-
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 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, [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 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, [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 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 9/6, [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 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 5/19, 3 Handwritten letter from Schenker to Kalbeck, dated May 10, 1897
Schenker asks Kalbeck to listen to 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 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 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 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 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 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.
-
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.
-
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.
-
OJ 5/15, [2]-[3] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?c. June
1, 1908]
Responding to Grunsky's request, Schenker gives his assessment of Bruckner's
music. First exploring common ground between him and Grunsky, he then offers "technical
reasons" why he regards Bruckner as "possessing minimal powers of invention," therefore
cannot call him a "master." In the process, he compares the "Komponisten" (composers) of the
present day unfavorably with the "Tonsetzer" (tonal craftsmen) of the past.
-
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 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 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.
-
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.
-
WSLB 38 Handwritten letter from Schenker to Hertzka (UE), dated April 2, 1909
Schenker thanks Hertzka for his latest letter.
-
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.
-
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 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.
-
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 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 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."
-
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 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 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.
-
OJ 15/16, [7] Handwritten letter from Weisse to Schenker, dated July 21, 1912
Weisse reports on progress with his string quintet.
-
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.
-
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.
-
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 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.
-
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.
-
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,[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 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.
-
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, [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 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.
-
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 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 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 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 15/5, [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.
-
Sbb 55 Nachl. 13, [1] Handwritten letter from Schenker to Furtwängler, dated November 5, 1919
Having attended for the first time a concert conducted by Furtwängler, Schenker
congratulates him on his achievement then, proclaiming him a "counterweight" to the present [in
his opinion inadequate] generation of conductors, and heir to the Mahler mantle. Schenker
comments on Viennese concert-goers and their fickleness. — He commends Moriz Violin to
Furtwängler, in case the latter can provide an introduction to Hausegger.
-
OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22,
1920
-
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).
-
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 52/560 Draft Contract between UE and Schenker for the Kleine Bibliothek, dated March 23,
1920
Draft contract for the Kleine Bibliothek.
-
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 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.
-
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 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 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.
-
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 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, [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.
-
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 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 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 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 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 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.
-
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.
-
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 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 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.
-
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.
-
OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9,
1924
In the light of an exchange of letters with UE, Schenker suggests that the new
publication have a new title (Die Urlinie) but that the old typeface and format be retained.
He suggests that the new periodical should include articles on each of the Chopin etudes and
the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from
all of which book-length studies could subsequently be made.
-
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 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.
-
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.
-
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 12/20, [1] Handwritten postcard from Hedwig Kraus (Gesellschaft der Musikfreunde) to Schenker,
dated June 17, 1925
-
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.
-
OC B/191 Typewritten postcard from Wilhelm Altmann to Schenker, dated October 12,
1925
Conditions under which Altmann could purchase Brahms autograph for
Library.
-
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 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926
Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon
as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern
music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He
is not optimistic that humanity in general will truly understand the classics, which
underscores the important of his (and Violin's) mission.
-
OJ 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 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.
-
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.
-
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.
-
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 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.
-
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 10/3, [69] Typewritten picture postcard from Deutsch to Schenker, dated October 6,
1927
Deutsch regrets that Drei Masken Verlag has not yet sent Schenker his
complimentary copies [of the second Meisterwerk yearbook]; they will send an invoice for the
production costs. Hoboken ought to receive an honor from the Austrian state only after the
Photogrammarchiv is up and running. Deutsch has much to show Schenker from the first
editions of Beethoven sonatas. He wants to arrange a time to go through the corrections to
Schubert’s Symphony in B minor.
-
OJ 10/18, [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 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 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 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.
-
OC 30/122-124 Handwritten copy or draft of letter from Schenker to Dunn, in Jeanette Schenker’s
hand, dated July 8, 1928
Schenker thanks Dunn for birthday greetings; welcomes him as a fighter for his
cause; discusses the relationship of strict counterpoint to free composition; and declares
enthusiasm for Dunn’s forthcoming book on orchestration.
-
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 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 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 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.
-
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 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.
-
OJ 89/3, [9] Typewritten letter from Hoboken to Schenker, dated September 15, 1929
Hoboken encloses his analytical study of Brahms's Intermezzo, Op. 117, No. 1,
and raises several technical matters. — He reports on his building project, and responds to
Schenker's refusal, in OJ 89/3, [7], to continue acting as intermediary with Vrieslander. —
He encloses a check for his lesson fee.
-
OJ 89/3, [10] Handwritten letter from Schenker to Hoboken, dated September 18, 1929
Schenker acknowledges check; — comments on Hoboken's work on a Chopin Etude; —
discusses an approach by Vrieslander; — explains how the possibility of a professorship at
Heidelberg had come about.
-
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, [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 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.
-
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.
-
OC 54/225 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated May 27,
1930
Drei Masken Verlag will draw up an estimate for the production costs of the
third Meisterwerk volume following receipt of the manuscript.
-
WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930
In this 16-page response to a letter from Deutsch, Schenker thanks his
correspondent for his unstinting assistance (in relation to the third Meisterwerk
yearbook) and underlines the importance of a collected edition of the works of C. P.
E. Bach. — He then launches a long and detailed denunciation of Anthony van
Hoboken’s character, referring in particular to his treatment of Otto Vrieslander,
his ambivalence towards projects associated with the Photogram Archive, and his
absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is
thoroughly undeserving of a high honor conferred by the Austrian
state.
-
OJ 6/7, [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 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 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 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 5/18, 9 Handwritten letter from Schenker to Jonas, dated April 9, 1932
Schenker has presented Furtwängler with a copy of Brahms's arrangement of
Handel's Saul, has told him of Jonas's plan for Furtwängler to perform it, and asked him to give
Jonas access to the score.
-
OJ 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 12/6, [13] Handwritten letter from Jonas to Schenker, dated July 14, 1932
Jonas reports on his visit to Berlin, where he failed to meet with Furtwängler; —
discusses Brahms-Handel Saul and Beethoven Op. 109. — He has heard about the Fünf Urlinie-Tafeln
from Hoboken and Salzer; — discusses plans for publishing his Das Wesen des musikalischen
Kunstwerkes. — Has received books from Alfred Einstein.
-
OJ 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 11/16, [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.
-
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."
-
OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20,
1932]
In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.
-
OJ 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.
-
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 5/18, 22 Handwritten postcard from Schenker to Jonas, dated January 26, 1933
Josef Marx has expressed interest in class-use of the planned school edition
of Schenker's Harmonielehre; Schenker suggests Jonas's Einführung be placed before Marx; a
second proposal for an English translation of Harmonielehre has come in.
-
OJ 12/6, [19] Handwritten letter from Jonas to Schenker, dated January 28, 1933
Jonas still has no response from Hoboken re: his Einführung; encloses four
essays; reports on forthcoming article, his teaching and advocacy of critical editions,
planned radio lectures and performance, and other work.
-
OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933
Schenker returns four essays with praise. Salzer is informed that the price
for Jonas's Einführung has been set too high; Schenker advises caution with
Hoboken.
-
OJ 12/6, [20] Handwritten letter from Jonas to Schenker, dated March 20, 1933
Van Hoboken is willing to advance 600 Mk for the Einführung; Jonas inquires,
in that regard, after the plan to reprint Schenker's Harmonielehre, indicating that he had
previously prepared a reformulation of that work for teaching purposes; — he alludes to
introductory lectures to Furtwängler concerts, and the Handel-Brahms Saul
project.
-
OJ 89/6, [4] Handwritten letter from Schenker to Hoboken, dated March 22, 1933
Schenker thanks Hoboken for money transferred, for contact with Dlabač, and
for information about Jonas. — Oktaven u. Quinten may be published within three weeks. —
Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations
about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled
for his course [at Mannes School]; and Furtwängler deems Schenker the "great music
theorist."
-
OJ 9/8, [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 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 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 10/18, [4a] Handwritten calling card from Elias, undated [suggested date: c. May 7,
1933]
Miss Elias sends a present (unknown) for Brahms's birthday.
-
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 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.
-
OJ 10/3, [191] Typewritten postcard from Deutsch to Schenker, dated May 19, 1933
Deutsch has discovered a fourth arrangement [of five] by Brahms of a Schubert
song with orchestral accompaniment. He is writing a lot for newspapers, which he enjoys
though it diverts him from more important work.
-
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 10/3, [192] Typewritten postcard from Deutsch to Schenker, dated May 29, 1933
Deutsch has seen Schenker’s article in the National-Zeitung (Basel). He has
also come across some disparaging marginal comments by Beethoven about Gottfried Weber in an
article in Cäcilia.
-
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 10/3, [194] Typewritten letter from Deutsch to Schenker, dated June 5, 1933
Deutsch comments on Brahms’s notation of musical canons. Then, in a wide
ranging response to Schenker’s recent communications, he dwells on Hoboken’s decision to
live in Germany for the time being, in spite of the implications for Schenker’s teaching and
his own bibliographical work.
-
FS 40/1, [16] Handwritten letter from Schenker to Salzer, dated June 30, 1933
Schenker expresses pleasure that the seminar is grasping the "truth of the
genius's art," and comments that it is a Jew who has been called upon to reveal this truth. — He
reports Vrieslander's indignation that Furtwängler's address [to the Brahms centennial] did not
refer to Schenker. — The letter makes heavy use of Latin phrases.
-
OJ 10/3, [195] Typewritten letter from Deutsch to Schenker, dated July 12, 1933
Deutsch gives his impression of Ernst Fritz Schmid and his relationship with
Hoboken. Hoboken has stopped buying editions of music. Deutsch will not take a holiday but
will be in Salzburg to cover the festival.
-
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 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 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 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.
-
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 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.
-
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 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 5/18, 47 Handwritten letter from Schenker to Jonas, dated July 22, 1934
Schenker praises Jonas's book highly; gives Hoboken's current address; —
Furtwängler has written a recommendation for Moriz Violin, who would like go to Jerusalem;
asks whether Vrieslander and Oppel are subscribers. — Comments on Bayreuth and
Wagner.
-
OJ 5/18, 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.
-
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.
-
OJ 15/26, [4] Handwritten letter from Hans Wolf to Jeanette Schenker, dated November 16,
1935
Wolf thanks Jeanette Schenker for sending him a portrait of Brahms. He has
been busy with doctorate work and private teaching.
-
LC ASC 27/45, [3] Handwritten letter from Moriz Violin to Schoenberg, dated April 17, 1938
Violin tells Schoenberg he expects to obtain an affidavit to emigrate to the
USA, and ask if Schoenberg could write a letter of recommendation for work in San Francisco,
and advise him on possibilities there.
-
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, [17] Handwritten letter from Moriz Violin to Schoenberg, dated January 26,
1940
Violin acquiesces to applying for the job in St. Louis, despite reservations
about the climate there. He laments the backwardness of San Francisco's musical world. He
admits to being "kept" by his wife.
-
LC ASC 7/50, [10] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated January 27,
1940
Schoenberg reports a letter that he has received from R. E. Stuart. He detects
that Gottfried Galston will see him as a rival, so advises Violin to write stressing his
primary area as composition. He regrets that he can no longer avoid recommending some of his
own students.
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LC ASC 7/50, [11] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated February 2,
1940
Schoenberg encloses a letter from St. Louis suggesting that Violin may be
under consideration for the vacant position [in composition], and checks whether Violin
possesses letters from Brahms. — He has written attempting to counter Galston's
influence.
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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.
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OJ 70/38, [1] Typewritten letter from R. E. Stuart to Moriz Violin, dated April 2, 1940
The St. Louis Institute of Music does not feel sure enough of Violin's being
given the position in the event of being interviewed, and so wishes to spare him the expense
of travel. It questions whether, as a recently arrived European, he would be able to adapt
to the staff and students.
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LC ASC 27/45, [26] Handwritten letter from Moriz Violin to Schoenberg, dated March 29, 1941
Violin thanks Schoenberg for his recent stay in Los Angeles, and comments on
Schoenberg's lecture "Composition with Twelve Tones," which he attended during that stay. —
He reminds Schoenberg to advocate for him for an engagement with the New York New Friends of
Music; and he mentions for the first time his plan to found an institute in San
Francisco.
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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.
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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.
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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.