-
GdM Briefe HS, [1] Handwritten letter from Schenker to Ludwig Bösendorfer, undated [1889/1890]
Schenker asks for hire of a better piano.
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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.
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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.
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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.
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OJ 5/35, [1] Handwritten draft letter from Schenker to Ernst Rudorff, dated January 21,
1908
Schenker makes a first approach to Rudorff; it concerns interpretation of a
passage in Chopin's Ballade No. 2, Op. 38; — He asserts his belief in consulting -- and
teaching students to consult -- only original sources, and in the Urtext
principle.
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OJ 5/15, [4] Incomplete handwritten letter draft from Schenker to Grunsky, undated [?between
September 23 and December 31, 1908]
Schenker reports progress on his Kontrapunkt. — The main problem in music is
"how length can be produced." — He recollects his love for the pious Bruckner, and his
admiration for the latter's music, but speaks of its "defects," comparing the music
favorably with that of Tchaikovsky. Bruckner's stumbling block was form.
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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.
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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.
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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.
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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.
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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.
-
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.
-
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.
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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 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.
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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 Typewritten contract (carbon copy) between Schenker and UE, dated October 17,
1909
Contract for Schenker's edition of Bach's Chromatic Fantasy &
Fugue
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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.
-
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.
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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 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.
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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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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.
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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.
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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.
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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
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WSLB 298 Handwritten letter from Schenker to Hertzka (UE), dated April 17, 1918
Schenker returns the article by Maurice Kufferath and comments on it critically.
-- Beethoven did give phrase-markings, thus Schenker advocates inserting fingering but not
additional phrase-marks. -- Diatribe against Hans von Bülow's editions and those who have
emulated him.
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DLA 69.930/8 Handwritten letter from Schenker to Halm, dated October 27, 1919
Schenker writes of the deteriorating intellectual conditions in Germany and
Austria with respect to other nations, and of the devastating political and psychological
consequences. Schenker praises Halm's Klavierübung for its sensitivity to voice leading, and
speaks of it as an antidote to the decline of musical literacy. He hopes to talk with Halm about
these matters when he moves to Germany.
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OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22,
1920
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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.
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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.
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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.
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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.
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OC 1B/10-11 Handwritten letter from Schenker to Hertzka (UE), dated February 22‒23, 1922
Schenker returns materials for the Fifth Symphony article, reports a delay in
providing information for the facsimile edition of the "Spring" Sonata, and complains that he
has futilely lavished time on the purification of the German language for the second edition of
Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an
"Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks
how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that
his pupils might make the preparatory graphs.
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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 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.
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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.
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OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922
Schenker reports the imminent publication of Tonwille 3, and some new publishing
ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the
Short Preludes by J. S. Bach.
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OJ 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.
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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.
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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.
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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."
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OJ 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September
12, 1923
Schenker explains his behavior a few days before, in reply to Weisse’s letter of
September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer.
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OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21,
1923
In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving
health, and goes on to mention a number of personal successes he has lately had, including a
visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa
solemnis. He has also had some unexpected support from his publisher, who wants to expand Der
Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts
(three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are
overtaking Furtwängler as conductors in Vienna by accepting more modest fees.
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OJ 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.
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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.
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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.
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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.
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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.
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OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924
Schenker reports continuing trouble with Hertzka, especially over delays to the
publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is
beginning to think about legal action. Hertzka has made his position so difficult that he feels
obliged to turn down Max Temming's offer of direct financial support for his work. He asks
Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he
neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if
Violin received any of the four volumes of the Beethoven piano sonata edition.
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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.
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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.
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DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924
In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.
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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.
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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.
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DLA 69.930/13 Handwritten letter from Schenker to Halm, dated October 6, 1924
Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of
performance of the A major string quartet. —Deplores current situation over Sofie Deutsch
stipends. —Reports difficulties with UE and intention to change publisher.
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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
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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.
-
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.
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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.
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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.
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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.
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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.
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OJ 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926
Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon
as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern
music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He
is not optimistic that humanity in general will truly understand the classics, which
underscores the important of his (and Violin's) mission.
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OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15,
1926
A draft statement of the principles lying behind Schenker’s Meisterwerk series
of Yearbooks, together with a provisional table of contents for the second
Yearbook.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927
Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and
expresses the hope that it will be possible to interest Furtwängler in performance according to
the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and
discusses negotiations with the Austrian National Library and Ministry of Education. — Comments
on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. —
Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig
Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and
Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory.
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OJ 11/54, [16] Handwritten letter from van Hoboken to Schenker, dated August 30, 1927
Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and
manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early
sources. -- Gives addresses for forthcoming travels.
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OJ 11/35, 25 Handwritten postcard from Halm to Schenker, dated November 22, 1927
Halm acknowledges receipt of Meisterwerk vol. I.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19,
1930
Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and
Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from
Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of
his own, and that for Schenker.
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OJ 89/4, [3] Handwritten letter from Schenker to Hoboken, undated [March 23, 1930]
Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano
technique, and defines Hoboken's character as a pianist.
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OJ 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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
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OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and
Heinrich Schenker’s hand, dated November 11‒16, 1931
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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.
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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.
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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.
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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.
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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.
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OJ 14/1, [1] Handwritten letter from Salzer to Schenker, dated November 14, 1932
Salzer reports marvelous Bach performance by Carl Bamberger.
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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.
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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.
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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.
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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.
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OJ 5/18, 35 Handwritten postcard from Schenker to Jonas, dated January 16, 1934
Schenker asks for address of Ludwig Landshoff.
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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.
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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.