being conferred upon Hoboken in the hopes of keeping him, the Photogram Archive, and his personal library in Vienna. He asks if Schenker might request a letter from Furtwängler recommending this action, and be able to get Julius Korngold to write something about the importance of Hoboken’s collections. OJ 10/3, [155] Typewritten picture postcard from Deutsch to Schenker, dated October 9, 1931 Deutsch has learned, from an 1892 exhibition catalogue, that the Moscheles family owned Beethoven sketch manuscripts and that G. B. Davy owned a number of autographs, and a sketchbook for the Cello Sonata Op. 102, No. 2. OC 18/40 Handwritten picture postcard from Karpath to Schenker, undated, postmarked October 13, 1931 Karpath asks Schenker for a telephone call or visit. 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 15/16, [82] Handwritten letter from Weisse to Schenker, dated October 15, 1931 Weisse describes his new life in America; — is touched by the spirit that pervades the Mannes Music School; — has given a lecture to the faculty on the role of a theorist in a music school. — He reports that he has 22 pupils, and is about to meet George A. Wedge, Dean of the Institute of Musical Art. — He asks whether Schenker has had any news from Hamburg. 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 9/34, [28] Handwritten letter from Cube to Schenker, dated October 16, 1931 Cube reports enrollment and quality of students at the Schenker Institute, Hamburg; his own teaching is increasingly small-group-tuition based, drawing on Tonwille and Meisterwerk. Karl Violin is recovering. OJ 6/8, [7] Handwritten letter from Schenker to Violin, dated October 17, 1931 Schenker offers Violin words of comfort in the light of a misappropriation of the title “Professor.” He also describes progress on Chopin’s Op. 10, No. 12, and the Bach Prelude in C major for the Five Analyses in Sketchform, and his work on a document of Anton Schindler purporting to convey Beethoven’s instructions on the performance of the Op. 14 sonatas. OJ 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 9/34, [29] Handwritten letter from Cube to Schenker, dated October 20, 1931 Encloses graph of J. S. Bach, Wohltemperirtes Clavier, Book I, Prelude in C major and asks Schenker's opinion of several aspects of his graphing. OC 18/41 Handwritten picture postcard from Karpath to Schenker, dated October 21, 1931 Karpath offers to draft a document according to Schenker's suggestions. 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 6/8, [8] Handwritten letter from Schenker to Violin, dated October 23, 1931 Schenker has written to Ludwig Karpath concerning the matter of Violin’s appropriation of the title of “Professor” (as discussed in Schenker’s letter of October 17). He hopes that his friend's difficulties are now entirely behind him. 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 5/7a, [40] (formerly vC 40) Handwritten letter from Schenker to Cube, undated [c. October 29, 1931] Angi Elias has made a fair copy of Cube's latest graph of the C major Prelude (Wohltemperirtes Clavier, Book I), which Schenker may use in his seminar; Cube to write thanking Elias; Schenker comments on changes to Cube's graph. OeNB Mus.Hs. 36390/1 [2] Handwritten letter from Violin to Schenker, dated November 4, 1931 Violin thanks Schenker for his package. He has been swamped by administrative business concerning the Schenker Institute, but is sometimes able to argue about musical matters with Felix-Eberhard von Cube. He thanks Schenker for correcting a mistake on Cube’s part concerning the analysis of the end of the C major Prelude from the first book of Bach’s Well-tempered Clavier. OJ 15/16, [83] Handwritten letter from Hertha Weisse to the Schenkers, dated November 5, 1931 Hertha Weisse thanks the Schenkers for an invitation to their place, and asks Jeanette to suggest two possible dates. FS 40/1, [4] Handwritten letter from Schenker to Salzer, dated November 6, 1931 Salzer has overpaid and Schenker will return the excess. OJ 11/16, [9] Handwritten letter from Furtwängler to Schenker, dated November 8, 1931 Furtwängler would hear with Schenker. — He has heard good news of Weisse from Violin. OJ 11/54, [36] Handwritten postcard from Hoboken to Schenker, dated November 26, 1931 Hoboken's next lesson will be December 2: Chopin mazurkas. OJ 8/5, [7] Handwritten picture postcard from Schenker to Violin, dated November 27, 1931 Inquiring about Violin’s difficulties at the Schenker Institute in Hamburg, Schenker observes that there are many fewer conservatory students in Vienna, and also in Berlin, because music teachers earn so little. OJ 10/3, [161] Typewritten letter from Deutsch to Schenker, dated December 19, 1931 Deutsch has a few things to give Schenker and much to tell him about, and gladly accepts an invitation for December 26 or 30. OJ 6/8, [9] Handwritten letter from Schenker to Violin, dated December 24, 1931 Thanking Violin for his recent letter, Schenker bemoans the present condition of the world, and expresses the hope that his health will enable to see him through the worst of the days to come. 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. FS 40/1, [6] Handwritten letter from Schenker to Salzer, dated December 31, 1931 The Schenkers reciprocate New Year's greetings. 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 5/7a, [41] (formerly vC 41) Handwritten postcard from Schenker to Cube, dated January 14, 1932 Schenker acknowledges a [non-extant] letter, and asks for a clipping from the Frankfurter Allgemeine Zeitung. OJ 9/34, [30] Handwritten letter from Cube to Schenker, dated January 16, 1932 Cube encloses the requested clipping and an explanatory letter. OJ 5/7a, [42] (formerly vC 42) Handwritten letter from Schenker to Cube, dated January 20, 1932 Schenker acknowledges an enclosed review and letter, and comments on [Ludwig] Rottenberg. That music has cohesiveness (Zusammenhang) has finally been recognized; this must be disseminated. OJ 12/24, [3] Typewritten letter from Kromer to Schenker, dated January 26, 1932 The Archive has defective photographic copies and offers them for student use. OJ 15/16, [84] Handwritten letter from Hertha Weisse to the Schenkers, dated February 9, 1932 Hertha Weisse gratefully accepts a second invitation from the Schenkers. 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 11/16, [10] Typewritten letter from Furtwängler to Schenker, dated April 5, 1932 Furtwängler thanks Schenker for a gift, and wishes to call on him. OJ 11/54, [38] Handwritten picture postcard from Hoboken to Schenker, dated April 7, 1932 Hoboken will come for a lesson on Friday. FS 40/1, [7] Handwritten letter from Schenker to Salzer, dated April 13, 1932 Schenker sympathizes with Salzer over his illness. — He is expecting the first sample of engraved proof today. OJ 9/8, [5] Printed and handwritten card from Wilhelm Altmann to Schenker, dated April, 1932 [printed:] Altmann thanks those who sent good wishes for his 70th birthday. — [handwritten:] Reports on his travel plans and his forthcoming publication. FS 40/1, [8] Handwritten letter from Schenker to Salzer, dated April 19, 1932 Schenker reports on a letter from Weisse and asks Salzer to translate an interview text for him. OJ 9/34, [31] Handwritten letter from Cube to Schenker, dated May 8, 1932 Cube sends Schenker an Urlinie graph of Schubert's song "Der Dopplegänger," and offers an extended commentary. Describes his work and state of mind, and comments on working with Moriz Violin; he expresses fears for the Hamburg Schenker Institut. He has just got married. OJ 9/34, [32] Handwritten letter from Cube to Schenker, dated May 11, 1932 Cube reports a conversation with Moriz Violin. OJ 11/54, [39] Handwritten postcard from Hoboken to Schenker, dated May 12, 1932 Hoboken will come to see Schenker on Friday. OJ 8/5, [10] Handwritten picture postcard from Schenker to Violin, postmarked May 12, 1932 Schenker expresses his joy at Violin’s forthcoming trip to Vienna and thanks him for a clipping about C. P. E. Bach and the city of Hamburg. OJ 11/2, [3] Handwritten letter from Emma Fischer to Schenker, dated May 26, 1932 Baroness Fischer sends her commiserations to Schenker on the death of Alfred Rothberger, and comments on the latter's(?) children. -- She will be playing movements 2 and 3 of her piano concerto on the radio, and asks Schenker to listen. -- She has broken her left ankle. OJ 15/16, [85] Handwritten letter from Hertha Weisse to Heinrich Schenker, dated May 26, 1932 Hertha Weisse reports that her husband will be arriving in Vienna in a couple of days, but that the Mannes School needs a bit more time to consider a proposal [presumably for the joint publication of the Fünf Urlinie-Tafeln / Five Analyses in Sketchform by Universal Edition in Vienna and the David Mannes School in New York]. OJ 15/22, [2] Handwritten letter from Willfort to Schenker, dated June 7, 1932 Willfort and Greta Kraus are still uncertain as to whether they will be able to participate in Schenker's seminar next academic year. FS 40/1, [9] Handwritten letter from Schenker to Salzer, undated [June 11, 1932] Schenker reciprocates good wishes for the summer, and will pursue the further volumes of the Fünf Urlinie-Tafeln without regard for the American "mentality." OJ 6/8, [13] Handwritten letter, with envelope, from Schenker to Violin, dated June 12, 1932 Schenker refers to his “betrayal” by Herman Roth and shares with Vrieslander’s letter on the subject. He updates Violin on the forthcoming publication of the Fünf Urlinie-Tafeln, accusing the Mannes School of getting more publicity and profits from the sale of the work than it deserves. OJ 15/16, [86] Handwritten letter from Hans Weisse to Schenker, dated June 21, 1932 Weisse acknowledges receipt of two letters from Schenker, but has been burdened by visa problems at the American consulate in Vienna. He will reply at greater length when he arrives in Grundlsee, in a few days’ time. OJ 5/18, 10 Handwritten picture postcard from Schenker to Frieda Jonas, dated June 28, 1932 Schenker asks Mrs. Jonas to thank Oswald Jonas for an article he has sent. OJ 9/34, [33] Handwritten letter from Cube to Schenker, dated July 2, 1932 Cube outlines, with music examples and graphs, a theory of tonal system and modal mixture based on "the series of 5ths," "the closed-up circle of 5ths," and "differentiation of the resultant intervals in a diatonic projection" as a scale. He asks for Schenker's reaction. OJ 5/7a, [43] (formerly vC 43) Handwritten postcard from Schenker to Cube, dated July 6, 1932 Schenker acknowledges OJ 11/54, [33], and reports publication of songs and Ländler by Vrieslander. 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. FS 40/1, [10] Handwritten postcard from Schenker to Salzer, dated July 16, 1932 Salzer will receive four copies of Fünf Urlinie-Tafeln, and is asked to distribute them. 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 11/32, [10] Typed letter from Robert Haas to Schenker, dated July 22, 1932 Haas sends summer greetings and urges holding a Board of Trustees' meeting in September. FIBA 13/MO1 Handwritten letter from Schenker to Rudolf von Ficker, dated July 27, 1932 Schenker requests a meeting with Ficker in Igls. 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 11/16, [11] Handwritten letter from Furtwängler to Schenker, dated August 2, 1932 Furtwängler thanks Schenker for his letter and for sending Urlinie graphs; praises Schenker's "fight ... for genius"; he is unable to visit now, but hopes to later; inquires about Weisse. OJ 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 15/22, [3] Handwritten letter from Willfort to Schenker, dated August 6, 1932 Willfort reports that Salzer has escaped with only minor injuries; — is thrilled by the Five Analyses in Sketch-Form, of which he has just seen a copy. FS 40/1, [11] Handwritten picture postcard from Schenker to Salzer, dated August 7, 1932 Schenker is delighted that Salzer's injury is less serious than portrayed in the Neue Freie Presse OJ 5/18, 12 Handwritten postcard from Schenker to Jonas, dated August 28, 1932 Schenker will return to Vienna in September and would like Jonas to visit him. — Questions about Stern Conservatory and songs by Vrieslander. OJ 12/6, [14] Handwritten postcard from Jonas to Schenker, dated August 30, [1932] Jonas is leaving today for Berlin, and will write to Schenker from there. OJ 8/5, [11] Handwritten postcard from Schenker to Violin, dated September 1, 1932 Schenker reports that Der freie Satz is finished, apart from the final draft of the manuscript. OJ 12/6, [15] Handwritten letter from Jonas to Schenker, dated September 5, 1932 Jonas encloses sample page-make-up by Saturn-Verlag, and asks Schenker to send addresses for recipients of invitations [to subscribe]. Reports on his professional prospects and contacts in Berlin, and on reviewing. OJ 89/5, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 5, 1932 Hoboken sets out his plans to leave Vienna, pack his furniture and put his music collection in store, and how he sees the continuation of his lessons with and work under Schenker. OJ 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 9/34, [34] Handwritten letter from Cube to Schenker, dated September 12, 1932 Cube outlines the conflict between Moriz Violin and the school authorities over inspection of the Hamburg Schenker-Institut, portrays his own differences of opinion with Violin, and asks for Schenker's opinion. OJ 12/24, [4] Typewritten postcard from Kromer to Schenker, dated September 13, 1932 Kromer asks if he might call on Schenker. FS 40/1, [12] Handwritten postcard from Schenker to Salzer, dated September 14, 1932 Schenker asks if Salzer could visit him Friday or Saturday. OJ 15/16, [87] Handwritten letter from Hans Weisse to Schenker, dated September 14, 1932 After a long silence, for which he apologizes, Weisse congratulates Schenker on the completion of Der freie Satz and reports that he has composed a violin sonata, which retains the neo-Bachian style of his three-voiced piano pieces of 1931. He gives Schenker the dates of his sailing to America and his address in New York. 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 5/7a, [44] (formerly vC 44) Handwritten postcard from Schenker to Cube, postmarked September 16, 1932 In response to OJ 9/34, [34], Schenker thinks Cube right, but would need to see the inspection before giving judgment. 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. FS 40/1, [13] Handwritten letter from Schenker to Salzer, dated September 22, 1932 Schenker reports a conversation with Trude Kral. OC 18/34 Typewritten letter from Arthur Waldeck to Schenker, dated September 22, 1932 Waldeck expresses an interest in translating Schenker' Harmonielehre into English, and asks to send sample passages. OJ 11/16, [12] Handwritten letter from Furtwängler to Schenker, dated September 22, 1932 Furtwängler was prevented from visiting Schenker in August by having to go into the Cottage Sanatorium, Vienna. He hopes to see Schenker during the winter, and asks whether he might like to do the ceremonial address for the Brahms Centenary. OJ 89/5, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 22, 1932 Hoboken is pleased at completion of Der freie Satz and reaffirms his financial assistance for its printing. — Encloses a letter from Robert Haas and proposes a three-way meeting. — Refers to the impact of his divorce has on his financial affairs. — May be able to assist Jonas's publication. OJ 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 11/32, [12] Typed postcard from Robert Haas to Schenker, dated September 29, 1932 Haas accepts Schenker's invitation. 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. NYnscl MP.0008.01/1/1, 1 Handwritten postcard from Schenker to Arthur Waldeck, dated October 16, 1932 Schenker will consider Waldeck's offer next week. 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 12/6, [24] Handwritten letter from Jonas to Schenker, dated October 25, 1932 Jonas acknowledges OJ 5/18, 16 (not surviving); is pleased his article has Schenker's approval; sends [text of] lecture for Schenker's judgment; result of subscription [for Einführung] so far depressing. GdM Briefe HS, [2] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated October 31, 1932 Schenker requests permission to use Brahms's "Octaven und Quinten" in Der freie Satz or as a separate publication. GdM Akten 34 ex1932/33, [1] Typewritten letter, carbon copy, from Friedrich Dlabač (Gesellschaft der Musikfreunde) to Schenker, dated November 3, 1932 The Gesellschaft der Musikfreunde grants permission for Schenker to publish Brahms' "Octaven und Quinten." OJ 8/5, [12] Handwritten postcard from Schenker to Violin, dated November 7, 1932 Schenker reports that Joseph Marx wants to adopt a revised version of his Harmonielehre for the students at the Akademie für Musik und darstellende Kunst in Vienna. 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. NYnscl MP.0008.01/1/1, 2 Handwritten letter from Schenker to Arthur Waldeck, dated November 8, 1932 Schenker stipulates the conditions for granting publication rights for a translation of his Harmonielehre, and asks which other Schenkerians in the U.S. Waldeck is acquainted with. 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, [10] Typewritten letter (carbon copy) from Hoboken to Schenker, dated November 11, 1932 Hoboken welcomes the Akademie's acceptance of Schenker's Harmonielehre, abridged, for teaching purposes; — He has started his cure at the spa. OJ 14/1, [1] Handwritten letter from Salzer to Schenker, dated November 14, 1932 Salzer reports marvelous Bach performance by Carl Bamberger. FS 40/1, [14] Handwritten postcard from Schenker to Salzer, dated November 15, [1932] Schenker acknowledges Salzer's remarks [about Bamberger's performance] and looks forward to discussing the autograph score of [Beethoven's] Egmont. OJ 11/16, [13] Handwritten letter from Furtwängler to Schenker, dated November 16, 1932 Furtwängler is in Vienna and wants to visit Schenker today. OC 18/35 Typewritten letter from Arthur Waldeck to Schenker, dated November 21, 1932 Waldeck will report back to Schenker and send sample translations. OJ 89/5, [11] Handwritten postcard from Schenker to Hoboken, dated November 24, 1932 Schenker asks about Hoboken's health. OC 18/32-33 Handwritten letter from Weisse to Schenker, dated November 28, 1932 Weisse is uneasy about disparity among translations of Schenker's writings into English, and suggests that he work with potential translators to arrive at an agreed set of technical terms. He has renewed contact with Vrieslander, who has sent him a copy of his recently published songs and Ländler. His work in New York is going well and his family is thriving, but he sees and hears about a great deal of suffering, on account of the economic collapse in America. 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 9/34, [35] Handwritten letter from Cube to Schenker, dated December 7, 1932 Cube reports on his current state of mind, his work on a Bach graph (commenting on a graph by Angi Elias), promises to send an article on Schenker that has appeared in the Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl Violin. OC 18/37-38 Handwritten letter from Furtwängler to Schenker, dated December 10, 1932 Furtwängler shares Schenker's assessment of Ludwig Karpath, and has not written a letter for publication. — He has been exploring possibilities for Schenker in Berlin, particularly taking over a masterclass at the Akademie der Künste, with additional lectures at the Stern'sches Conservatory. — He has heard from Hans Weisse. — He encloses a review by Herman Roth, and comments on the latter's character. OJ 12/6, [18] Handwritten letter from Jonas to Schenker, dated December 15, 1932 Jonas comments on Schenker's article in Der Kunstwart; reports conversation with Furtwängler; would like to write something on Handel-Brahms Saul; has heard nothing further from van Hoboken. OJ 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 5/18, 21 Handwritten postcard from Schenker to Jonas, dated December 18, 1932 Schenker acknowledges OJ 12/6, [11] and answers Jonas's question concerning the organ part of Handel-Brahms Saul. —Asks if Jonas has seen Zuckerkandl's book. OJ 6/8, [14] Handwritten letter, with envelope, from Schenker to Violin, dated December 19, 1932 In this characteristically long end-of-year letter to his friend, Schenker mentions his forthcoming edition of Brahms’s study of consecutive octaves and fifths, Jonas’s book on his achievements as a theorist, Zuckerkandl’s book on opera, and the possibility of an English translation of his Theory of Harmony. OC 38/346v Handwritten letter from Violin to Schenker, dated December 22, 1932 In this partly incoherent message which responds to Schenker’s recent letters, especially that of December 19, Violin urges his friend to remain optimistic. He will discuss things with Furtwängler that should be beneficial. He asks to borrow Hindemith’s letter to Schenker. OJ 11/32, [13] Typed letter from Robert Haas to Schenker, dated December 22, 1932 Haas gives information about an early copy of a Beethoven score. OJ 12/9, [29] Handwritten postcard from Karpath to Schenker, dated December 23, 1932 Karpath calls urgently for the awaited letter from Furtwängler. OC 38/341v Handwritten letter from Moriz and Fanny Violin to Schenker, dated December 24, 1932 Violin asks Schenker’s opinion about a reply to a letter he sent to Joseph Marx, who had been in Constantinople (Istanbul) for the purpose of regenerating a music conservatory there; he encloses a copy of Marx’s reply, which mentions Schenker in particular. 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. OeNB H Autogr.856/20-1 Handwritten letter from Schenker to Josef Marx, dated December 25, 1932 Schenker has read articles by Marx in a newspaper expressing disatisfaction at musical life in Vienna; Schenker asks urgently to have a face-to-face meeting with Marx to discuss these matters and probably others concerning Moriz Violin. 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. FS 40/1, [15] Handwritten letter from Schenker to Salzer, dated December 31, 1932 The Schenkers send New Year's greetings to the Salzers, and celebrate Salzer's forthcoming book. OC 18/43 Typewritten letter from Karpath to Schenker, dated December 31, 1932 Karpath answers Schenker's accusations against Joseph Marx among others, in a placatory manner. — He encourages Schenker to ask Furtwängler for the awaited letter. — He will contact Marx and Franz Schmidt. OC 30/40 Handwritten letter from Trude Kaff to Schenker, dated December 31, 1932 Trude Kaff sends New Year greetings to Heinrich Schenker and thanks him for the instruction that he gave her, which has influenced her ever since. OJ 5/44, [3] Handwritten letter from Schenker to Arthur Waldeck, dated December 31, 1932 Schenker thanks Waldeck for sample translations, which he will forward to Hans Weisse for comment. OC 18/15 Typewritten letter from Josef Marx to Schenker, dated January 2, 1933 Marx welcomes Schenker's views, and will visit him upon his return from the Graz region. OC 18/29 Typewritten letter from Frederick E. Auslander to Schenker, dated January 5, 1933 Auslander seeks permission from Schenker and his publishers to translate some of his works. OeNB H Autogr.856/20-2 Handwritten letter from Schenker to Josef Marx, dated January 12, 1933 Schenker invites Marx to tea at the Schenkers' apartment. OC 18/18 Typewritten postcard from Marx to Schenker, dated January 14, 1933 Marx will visit Schenker on January 16 at 5.30 p.m. OC 18/19 Typewritten postcard from Marx to Schenker, dated January 15, 1933 Marx changes his visit from January 16 to January 18. OC 38/340v Handwritten letter from Moriz Violin to Fanny Violin, dated January 15, 1933 Moriz Violin reports to his sister Fanny on the use of money for Karl; adjures her to be steadfast; says the doctor holds out possibility for recovery; asks for any news on discussions between Schenker and Josef Marx; and wishes he could be in Vienna and with little Karl. [This letter was passed to Heinrich Schenker.] OJ 6/8, [20] Handwritten letter from Schenker to Violin, dated January 19, 1933 Schenker gives Violin an account of a three-hour meeting he had with Joseph Marx, who expressed his highest regard for Schenker's theories; he expects that his writings will be adopted by the Vienna Akademie and that Violin will also profit from Marx’s interest and goodwill. OeNB H Autogr.856/20-3 Handwritten letter from Schenker to Josef Marx, dated January 19, 1933 Schenker urges Marx to advocate on behalf of Moriz Violin as a candidate for a post at the Akademie für Musik, extolling his qualities as musician and colleague. 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. OC 18/44 Typewritten letter from Karpath to Schenker, dated January 23, 1933 Karpath reports that Joseph Marx is a candidate again for the Directorship of the Academy. — He will advocate to Marx and to Karl Kobald that Schenker be appointed as a professor at the Academy. — He says that he will write a letter to Furtwängler. OJ 6/8, [21] Handwritten letter from Schenker to the family of Moriz Violin, postmarked January 24, 1933 Schenker sends condolences, from Jeanette and himself, to the whole Violin family on the death of Karl Violin, reassuring them that they did all they could in his lifetime. 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. OC 18/46 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated January 30, 1933 Covering letter for a letter of recommendation (OC 18/47) by Furtwängler for Schenker. OC 18/50 Typewritten letter from Furtwängler to Schenker, dated January 30, 1933 Furtwängler encloses copies of two letters he has sent to Ludwig Karpath. OC 18/47 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated February 6, 1933 Letter of recommendation by Furtwängler, which stresses expressly Schenker's great significance as a music theorist. 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. OC 18/51 Typewritten letter from Karpath to Schenker, dated February 10, 1933 Karpath reports receipt of the letters from Furtwängler and that he is not very happy with them. He will however submit the letter of recommendation to the President of the Academy, Karl Kobald. OJ 15/16, [88] Handwritten letter from Hertha Weisse to Schenker, dated February 15, 1933 Hertha Weisse reports that, through Hans's teaching at Columbia University and the Mannes School, Schenker's work has gained a footing in New York (where people seem more receptive to new ideas), and she expresses her gratitude to Schenker for breathing life into the spirit that has given such joy to her husband's pupils. The children are growing up speaking German, and she has begun to restudy the piano. OC 18/52 Typewritten letter (carbon copy) from Karpath to Furtwängler, including a typewritten annotation from Karpath to Schenker, dated February 15, 1933 Karpath sends the copy of a letter to Furtwängler. He again shows himself discontented with the latter's letter. In his letter to the conductor he asks for another letter of recommendation. OJ 8/5, [15] Handwritten postcard from Schenker to Violin, dated February 15, 1933 Schenker reports reading a newspaper article in which Arnold Schoenberg was not offered a post at the Vienna Academy, and draws from it a parallel with Violin and himself. OJ 89/6, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated February 15, 1933 Miss Boy has had an angina attack — they are to be married; — The number of subscriptions for Jonas's book is disappointing; — Hoboken is weighing up his financial support for it with that for Schenker's Freier Satz. OJ 15/16, [89] Handwritten letter from Weisse to Schenker, dated February 15, 1933 Weisse has received a copy of Otto Vrieslander's recently published songs and has written Vrieslander a long, critical letter. — He reports on initiatives to have some of Schenker's writings translated into English, and on the success of his analysis of the Bach C major Prelude. Their having purchased copies of the Five Analyses in Sketchform/Fünf Urlinie-Tafeln, published by the David Mannes School, is further testimony of Schenker's success on American soil. OC 18/53 Handwritten letter from Karpath to Schenker, dated February 17, 1933 Karpath stresses that Furtwängler's testimonial is unusable for putting Schenker forward to the authorities [i.e. in the Ministry of Education] as a candidate for a professorship. 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. OC 18/54 Handwritten letter from Karpath to Schenker, dated February 24, 1933 Karpath reports a conversation with Academy President Karl Kobald about a position for Schenker, and regrets being unsuccessful. Kobald and Marx would have recommended Schenker for a newly established "Austro-American course." Karpath asks for a meeting with Schenker. OJ 8/5, [16] Handwritten postcard from Schenker to Violin, dated February 26, 1933 Schenker reports on Hans Weisse’s phenomenal success as a teacher in New York, and complains about Joseph Marx’s duplicitous behavior. OC 18/23 Typewritten letter from Josef Marx to Schenker, dated February 28, 1933 Marx thanks Schenker for hospitality on January 18. He lacks the influence at the Vienna Akademie to introduce Schenker's theoretical system, but has advocated for the inclusion of Schenker's name on the list of publications to be taken into account in its teaching. He has had Violin's name put down for a forthcoming teaching position, but cannot say how the Ministry of Education will judge that name. OC 18/55 Handwritten letter from Furtwängler to Schenker, dated March 2, 1933 Furtwängler asks if he can visit Schenker that evening. OeNB H Autogr.856/20-4 Handwritten letter from Schenker to Josef Marx, dated March 4, 1933 Schenker speaks of his work having been proscribed in Vienna for 25 years, and also allusively about a certain father and son. He compares the situation in Vienna adversely with the size of Hans Weisse's lecture audience and his remuneration in New York. Schenker asks for another meeting. OJ 15/16, [90] Handwritten letter from Hans Weisse to Schenker, dated March 17, 1933 Weisse reports the success of his lecture on the C minor prelude from the Well-Tempered Clavier, Book 1. — He is currently giving two lectures on a Haydn's sonata. — He inquires about the possibility of having Schenker's foreground graphs for the "Eroica" Symphony printed separately and sold to his pupils, for a series of lectures planned for the following year; the profits entirely to Schenker. — He sees little prospect visiting Europe in the summer, as his financial situation has worsened: the Mannes School has been forced to reduce his teaching for the next season. — He expresses his doubts about Vrieslander's ability to reshape Schenker's Harmonielehre as a school textbook, and about the value of Harmonielehre itself in the light of his teacher's most advanced theoretical ideas. 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 14/23, [26] Handwritten postcard from Seligmann to Schenker, dated March 20, 1933 Seligmann apologizes for being unable to accept an [evening] invitation from the Schenkers on account of his health. He hopes that, when his health has recovered, something could be arranged for an earlier hour (5 o’clock). 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 9/8, [6] Typewritten postcard from Wilhelm Altmann to Schenker, dated March 22, 1933 Altmann did not know of the letter from Brahms to Kalbeck about which Schenker had written him. — He hopes for an economic upturn [now Hitler is in power]. OJ 14/23, [27] Handwritten postcard from Seligmann to Schenker, postmarked March 27, 1933 Seligmann agrees to pay a visit to the Schenkers the following Wednesday. OJ 9/12, [9] Handwritten picture postcard from Carl Bamberger to Schenker, dated March 29, 1933 Bamberger asks Schenker to prepare the score and parts of a Handel concerto grosso in the next five days. OJ 15/16, [91] Handwritten letter from Hans Weisse to Schenker, dated March 30, 1933 In this long letter, Weisse expresses his bitter regret about Otto Vrieslander's reaction to his criticism of a recently published collection of his (Vrieslander's) songs, and to Schenker's exaggerated claims of their worth. Weisse defends his critical stance on the grounds that objective discussions are the only worthwhile ones, and that he took the trouble to write about the songs in a 14-page letter to Vrieslander only for the sake of art (in the Schenkerian sense) and feels hurt both by Vrieslander's personal reaction to Weisse's criticism and by Schenker's defence of the older pupil. — In the final paragraph, he inquires again about gaining permission to make multiple copies of Schenker's foreground graph of the "Eroica" Symphony. OC 18/30 Typewritten letter from Frederick E. Auslander to Schenker, dated April 8, 1933 Auslander and Weisse plan to wait for clarity over the Marx Harmonielehre plan. — Meanwhile, Auslander will publish extracts from Schenker's works in a magazine, with a view to complete translations later. OJ 15/22, [4] Handwritten letter with envelope from Willfort to Schenker, dated April 14, 1933 On behalf of seminar colleagues, Willfort asks if there is a lesson today. GdM Briefe HS, [3] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated April 21, 1933 Schenker notifies the Gesellschaft der Musikfreunde that they will be receiving two complimentary copies of "Octaves and Fifths," and thanks it again for permission. OJ 6/8, [22] Handwritten letter from Schenker to Violin, dated April 21, 1933 Schenker eagerly awaits Violin’s arrival in Vienna. He will soon send his friend a copy of the Brahms study Oktaven und Quinten. 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 8/5, [17] Handwritten postcard from Schenker to Violin, postmarked April 28, 1933 Schenker reports that his article „Was wird aus der Musik?“ has just been published in the Deutsche Allgemeine Zeitung. OJ 9/8, [7] Handwritten postcard from Wilhelm Altmann to Schenker, dated April 29, 1933 Altmann thanks Schenker for sending a copy of his Brahms Octaven und Quinten article. OJ 9/34, [36] Handwritten letter from Cube to Schenker, dated May 1, 1933 Thanks Schenker for sending Brahms's Octaven u. Quinten, expresses his longing for Der freie Satz, sends an example of his work, and expresses concern over his future. OJ 12/6, [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 5/7a, [45] (formerly vC 45) Handwritten letter from Schenker to Cube, dated May 6, 1933 Schenker congratulates Cube on the submitted work and offers analytical comments; and laments the economic conditions for musicians. OJ 12/6, [22] Handwritten letter from Jonas to Schenker, dated May 9, 1933 Jonas acknowledges OJ 5/18, 25. — If agreement can be reached on his Einführung, he hopes for publication in the fall; — he has read the two articles by Schenker; — he sends a recent article on Photogrammarchive; — he will be in Vienna on 16th. OJ 5/18, 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 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933 Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political developments in Germany, and attributes his threatened hunger to Violin's return to Vienna. OJ 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933 Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism; someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard from Furtwängler. OJ 11/22, [6] Typewritten letter from the Gesellschaft der Musikfreunde (Barbara Haeberlein), dated May 15, 1933 Enclosing an invitation for the opening ceremony of the Brahms Centenary Festival, the writer asks which concerts Schenker would like to attend. OC 18/59 Typewritten letter from Furtwängler to Schenker, dated May 17, 1933 Furtwängler asks to call on Schenker on May 20. OJ 11/22, [7] Typewritten letter from the Gesellschaft der Musikfreunde (Dlabač), dated May 19, 1933 Encloses seat assignments for two chairs at the evening concert. OJ 12/24, [6] Typewritten postcard from Kromer to Schenker, dated May 22, 1933 Kromer will call on Schenker on 24th. OJ 9/15, [1] Handwritten notecard from Elsa Bienenfeld to Schenker, dated May 22, 1933 Bienenfeld was reminded keenly of Schenker's teaching during a performance of Brahms's First Symphony by Furtwängler, and seeks a private meeting. OJ 15/16, [92] Handwritten letter from Hans Weisse to Schenker, dated May 23, 1933 Weisse thanks Schenker for Brahms's Oktaven u. Quinten, which he finds too specialist a work to be of use to the uninitiated in Schenker's approach, and therefore does not recommend for translation into English or use as a textbook. He reports a brief meeting with Alfred Kalmus and a recent concert of his works, including a new violin sonata. He gives Schenker his summer holiday address. OJ 11/32, [14] Handwritten letter from Robert Haas and Julius von Kromer to Schenker, dated May 24, 1933 Haas is sending requested books of his, and invites borrowing over summer. Kromer adds PS. OJ 12/24, [7] Typewritten letter from Kromer to Schenker, dated May 27, 1933 Kromer gives details of an apartment in Bad Ischl. OJ 9/15, [2] Handwritten postcard from Elsa Bienenfeld to Schenker, dated May 29, 1933 Bienenfeld thanks Schenker for inviting her to visit him and promises to come on June 2, 1933. OJ 6/8, [23] Handwritten letter from Schenker to Violin, dated May 3, 1933 Preparing for Violin’s arrival, Schenker proposes that he ask the same lesson fee that his friend would ask, 25–30 shillings per hour, for any new pupils he takes on. (He will charge Miss Weber less, Hans Wolf perhaps a bit more.) Wolf will get tuition in theory, but continue to study the piano with Violin. UG 32/5, [2] Handwritten letter from Schenker to Guido Adler, dated May 31, 1933 Schenker thanks Adler for the offprint of his Brahms article. OJ 11/32, [15] Typed letter from Robert Haas to Schenker, dated June 2, 1933 Haas is unable to lend Griesinger's Haydn book over the entire vacation. Sends best wishes for the summer. OJ 9/15, [3] Handwritten notecard from Elsa Bienenfeld to Schenker, dated June 6, 1933 Bienenfeld thanks Schenker for her visit to him on June 2, 1933, and invites him to meet Felix Weingartner on June 14, 1933. OJ 10/18, [5] Handwritten letter from Elias to Schenker, dated June 17, 1933 Miss Elias sends best wishes for Schenker's birthday, and reports a visit from Robert Brünauer. — She encloses an "assessment" by Paul Stephan of a concert conducted by Carl Bamberger. 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. OeNB Mus.Hs. 36390/1, [4] Letter from Moriz Violin to Schenker, dated June 28, 1933 The Violin family have escaped Nazi Germany, and are preparing for life in Vienna; Violin looks forward to seeing his friend, and wishes him good health. FS 40/1, [16] Handwritten letter from Schenker to Salzer, dated June 30, 1933 Schenker expresses pleasure that the seminar is grasping the "truth of the genius's art," and comments that it is a Jew who has been called upon to reveal this truth. — He reports Vrieslander's indignation that Furtwängler's address [to the Brahms centennial] did not refer to Schenker. — The letter makes heavy use of Latin phrases. OeNB H Autogr.856/20-5 Handwritten letter from Schenker to Josef Marx, dated July 8, 1933 Schenker asks Marx to intercede with Oswald Kabasta on behalf of Carl Bamberger for the latter to be relayed on Radio Wien. OJ 5/7a, [48] (formerly vC 48) Handwritten postcard from Schenker to Cube, dated September 16, 1933 Schenker acknowledges OJ 9/34, [38], and reports on publications by Oswald Jonas, and the activities of Reinhard Oppel and Otto Vrieslander. 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, [8] Typewritten letter (carbon copy), from Hoboken to Schenker, dated July 20, 1933 The Hobokens will not come to Reigersberg; — He re-sends his two songs for further comment; — He sends a booklet by Gottfried Benn; — They are isolated in Partenkirchen, and are distressed at events in Germany; — Alfred Cortot has visited the Photogram Archive and expressed an interest. OJ 89/6, [9] Handwritten letter from Schenker to Hoboken, dated July 25, 1933 In writing of Hoboken's prospects as a composer, Schenker is not interested in creating imitation Bachs and Brahmses. — He delights in Cortot's visit to the Photogram Archive - but Cortot belongs to the already convinced. — He makes observations on some inclosed feuilletons, and gives information about Goos. OJ 15/16, [93] Handwritten letter from Hans Weisse to Schenker, dated July 27, 1933 Weisse thanks Schenker for a copy of an (unidentified) essay; he is preoccupied by news of his father's death, and reports that the year ahead will be a difficult one for America, in spite of the more optimistic mood that has come about since Roosevelt became President. He has completed a Variations and Fugue on a Popular American Song, for two pianos, and is now at work on a new string quartet. OJ 6/8, [24] Handwritten letter from Schenker to Violin, dated May 9, 1933 Schenker suggests a possible time for Wolf’s first lesson, and a schedule for him and Miss Weber. He is surprised to hear that Violin is thinking of emigrating to Palestine, and suggests that the Jews there should come to Vienna to study with himself as a “first-class Jew.” Their summer plans are not yet fixed. OJ 13/2, [1] Typewritten letter from the Neue Schule für Musik und Bühnenkunst to Schenker, dated August 3, 1933 Through an intermediary, Weissberger invites Schenker to teach a Beethoven course at the Neue Schule für Musik und Bühnenkunst, Vienna OJ 89/6, [10] Typewritten letter (carbon copy), from Hoboken to Schenker, dated August 5, 1933 Hoboken is gratified by Schenker's praise of his song compositions; — He will continue his Chopin projects someday, but is preoccupied with the worsening European political situation; — He comments on Kleiber, Max Graf, on Goos's estimate of Schenker's importance, and returns newspaper clippings that Schenker has sent him with comments. 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 13/2, [2] Typewritten letter from Alfred Weissberger to Schenker, dated August 18, 1933 Alfred Weissberger concurs with Schenker as to the lower value now placed on ability and knowledge, though he thinks the younger generation see the arts as a means of obtaining a livelihood; he will sound out the viability of a Beethoven course for the following year, and leaves open the possibility of approaching Schenker again. OJ 8/5, [18] Handwritten picture postcard from Schenker to Violin, dated September 1, 1933 Schenker sends a postcard from Mönichkirchen am Wechsel, where he and Jeanette are stopping over en route from holidaying in Lower Austria, to say that he will get in touch with Violin when he returns to Vienna. OJ 9/34, [38] Handwritten letter from Cube to Schenker, dated September 7, 1933 Cube reports on his poor health and straitened cirumstances, teaching at two conservatories and private pupils; he eagerly awaits Der freie Satz, and reports on his investigation of diatonic systems. 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 8/5, [19] Handwritten postcard from Schenker to Violin, postmarked September 15, 1933 Schenker explains to Violin the terms under which he will accept Hans Wolf and Miss Weber as pupils during the 1933–34 teaching year, setting out his core theory curriculum and demanding two lessons per week. 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 10/18, [6] Handwritten letter from Elias to Schenker, dated September 22, 1933 Miss Elias thanks Schenker for allowing her to continue on her three-lessons-a-week schedule. — She rejoices at his good progress on Der freie Satz, and the news that Jonas's book will be published. FS 40/1, [17] Handwritten letter from Schenker to Salzer, dated September 24, 1933 Schenker sets [seminar] meeting date and reports on publications by Jonas, Vrieslander, and von Cube. OJ 8/5, [20] Handwritten postcard from Schenker to Violin, dated September 26, 1933 Schenker has just given Hans Wolf a lesson, and insists on a full program of tuition for him at a decent rate of pay. He reports that Vrieslander is writing a book about him, and says that he will give him a copy of Jonas’s recent article when he next sees him. He has written a letter to Alfred Weissberger on his friend’s behalf. OJ 15/22, [5] Handwritten letter from Willfort to Schenker, dated September 28, 1933 Willfort asks to be allowed to attend Schenker's seminar in the coming year with less than last year's fee. PhA/Ar 56, [11] Handwritten letter from Schenker to Kromer, dated October 2, 1933 Schenker returns a loaned book. 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. FS 40/1, [18] Handwritten express postcard from Schenker to Salzer, dated October 10, 1933 Schenker offers Salzer a meeting time on Thursday. OJ 8/5, [22] Handwritten postcard from Schenker to Violin, dated October 25, 1933 Schenker reports that Ludwig Karpath has been lying, and that six new appointments have already been made at the Vienna Academy. His new pupil, Hans Wolf, is thirsting after Urlinie analysis, which Schenker has to resist. OJ 8/5, [23] Handwritten postcard from Schenker to Violin, dated October 27, 1933 Schenker has worked out a lesson plan that leaves him free on Wednesday afternoon, a time he would like to reserve for visits from Violin and his family; but his friend should feel free to turn up at other times. 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 15/22, [6] Handwritten letter from Willfort to Schenker, dated December 9, 1933 Willfort encloses article by Citkowitz. 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. FS 40/1, [19] Handwritten letter from Schenker to Salzer, undated [December 31, 1933] Schenker sends New Year's greetings, recommends a Bartók recording, and looks forward to listening to a Toscanini recording. OJ 15/26, [1] Handwritten postcard from Hans Wolf to Schenker, dated January 4, 1934 Wolf sends good wishes for the New Year; he expects to be back from Hamburg for his lesson on Monday. OJ 89/7, [1] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 5, 1934 Hoboken tells Schenker of his plans to build a house in Grinzing. — He praises an article by Citkowitz. — He reports on Jonas's book. FS 40/1, [20] Handwritten letter from Schenker to Salzer, undated [January 8, 1934] Invitation to listen to Toscanini recording; Der freie Satz is finished. 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 89/7, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 15, 1934 Hoboken explains his indecision over future residence in Vienna. OJ 5/18, 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. KA, [1] Handwritten letter from Heinrich Schenker to [Ludwig Landshoff], dated January 16‒18, 1934 Schenker expresses his thanks for the sending of Landshoff's edition of the J. S. Bach Inventions. 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 5/18, 36 Handwritten postcard from Schenker to Jonas, dated February 7, 1934 Schenker has had his Syrische Tänze sent to Jonas. OJ 89/7, [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 15/16, [94] Handwritten letter from Hans Weisse to Schenker, dated March 15, 1934 Weisse apologizes for long silence, largely on account of depression at the lack of enrollment at Mannes and of enthusiasm for his recently published Violin Sonata. — At Mannes he lectures about his own work, because it is important to show how Schenkerian theory can have a practical application for composers; his pupil Israel Citkowitz is the only cause for optimism. — At Columbia University, where he "smuggles" Schenkerian theory into his lectures, enrolment continues to be large. — He sends a copy of his Violin Sonata, and promises his Variations on a Popular American Song. — He is not coming to Europe this summer. — Universal Edition is going ahead with a schools' version of Schenker's Harmonielehre, but he is surprised that Alfred Kalmus expects him to be involved in an American edition of this. OJ 89/7, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 15, 1934 Hoboken outlines plans to expand publicity for the Photogram Archive. — Reports re his work on Chopin's Scherzo Op. 54, which he will bring to his April 3 lesson. — Refers to the invitation to Schenker to contribute to the journal of the Reichsmusikkammer. OJ 12/6, [30] Handwritten letter from Jonas to Schenker, dated March 16, 1934 Jonas has mailed off the book [to his publisher]; he hopes that Schenker will approve of it [when eventually he sees it]. It comprises four chapters and two appendices. — He thanks Schenker for the gift of his Syrian Dances. — The Director of the Hochschule für Musik in Berlin, Fritz Stein, has written that he cannot arrange a position for Jonas, whereas Jonas (with support from Furtwängler) had sought only students to whom to give [private] lessons. — Jonas alludes to difficult conditions under which he is working, and describes his conflict with piano teacher Georg Bertram. — Relations with van Hoboken are strained, despite Jonas's having included an appendix about the Photogrammarchiv in his book. FS 40/1, [21] Handwritten letter from Schenker to Salzer, dated March 25, 1934 Schenker cancels the seminar for March 30, and sends Easter greetings. — Is keen to read the manuscript of Salzer's book. — Reports letter from Weisse regarding an English translation of Harmonielehre. OJ 5/18, 37 Handwritten postcard from Schenker to Jonas, dated March 29, 1934 Schenker acknowledges OJ 12/6, [30] and praises the table of contents of Jonas's Das Wesen des musikalischen Kunstwerks; — He is finishing Der freie Satz. 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, 39 Handwritten postcard from Schenker to Jonas, dated April 10, 1934 Furtwängler will be here in five weeks' time: no action until then. 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 6/8, [25] Handwritten letter from Schenker to Violin, dated September 23, 1933 Schenker arranges a time for Violin and his sister to have supper with him: not too late in the evening. He does not intend to teach Hans Wolf for less than two hours a week, on account of the substance of the theoretical material, but is willing to lower his hourly rate for him. OJ 5/18, 41 Handwritten letter from Schenker to Jonas, dated April 23, 1934 Free Composition is completed. Schenker is pleased that Hoboken has come round; — he gives Weisse's address; — Schenker has ordered five copies of Jonas's book; — he reports that Salzer has completed a new book; — questions Jonas about his new plan, but welcomes it; — Goos may not realize that Schenker is a Jew. OJ 15/26, [2] Handwritten picture postcard from Hans Wolf to Schenker, postmarked April 24, 1934 Wolf's parents send thanks to Schenker for his congratulations on their anniversary; Wolf looks forward to his lesson on the coming Thursday. OJ 12/24, [8] Typewritten postcard from Kromer to Schenker, dated April 25, 1934 Kromer informs Schenker of a Mendelssohn holding by the Photogrammarchiv. PhA/Ar 56, [12] Handwritten postcard from Schenker to Kromer, dated April 25, 1934 Schenker orders two photographic copies. OJ 6/8, [26] Handwritten letter from Schenker to Violin, dated September 24, 1933 The Schenkers’ maid is ill and has been taken to the hospital, so the dinner invitation to the Violins must be postponed. OJ 9/34, [39] Handwritten letter from Cube to Schenker, dated April 29, 1934 Cube has broken his silence; believes he is defeated: encloses letter from his employer; will try to enlist Furtwängler's support. He is known as "the" Schenkerian; others now avoid Schenker's name to protect themselves. Does Schenker know of any possibility for him and his family in Austria? Encloses graph. OJ 5/7a, [49] (formerly vC 49) Handwritten postcard from Schenker to Cube, dated May 8, 1934 Schenker congratulates Cube on the graph he has sent, and reports on Der freie Satz and the continuation of the Urlinie-Tafeln. OC 44/41 Handwritten letter from Hans Weisse to Schenker, dated June 2, 1934 Weisse will send Schenker his Variations and Fugue for 2 pianos when copies are ready; he is glad to learn that Oswald Jonas's book will soon be published. He describes the beauty of Tenants Harbor, Maine, where his family is spending the summer vacation. OJ 9/34, [40] Handwritten letter from Cube to Schenker, June 2, 1934 Quotes part of a letter from the Reichsmusikkammer regarding grounds for his dismissal, and reports subsequent conversation with the Conservatory administration. Encloses review of a recent lecture. Includes revised Ursatz for Bach Prelude in body of letter. Inquires about Hans Wolf, and reports on Furtwängler. OC 18/36 Typewritten letter from Arthur Waldeck to Schenker, dated June 3, 1934 After the failure of his initiative to fund a translation of Harmonielehre, Waldeck tells Schenker of his plan to coauthor with Nathan Broder an article introducing Schenker's theory [to English-speaking readers]. FS 40/1, [22] Handwritten letter from Schenker to Salzer, dated June 6, [1934] Schenker is breaking his association with Willfort and Kraus, but offers to continue working with Salzer. OJ 9/34, [41] Handwritten letter from Cube to Schenker, dated June 7, 1934 Acknowledges a (non-extant) letter in which Schenker had expressed dismay at a review (enclosed with OJ 9/34, [40]) of a recent lecture by Cube, who explains the circumstances under which he had to disguise the source of some of his ideas: Schenkerian theory is regarded as "Jewish rubbish," and is no longer discussed; one has to choose one words carefully. FS 40/1, [23] Handwritten letter from Schenker to Salzer, dated June 11, 1934 Hoping that he and Jeanette will be able to get away on the 15th, Schenker reports a conversation with Furtwängler, and the latter's praise for Jonas. OJ 12/6, [32] Handwritten letter from Jonas to Schenker, dated June 11, 1934 Publication of Jonas's book has been delayed until June 22; — he may give a lecture in conjunction with Edwin Fischer; — his Beethoven sketches article is in press; — Hoboken is considering Jonas's proposed elucidatory edition plan in conjunction with a putative publication by the Photogram Archive. OJ 89/7, [9] Handwritten letter from Schenker to Hoboken, dated June 12, 1934 Schenker recounts a visit to Grinzing to view Hoboken's new house, and then to the Kobenzl; — reports on last-minute work for Der freie Satz and a new edition of the Beethoven piano sonatas; — comments on political developments in Europe; — Jeanette and he are leaving for the summer vacation. OJ 15/22, [7] Handwritten letter from Willfort to Schenker, dated June 14, 1934 Willfort, writing from Berlin, has been unable to make contact with Furtwängler. — He has spent time with Jonas; — is disappointed that Schenker will not be in Vienna to hear him conduct the Brahms' "Tragic" Overture; — gives travel plans; — inquires after Schenker's reaction to his work on the "Moonlight" Sonata. OJ 10/18, [7] Handwritten letter from Elias to Schenker, dated June 17, 1934 Miss Elias sends best wishes for Schenker's [66th] birthday. She hopes that in Böckstein he can recover after the exhausting work on Der freie Satz. FS 40/1, [24] Handwritten picture postcard from Schenker to Salzer, undated [June 18, 1934] Reports contents of letter from Hans Weisse. OJ 5/18, 43 Handwritten letter from Schenker to Jonas, dated June 24, 1934 Schenker reports on visit from Furtwängler and future visit; — reacts to news in Jonas's letter; — Brahms on Beethoven's notation; — printing of Der freie Satz begins soon. OJ 11/16, [14] Typewritten letter from Furtwängler to Schenker, dated June 25, 1934 Furtwängler sends a letter of recommendation for Moriz Violin. OJ 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 14/1, [2] Handwritten letter from Salzer to Schenker, dated July 16, 1934 Salzer reports that he has secured his contract with Saturn Verlag. — He and his wife have agreed to separate. 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. FS 40/1, [25] Handwritten letter from Schenker to Salzer, dated July 18, 1934 Schenker congratulates Salzer on his contract, and advises him to select a larger size of music engraving than in 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 15/22, [8] Handwritten letter from Willfort to Schenker, dated July 30, 1934 Willfort reports progress in his conducting career; he will be in Vienna next academic year; has the prospect of a radio concert with RAVAG in September. OJ 89/7, [12] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 31, 1934 Hoboken assures Schenker that he will support him in his work. — He outlines the restrictions that he has placed on Otto Erich Deutsch, and expresses irritation that Deutsch has been offered a course at the Vienna Academy. — He is annoyed at the political views expressed by E. F. Schmid, who has been appointed at the University of Graz. OJ 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. OC 44/16 Handwritten letter from Robert Brünauer to Schenker, dated August 8, 1934 Brünauer reacts favorably to Oswald Jonas's newly published book. OJ 5/44, [4] Handwritten letter from Schenker to Arthur Waldeck, dated August 9, 1934 Schenker implies that Der freie Satz is not yet at proof stage, and recommends Jonas's Das Wesen des musikalischen Kunstwerks for the explanations that Waldeck needs. OJ 10/18, [8] Handwritten letter from Elias to Schenker dated August 16, 1934 Miss Elias reports that her mother has died. 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 5/7a, [50] (formerly vC 50) Handwritten picture postcard from Schenker to Cube, dated August 18, 1934 Best wishes for birth. 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 10/19, [1] Handwritten notecard from Manolo Elias to Schenker, dated August 23, 1934 Dr. Manolo Elias thanks Schenker for his letter of condolence. 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. OC 44/45 Handwritten picture postcard from Hans Wolf to Schenker, dated August 28, 1934 Wolf has read to the end of the C. P. E. Bach chapter on thoroughbass, and is going to reread it now: it is "magnificent." 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 44/42 Handwritten letter from Willfort to Schenker, dated September 1, 1934 Willfort gives particulars of his radio concert, implicitly hoping Schenker will listen to it. 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. OC 44/18 Handwritten notecard from Elias to Schenker, dated September 5, 1934 Miss Elias inquires how Heinrich and Jeanette are, following their return home. OJ 5/18, 54 Handwritten postcard from Schenker to Jonas, dated September 7, 1934 Schenker welcomes a visit and suggests days/times. OC 44/12 Handwritten postcard from Wilhelm Altmann to Schenker, dated September 10, 1934 Altmann thanks Schenker for sending Oswald Jonas's book, and will cite it in his Tonkünstler-Lexikon, with entries on Jonas and Salzer. — He reminisces on his Galtür visit and recounts his publication plans. OC 44/13 Handwritten picture postcard from Carl Bamberger to Schenker, dated September 12, 1934 Bamberger aks Schenker to listen to a recital on the radio and give his opinion, and inquires whether he may visit Schenker during the week. FS 40/1, [26] Handwritten postcard from Schenker to Salzer, dated September 13, 1934 Schenker asks Salzer to send [biographical] information to Wilhelm Altmann; mentions visit from Otto Klemperer. 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. OC 44/37 Handwritten postcard from Salzer to Schenker, dated September 15, 1934 Salzer asks to visit Schenker on Tuesday or Wednesday, and gives his new address. FS 40/1, [27] Handwritten postcard from Schenker to Salzer, dated September 16, 1934 Schenker suggests Thursday for a visit. OC 44/36 Handwritten postcard from Salzer to Schenker, dated September 17, 1934 Salzer cannot visit on Tuesday after all. OC 44/21 Handwritten postcard from Jonas to Schenker, dated September 18, [1934] Jonas is back in Berlin; reports on elucidatory editions, and seeks advice; — he refers to Klemperer and Furtwängler, — he has received letter from Landshoff; — forthcoming lectures in Vienna. OC 44/15 Handwritten letter from Robert Brünauer to Schenker, dated September 20, 1934 Brünauer asks Schenker to put Moriz Violin in touch with Adalbert Franz Seligmann. OC 44/19 Handwritten notecard from Elias to Schenker, dated September 20, 1934 Miss Elias thanks Schenker for the constant concern he shows for her troubles. OJ 15/16, [95] Handwritten letter from Hans Weisse to Schenker, dated September 23, 1934 Weisse reports a visit from Victor Vaughn Lytle, to whom Schenker had recently written, and the receipt of Oswald Jonas's recent book, on which he comments. The Weisses have spent a lovely summer by the sea, in the midst of unspoiled nature, and he has completed a set of five six-voice madrigals on Goethe texts and a string quartet. He reports and laments his mother’s death. OC 44/43 Handwritten letter from Jonas and Hans Wolf to Schenker, dated September 24, 1934 Jonas reports on complimentary copies of Das Wesen and the plans for the elucidatory editions. — He hopes to enlist Furtwängler in supporting Hans Wolf's application to reenter Austria from Germany, but thinks a letter from Schenker to Furtwängler would be more effective. OC 44/44 Handwritten letter from Hans Wolf to Schenker, dated September 25, 1934 Wolf is prevented from returning to Vienna from Hamburg by new conditions of entry to Austria. He comments on a recently published article by Schenker. OJ 11/16, [15] Handwritten letter from Furtwängler to Schenker, dated September 26, 1934 Furtwängler apologies for not visiting Galtür in the summer; he spent the vacation on his own work; he will be in Vienna and hopes to see Schenker; he intends to write publicly about Schenker's work; comments on current political situation. — Finds Jonas's book excellent. OJ 5/18, 57 Handwritten postcard from Schenker to Jonas, dated September 28, 1934 Schenker has written to Furtwängler but doubts whether the latter will be able to help. — He passes on advice from Robert Haas regarding Hans Wolf's situation. OC 44/23 Handwritten letter from Marianne Kahn to Schenker, dated September 29, 1934 Miss Kahn commits to her 1934/35 lesson schedule with Schenker. She reports on her own pupil cohort. OC 44/46 Handwritten postcard from Jonas and three others to Schenker, dated October 2, 1934 Jonas has spoken to Furtwängler, who will proceed on the matter of Hans Wolf. OJ 11/16, [16] Typewritten letter from Furtwängler to Schenker, dated October 3, 1934 Furtwängler has used his influence to enable [Hans Wolf to exit Germany]. OJ 9/34, [42] Handwritten letter from Cube to Schenker, dated October 4, 1934 Quotes letter from Furtwängler in extenso touching on reasons for dismissal and articulating the importance of Schenker's theory; Cube describes the impact of this letter on his Director. The names of Schenker, Halm, and Kurth were deleted from a recent text of his, and censorship has been imposed. Describes his own recent activities. Outlines his geometric theory of the diatonic components of tonality. Encloses photograph of his wife and son; describes hardships. Denies rumors that he has cheated Moriz Violin, and refers to the resulting backlash on him: Violin has a "complex", feels downtrodden by everyone. 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. OC 44/47 Handwritten letter from Hans Wolf to Schenker, dated October 19, 1934 Wolf has receive authorization to enter Austria. OJ 5/18, 60 Handwritten letter from Schenker to Jonas, dated October 25, 1934 Schenker thanks Jonas for the assistance he has given Hans Wolf, and reports that Furtwängler has intervened on Wolf's behalf, and also helped von Cube obtain a position in Hamburg; Hoboken "doesn't want to drop" Jonas. OJ 5/7a, [51] (formerly vC 51) Handwritten letter from Schenker to Cube, dated October 26, 1934 Acknowledges OC 9/34, [42], and its contents; comments on the "youth of today" – organic connection is the best thing for them; asks publisher of Schäfke book. Once Der freie Satz is in print, he will give his mind to the continuation of the Urlinie-Tafeln. Schenker's name is included in the Spanish Enciclicopedia universale. OC 44/9 Handwritten letter from Jonas to Schenker dated October 27, 1934 Jonas acknowledges OJ 5/18, 59 and 60; Hoboken has no reason to complain about his behaviour. — As a result of Hoboken's distribution of complimentary copies, Jonas has received letters of appreciation. —Reacts critically to Willi Reich and his magazine 23. — Describes plans for forthcoming events in Hamburg. OC 44/8 Handwritten postcard from Cube to Schenker, dated October 29, 1934 Cube gives the publisher of Schäfke's Geschichte der Musikästhetik, and reports the prospect of a permanent position. OC A/265 Handwritten letter from Hans Wolf to Schenker, dated October 29, 1934 Back in Vienna, Wolf gives his new address, and suggests times for his lessons. OC 44/6 Handwritten postcard from Hans Wolf to Schenker, dated October 30, 1934 Further to his previous letter, Wolf indicates his availability on Tuesdays. OC 44/2 Handwritten letter from Salzer to Schenker, undated [November 5, 1934] Salzer asks to see Schenker in order to set up a lesson time. OJ 12/6, [39] Typewritten letter (carbon copy) from Jonas to Schenker, dated November 28, 1934 Jonas has agreed to let his publisher proceed with a lawsuit against Willi Reich; he has written up the documentary evidence of the case and asks Schenker to circulate it among his circle. — He reports his activities in Berlin. — He reports his dispute with the Jüdischer Verlag. OC A/287 Handwritten letter from Carl Bamberger to Schenker, dated December 11, 1934 Bamberger wishes to visit Schenker to report on his time in Russia. OJ 12/6, [40] Handwritten letter from Jonas to Schenker, dated December 19, 1934 Jonas encloses a translation of an English review of his book; comments despairingly. — Lawsuit against Willi Reich comes to court on December 22. — Jonas hopes to give lectures in Vienna. —Asks if Schenker knows Carl Johann Perl. —Holiday good wishes. OC A/297 Handwritten letter from Carl Bamberger to Schenker, dated December 24, 1934 Bamberger sends best wishes for the New Year, and inquires about a visit. OJ 89/7, [15] Handwritten letter from Schenker to Hoboken, dated December 25, 1934 Schenker and Jeanette thank Hoboken for their Christmas gifts; Shenker alludes to the forthcoming publication of Der freie Satz as the "summit" of his career, and reports that he has been invited to inspect the new accommodation for the Photogramarchiv. OJ 11/54, [41]-[42] Handwritten letter, with envelope, from Hoboken to Schenker, dated January 1, 1935 Hoboken wishes Schenker good health, and strength to complete Der freie Satz. — He discusses the furniture in the new premises of the Photogram Archive, and gives his travel plans for January. OJ 15/22, [9] Handwritten note from Willfort to Schenker, dated January 1, 1935 New Year greetings and thanks. OJ 12/6, [41] Handwritten letter from Jonas to Schenker, dated January 13, 1935 Jonas hopes Schenker is well; ‒ he plans to be in Vienna from 22 to about 28 January; — he is reading the Hildebrand-Fiedler correspondence. OJ 11/32, [18] Handwritten letter from Robert Haas to Jeanette Schenker, dated January 14, 1935 Haas sends commiserations to Jeanette on the death of Heinrich. OJ 12/24, [9] Handwritten letter, with envelope, from Kromer to Jeanette Schenker, dated January 14, 1935 Kromer sends condolences to Jeanette at Heinrich's death. OJ 12/20, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Dlabač, Kraus) to Jeanette Schenker, dated January 15, 1935 The Society send commiserations to Jeanette on the death of her husband. OJ 12/17, [10] Handwritten note from Komorn to Jeanette Schenker, dated January 18, 1935 Mrs. Komorn sends condolences to Jeanette, and pays tribute to Heinrich. OJ 10/18, [10] Handwritten notecard from Elias to Jeanette Schenker, dated February 17, 1935 Miss Elias sends Jeanette Schenker a clipping of Moriz Violin's obituary for Heinrich, together with publication details of Otto Vrieslander's edition of C. P. E. Bach's Kurze und Leichte Klavierstücke. OJ 15/16, [96] Handwritten letter from Hertha Weisse to Jeanette Schenker, dated February 21, 1935 In this letter of condolence, sent together with one by Hans, Hertha Weisse explains that the obituary of Schenker in the New York Times by Olin Downes, though based partly on information supplied by Hans, was hastily written and contains many errors. A pupil of Hans [Adele Katz] has prepared an article on Schenker's theory, which will soon be published in an American music journal. OJ 15/16, [97] Handwritten letter from Hans Weisse to Jeanette Schenker, dated February 21, 1935 In a letter of condolence to Schenker's widow, Weisse expresses his distress at having, within the space of two years, lost his parents and now his spiritual father. He offers to help Jeanette and Oswald Jonas read the proofs for Der freie Satz; but he cannot afford to come to Europe in the summer, as the Mannes College can guarantee only half his salary for next year. He asks her to send him a memento of her husband, and to consider entrusting to him the care of some of Schenker's unpublished work. OJ 15/16, [98] Handwritten letter from Hans Weisse to Jeanette Schenker, dated May 26, 1935 Weisse outlines a plan to give Jeanette financial support in the form of a collection from his most dedicated pupils, equivalent to 200 Austrian shillings per month, for a year, and encloses the first of three planned annual payments. — He inquires whether Schenker's notes on C. P. E. Bach’s Essay on the True Art of Playing Keyboard Instruments might be included in an Afterword to a projected English translation. — He plans an exposition of Schenkerian theory for use in schools, for which he needs to receive a copy of Der freie Satz. — He thanks Jeanette for mementos of her husband, and says a few words about his family and their summer plans. OJ 10/18, [11] Handwritten notecard from Elias to Jeanette Schenker, dated June 19, 1935 Miss Elias sends Jeanette Schenker a photograph of Heinrich and will visit his grave with Marianne Kahn. OJ 12/6, [45] Handwritten letter from Jonas and Salzer to Jeanette Schenker, dated June 27, 1935 Jonas and Salzer raise the founding of a new journal dedicated to Schenker's teaching and ideas, and also the possible publication of Schenker's Nachlass. OJ 5/36, [1] Handwritten draft of letter from Jeanette Schenker to Salzer and Jonas, dated July 2, 1935 Jeanette Schenker acknowledges a letter stipulating that no part of the Schenker Nachlass should be published or performed before the statement of rights and responsibility has been completed.. 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 15/22, [11] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 18, 1935 Willfort explains his involvement in plans for a re-edition of the Harmonielehre, and thanks Jeanette for two photographs. 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 15/16, [101] Handwritten letter from Hans Weisse to Jeanette Schenker, dated October 22, 1935 Weisse thanks Jeanette for the photographs of her husband, and will distribute them to his pupils soon, when he sends the next payment of financial support that he has collected from them on her behalf. — He is actively engaged in bringing Schenker's ideas to an English-speaking audience, and urges her to consider agreeing to a suitably shortened version of Harmonielehre, rather than a word-for-word translation. — For Der freie Satz, an English translation would do more harm to Schenker's cause than not to have it translated at all, and it would be necessary to reconceive the presentation of the theory entirely, especially with respect to terminology. — He suggests that there may be a market for Schenker's library in American universities and libraries. OJ 11/16, [18] Typewritten letter from Furtwängler to Jeanette Schenker, dated April 20, 1937 Furtwängler thanks Jeanette Schenker as a gift the score of the St. Matthew Passion with Heinrich Schenker's annotations. OJ 10/18, [15] Handwritten letter from Elias to Jeanette Schenker dated February 27, 1938 Mis Elias remarks that theory teachers tend to revert to the teaching of Ludwig Thuille for fear of Schenker. — She is eagerly awaiting issues 8/9 of Der Dreiklang, and recommends a radio relay of the St. Matthew Passion. LC ASC 7/50, [1] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated May 2, 1938 Schoenberg reflects on his own relationship with Heinrich Schenker. — He is willing to write a recommendation to Hertz for Violin and asks to whom to send it, and warns Violin that it will not be easy to establish himself in San Francisco. LC ASC 27/45, [13] Handwritten curriculum vitae from Moriz Violin to Schoenberg, undated [July 20, 1939] Violin's curriculum vitae. OJ 70/35, [6] Typewritten testimonial (carbon copy) from Schoenberg concerning Moriz Violin, dated July 21, 1939 Schoenberg letter of recommendation to "whom it may concern." LC ASC 27/45, [15] Handwritten letter from Moriz Violin to Schoenberg, dated August 24, 1939 Violin reports his progress in contacting people in the Bay Area to whom he has been given introductions. LC ASC 27/45, [19] Handwritten letter from Moriz Violin to Schoenberg, dated February 12, 1940 Violin admits that he did not write to the St. Louis Institute of Music when urged before, but has now done so. He wrote in English. — He reports the correspondence that he brought with him from Vienna, and that which was lost or stolen on the way. OJ 70/1, [1] Handwritten draft letter from Moriz Violin to Mrs. Schwabacher, undated [c. July 10, 1941] Violin reports – perhsps protests – to Mrs. Schwabacher on his interview with her agent, Mr. Pettis. LC ASC 27/45, [29] Handwritten letter from Moriz Violin to Schoenberg, dated July 20, 1941 Violin recounts his experience with one of his sponsors and subsequent interview with her skeptical agent regarding an (unspecified) new project. OJ 70/35, [8] Typewritten letter from Schoenberg to Moriz Violin, dated April 1, 1949 Schoenberg regrets that he is unable to visit San Francisco on account of ill-health. He suggests Violin write an article on Schenker's theories for the Musical Quarterly. He hopes to send Violin his forthcoming book "Style & Idea." LC ASC 27/45, [34] Handwritten letter from Moriz Violin to Schoenberg, undated [October 1?, 1949] Violin reports on a successful performance of a C. P. E. Bach concerto at the Carmel Bach Festival and on a Music Teacher's Convention in San Francisco. OJ 70/37, [1] Typewritten letter from Roger Sessions to Moriz Violin, dated December 14, 1949 Roger Sessions proposes that he and Violin meet. OJ 71/10a, [1] Typewritten letter (carbon copy) from Heribert Esser to Tomáš Kornfeld, dated April 20, 1988 Esser enquires whether the recipient is related to Jenny Kornfeld. OJ 71/21a, [2] Typewritten letter from Tomáš Kornfeld to Heribert Esser, dated June 7, 1988 Tomáš Kornfeld gives information about his grandmother Jenny Kornfeld (= Schenker), his grandfather (Emil), father (Felix) and uncle (Erich), in particular contacts between his grandmother and father. Diaries Diary entry by Schenker for 1 June 1911 Diary entry by Schenker for 2 January 1913 Diary entry by Schenker for 26 March 1913 Diary entry by Schenker for 1 June 1913 Diary entry by Schenker for 13 August 1913 Diary entry by Schenker for 9 October 1913 Diary entry by Schenker for 24 October 1913 Diary entry by Schenker for 30 October 1913 Diary entry by Schenker for 7 May 1914 Diary entry by Schenker for 10 January 1915 Diary entry by Schenker for 11 April 1915 Diary entry by Schenker for 5 March 1916 Diary entry by Schenker for 4 January 1917 Diary entry by Schenker for 8 August 1917 Diary entry by Schenker for 2 April 1929 Diary entry by Schenker for 12 April 1929 Diary entry by Schenker for 19 April 1929 Diary entry by Schenker for 3 July 1931 Diary entry by Schenker for 27 June 1934 Diary entry by Schenker for 30 September 1934 Diary entry by Schenker for 22 January 1935 Lessonbooks OC 3/3: 1923/24 Hans Weisse: lessons: 1923/24 Other material OC 34/161-175 Heinrich Schenker: Analysis of Brahms, Piano Quartet No. 3 in C minor, Op. 60, movements 1-3 (OC 34/161-175) [Author] Schenker, "Deutsche Genie" (OJ 21/2, [1]) Schenker, "Deutsche Genie" (OJ 21/2, [1]) [Author] ML100 .R52 1919, [1] Schenker entry in Hugo Riemanns Musiklexikon, 9th edition, ed. Alfred Einstein (1919) CA 171-172[b] Review of Walter Niemann, Johannes Brahms, by Elsa Bienenfeld, in the Neues Wiener Journal, June 20, 1920 OC 2/p. 60, [3] Review: Bekker, "Musiker-Faksimiles" LC AE61 .E6 Schenker entry in Enciclopedia universal ilustrada europeo-americana. vol. 54 (1927) OC 2/p. 79, [4] Schenker entry in Hugo Riemanns Musiklexikon, 11th edition (1929) OJ 35/6, [1] Last Will and Testament, in Schenker’s Hand, dated June 18, 1929, with codicil dated May 20, 1934 [Author] OJ 21/24, [1] Robert Brünauer: "Die Urlinie: Eine Entgegnung" OJ 9/34, [21b] Review by Oscar Guttmann of Das Meisterwerk in der Musik