-
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 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 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 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, [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, [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.
-
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.
-
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.
-
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.
-
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.
-
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.
-
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 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.
-
OC 1A/4-5 Handwritten letter, carbon copy, from Schenker to Hans Liebstoeckl, dated May 30,
1911
Schenker asks Liebstöckl to place an announcement [of a lecture series] in the
Illustrirtes Wiener Extrablatt.
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WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912
Schenker returns the contract for Die letzten fünf Sonaten von Beethoven
signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to
Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that
tradition, which will spawn a new generation of composers superior to the present
"cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau
der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der
Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of
Musicians project in the fall.
-
OJ 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 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.
-
WSLB 294 Handwritten postcard from Schenker to Hertzka (UE), dated February 23, 1918
Requests a copy of Op. 111 to be sent to Rudolf Steglich.
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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 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 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 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 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 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.
-
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 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925
Two weeks after arriving in Galtür for the summer holidays, Schenker reports that
he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue
on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to
interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag
for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe
of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and
those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second
impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work,
has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to
Galtür sometime during the summer.
-
OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925
Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer
books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing
Deutsch's collection of Schubert first editions.
-
OJ 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 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.
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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.
-
OJ 89/1, [7] Handwritten letter from Schenker to van Hoboken, dated December 5, 1927
Schenker praises a notice in the Neue freie Presse about the Photogrammarchiv,
and speaks of the task that lies ahead.
-
OJ 15/15, [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 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928
Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses
associated newspaper article; also on recent lecturing and composition activity. He is unlikely
to visit Schenker this year; recalls people at Galtür.
-
OJ 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928
Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises
recent article by Cube, but corrects overstated connection between himself and Brahms and
Joachim.
-
OJ 15/16, [59] Handwritten letter from Weisse to Schenker, dated July 26, 1928
Writing while on holiday (in Bad Aussee), Weisse apologizes for not having
replied to Schenker's previous letter. He is enjoying reading C. P. E. Bach's Versuch, and
reports the illness and recovery of Viktor Hammer, who was staying in Grundlsee near the Weisses
during the month of June.
-
OJ 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.
-
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.
-
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, [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 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 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.
-
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 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.
-
PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker,
dated September 15, 1930
Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to
check in connection with a planned new collected edition of the works of that
composer.
-
OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930
The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker
and Hoboken soon.
-
OJ 11/54, [29] Typewritten letter from Hoboken to Schenker, dated December 5, 1930
Hoboken depicts the abundance of music in Berlin, contrasting Furtwängler,
Klemperer and Kleiber. — He has decided to withdraw his planned financing of the
Photogramarchiv's collected edition of C. P. E. Bach.
-
OJ 11/32, [7] Typewritten letter from Robert Haas to Schenker, dated December 11, 1930
Haas refers to the cancelation of the C. P. E. Bach edition. He explains why
he had to withdraw from Weisse's lecture at the last moment.
-
OJ 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 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 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 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 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 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 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.
-
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 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.
-
OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20,
1932]
In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.
-
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 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, [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 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).
-
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 70/35, [9] Handwritten open letter from Schoenberg dated September 16, 1949, with handwritten
letter from Schoenberg to Moriz Violin, dated October 14, 1949
Schoenberg sends a copy of his open letter on his 75th birthday, embedded
within a letter in which he expresses pleasure at Violin's report of his Carmel
performance.