GdM Briefe HS, [1] Handwritten letter from Schenker to Ludwig Bösendorfer, undated [1889/1890]
Schenker asks for hire of a better piano.
OJ 11/42, [1] Handwritten letter from Maximilian Harden to Schenker, dated October 11,
1892
Since there has been no response to an earlier letter requesting major
revisions in a submitted article, Harden has made the changes himself; he asks Schenker to
write a second article on the omitted material; and he begs Schenker's pardon for having to
act unilaterally.
OJ 11/42, [2] Handwritten postcard from Maximilian Harden to Schenker, dated November 29,
1892
One of Schenker's articles will be published in an upcoming issue of Die
Zukunft; Harden asks for further submissions; agrees with Schenker's positive assessment of
the Italian soprano Gemma Bellincioni.
OJ 11/42, [3] Handwritten postcard from Maximilian Harden to Schenker, dated May 22,
1893
Harden asks Schenker to write a review of Verdi's Falstaff in time for the
Berlin opening of the opera.
OJ 11/42, [4] Handwritten postcard from Maximilian Harden to Schenker, dated June 27,
1893
Harden thanks Schenker for an article on Smetana; encourages him to write on
the Viennese appetite for Italian operas; and sends greetings to [Adolph?]
Gelber.
OJ 11/42, [5] Handwritten postcard from Maximilian Harden to Schenker, dated September 29,
1893
Harden encourages articles from Schenker on Leoncavallo and
Bruckner.
OJ 11/42, [6] Handwritten postcard from Maximilian Harden to Schenker, dated October 19,
1893
Harden thanks Schenker for sending an [unidentified] article with a lighter
tone than some of Schenker's other work.
OJ 71/42, [1] Handwritten message from Harden to Schenker, on handwritten letter from Hermann Woff
to Harden, dated October 20, 1893
Wolff encourages Harden to find him a collaborator for an article on music and
concert life; having read Schenker's article on Bruckner, he praises Schenker for his clear
and accurate understanding of Bruckner's music. Harden commends Wollf's praise to Schenker,
and suggests that he write an article about "conductors."
OJ 11/42, [8] Handwritten postcard from Maximilian Harden to Schenker, dated November 9,
1893
Harden asks after Schenker's health and encourages him to write an article on
prominent conductors and an article on music education.
OJ 11/42, [9] Handwritten postcard from Maximilian Harden to Schenker, dated February 16,
1894
Harden asks for Schenker's permission to put off publishing Schenker's article
on prominent conductors until Harden himself writes something personal about Hans von Bülow,
who had died four days earlier.
OJ 11/42, [10] Handwritten postcard from Maximilian Harden to Schenker, dated March 1,
1894
Harden sends greetings to Schenker and [Adolph?] Gelber; he encourages
Schenker to add mention of Hans von Bülow to his upcoming article on conductors, and asks
Schenker to perform a thorough revision because the draft was not entirely
clear.
OJ 11/42, [11] Handwritten postcard from Maximilian Harden to Schenker, dated April 13,
1894
Harden wonders whether it is worth publishing an article by Schenker on
Verdi's Falstaff now that the production has moved on from Berlin to Paris.
OJ 11/42, [12] Handwritten letter from Maximilian Harden to Schenker, undated [probably post-April
13, 1894, certainly pre-May 5, 1894]
Harden thanks Schenker for his submissions, especially "Konzertdirigenten,"
and asks him again to consider writing an article on Verdi's Falstaff.
OJ 11/42, [13] Handwritten postcard from Maximilian Harden to Schenker, dated May 1,
1894
"The road is clear."
OJ 11/42, [14] Handwritten letter from Maximilian Harden to Schenker, dated May 11, 1894
Harden urges Schenker to ask Brahms to write something for Die Zukunft about
the recently deceased Hans von Bülow.
OJ 11/42, [15] Handwritten postcard from Maximilian Harden to Schenker, undated; postmarked June
14, 1894
Harden says he will look over an article by Schenker soon; he wonders whether
Brahms or Rosenthal will contribute anything on Bülow to Die Zukunft; and he encourages
Schenker to send him more articles in the future.
OJ 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 13/29, [B] Handwritten letter from Rosenthal to Schenker, undated
Rosenthal is ready to write an article ‒ evidently about Mozart ‒ but wishes
to discuss it first.
OJ 11/42, [17] Handwritten letter from Maximilian Harden to Schenker, dated September 8,
1894
Harden welcomes an article by Schenker on Eugen d'Albert, and encourages
Schenker to get d'Albert to revise an autobiographical sketch that will precede Schenker's
article.
OJ 11/42, [18] Handwritten postcard from Maximilian Harden to Schenker, dated October 4,
1894
Harden urges Schenker to press Brahms [for material on Bülow]; he thinks that
d'Albert will benefit from Schenker's article about him in Die Zukunft; he reports cordial
impressions of Humperdinck from Cosima and Siegfried Wagner; and he asks whether an article
he wrote was any good.
OJ 11/42, [19] Handwritten letter from Maximilian Harden to Schenker, dated October 11,
1894
Harden rebuffs accusations by Schenker that seem to involve a delay in
Harden's response to a submission that Schenker hopes to move to another publication, and he
accuses Schenker of reneging on a promise to write about [Johann] Strauss's operetta
Jabuka.
OJ 11/42, [20] Handwritten postcard from Maximilian Harden to Schenker, dated October 13,
1894
Harden denies that he will try prevent Schenker from publishing his material
wherever he chooses; and he commiserates with Schenker over a presumed slight by Hermann
Bahr of Die Zeit.
OJ 11/42, [A] Handwritten letter from Maximilian Harden to Schenker, undated [probably October or
November 1894]
Harden casts aspersions on Hermann Bahr. — Advises that he probably won't have
room to publish one of Schenker's articles, but requests that Schenker send it for his
review.
OJ 11/42, [21] Handwritten letter from Maximilian Harden to Schenker, dated November 24,
1894
Harden encourages Schenker to write articles on the string quartet and on
[Johann] Strauß and Humperdinck, but not on Brahms. — He explains why he lost his temper
with Schenker in an earlier letter (see OJ 11/42, [19]). — He urges Schenker to procure some
corresondence between Rosenthal and Rubenstein for publication in Die Zukunft; and he casts
aspersion on Die Zeit.
OJ 13/29, [1] Handwritten letter from Rosenthal to Schenker, dated December 14, 1894
Rosenthal has placed an article elsewhere than Die Zukunft.
OJ 11/42, [22] Handwritten letter from Maximilian Harden to Schenker, dated December 20,
1894
Harden rejects one of Schenker's submissions; he is resigned to Rosenthal's
refusal to publish in Die Zukunft, but tells Schenker that Rosenthal has maligned him; he
requests a referral via Gelber to someone, perhaps Viktor Adler, who would write about
Austrian social relations for the journal.
OJ 11/42, [23] Handwritten letter from Maximilian Harden to Schenker, dated May 30, 1895
Harden tells Schenker that a submission from d'Albert would be welcomed; he
encourages Schenker to send him a copy of a previously published lecture which he will
consider publishing despite usual practise; and he asks whether Brahms or Rosenthal will
contribute any Bülow letters to Die Zukunft.
OJ 9/10a, [1] Handwritten letter from Hermann Bahr to Schenker, dated July 4, 1895
Article can be split across two issues, though with
disadvantages.
OJ 9/10a, [2] Handwritten letter from Hermann Bahr to Schenker, dated July 25, 1895
Bahr apologizes for misunderstanding Schenker, and requests an article by
him on music education.
OJ 11/42, [24] Handwritten letter from Maximilian Harden to Schenker, dated October 29,
1895
Harden suggests that Schenker make substantial revisions in an unidentified
submission.
OJ 11/42, [25] Handwritten postcard from Maximilian Harden to Schenker, dated November 2,
1895
Harden advises that one of Schenker's ideas for an article cannot be published
because Harden's printer does not have musical notation.
OJ 11/25, [1] Handwritten letter from Max Graf to Schenker, undated [c. 1896]
Encouraged by Hermann Bahr, Graf requests a (first) meeting and discussion with
Schenker.
OJ 11/42, [26] Handwritten postcard from Maximilian Harden to Schenker, dated March 27,
1896
Harden welcomes Schenker's submission of a review of Karl Goldmark's Das
Heimchen am Herd.
OJ 13/29, [2] Handwritten letter from Rosenthal to Schenker, dated May 26, 1896
Rosenthal thanks Schenker for his words of friendship.
OJ 12/47, [1] Handwritten postcard from Ernst Mach to Schenker, dated December 2, 1896
Mach essentially agrees with Schenker, and gives Wallaschek's
address.
OJ 11/42, [27] Handwritten letter from Maximilian Harden to Schenker, dated December 23,
1896
Harden rejects the notion of publishing an article by Schenker anonymously; he
agrees with Schenker that a frontal attack on modernism is necessary; he says he does not
know Hofmannsthal's poetry, but hears he has great talent.
OJ 11/42, [28] Handwritten postcard from Harden to Schenker, postmarked April 7, 1897
Harden has already accepted an article.
OJ 11/42, [29] Handwritten postcard from Harden to Schenker, dated April 18, 1897
Harden asks whether Schenker's article on Brahms is still
available.
OJ 11/42, [30] Handwritten letter from Maximilian Harden to Schenker, dated December 2,
1897
Harden rejects a submission by Schenker. — He tells him that his glowing
review of Goldmark's Das Heimchen am Herd, which turned out to be a terrible work, has
compromised the integrity of Die Zukunft; and he informs Schenker that a collaboration
between the two of them is now virtually unthinkable.
OJ 13/29, [3] Handwritten letter from Rosenthal to Schenker, dated March 18, [1899?]
Rosenthal is eager to see Schenker's promised Fantasy, Op. 2.
OJ 13/32, [A] Calling card from Albert von Rothschild with recommendation for Schenker,
undated
Albert von Rothschild recommends Schenker as a practising musician and
theorist.
OJ 13/32, [B] Calling card from Alphons von Rothschild to Schenker, undated
Alphons is keen to resume piano lessons, and sends a New Year
souvenir.
OJ 13/32, [D] Calling card from Alphons von Rothschild to Schenker, undated
Alphons rergrets having been unable to attend Schenker's concert, and hopes to
see him soon.
OJ 15/12, [A] Handwritten calling card from Weinberger to Schenker[?], undated
Message regarding song[?] compositions.
OJ 15/12, [B] Handwritten calling card from Weinberger to Schenker, undated
Thanks (unspecified)
OJ 15/12, [C] Handwritten calling card from Weinberger to Schenker, undated
Weinberger offers his services to Schenker.
OJ 15/12, [4] Handwritten letter from Weinberger to Schenker, dated January 5, 1900
Requests publicity for his firm in concert program.
OC 52/386 Handwritten letter from Josef Weinberger to Schenker, dated March 23, 1901
Thanks Schenker for mediating with Julius Röntgen, and confirms acceptance of the
C. P. E. Bach keyboard edition.
OC 52/1 Handwritten postcard from Josef Weinberger (UE) to Schenker, dated May 30,
1901
Weinberger summons Schenker to finalize details over C. P. E. Bach
edition.
OC 52/2 Handwritten letter from Josef Weingartner and Adolf Robitschek (UE), to Schenker, dated
November 9, 1901
Inquires when Schenker's C. P. E. Bach keyboard edition can be
expected.
OC 52/387 Handwritten letter from Josef Weinberger and Hugo Winter (UE) to Schenker, dated
December 28, 1901
Acknowledges receipt of manuscript of C. P. E. Bach Klavierwerke, and has
transferred honorarium.
OC 52/3 Receipt for payment from Universal Edition to Schenker, dated December 31,
1901
Receipt signed by Schenker for payment of honorarium by Universal
Edition
OJ 13/29, [4] Handwritten letter from Rosenthal to Schenker, dated December 31, 1901
Rosenthal responds to Schenker regarding the effect of "habit and prejudice"
on the performer; wishes to discuss phrasing-slurs in Chopin with him.
OJ 13/26, [1] Handwritten postcard from Richard Robert to Schenker, dated January 10, 1902
Robert has only the first edition of C. P. E. Bach's Versuch; he offers keyboard
scores of Bach cantatas.
OJ 9/3, [2] Handwritten letter from Guido Adler to Schenker, dated July 2, 1902
Adler inquires whether Schenker is willing give his lecture for the [Vienna
chapter of the] International Music Society in the coming season.
OC 52/4 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902
Asks for the manuscript copy of C. P. E. Bach Klavierwerke to be
returned.
OC 52/5 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902
Annotation on p. VII is impossible.
OC 52/380 Typewritten letter from Weinberger and Winter (UE) to Schenker, dated July 15,
1902
UE has agreed to issue the introduction to Schenker's edition of C. P. E. Bach
keyboard works as a separate publication [Ein Beitrag zur Ornamentation], requests the
manuscript, and transfers the remainder of the honorarium.
OC 52/6 Typewritten letter from Winter and Artaria (UE) to Schenker, dated August 26,
1902
Asks for the manuscript of the Beitrag zur Ornamentik.
OC B/218 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker,
dated September 13, 1902
Gives publication details of Haydn's Scottish Airs.
OJ 12/29, [1] Handwritten calling card from Carl Lafite to Schenker, October 2, 1902
Lafite invites Schenker to visit him.
OJ 12/29, [1] Handwritten calling card from Carl Lafite to Schenker, October 2, 1902
Lafite invites Schenker to visit him.
OJ 9/3, [3] Handwritten letter from Guido Adler to Schenker, dated October 5, 1902
Adler inquires whether Schenker is willing give a further lecture for the
[Vienna chapter of the] International Music Society in the coming season.
OC 52/381 Typewritten letter from Winter and Weinberger (UE) to Schenker, dated October 6,
1902
UE has transferred the honorarium for the Beitrag zur Ornamentik, apologizes
for the delay, and sends the contract for signing.
OJ 13/29, [5] Calling card from Rosenthal with handwritten note to Schenker, dated November 18,
1902
Rosenthal has reserved a ticket for Schenker. — He recommends Frl. Fritzi
Neumann.
OJ 12/19, [1] Handwritten calling card from Julius Korngold to Schenker, dated November 21,
1902
Korngold requests access to the score of a Bach arrangement by
Schenker.
OJ 13/29, [6] Handwritten letter from Rosenthal to Schenker, dated December 14, 1902
Rosenthal identifies Fritzi Neumann, and explains the background to her
application.
OC 52/8 Typewritten letter from Steder(?) (UE) to Schenker, dated July 11, 1903
Weinberger is away; Haydn trios are covered; still welcomes Schenker's choice
of work to edit.
OC 52/9 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 23,
1903
UE offers Schenker the arrangement of Handel organ concertos.
OC 52/10 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 28,
1903
Contract for Handel Organ Concertos received; distribution of complimentary
copies of Beitrag zur Ornamentik.
OC 52/11 Typewritten letter from Steder(?) (UE) to Schenker, dated September 4,
1903
Weinberger will respond re: the Syrian Dances when back.
OJ 14/15, [1] Handwritten letter from Schoenberg to Schenker, dated September 12, 1903
Schoenberg reports his progress on orchestrating Schenker's Syrische Tänze, and
raises the matter of his fee for the work. He has approached Busoni about having his own
symphonic poem performed.
OJ 14/15, [2] Handwritten letter from Schoenberg to Schenker, undated [September 15,
1903?]
Schoenberg accepts Schenker's offer [unspecified], and hopes to see him in Vienna
two days later.
OJ 14/15, [3] Handwritten letter from Schoenberg to Schenker, undated [September 21,
1903?]
Schoenberg will visit Schenker the next day.
OJ 11/46, [1] Handwritten letter from Josef Hellmesberger jun. to Schenker, dated September 22,
[1903]
Hellmesberger informs Schenker of the likely tryout date with the Vienna
Philharmonic, and asks him to send the parts of his work punctually.
OJ 14/15, [4] Handwritten letter from Schoenberg to Schenker, undated [September 29,
1903?]
Schoenberg has delivered No. 3 of the Syrische Tänze and hopes to deliver No. 4
the next day.
OJ 14/15, [5] Handwritten letter from Schoenberg to Schenker, undated [c. September 30,
1903?]
Schoenberg will deliver No. 4 of Schenker's Syrische Tänze the next day.
OJ 15/12, [5] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Weinberger sends the newly copied orchestral parts of Syrian Dance No.
3.
OJ 15/12, [6] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Copying of parts for Syrian Dances is delayed.
OJ 14/15, [6] Handwritten letter from Schoenberg to Schenker, undated [October 13, 1903?]
Schoenberg inquires whether Schenker has yet sent the [orchestral] materials to
Busoni.
OJ 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903
Rosenthal inquires about Schenker's being performed in
Berlin.
OC B/216 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker,
dated October 30, 1903
Gives the Museum's holdings of Thomson's books of Scottish and Welsh
songs.
OJ 14/15, [7] Handwritten letter from Schoenberg to Schenker, undated [November 10, 1903?]
Schoenberg needs to speak with Schenker.
OJ 15/12, [7] Handwritten letter from Weinberger to Schenker, dated November 17, 1903
Weinberger asks for a report on the performance of the Syrian Dances, and for the
return of the orchestral material.
OC 52/13 Typewritten letter from Weinberger and Hardmuth (UE) to Schenker, dated February 3,
1904
UE sends Schenker the bill for British Museum research.
OJ 14/15, [9] Printed invitation with handwritten entries from the Ansorge-Verein to Schenker, dated
February 11, 1904
Invitation to an "Ansorge-Grube-Schönberg evening."
OJ 14/15, [13] Handwritten letter from Schoenberg to Schenker, undated [February 12, 1904?]
Schoenberg expresses disappointment, and tells Schenker the time and place of the
next subcommittee meeting [of the Vereinigung schaffender Tonkünstler].
OJ 14/15, [10] Handwritten letter from Schoenberg to Schenker, undated [February 16, 1904?]
Schoenberg specifies why he considers Schenker's participation [in the
Vereinigung schaffender Tonkünstler] essential.
OJ 14/15, [11] Handwritten letter from Schoenberg to Schenker, dated February 25, 1904
Schoenberg encourages Schenker to attend the next meeting [concerning the
Vereinigung schaffender Tonkünstler], and invites him to his home for supper on Friday.
OJ 14/15, [12] Handwritten letter from Schoenberg to Schenker, undated [1904?]
Schoenberg tries to clarify his position vis-à-vis Schenker, and urges him to
attend the Thursday sub-committee [of the Vereinigung schaffender Tonkünstler].
OJ 12/29, [2] Handwritten postcard from Carl Lafite to Schenker, postmarked May 26,
1904
Lafite acknowledges receipt of Schenker's chorus "Agnes."
OC 52/391 Typewritten letter from Weinberger and Herzmansky (UE) to Schenker, dated June 20,
1904
UE refuses to raise Schenker's honorarium for vol. II of the Handel Organ
Concertos.
OC 52/393 Typewritten letter from Robitschek and Weinberger (UE) to Schenker, dated June 22,
1904
UE confirms transfer of revised honorarium for Handel Organ Concertos, vol.
I.
OJ 12/29, [3] Handwritten calling card from Carl Lafite to Schenker, undated, probably fall/winter
1904/1905
The Damenchor-Verein has deferred performance of Schenker's choral work until
March [1905].
OC 52/394 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated October 18,
1904
UE sends proofs of Handel Organ Concertos, vol. I.
OC 52/15 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated December 3,
1904
UE sends Schenker a set of orchestral scores by Richard Strauss as a
gift.
OJ 15/12, [8] Handwritten postcard from Weinberger to Schenker, dated December 5, 1904
Weinberger archive has no wind music by Haydn.
OC 52/16 Typewritten letter from Weinberger (UE) to Schenker, dated March 1, 1905
UE sends five complimentary copies of Handel Organ Concertos and transfers
honorarium.
OC 52/17 Typewritten letter from Weinberger (UE) to Schenker, dated March 11, 1905
List of recipients of complimentary copies of the Handel Organ
Concertos
OC 52/442 Handwritten letter from Weinberger (UE) to Schenker, dated April 13, 1905
UE is unable to accept an item offered for publication.
OC 52/443 Typewritten letter from Weinberger (UE) to Schenker, dated October 21,
1905
UE is prepared to look at Harmonielehre.
CA 1-2 Handwritten letter from Schenker to Cotta, dated November 8, 1905
This is Schenker's initial approach to Cotta: he asks the firm to consider
publishing volume I of his Neue Musikalische Theorien und Phantasien, explains his
anonymity, points out the book's attacks of certain composers, explains his choice of
preferred publisher.
OJ 9/31, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 9,
1905
Cotta regrets that it is unable to undertake Schenker's book.
OJ 9/31, [2] Stenographically handwritten letter from Cotta to Eugen d’Albert, dated November 14,
1905
Following Eugen d'Albert's intervention on Schenker's behalf, Cotta is asking
to see the manuscript of Harmonielehre.
OJ 9/31, [3] Stenographically handwritten letter from Cotta to Schenker, dated November 15,
1905
Cotta will consider Schenker's proposal further, and asks for sight of the
manuscript.
OC 52/18 Typewritten letter from UE to Schenker, dated November 20, 1905
UE is besieged with inquiries about Handel Organ Works, volume
II.
CA 5-6 Handwritten letter from Schenker to Cotta, dated November 22, 1905
Schenker submits the manuscript of Harmonielehre; asks Cotta not to show it to
potential rivals.
OC 52/19 Typewritten letter from Weinberger (UE) to Schenker, dated November 30,
1905
Weinberger asks when Handel Organ Concertos volume II will be
received.
OJ 9/31, [4] Stenographically handwritten letter from Cotta to Schenker, dated December 5,
1905
Cotta agrees to publish Harmonielehre. — It estimates the extent of the book,
the cost to Schenker, and his likely takings.
CA 9 Handwritten letter from Schenker to Cotta, dated December 10, 1905
Schenker returns his contract signed, and promises the Afterword
soon.
OJ 9/31, [5] Stenographically handwritten letter from Cotta to Schenker, dated December 12,
1905
Cotta sends Schenker a copy of the contract with their signature; they
estimate publication at c.March 1906.
OJ 14/11, [1] Handwritten calling card from Ferdinand Scherber to Schenker, dated January 17,
1906
The manuscript that Schenker has requested will not be available because of
the relocation of the Music Collection.
OJ 9/31, [6] Stenographically handwritten letter from Cotta to Schenker, dated January 27,
1906
Cotta sends a list of music examples that are missing from Schenker's
material.
CA 12-13 Handwritten letter from Schenker to Cotta, dated February 5, 1906
Schenker discusses the pros and cons of placement of music examples in
Harmonielehre and of the captions; he asks to receive in future
galley-proofs.
OJ 9/31, [7] Stenographically handwritten letter from Cotta to Schenker, dated February 7,
1906
Cotta will in future send galley-proofs.
CA 15 Handwritten letter from Schenker to Cotta, dated February 15, 1906
Covering letter enclosing sheets and examples.
CA 16 Handwritten letter from Schenker to Cotta, dated February 26, 1906
Covering letter enclosing manuscript pages and music examples, and summarizing
the state of play.
CA 17 Handwritten letter from Schenker to Cotta, dated March 2, 1906
Covering letter enclosing proofs of gathering 3.
CA 18 Handwritten letter from Schenker to Cotta, dated April 2, 1906
Covering letter enclosing batch of music examples with text
commentaries.
CA 19 Handwritten letter from Schenker to Cotta, dated April 3, 1906
Schenker asks for two marginal rubrics to be corrected.
CA 21 Handwritten letter from Schenker to Cotta, dated May 2, 1906
Schenker follows up on his telegram (CA 20) and makes a suggestion about
numbering.
CA 22 Handwritten letter from Schenker to Cotta, dated May 16, 1906
Schenker sends more manuscript and proofs of Harmonielehre.
CA 23 Handwritten letter from Schenker to Cotta, dated May 25, 1906
About numbering of music examples. — Schenker asks for more postal
wrappers.
CA 25 Handwritten letter from Schenker to Cotta, dated May 29, 1906
Schenker suggests that Harmonielehre be published in two volumes, indicating
that the Afterword has grown in size. — He asks for further galley-proofs.
OJ 9/31, [8] Stenographically handwritten letter from Cotta to Schenker, dated May 31,
1906
Cotta advises against splitting Harmonielehre into two volumes, and recommends
restriction of the size of the Nachwort.
CA 27 Handwritten letter from Schenker to Cotta, dated June 4, 1906
Schenker accepts Cotta's advice to keep Harmonielehre as one volume. — He will publish
the Nachwort separately. — He pleads for proofs of Part II of Harmonielehre before the
summer vacation.
OJ 9/31, [9] Stenographically handwritten letter from Cotta to Schenker, dated June 5,
1906
Cotta advises against publishing the Nachwort simultaneously with the
Harmoneilehre.
OC 52/20 Typewritten letter from UE to Schenker, dated June 13, 1906
UE inquires further about Handel Organ Works, volume II, with
threat.
OC 52/395 Typewritten letter from UE to Schenker, dated July 5, 1906
UE asks again for manuscript of Handel Organ Concertos, vol. II, and threatens
to reassign.
CA 29 Handwritten letter from Schenker to Cotta, dated June 25, 1906
Schenker is correcting proofs of the remaining text, and asks for the missing
music examples.
OJ 9/31, [10] Stenographically handwritten letter from Cotta to Schenker, dated June 27,
1906
Cotta asks for return of proofs as soon as possible; setting of music examples
is delayed.
CA 31 Handwritten letter from Schenker to Cotta, dated June 30, 1906
Schenker returns proofs, and draws two things to the attention of the
type-setter.
CA 32 Handwritten letter from Schenker to Cotta, dated July 2, 1906
Schenker explains Ex. 173 of Harmonielehre and makes suggestions as to the
layout.
CA 33 Handwritten postcard from Schenker to Cotta, dated July 9, 1906
Schenker gives his summer address.
CA 34 Handwritten letter from Schenker to Cotta, dated August 18, 1906
Schenker returns final proofs of gatherings 17 and 18 of Harmonielehre, and
asks for gathering 20.
CA 35 Handwritten postcard from Schenker to Cotta, dated August 23, 1906
Schenker asks for mailings to be sent to his Vienna.
CA 36 Handwritten postcard from Schenker to Cotta, dated August 29, 1906
Schenker asks for ties.
OJ 9/31, [11] Stenographically handwritten letter from Cotta to Schenker, dated August 30,
1906
Cotta promises further proofs of Harmonielehre, and asks Schenker not to makes
large additions.
CA 38 Handwritten postcard from Schenker to Cotta, dated September 1, 1906
Schenker's wishes are those of Cotta.
CA 39 Handwritten postcard from Schenker to Cotta, dated September 19, 1906
Schenker reports an error in the numbering of music examples in the
Harmonielehre proofs.
OC 52/396 Typewritten letter from UE to Schenker, dated September 28, 1906
UE asks for the score of the Handel organ concertos back; Schenker's name will
not appear on the published arrangements.
CA 41-42 Handwritten letter from Schenker to Cotta, dated October 1, 1906
Schenker goes back on his earlier agreement with Cotta, and makes an
impassioned case for including the "Nachwort" as Section 3 of Part II of
Harmonielehre.
CA 44 Handwritten letter from Schenker to Cotta, dated October 6, 1906
Schenker accepts Cotta's case that his "Nachwort" should not be included
within Harmonielehre, promises to enable the book to be published on time, and plans to have
the "Nachwort" follow by the time of the Easter book fair.
CA 46 Handwritten postcard from Schenker to Cotta, dated October 11, 1906
Revised proofs of the final gatherings of Harmonielehre have been sent, and
title-page will be sent shortly.
CA 47 Handwritten letter from Schenker to Cotta, dated October 13, 1906
Schenker submits his synopsis of Harmonielehre with one stipulation, and also
copy of the title-page.
CA 48 Handwritten postcard from Schenker to Cotta, dated October 15, 1906
Schenker asks for more postal ties.
CA 49 Handwritten letter from Schenker to Cotta, dated October 26, 1906
Schenker submits the index to Harmonielehre.
CA 51 Telegram draft or carbon copy from Cotta to Schenker, dated November 3,
1906
Cotta requests duplicate of gathering 28.
CA 50 Handwritten letter from Schenker to Cotta, dated November 3, 1906
Schenker submits further final proofs for Harmonielehre.
CA 54-55 Stenographically handwritten letter(carbon copy) and account from Cotta to Schenker,
dated November 10, 1906
Cotta informs Schenker that Harmonielehre is printed, sends complimentary
copies, and encloses its account.
CA 56 Handwritten letter from Schenker to Cotta, dated November 22, 1906
Cotta should by now have received the sum covering the publishing and
marketing costs of Harmonielehre. Schenker lists five recipients of review
copies.
CA 58 Handwritten letter from Schenker to Cotta, dated November 24, 1906
Schenker lists the journals for which the five music critics (as listed in CA
56) to receive review copies write.
OJ 12/27, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 26,
1906
Cotta acknowledges receipt of money for [printing and marketing of]
Harmonielehre.
OJ 12/38, [1] Handwritten letter from Hans Liebstöckl to Schenker, November 29, [1906]
Liebstöckl regrets having annoyed Schenker by unwantedly disclosing his name as
author of Harmonielehre in the Illustrirtes Wiener Extrablatt, promises to write about it
"conscientiously," and disclaims being a Reger adherent.
CA 60 Handwritten letter from Schenker to Cotta, dated December 3, 1906
Schenker asks for a further review copy to be sent to Richard
Robert.
OJ 12/27, [2] Stenographically handwritten letter from Cotta to Schenker, dated December 4,
1906
Cotta has carried out wishes expressed in CA 60.
CA 61 Handwritten letter from Schenker to Cotta, dated December 27, 1906
Schenker asks for a copy to be sent to Eugen d'Albert.
OJ 12/27, [3] Stenographically handwritten letter from Cotta to Schenker, dated December 29,
1906
Cotta has sent a complimentary copy of Harmonielehre to Eugen
d'Albert.
OJ 12/27, [4] Stenographically handwritten letter from Cotta to Schenker, dated January 7,
1907
Cotta inquires whether Schenker's name may be divulged.
CA 64 Handwritten letter from Schenker to Cotta, dated January 8, 1907
Schenker replies that anonymity re Harmonielehre must be
maintained.
OJ 14/15, [14] Handwritten letter from Schoenberg to Schenker, undated [c. February 1,
1907]
Schoenberg expresses disappointment at Schenker's non-attendance, and hopes he
can attend the performances of his String Quartet [No. 1] and [First] Chamber Symphony on
February 5 and 8.
CA 65 Handwritten letter from Schenker to Cotta, dated March 8, 1907
Schenker asks for a copy of Harmonielehre to be sent to Karl
Goldmark.
CA 66 Handwritten letter from Schenker to Cotta, dated March 30, 1907
Schenker asks for a review copy of Harmonielehre to be sent to Max
Graf.
CA 67 Stenographically handwritten letter (carbon copy) from Cotta to Schenker, dated
April 2, 1907
Cotta report that they sent a copy for review to the Österreichische Rundschau
in February.
OJ 12/48, [1] Handwritten note from Gustav Mahler to Schenker, undated [May 23?, 1907]
Mahler thanks Schenker for his good wishes.
OJ 12/27, [5] Stenographically handwritten letter from Cotta to Schenker, dated September 5,
1907
Cotta encloses 1906 sales report for Harmonielehre.
CA 68 Handwritten letter from Schenker to Cotta, dated September 13, 1907
Schenker expects the press to be enthusiastic about Harmonielehre. — He
comments of the "Riemann school."
OJ 9/31, [16] Stenographically handwritten letter from Cotta to Schenker, dated September 16,
1907
Cotta hopes for the manuscript of Kontrapunkt [I] soon, and asserts that the
same terms of contract will apply as those for Harmonielehre.
OJ 14/15, [15] Printed invitation from Schoenberg to Schenker, undated [c. November 1,
1907]
Invitation to a concert of music by pupils of Schoenberg.
CA 71 Handwritten letter from Schenker to Cotta, dated December 16, 1907
Schenker proscribes the release yet of his name to Karl Grunsky. He comments
on a review of his Harmonielehre by Max Burkhardt. He will be sending Kontrapunkt
shortly.
OJ 9/31, [17] Stenographically handwritten letter from Cotta to Schenker, dated December 18,
1907
Cotta note the review of Harmonielehre by Max Burkhart, and look forward to
receiving the manuscript of Kontrapunkt shortly.
OJ 12/38, [A-B] Handwritten letter and envelope from Hans Liebstöckl to Schenker, undated
Liebstöckl returns Schenker's score of Das Rheingold with apologies for
lateness.
CA 73 Handwritten postcard from Schenker to Cotta, dated January 3, 1908
Schenker asks for the review of his Harmonielehre by Karl Grunsky to be sent
to him.
CA 74 Handwritten postcard from Schenker to Cotta, dated January 16, 1908
Schenker asks for a copy of his Harmonielehre to be sent to
Busoni.
OJ 13/37, 1 Handwritten letter from Ernst Rudorff to Schenker, dated January 23, 1908
Grunsky replies to Schenker's inquiry about a passage in Chopin's Ballade No.
2, and welcomes Schenker's advocacy of the Urtext principle.
CA 75 Handwritten letter from Schenker to Cotta, dated February 8, 1908
Schenker asks for a copy of his Harmonielehre to be sent to Theodor
Frimmel.
OC 52/383 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26,
1908
UE welcomes Schenker's additions to the Beitrag zur Ornamentik and asks for
them as soon as possible.l
WSLB 1 Handwritten postcard from Schenker to Hertzka (UE), dated March 25, 1908
Schenker welcomes the opportunity to make additions to Beitrag zur
Ornamentik.
OC 52/384 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26,
1908
UE asks for additions to Beitrag zur Ornamentik by the beginning of the
following week.
OC 52/385 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 1,
1908
UE stresses the urgency of supplying additional material for Beitrag zur
Ornamentik.
OC 52/22 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 6,
1908
Hertzka threatens to re-issue the first edition of Ornamentik if revisions
don't arrive by the next day.
WSLB 3 Handwritten postcard from Schenker to Hertzka (UE), dated April 9, 1908
Schenker promises more material next day, and extols the work.
CA 76 Handwritten letter from Schenker to Cotta, dated April 24, 1908
Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft
der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch,
explaining the delay on Kontrapunkt I.
OJ 9/31, [18] Stenographically handwritten letter from Cotta to Schenker, dated April 25,
1908
Cotta has sent a copy of Harmonielehre to the Gesellschaft der Musikfreunde,
and thinks that pre-publication excerpting of Kontrapunkt would be
advantageous.
OJ 11/29, [1] Handwritten letter from Grunsky to Schenker, dated May 3, 1908
Grunsky thanks Schenker for revealing his identity as author of Harmonielehre.
— He asks Schenker's views on Bruckner, and on his own views of musical
form.
WSLB 6 Handwritten letter from Schenker to Hertzka (UE), dated May 27, 1908
Because of an error in typesetting, Schenker needs to retain to two gatherings of
proofs.
OJ 9/31, [19] Stenographically handwritten letter from Cotta to Schenker, dated June 2,
1908
Cotta asks if they may divulge Schenker's name to Rudolf
Breithausen.
CA 79 Handwritten letter from Schenker to Cotta, dated June 5, 1908
Schenker gives permission to divulge his name as author of Harmonielehre to
Breithaupt.
OJ 11/29, [2] Handwritten postcard from Grunsky to Schenker, postmarked June 5, 1908
Grunsky will reply as soon as possible.
WSLB 7 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1908
Schenker returns all remaining proofs of Ornamentik and calls for a third
proof.
WSLB 8 Handwritten letter from Schenker to Hertzka (UE), dated June 16, 1908
Schenker sends the text of his Foreword for Ornamentik.
WSLB 9 Handwritten letter from Schenker to Hertzka (UE), dated June 23, 1908
Schenker promises a list of people in German to receive complimentary copies of
Ornamentik, and a new proposal.
WSLB 10 Handwritten letter from Schenker to Hertzka (UE), dated June 26, 1908
Schenker accepts an offer and asks for a contract for the Instrumentation
Table.
OC 52/23 Typewritten letter from Hertzka (UE) to Schenker, dated June 30, 1908
Hertzka asks Schenker to visit him to clear up a matter over
payment.
WSLB 11 Handwritten postcard from Schenker to Hertzka (UE), dated June 30, 1908
Schenker asks for his honorarium to be sent promptly because of difficulties with
the post service to the Tyrol.
WSLB 12 Handwritten postcard from Schenker to Hertzka (UE), dated July 22, 1908
Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Karl
Grunsky.
OC 52/397 Typewritten letter from Hertzka (UE) to Schenker, dated August 11, 1908
Hertzka agrees to sending of complimentary copies of Beitrag zur Ornamentik. —
Gives progress report on Table of Instrumentation, predicting October
publication.
WSLB 13 Handwritten postcard from Schenker to Hertzka (UE), dated August 13, 1908
Schenker reluctantly agrees to October for publishing the Instrumentation
Table.
WSLB 14 Handwritten letter from Schenker to Hertzka (UE), dated August 19, 1908
Schenker gives list of those to receive a copy of Beitrag zur
Ornamentik.
WSLB 15 Handwritten postcard from Schenker to Hertzka (UE), dated August 22, 1908
Schenker regrets that printing of Beitrag zur Ornamentik is
delayed.
OC 52/24 Typewritten letter from Hertzka (UE) to Schenker, dated August 25, 1908
Hertzka explains that the last-minute change to Beitrag zur Ornamentik
requested by Schenker would be exorbitantly expensive.
OC 52/25 Typewritten letter from Hertzka (UE) to Schenker, dated August 26, 1908
Hertzka advises that the last-minute corrections for Beitrag zur Ornamentik
will be made by corrigenda sheet. — Complimentary copies will be going out in the next three
days, so Schenker should dispatch any personal notes to the recipients.
WSLB 16 Handwritten letter from Schenker to Hertzka (UE), dated August 26, 1908
Schenker favors a corrigenda sheet for last-minute corrections to his Beitrag zur
Ornamentik, and makes it a matter of conscience whether UE complies.
WSLB 18 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908
Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Karl von
Wiener.
WSLB 17 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908
Schenker reminds Hertzka to insert the corrigenda slip in the complimentary
copies going out to Schenker's recipients.
OJ 9/32, [4] Invoice from Cotta to Schenker, dated September 1, 1908
Invoice for copies of Harmonielehre to Busoni, the Gesellschaft der
Musikfreunde, and Löwe.
OJ 12/27, [6] Cover letter for sales report from Cotta to Schenker, dated September 9,
1908
Cotta encloses 1907 sales report for Harmonielehre and notifies him of his
share of the sales profits.
OJ 11/29, [3] Handwritten letter from Grunsky to Schenker, dated September 10, 1908
Grunsky acknowledges receipt of Schenker's Beitrag zur Ornamentik and two
letters; — He recognizes that he and Schenker hold "opposite views" on Bruckner's music but
welcomes Schenker's openness to discussion; — He counters Schenker's arguments on Bruckner's
approach to form, rhythm, theme, and musical character; — He admits his own "antipathy"
toward the music of Brahms.
OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12,
1908
Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to
Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in
agreement.
WSLB 19 Handwritten postcard from Schenker to Hertzka (UE), dated September 16, 1908
Schenker asks for a complimentary copy of his Beitrag zur Ornamentik to be sent
to Ludwig Karpath.
CA 80 Handwritten letter from Schenker to Cotta, dated September 13 and 17,
1908
Schenker promises Counterpoint soon and speculates on publication by
Christmas; — Asks for a copy of Harmonielehre to be sent to his sister
Sophie.
OJ 12/27, [7] Stenographically handwritten letter from Cotta to Schenker, dated September 18,
1908
Cotta looks forward to receiving Kontrapunkt, and has sent copies of
Harmonielehre to Sophie Guttmann and Ernst Rudorff.
OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated
[?mid-late September 1908?]
Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf.
Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is
technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than
Haydn, Brahms, and other masters.
CA 82 Handwritten postcard from Schenker to Cotta, dated September 23, 1908
Schenker has dispatched the manuscript for Kontrapunkt.
OJ 12/38, [C] Handwritten letter from Hans Liebstoeckl to Schenker, dated September 24, no
year
Liebstöckl thanks Schenker for a critical communication, and invites Schenker to
meet him.
OJ 13/37, 3 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated September
24, 1908
Grunsky thanks Schenker for the copy of his Harmonielehre and praises it; in
particular he approves of its attacks on Wagner, whom he speaks of as a malign
force.
OJ 12/27, [8] Stenographically handwritten letter from Cotta to Schenker, dated September 26,
1908
Cotta acknowledges receipt of the manuscript of Kontrapunkt.
CA 84 Handwritten postcard from Schenker to Cotta, dated September 27, 1908
Schenker promises the remainder of Kontrapunkt in a few days.
OJ 5/35, [3] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, dated September 28,
1908
Schenker comments on Wagner's alterations to Beethoven's Ninth Symphony, and
outlines his own plans, wishing to see Wagner reduced to the same subordinate place as Gluck
[unaware of the provocation this will be to Rudorff!]. — He takes issue with Beyschlag's
interpretation of the turn in Haydn's music.
WSLB 20 Handwritten letter from Schenker to Hertzka (UE), dated September 28, 1908
Schenker asks for a copy of his C. P. E. Bach keyboard works to be sent to Julius
Röntgen. — He inquires about the corrigenda sheet for the Beitrag zur Ornamentik, and the
publication date of the Instrumentations-Tabelle.
OC 52/26 Typewritten letter from Hertzka (UE) to Schenker, dated September 29,
1908
Hertzka has instructed that Schenker's C. P. E. Bach edition be sent to Julius
Röntgen. — He explains the situation over the corrigenda for Beitrag zur Ornamentik. — The
Instrumentations-Tabelle will be published in the next two weeks.
WSLB 21 Handwritten letter from Schenker to Hertzka (UE), dated September 30, 1908
Schenker asks for a copy of his C. P. E. Bach Klavierwerke to be sent to Julius
Röntgen, and of the Beitrag zur Ornamentik, 2nd edition, to Daniel de Lange, since the work is a
rival to the newly-published Beyschlag Die Ornamentik der Musik. — He reports encountering
Willem Andriessen.
OC 52/27 Typewritten letter from Hertzka (UE) to Schenker, dated October 1, 1908
Hertzka confirms arrangements over Beitrag zur Ornamentik, and asks for
proofing of the Foreword to the Instrumentationstabelle.
OJ 13/37, 4 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated October 1,
1908
Grunsky expresses his opinions on the turn in Haydn's music and the status of
Gluck in relation to Mozart and Wagner.
WSLB 22 Handwritten letter from Schenker to Hertzka (UE), dated October 2, 1908
Schenker thanks Hertzka, and will call on him soon.
CA 85 Handwritten letter from Schenker to Cotta, dated October 8, 1908
Schenker proposed that Kontrapunkt be divided into two
half-volumes.
OJ 12/27, [9] Stenographically handwritten letter from Cotta to Schenker, dated October 9,
1908
Cotta advises against splitting Kontrapunkt into two
half-volumes.
CA 87 Handwritten letter from Schenker to Cotta, dated October 13, 1908
Schenker accepts Cotta's verdict against splitting Kontrapunkt into
two.
WSLB 23 Handwritten letter from Schenker to Hertzka (UE), dated October 14, 1908
Lesson schedule prohibits visit to new UE office; Schenker asks for the matter to
be dealt with by correspondence.
OJ 9/31, [20] Stenographically handwritten letter from Cotta to Schenker, dated October 15,
1908
Cotta states that Kontrapunkt will be produced under the terms of the contract
for Harmonielehre.
CA 89 Handwritten letter from Schenker to Cotta, dated October 17, 1908
Schenker confirms the terms of the Harmonielehre contract as applying to
Kontrapunkt.
OC 52/398 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1908
The Instrumentations-Tabelle is now published. — Hertzka is negotiating an
English translation of Beitrag zur Ornamentik.
WSLB 24 Handwritten letter from Schenker to Hertzka (UE), dated October 31, 1908
The prospect of an English translation of Beitrag zur Ornamentik pleases
Schenker. — He wants to guide UE toward being a global enterprise. — Proofs of Counterpoint
[I] have started arriving from Cotta.
OJ 11/29, [4] Handwritten postcard from Grunsky to Schenker, postmarked November 5,
1908
Grunsky hopes to meet Schenker at the Haydn festival in Vienna. He urges
Schenker to read Halm on Bruckner.
OC 52/444 Typewritten letter from Hertzka (UE) to Schenker, dated November 7, 1908
Hertzka details the distribution of first copies of the
Instrumentations-Tabelle. — He makes a bid to publish Kontrapunkt.
WSLB 25 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1908
Schenker asks for copies of the Instrumentations-Tabelle to be sent to Violin
and Gärtner. — He has bought two copies of the Beitrag zur Ornamentik at the Gutmann music
store.
OC 52/28 Typewritten letter from Hertzka (UE) to Schenker, dated November 11, 1908
Hertzka has had copies of the Instrumentations-Tabelle sent to Violin and
Gärtner. — He chides Schenker for buying copies at the Gutmann music store.
OJ 13/37, 5 Handwritten letter from Ernst Rudorff to Schenker, dated November 21,
1908
Rudorff's poor health is restricting his activities. — He praises Schenker's
Harmonielehre, especially its views on the church modes. — He also endorses Schenker's
condemnation of Wagner's musical influence.
OC 52/29 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated November 23,
1908
The Instrumentations-Tabelle is going into a larger edition, and Hertzka asks
for a meeting.
WSLB 26 Handwritten letter from Schenker to Hertzka (UE), dated November 24, 1908
Schenker reluctantly agrees to a meeting.
WSLB 27 Handwritten postcard from Schenker to Hertzka (UE), dated November 27,
1908
Schenker asks for a copy of the Instrumentations-Tabelle.
WSLB 28 Handwritten postcard from Schenker to Hertzka (UE), dated December 9,
1908
Schenker promises an "elaboration" regarding the
Instrumentations-Tabelle.
OC 52/30 Typewritten postcard from Hertzka (UE) to Schenker, date December 16,
1908
Ultimatum: if not delivered by Friday, "supplementary remarks" will be
omitted.
WSLB 29 Handwritten letter from Schenker to Hertzka (UE), dated December 16, 1908
Schenker assures Hertzka that his new material for the Instrumentations-Tabelle
will occupy only six pages. — He makes claims for the new material as an instrumentation
treatise, and suggests that the retail price might be raised accordingly.
WSLB 30 Handwritten letter from Schenker to Hertzka (UE), dated December 18, 1908
Schenker encloses some items [for the Instrumentations-Tabelle]. — In the
event that UE does not raise the retail price as he proposed in WSLB 29, he asks for his
introductory material back.
OC 52/399-401 Typewritten letter from Hertzka (UE) to Schenker, dated December 18, 1908
Hertzka complains at the embarrassment that Schenker has caused him over the
Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes
that Schenker edit Book II of the Well-tempered Clavier in the manner of
Busoni.
OC 52/31 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1908
Hertzka sends a copy of Mahillon's guide to instrumentation.
WSLB 31 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1908
Schenker agrees to the Instrumentations-Tabelle being published without his newly
written Introduction. — He declines the proposal to edit the Well-tempered Clavier Book II for
the new Akademie, offerin alternative suggestions and observations on Busoni's
editing.
OC 52/32 Typewritten letter from Barbara Rothe (UE) to Schenker, dated December 23,
1908
Ms Rothe returns Schenker's introductory materials for the
Instrumentations-Tabelle.
OJ 5/16, [2] Handwritten draft letter from Schenker to Hertzka (UE), dated December 25,
1908
Schenker justifies his selection and treatment of instruments in the
Instrumentations-Tabelle, with acid comments about the English, and dismissal of French
contributions.
OJ 9/31, [21] Stenographically handwritten letter from Cotta to Schenker, dated December 30,
1908
Cotta urge Schenker to return galley-proofs of Kontrapunkt.
WSLB 33 Handwritten letter from Schenker to Hertzka (UE), undated [December 31, 1908 or January
1, 1909]
Schenker defends his Introduction to the Instrumentations-Tabelle and the
exclusion of the heckelphone.
CA 92 Handwritten letter from Schenker to Cotta, dated January 4, 1909
Schenker directs Cotta to divulge his name on the title-page of the 2nd edn of
Harmonielehre; — He has meanwhile added a long polemic to the Introduction of Kontrapunkt
[I].
CA 91 Handwritten letter from Schenker to Cotta, dated January 4, 1909
Schenker explains delay in returning proofs.
WSLB 34 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1909
Schenker returns proof and is willing to correct another.
OC 52/33 Typewritten letter from Hertzka (UE) to Schenker, dated January 7, 1909
Hertzka hopes for detailed discussions with Schenker on the
Instrumentations-Tabelle and the Well-tempered Clavier proposal.
WSLB 35 Handwritten letter from Schenker to Hertzka (UE), January 8, 1909
In a letter "ironic in tone" Schenker offers alternative editors for WTC Bk
II. He outlines the work that he has in hand, and regrets his unhappy experience with UE
over Beitrag zur Ornamentik.
OC 52/919
Typewritten letter from Hertzka (UE) to Schenker, dated January 11, 1909
Hertzka still hopes to persuade Schenker to take on editing the Well-tempered
Clavier Book II.
OJ 13/36, [1] Handwritten letter from Elisabeth Rudorff to Schenker, dated January 11,
1909
Elisabeth Rudorff asks Schenker's advice on choice of a C. P. E. Bach
collected edition as a present for her father.
OC 52/34 Typewritten postcard (book slip) from UE (unidentified sign) to Schenker, dated
January 14, 1909
UE confirms sending two items to Elise Rudorff.
OJ 9/31, [22] Stenographically handwritten letter from Cotta to Schenker, dated January 14,
1909
Cotta agrees to reset the title-page of Harmonielehre with Schenker's name as
author, and to distribute the second edition coincident with the release of Kontrapunkt
I.
OJ 13/37, 6 Handwritten letter from Elisabeth Rudorff to Schenker, dated January 15,
1909
Elisabeth Rudorff thanks Schenker for having UE send copies of his editions of
C. P. E. Bach keyboard pieces and Handel organ concertos for her father's birthday
present.
OJ 13/37, 7 Handwritten letter from Ernst Rudorff to Schenker, dated January 25, 1909
Rudorff thanks Schenker for the help he gave his daughter in choosing a
birthday present of Bach and Handel, and for his recent letter; — Laments the death of
Robert Hausmann.
OJ 7/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated January 26, 1909
Schenker has news to tell him regarding Richard Heuberger and Wilhelm Bopp;
reminds of forthcoming attendance at [a recital by] Artur Schnabel.
WSLB 36 Handwritten letter from Schenker to Hertzka (UE), January 29, 1909
Schenker requests two copies of his Instrumenten-Tabelle, one for Alphons
Rothschild.
OC 52/35 Typewritten letter from Hertzka (UE) to Schenker, dated January 30, 1909
Copies of the Instrumentations-Tabelle will be delived in three days. Hertzka
calls for a meeting.
OC 52/402 Typewritten letter from Hertzka (UE) to Schenker, dated March 21, 1909
Hertzka raises several possibilities for amplifying the
Instrumentations-Tabelle, and calls for a meeting.
WSLB 37 Handwritten letter from Schenker to Hertzka (UE), March 28, 1909
Schenker suggests a meeting at Robert Brünauer's home.
OC 52/36 Typewritten letter from Hertzka (UE) to Schenker, dated March 29, 1909
Hertzka welcomes the prospect of a discussion at the home of Robert
Brüunauer.
OC 52/920 Typewritten letter from Hertzka (UE) to Schenker, dated April 1, 1909
Hertzka summarizes the discussion earlier that day.
WSLB 38 Handwritten letter from Schenker to Hertzka (UE), dated April 2, 1909
Schenker thanks Hertzka for his latest letter.
CA 94 Handwritten postcard from Schenker to Cotta, dated April 8, 1909
Schenker inquires whether a batch of proofs has gone astray, and draws
attention to a review.
OJ 12/27, [11] Stenographically handwritten letter from Cotta to Schenker, dated April 10,
1909
Cotta promises the next batch of proofs shortly.
CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909
Schenker raises again the splitting of Kontrapunkt into two half-volumes, or
even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the
Academy of Music, despite his being in a constant state of feud with all officialdom. — The
Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of
his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading
work" on the subject; he argues the case for splitting the work on "psychological" and
"technical" grounds.
OJ 9/31, [23] Stenographically handwritten letter from Cotta to Schenker, dated June 1,
1909
Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a
publication schedule for the first half-volume.
CA 102 Handwritten letter from Schenker to Cotta, dated June 3, 1909
Schenker has sent final proofs of gatherings 10 and 12, but has mislaid those
for 11 and asks for another copy.
OJ 7/4, [52] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909
Schenker is in Steinach, awaiting Moriz Violin's arrival.
OJ 7/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909
Schenker must miss seeing an Ibsen play, because the latest batch of proofs of
Kontrapunkt I have to be finished.
OJ 6/4, [46] Handwritten letter from Schenker to Moriz Violin, dated June 22, 1909
Schenker reports a successful deal with Hertzka at Universal Edition, and refers
to monetary matters between them.
WSLB 39 Handwritten letter from Schenker to Hertzka (UE), June 23, 1909
Schenker asks Hertzka to send him two editions of the Bach Chromatic Fantasy
& Fugue that are unknown to him.
OC 52/422 Typewritten letter from Hertzka (UE) to Schenker, dated June 24, 1909
Hertzka confirms the agreed edition of the Chromatic Fantasy & Fugue, and
will send the required editions.
WSLB 40 Handwritten postcard from Schenker to Hertzka (UE), dated June 26, 1909
Schenker asks for the Röntgen edition of the Chromatic Fantasy & Fugue to
be sent to him.
WSLB 41 Handwritten postcard from Schenker to Hertzka (UE), dated July 1, 1909
Schenker asks for the three previously requested editions to be sent as soon as
possible so as to arrive before he departs for vacation.— He also asks for Richard Stöhr's
Harmonielehre.
OJ 5/6, [3] Note by Schenker, dated July 5, 1909
Reflection on giving and taking in general and in art
CA 103 Handwritten postcard from Schenker to Cotta, dated July 7, 1909
Schenker gives his summer address and asks for proofs to be sent
there.
OJ 7/4, [53] Handwritten postcard from Schenker to Moriz Violin, dated August 26, 1909
Schenker leaves Steinach on Sunday [29th].
CA 104 Handwritten postcard from Schenker to Cotta, dated August 30, 1909
Schenker has returned to Vienna.
OJ 9/32, [5] Invoice from Cotta to Schenker, dated September 1, 1909
Invoice for copies of Harmonielehre to Sofie Guttmann and Ernst
Rudorff.
OC 52/37 Typewritten postcard from UE (unidentified signatory) to Schenker, dated September
20, 1909
Hertzka is currently away.
WSLB 42 Handwritten postcard from Schenker to Hertzka (UE), dated September 20, 1909
The Chromatic Fantasy & Fugue is ready to deliver. Proposes a meeting to
discuss printing.
OJ 7/4, [54] Handwritten picture postcard from Jenny Kornfeld to Moriz Violin, dated September 23,
1909
Jenny Kornfeld sends Moriz Violin best wishes for recovery, and greetings to
Fanny Violin; — her husband (Emil Kornfeld) adds his greetings.
OC 52/38 Typewritten letter from Hertzka (UE) to Schenker, dated September 25,
1909
Hertzka asks for a visit from Schenker.
WSLB 43 Handwritten postcard from Schenker to Hertzka (UE), dated October 2, 1909
Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Fritz
Wahle.
OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10,
1909
Schenker, on receipt of the score of a Rudorff choral work, praises its
textural clarity and melodic articulation, comparing them favorably to the writing of the
current generation. — He reports the success of his own recent theory works, and inroads
made into the Vienna Academy for Music and Performance Art.
OC 52/39 Typewritten letter from Hertzka (UE) to Schenker, dated October 15, 1909
Hertzka encloses a contract for the Chromatic Fantasy & Fugue edition for
signature and return.
OC 52/423 Typewritten contract (carbon copy) between Schenker and UE, dated October 17,
1909
Contract for Schenker's edition of Bach's Chromatic Fantasy &
Fugue
WSLB 44 Handwritten letter from Schenker to Hertzka (UE), dated October 18, 1909
Schenker tells Hertzka of the Academy's plans to present a "historical"
concert of works edited by himself.
OC 52/40 Typewritten letter from Hertzka (UE) to Schenker, dated October 20, 1909
UE will search for the Handel organ concerto score.
OC 52/41 Typewritten letter from Hertzka (UE) to Schenker, dated October 26, 1909
Hertzka asks for a meeting to discuss the Chromatic Fantasy & Fugue
edition.
CA 105 Handwritten postcard from Schenker to Cotta, dated October 27, 1909
The wrong proofs have been sent to Schenker by mistake.
WSLB 45 Handwritten postcard from Schenker to Hertzka (UE), dated October 27,
1909
Schenker is unable to make a meeting before November 2.
WSLB 46 Handwritten letter from Schenker to Hertzka (UE), dated October 30, 1909
Schenker warns that he may be delayed or unable to attend the agreed meeting
because of a dental appointment.
OC 52/42 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1909
Hertzka insists that a face-to-face meeting is necessary.
OJ 7/4, [55] Handwritten postcard from Schenker to Moriz Violin, dated November 5, 1909
Schenker on the delusion of progress; epigonism versus
progress-art.
OJ 6/4, [47] Handwritten letter from Schenker to Moriz Violin, dated November 7, 1909
Schenker has Mittelmann coming, and hopes to complete proofs of Introduction to
the Instrumentationstabelle today and 9th.
WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909
Schenker resists attending a meeting with Hertzka and von Wöß regarding the
printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an
author to control over his own material; and makes claims for the introduction to his
Instrumentations-Tabelle, which was not accepted for inclusion in 1908
reprinting.
OC 52/43 Typewritten letter from Hertzka (UE) to Schenker, dated November 10, 1909
Hertzka attempts to reassure Schenker that the topics he wanted to discuss did
not involve "changes", only technical matters.
WSLB 48 Handwritten letter from Schenker to Hertzka (UE), November 12, 1909
Schenker thanks Hertzka for the latest information on the Chromatic Fantasy
& Fugue.
OJ 13/37, 8 Handwritten letter from Ernst Rudorff to Schenker, dated November 14,
1909
Rudorff apologizes for his publisher's treating Schenker as a conductor; —
laments that Germany's conductors ignore his music; — asks for help in a matter concerning
an overture of his.
OJ 13/37, 9 Handwritten postcard from Ernst Rudorff to Schenker, dated November 15,
1909
Rudorff asks Schenker not to give Jakob Fischer the score of his Herbstlied if
asked.
OJ 6/4, [48] Handwritten letter from Schenker to Moriz Violin, dated November 22, 1909
Schenker proposes program order for forthcoming concert.
OJ 12/23, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 27,
1909
Adolf Kröner thanks Schenker for his contribution to the Cotta
Album.
CA 106-107 Handwritten letter from Schenker to Cotta, dated December 2, 1909
Schenker explains the necessity for some late interpolations into Kontrapunkt
I. — He may be able to include the title "Professor of Composition and Theory" against his
name on the title-pages of his works, and debates the advantages of such an appointment at
the Vienna Academy against the loss of independence. — Only anonymity has prevented
Harmonielehre from success so far.
OJ 7/4, [56] Handwritten postcard from Schenker to Moriz Violin, dated December 3, 1909
Schenker reports a conversation with "G." re conducting the "Kreuzstab"
Cantata.
OJ 9/31, [24] Stenographically handwritten letter from Cotta to Schenker, dated December 8,
1909
Cotta welcomes the recognitions that Schenker has been accorded recently, and
hopes they will affect his work propitiously.
OJ 7/4, [57] Handwritten postcard from Schenker and others to Moriz Violin, dated December 13,
1909
Schenker and others ask if Violin can obtain free tickets for a Pugno
recital.
OJ 13/37, 10 Handwritten letter from Ernst Rudorff to Schenker, dated December 17,
1909
Rudorff reports on situation with his "Eckbert" Overture, and comments
adversely on publishers.
WSLB 49 Handwritten postcard from Schenker to Hertzka (UE), dated December 20,
1909
Schenker asks for proofs of his Chromatic Fantasy & Fugue edition over the
Christmas holiday.
OC 52/44 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1909
Hertzka regrets that since printing has not yet begun Schenker cannot have
proofs over Christmas; — He asks for a meeting during the holidays.
OJ 15/15, [F] Handwritten letter from Weisse to Schenker, undated
Weisse apologizes that was unable to attend on December 22, and asks Schenker to
reschedule so that he can discuss his latest piano pieces and an "Elfenlied."
WSLB 50 Handwritten postcard from Schenker to Hertzka (UE), dated December 22,
1909
Schenker agrees to visit Hertzka, but stipulates no
criticism.
CA 110 Handwritten postcard from Schenker to Cotta, dated February 6, 1910
Schenker asks for proof-ties.
OJ 7/4, [60] Handwritten postcard from Schenker to Violin, dated March 14, 1910
Schenker will see Violin tomorrow. He has been "pumped" by Robert
Hirschfeld.
OJ 7/4, [61] Handwritten postcard from Schenker to Violin, dated March 23, 1910
Schenker suggests they return the due borrowed items to the Archive
together.
OJ 7/4, [62] Handwritten postcard from Schenker to Violin, dated April 8, 1910
Schenker gives Violin his opinion, and has a draft letter to show
him.
CA 111 Handwritten postcard from Schenker to Cotta, dated May 1, 1910
Schenker asks urgently for remaining galley-proofs of Counterpoint
1.
OJ 11/25, [2] Handwritten letter from Graf to Schenker, dated May 17, 1910
Graf justifies his request for a discussion, refused by Schenker, about some
details in Beethoven's "Leonora" overtures.
OJ 7/4, [63] Handwritten postcard from Schenker to Violin, dated June 3, 1910
Proofs of the Chromatic Fantasy & Fugue have arrived.
CA 112 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated June
16, 1910
Cotta asks Schenker for manuscript of the prelims and any supplements for
Kontrapunkt I, and for a publicity blurb.
OJ 9/31, [25] Stenographically handwritten letter from Cotta to Schenker, dated June 27,
1910
Cotta reiterates the requests made in CA 112.
CA 114 Handwritten letter from Schenker to Cotta, dated June 30, 1910
Schenker promises manuscript of prelims for Kontrapunkt 1.
CA 115 Handwritten letter from Schenker to Cotta, dated July 4, 1910
Schenker encloses manuscript of all prelims for Kontrapunkt 1. He mentions
recent publication of his edition of J. S. Bach's Chromatic Fantasy and Fugue, and speaks of
his plans for a Handbibliothek, for which he will present a proposal to Cotta. He announces
his departure and gives his summer address.
OJ 7/4, [64] Handwritten postcard from Schenker to Violin, dated July 4, 1910
Schenker has sent all materials to Cotta and is about to depart [for
Karerpass].
CA 116 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated July
6, 1910
Cotta acknowledges receipt of the manuscript prelims of Kontrapunkt 1 and
reiterates its request for material for its publicity blurb.
OJ 6/4, [49] Handwritten letter from Schenker to Violin, dated [July] 9, 1910
Schenker announces his arrival in the Karerpass, speaks of the costs, and
outlines his concerns over money, including money he has to send to his mother on August 1. — He
will write a letter to a female patron. — He describes the magnificence of the mountain
views.
OJ 7/4, [65] Handwritten picture postcard from Schenker and Jenny Kornfeld to Violin, dated July 12,
1910
Heinrich asks Violin to bring tarot cards; Jenny Kornfeld asks for
sunshine.
CA 117 Handwritten letter and publicity material from Schenker to Cotta, dated July 17,
1910
Covering letter with draft publicity material for Kontrapunkt 1. Schenker
promises to return proof of Preface.
OJ 15/15,[D] Handwritten letter from Weisse to Schenker, dated July 20, [1910]
Weisse has ‒ unfairly, in his view ‒ been failed in Latin. He is spending the
summer in Ischl, and asks Schenker if he could visit him in the Dolomites, even if for a
short time, to prove that he is not as immature as some of his schoolteachers seem to
think.
OJ 6/4, [50] Handwritten letter from Schenker to Violin, dated July 22, 1910
Joking about some humorous rhyming verse of Violin's, Schenker reports that he
has sent off an important letter, and asks Violin to send him 12 swim-bladders. — He has defied
the cost of laundry in the Karerpass, being still worried about money. — He comments on Max
Graf's recent support of Schoenberg.
OJ 7/4, [66] Handwritten picture postcard from Schenker to Violin, dated August 2, 1910
Schenker awaits impatiently a letter from Violin; second proofs of the Chromatic
Fantasy are imminent.
OJ 7/4, [67] Handwritten postcard from Schenker to Violin, dated August 11, 1910
Schenker has had an ear blockage removed and can hear again.
CA 118 Handwritten letter from Schenker to Cotta, dated August 19, 1910
A fire at his hotel causes Schenker to ask whether Cotta has sent him final
proofs recently. — He inquires whether he might travel to Stuttgart to present his plan for
the Handbibliothek in person.
OJ 6/4, [51] Handwritten letter from Schenker to Violin, dated August 19, 1910
Schenker sends Violin 50 florins in partial repayment of a debt, expressing
anxieties about his financial situation. — No word yet from Cotta. — The effect of the hotel
fire on hotel businesses. — Emil Kornfeld arrives today.
OJ 9/31, [26] Stenographically handwritten letter from Cotta to Schenker, dated August [20?],
1910
In response to CA 118, Cotta advises Schenker to send his proposal for a
Handbibliothek in advance of a possible visit to Stuttgart to present it in
person.
OJ 9/32, [6] Invoice from Cotta to Schenker, dated September 4, 1910
Invoice for the printing and publishing costs of Kontrapunkt
1.
CA 120 Handwritten postcard from Schenker to Cotta, dated September 6, 1910
Schenker asks whether Counterpoint [1] will be published in September, and
promises his "plans" soon.
OJ 9/32, [13] Handwritten letter and sales report for 1909 for Harmonielehre from Cotta, dated
September 6, 1910
1909 sales report for Harmonielehre, with covering letter
CA 121-122 Handwritten letter from Schenker to Cotta, dated September 10, 1910
Schenker explains the basis for his "Handbibliothek," suggests an overarching
title and a separate title for the proposed first booklet, on Beethoven's Ninth Symphony. He
promises to return the manuscript of vol. II/1.
OJ 12/27, [12] Stenographically handwritten letter from Cotta to Schenker, dated September 14,
1910
In response to Schenker's outline of his prospective Handbibliothek, Cotta
advise against its publication before that of vol. III [Niedergang]; and would not be able
to entertain the project until after publication of vol. III.
CA 125 Handwritten letter from Schenker to Cotta, dated September 15, 1910
Schenker asks Cotta to correct the page-count for Kontrapunkt
1.
CA 127 Handwritten letter from Schenker to Cotta, dated September 20, 1910
Schenker asks for a copy of Kontrapunkt 1 to be sent to Ernst Rudorff and
copies of that and Harmonielehre to be sent to Jenny Kornfeld at her Aussig
address.
OJ 12/27, [13] Stenographically handwritten letter from Cotta to Schenker, dated September 21,
1910
Cotta reasserts its unwillingness to consider publication of the
[Handbibliothek] project until after publication of vol. III.
OJ 7/4, [68] Handwritten postcard from Schenker to Violin, dated September 21, 1910
Schenker reports a proposition that Robert Hirschfeld has put to him, and
suggests lunch in Vienna.
OJ 6/4, [52] Handwritten letter from Schenker to Violin, dated September 23, 1910
Schenker gives Violin his reactions to Wilhelm Bopp's cancelation of a planned
"historical" concert of music by C.P.E. and J.S. Bach and Handel at the Akademie, and urges that
they adhere to their original plan.
CA 128 Handwritten letter from Schenker to Cotta, dated September 29, 1910
Schenker asks for a review copy of Kontrapunkt 1 to be sent to Ludwig
Karpath.
OJ 14/44, [1] Handwritten letter from the Vereinigung Wiener Musikreferenten (Theodor Antropp and
Paul Stauber) to Schenker, dated September 30, 1910
The Association invites Schenker to give a lecture series on Beethoven's Ninth
Symphony.
CA 129 Handwritten postcard from Schenker to Cotta, dated October 3, 1910
Schenker redirects the copies of Harmonielehre and Kontrapunkt I destined for
Jenny Kornfeld to his own address in Vienna.
OJ 9/31, [27] Stenographically handwritten letter from Cotta to Schenker, dated October 4,
1910
Publication of Kontrapunkt 1 having taken place this day, Cotta confirms the
orders of complimentary and review copies to Jenny Kornfeld, Ernst Rudorff, Ludwig Karpath,
and Schenker himself.
OJ 13/37, 11 Handwritten postcard from Ernst Rudorff to Schenker, dated October 11,
1910
Rudorff asks Schenker to send his two packages to Lauenstein, not
Großlichterfelde.
CA 132 Handwritten letter from Schenker to Cotta, dated October 13, 1910
Schenker incloses a reaction to the Preface of Kontrapunkt 1 by Adalbert
Seligmann. —He assures Cotta that their printing and production costs bill will be paid
promptly.
OJ 13/26, [2] Handwritten postcard from Richard Robert to Schenker, dated October 13,
1910
Robert acknowledges receipt of Kontrapunkt I, and expresses his admiration for
it.
OJ 9/18, [1] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated October
13, 1910
Bopp is pleased that matters have been settled, and hopes to make Schenker's
acquaintance.
OJ 9/31, [28] Stenographically handwritten letter from Cotta to Schenker, dated October 15,
1910
Cotta has already sent a copy of vol. II/1 to Ernst Rudorff.
OJ 13/37, 12 Handwritten letter from Ernst Rudorff to Schenker, dated October 20, 1910
Rudorff tells Schenker of Heinemann's book against Wagner; — Simrock is
sending Schenker Rudorff's Third Symphony.
CA 134-135 Handwritten letter from Schenker to Cotta, dated October 21, 1910
Schenker divulges the identity of his benefactor, explains why there has been
a delay in payment by the Rothschild Bank, and promises payment by sometime in
January.
CA 136 Handwritten letter from Schenker to Cotta, dated October 23, 1910
Schenker asks that a review copy of Kontrapunkt 1 be sent to Max Graf;
incloses a review.
OJ 9/31, [29] Stenographically handwritten letter from Cotta to Schenker, dated October 24,
1910
Cotta hopes that Schenker will honor his contract to pay the publishing costs
[of Kontrapunkt 1] in January.
CA 139 Handwritten postcard from Schenker to Cotta, dated October 25, 1910
Schenker asks for a copy of his Harmonielehre to be sent to Prof. Robert Fuchs
at the Vienna Academy.
OJ 9/31, [30] Stenographically handwritten letter from Cotta to Schenker, dated October 26,
1910
Cotta has sent a review copy [of Kontrapunkt 1] to Max Graf and welcomes a
recent favorable notice of that work.
OJ 12/27, [14] Stenographically handwritten postcard from Cotta to Schenker, dated October 27,
1910
Cotta has sent a complimentary copy of Harmonielehre to Robert
Fuchs.
OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16,
1910
Rudorff approves of the [highly controversial] Introduction to Schenker's
Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and
Fugue, raising some technical matters.
OJ 11/29, [5] Handwritten letter from Grunsky to Schenker, dated December 1, 1910
Grunsky thanks Schenker for the gift of his Chromatische Phantasie und Fuge,
and criticizes it for excessive polemic.
OJ 7/4, [69] Handwritten postcard from Jenny Kornfeld and Heinrich Schenker to Violin, dated
December 9, 1910
Jenny Kornfeld asks to speak with Moriz Violin re her divorce petition. Heinrich
gives his availability and reports on his mother's situation.
OJ 9/18, [2] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated January
14, 1911
Bopp regrets that he was unable to attend Schenker's chamber music
concert.
OJ 9/30, [1] Handwritten letter from Tony Colbert to Schenker, undated [January 1911?]
Mrs. Colbert regrets that she will not be able to take piano lessons during
February.
OJ 12/9, [3] Handwritten letter from Karpath to Schenker, dated March 10, 1911
Karpath answers Schenker's reproaches that neither Violin's Über das sogenannte
Continuo nor the first half-volume of his Kontrapunkt have been announced or reviewed in the
Neues Wiener Tagblatt.
OJ 9/18, [3] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 24,
1911
Bopp asks for a meeting with Schenker.
OJ 9/18, [4] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 27,
1911
Bopp warns Schenker of his unavailability one day.
OJ 9/18, [5] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated May 16,
1911
Bopp sends Schenker an invitation to a concert.
OJ 12/9, [4] Handwritten postcard from Karpath to Schenker, dated May 29, 1911
Karpath promises Schenker he will publish an announcement [about the lecture
series "The Decline of the Art of Music"].
OC 1A/1-2 Handwritten letter from Schenker to Wilhelm Bopp (Akademie für Musik), dated May 30,
1911
Schenker has been unable to elicit any response from President [von
Wiener].
OJ 8/1, [3] Handwritten picture postcard from Jenny Kornfeld and Heinrich Schenker to Moriz Violin,
dated June 11, 1911
Heinrich Schenker and Jenny Kornfeld report the delights of the Vienna
Woods.
OC 52/445 Typewritten letter from Hertzka (UE) to Schenker, dated June 27, 1911
Hertzka explains that the proofs for Schenker's monograph Beethovens neunte
Sinfonie will not be ready before August. — He hopes that an agreement can be reached over
the Beethoven/Bach project.
OJ 15/15, [J] Handwritten letter from Weisse to Schenker, dated July 9, [1911]
On summer holiday with little in the way of fixed plans, Weisse will be working
on some new piano pieces and asks Schenker's advice about form in the Ballade, Fantasy, and
Rondo.
OJ 8/1, [5] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated July 10, 1911
Schenker asks why Violin is silent about visiting them.
OJ 8/1, [6] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
July 22, 1911
Violin has written an unclear letter: Schenker presses him to say why he isn't
coming to visit; and Jenny Kornfeld urges him not to be so poor a
correspondent.
WSLB 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911
Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send
to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und
Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies
his editorial stance with reference to Rodin and architecture, and suggests it might be
published in Germany as retribution against Bopp and Wiener. —He is working now on
Counterpoint II for Cotta.
OJ 8/1, [7] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated August 4,
1911
Schenker inquires after Violin's location and company; — reports his work on
Riemann's theories.
OJ 15/16, [1] Handwritten letter from Weisse to Schenker, dated August 6, 1911
Weisse reports that he has reworked his fifth waltz and composed two other piano
pieces. He will now switch to composing songs, and asks a question about setting poems with more
than three stanzas.
OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 18, 1911
Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes
about his planned refutation of the theories of Hugo Riemann and the need to establish his own
theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes
more somberly about the coming autumn and its difficulties.
OJ 6/5, [2] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 26, 1911
With Heinrich and Jenny Kornfeld still in Sulden (Tyrol), Heinrich alludes to
the uncertainty about their return on account of a recent storm and destruction to the road;
— they have decided that, on return to Vienna, Jenny shall stay in a hotel until an
apartment is found for her; — Violin is asked to mail a letter to Schenker's attorney which
concerns Jenny's maintenance payments; Jenny reports that she is unrecognized in
Sulden.
OJ 8/1, [8] Handwritten picture postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz
Violin, dated August 27, 1911
Schenker and Jeanette vie with short stanzas. — Heinrich reports a walk to
Gomagoi.
OJ 8/1, [9] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
September 8, 1911
Schenker asks if a letter has arrived at Violin's address, and asks for it to be
forwarded to him if so.
OJ 8/1, [10] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated September 11,
1911
Schenker complains that Violin has failed to turn up for an agreed meeting at the
right place. He comments favorably on a new composition by Violin. He is going to the Pollaks in
the evening.
OJ 6/5, [3] Handwritten letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
September 26, 1911
Seemingly in response to a cry for companionship, Heinrich and Jenny Kornfeld express
their willingness to help, and ask what would be best.
OJ 8/1, [11] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 9,
1911
In promising to visit Violin, Schenker gives details of the lessons he has to
give over three days; — reports pending visit by Vrieslander.
OJ 8/1, [12] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 10,
1911
Citing Hebbel, and referring to the mystery "Frau O.," Schenker speaks of
Violin's unreliability, and also of Jenny Kornfeld's financial
difficulties.
OJ 8/1, [13] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 29,
1911
Schenker has booked four seats for the theater [for Wedekind:
Erdgeist].
OJ 8/1, [14] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 3,
1911
Schenker complains of Violin's dilatoriness, and asks to meet
him..
OJ 8/1, [15] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
November 5, 1911
Schenker reports a difficult encounter with "Frau O."; also reports a first
victory in Jenny Kornfeld's divorce application.
OJ 8/1, [16] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 7,
1911
Schenker urges Violin to request Hertzka send a copy of his Continuo
essay.
OJ 8/1, [17] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
November 27, 1911
Schenker reports the impossibility of Jenny Kornfeld's defending herself in her
divorce plea; and Jenny writes that she has had to send an inventory of all her chattels to Emil
Kornfeld.
OJ 15/16, [2] Handwritten letter from Weisse to Schenker, dated December 8, 1911
Weisse has a new piano piece to show Schenker, and asks to come the next
day.
OJ 15/16, [3] Handwritten letter from Weisse to Schenker, dated January 13, 1912
Weisse thanks Schenker for having taught him to make fine adjustments in his
compositions, and for imbuing him with greater clarity; he marvels at the subtlety of Schenker's
musical sensibility, and speaks of his joy at being Schenker's pupil.
OJ 12/9, [5] Handwritten letter from Karpath to Schenker, dated March 3, 1912
Karpath expresses approval of Schenker's Kontrapunkt I and Moriz Violin's book on
the continuo. —He thinks highly of Violin and of Hans Weisse as a composer.
OJ 15/15, [G] Handwritten letter from Weisse to Schenker, dated March 16, [1912]
Weisse sends a newspaper clipping for Schenker's possible use in his Ninth
Symphony monograph.
OJ 15/16, [4] Handwritten letter from Weisse to Schenker, dated June 1, 1912
Weisse is concerned that Schenker will turn his attention from himself to Felix
Hupka, whom Schenker has just taken on as a pupil.
OJ 11/22, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Marchet, Krause) to
Schenker, dated June 21, 1912
The writers announce plans to institute a regular program of lectures under the
auspices of the Gesellschaft der Musikfreunde, and invite Schenker to participate by offering a
lecture or lecture series.
OJ 15/16, [5] Handwritten letter from Weisse to Schenker, dated June 27, 1912
Weisse asks to be informed of Schenker's contact with Emil Hertzka; Mahler's
Ninth Symphony is "filth"; Schenker's Beethovens Neunte Sinfonie has just appeared and he will
study it.
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, [6] Handwritten letter from Weisse to Schenker, dated July 7, 1912
Weisse asks Schenker a technical question about musical form; reports that Julia
Culp is considering singing his Mädchen-Lieder.
OJ 13/37, 14 Handwritten letter from Rudorff to Schenker, dated July 18, 1912
Rudorff writes admiringly of Schenker's new book, Beethovens Neunte Sinfonie;
— He responds to Schenker's question about the whereabouts of the autograph manuscript of
Beethoven's Piano Sonata in E major, Op. 109, speaking also of his own former editorial
work.
OJ 15/16, [7] Handwritten letter from Weisse to Schenker, dated July 21, 1912
Weisse reports on progress with his string quintet.
OJ 12/29, [4] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated July 27, 1912
Lafite acknowledges OJ 5/14, [1] and Schenker's assent to taking part in the
planned series of lectures.
OJ 15/15,[I] Handwritten letter from Weisse to Schenker, dated August 4, [1912]
Weisse reports of progress with his string quintet; expresses his delight at
Schenker's monograph on Beethoven's Ninth Symphony, and speaks of "a bridge between art and
theory"; and expresses misgivings about Moriz Violin's pamphlet on the Vienna Academy. He
appeals to Schenker to give him piano lessons, and reports other matters.
OJ 13/37, 15 Handwritten notecard from Rudorff to Schenker, dated August 7, 1912
Rudorff is convinced the autograph of Op. 109 was acquired from the Joachim
estate by Mrs. Wittgenstein.
OJ 15/16, [8] Handwritten letter from Weisse to Schenker, dated August 10, 1912
Weisse speaks of Schenker's monograph on Beethoven's Ninth Symphony and progress
with his own string quintet; — reiterates his desire to transfer from Violin to Schenker for
piano lessons; — refers to lectures that he is about to take with Guido Adler, and quotes from
Florence May's biography of Brahms. — He will write to Lorle Meissner; — gives his address in
Pontresina.
OJ 15/16, [9] Handwritten letter from Weisse to Schenker, dated August 15, 1912
Weisse asks detailed question on musical form for the Scherzo of his string
quintet.
OJ 9/30, [2] Handwritten letter from Tony Colbert to Schenker, dated August 23, [1912]
Mrs. Colbert pleads to resume piano lessons with Schenker.
OJ 15/16, [10] Handwritten letter from Weisse to Schenker, dated August 27, 1912
Weisse has been studying an example of rondo form in Mozart; he is enjoying the
culture of Basel; gives his return date to Bad Ischl.
OJ 12/21, [1] Handwritten letter from Carl Krebs to Schenker, dated August 30, 1912
Krebs is unable to give Schenker information as to the whereabouts of the
autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109
OJ 12/29, [5] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 14, 1912
Lafite invites Schenker to call on him to discuss the conditions of the
lectures.
OC 1 B/15 Handwritten draft letter from Schenker to Carl Colbert, dated September 15,
1912
Schenker explains why he deprecates strongly giving a student only one lesson a
week and positively recommends two or three; he leaves the matter to Colbert, but gives him a
difficult choice.
GdM Exh.332, [2] Handwritten letter from Schenker to Carl Lafite (Gesellschaft der Musik), dated
September 16, 1912
Schenker declines Lafite's invitation to discuss in person the topic, date and
fee of his proposed lectures to the Society, and asks him to put suggestions in
writing.
OJ 9/30, [3] Handwritten letter from Tony Colbert to Schenker, undated [September 16,
1912]
Mrs. Colbert begs to be accepted back as a pupil on one lesson a week. She has
asked Sofie Deutsch whether she would give over one of her two lessons to her and Mrs. Deutsch
has declined; she now asks whether Mrs. Stirling might agree to do the same.
OJ 12/29, [6] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 18, 1912
The Gesellschaft der Musikfreunde can accommodate a series of only three
lectures for Schenker; Lafite proposes days and times, asks Schenker for a revised topic,
and proposes a fee.
GdM Exh.332, [4] Handwritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 20, 1912
Lafite rejects Schenker's rebukes and regrets that because of the tone of
Schenker's letter he is unable to pursue any further a yearlong course that he had had in
mind for the next season.
GdM Exh.332, [3] Handwritten letter from Schenker to Carl Lafite (Gesellschaft der Musikfreunde), dated
September 20, 1912
Schenker turns down Lafite's proposal in polemical manner.
OJ 12/29, [8] Typewritten postcard from Carl Lafite to Schenker, dated September 25,
1912
Since several letters to Schenker have been returned unopened, Lafite regrets
that the Gesellschaft der Musikfreunde must renounce its collaboration with Schenker in the
lecture series.
OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der
Musikfreunde), dated September 27, 1912
Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav
Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he
lodges his complaint at the way in which he has been treated, which he considers impolite and
publicly demeaning, and withdraws his offer of lectures.
OJ 9/30, [4] Handwritten letter from Tony Colbert to Schenker, dated September 27, 1912
Mrs. Colbert suggests works she might study. -- She is enjoying Schenker's (newly
published) monograph on Beethoven's Ninth Symphony.
OJ 15/16, [11] Handwritten letter from Weisse to Schenker, dated October 6, 1912
Weisse has heard nothing from Moriz Violin and is anxious to transfer to Schenker
for piano lessons.
OC B/179 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 31, 1912
Kopfermann informs Schenker which late Beethoven piano sonatas the Library has
autograph pages of, and the arrangements for making photographs.
OJ 13/29, [8] Handwritten letter from Rosenthal to Schenker, dated November 10, 1912
Rosenthal apologizes for mishandling of ticket issue, and raises the matter of
forming an artists' organization.
OJ 15/16, [12] Handwritten letter from Weisse to Schenker, dated December 18, 1912
Diatribe by Weisse against Otto Vrieslander's plan to produce a simplified
version of Schenker's Harmonielehre, impugning Vrieslander's motives.
OJ 15/16, [13] Handwritten letter from Weisse to Schenker, dated February 11, 1913
Weisse proposes composing a completely new first movement for his string
quintet.
OJ 15/15, [E] Handwritten lettercard from Weisse to Schenker, undated, [February 1913]
Weisse reports that Bruno Walter, whom he encountered in the street, does not
know the difference between counterpoint and fugue.
OJ 15/16, [14] Handwritten letter from Weisse to Schenker, dated March 29, 1913
Weisse apologizes for having interrupted Robert Brünauer's lesson, and declares
his allegiance to Schenker effusively. He asks to call on March 31 (his
birthday).
OJ 12/9, [6] Handwritten letter from Karpath to Schenker, dated April 3, 1913
Karpath exchanges newspaper clippings with Schenker. — Announces a forthcoming
review of Schenker's monograph on Beethoven's Ninth Symphony (1912). — Tells of a potential new
pupil for Schenker who is currently studying with Schreker. — Complains at being persecuted by
supporters of Schoenberg.
OJ 15/16, [15] Handwritten letter from Weisse to Schenker, dated April 15, 1913
Weisse comments on Brahms's juxtaposition of the diatonic and chromatic and use
of modal mixture in his Waltz in C# major, Op. 36, No. 6, and asks Schenker to write about
this.
OC B/205 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated April 26,
1913
Schmidt identifies the autograph manuscript material of Beethoven Op. 111 held
by the Beethoven-Haus, and the extent to which photography of it has been carried
out.
OC B/277 Handwritten calling card from Carl Krebs to Schenker, dated April 27,
1913
Krebs gives information about the whereabouts of Beethoven's Piano Sonata Op.
101, but not of Op. 106.
OJ 15/16, [16] Handwritten letter from Weisse to Schenker, dated June 9, 1913
Weisse reports receipt of a letter from Moriz Violin.
WSLB-Hds 191.579 Handwritten letter from Otto Erich Deutsch to Schenker, dated June 25, 1913
Schenker informs Otto Erich Deutsch of the whereabouts of the collector Meinert.
OJ 15/16, [17] Handwritten letter from Weisse to Schenker, dated July 8, 1913
Weisse sends a copy of a book [unidentified] and thanks Schenker again for his
teaching.
OJ 15/16, [18] Handwritten letter from Weisse to Schenker, dated July 16, 1913
Weisse asks for guidance on technical questions in his rewriting of the first
movement of his string quintet.
OJ 15/16, [19] Handwritten letter from Weisse to Schenker, dated August 12, 1913
Weisse reports on progress with his string quintet, and lists his travel plans
for late September.
OJ 15/15, [1] Handwritten postcard from Weisse to Schenker, dated September 1, 1913
At the end of a relatively unproductive summer, Weisse is looking forward to
seeing his teacher.
OJ 10/3, [1] Part of handwritten letter from Ludwig Scheibler to Otto Erich Deutsch, dated September 6,
1913
Scheibler states that the pieces contained in Schenker's C. P. E. Bach: Klavierwerke are
late works and inferior to the early and middle-period works.
OJ 15/15, [2] Handwritten postcard from Weisse to Schenker, dated October 10?, 1913
Weisse asks for advice about modal mixture.
OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913
Hammer approaches Schenker regarding piano lessons for his wife.
OJ 15/16, [20] Handwritten letter from Weisse to Schenker, dated September 13, 1913
Weisse reports a conversation with Franz Steiner about Richard Strauss and his
alleged interest in Schenker's work. — Weisse looks forward to having three lessons a week with
Schenker.
OC 1A/16-17 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 16,
1913
Schenker regrets that he is unable to offer Newlov lessons in the coming
season.
OJ 11/36, [2] Handwritten letter from Hammer to Schenker dated September 17, [1913]
Hammer cannot afford Schenker's fee; he dislikes the modern piano and has a Stein
grand piano, a Hammerklavier copy, and a clavichord.
OJ 15/15, [H] Handwritten letter from Weisse to Schenker, dated [September] 23, [1913]
Weisse expresses his delight at the approach just made to his teacher from
publishing house of C. F. Peters. He affirms his indebtedness to his teacher for all that he has
learned and, regarding himself more a son than a mere pupil of Schenker’s, he asks to be
addressed in future by the familiar "Du," though he would want to continue to use "Sie" when
addressing his teacher.
OC 1A/25-26 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 24,
1913
Schenker says he has not received an alleged letter from Newlov; — he asks about
payment outstanding from 1912/13 season.
OJ 12/9, [7] Typewritten letter from Karpath to Schenker, dated September 24, 1913
Karpath is pleased to have introduced Paul Breisach to Schenker as a new pupil.
He wants to send another young man ‒ whose mother is divorced and could pay only a reduced fee ‒
to him for instruction.
OC 1A/27-29 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 25,
1913
Angry letter in which Schenker defends himself against the accusation that he is
demanding a fee that has already been paid: he has all her letters, copies of his own, and all
her payment slips. He describes her unorthodox payment system, comparing it with that of other
pupils. He details her payment record for 1912/13 and insists on payment for June
1913.
OJ 10/3, [3] Typewritten postcard from Otto Erich Deutsch to Schenker, dated September 25, 1913
Deutsch has forwarded Schenker's (non-extant) reply to Ludwig Scheibler, and states that Louis Koch
has taken over the autograph manuscripts of Carl Meinert.
OJ 11/36, [3] Handwritten letter from Hammer to Schenker undated [September 26, 1913]
Hammer regrets Schenker's refusal to teach his wife.
OC B/276 Typewritten letter from Louis Koch to Schenker, dated October 3, 1913
Koch will send required information.
OJ 15/16, [21] Handwritten letter from Weisse to Schenker, dated October 7, 1913
Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op.
109.
OJ 12/9, [8] Handwritten letter from Karpath to Schenker, dated October 9, 1913
Karpath had asked Schenker for support for Mittelmann and complains at Schenker's
rude reaction.
OC B/178 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 21, 1913
The Library's photographer has been inundated with work and unable to start on
Schenker's order.
OJ 15/15, [L] Handwritten letter from Weisse to Schenker, undated [October 22, 1913]
Weisse reiterates his congratulations on the approach from C. F. Peters, and
sends his teacher two newspaper clippings of Johannes Messchaert's recital, given the day
before.
OC B/273 Typewritten letter from Louis Koch to Schenker, dated October 23, 1913
Koch lists the Beethoven manuscript items in his possession.
OC B/272 Typewritten letter from Louis Koch to Schenker, dated October 28, 1913
Koch agrees to supply photographs of Op. 110.
OC B/177 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 30, 1913
Kopfermann notifies Schenker of the dispatch of photographs and of the
cost.
OJ 15/15,[C] Handwritten letter from Weisse to Schenker, undated [October 31, 1913]
Returning home from a lesson with Schenker, Weisse makes observations on the
second part of the Brahms's Waltz in B minor, Op. 39, No. 11, and seeks his teacher's
approval of his interpretation.
OJ 10/1, [1] Handwritten letter from Dahms to Schenker, dated November 9, 1913
Dahms acknowledges receipt of Schenker's letter of September 27 and the
Erläuterungsausgabe of Op. 109, is reading other work of Schenker's, and is glad to be
disseminating his work.
OJ 15/15, [K] Handwritten letter from Weisse to Schenker, undated [November 1913]
This communication consists of three parts: p. 1 offers an interpretation of a
passage from Brahms's Horn Trio, first movement; p. 2 is a quotation from Schopenhauer
concerning the ethical status of a search for artistic truth; p. 3 offers an interpretation of
the Waltz No. 12 from Brahms's Op. 39.
OC B/176 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated November 18, 1913
Kopfermann provides an estimate for the photography of Beethoven's Ninth Symphony
that Schenker has requested; and notifies him of another source of this work in the Library's
holdings.
OC B/275 Handwritten letter from Louis Koch to Schenker, dated November 22, 1913
Koch gives the provenance of the Op. 110 manuscript in his possession, and
other information.
BNba 304g, [1] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated November 27,
1913
Schenker asks the Beethoven-Haus to prepare and supply him with photographs of
the autograph manuscript of the first movement of Beethoven's Piano Sonata in C minor, Op. 111,
and announces the publication of his Erläuterungsausgabe of Op. 109 and monograph on Beethoven's
Ninth Symphony.
OC B/279 Typewritten letter from Leo Liepmannssohn to Schenker, dated November 29,
1913
Liepmannssohn has none of the manuscripts Schenker seeks.
OC B/280 Handwritten letter from Max Meinert to Schenker, dated December 1, 1913
Max Meinert does not know the whereabouts of the autograph manuscripts of Op.
101 and Op. 106.
BNba 304g, [2] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
December 3, 1913
Schmidt consults Zitelmann as to whether to make photographs of the
first movement of Beethoven Op. 111 for Schenker,
OC B/204 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
3, 1913
Schmidt suggests Schenker commission the Beethoven-Haus photographer, Heinrich
Rose, direct in ordering photographs of the autograph manuscript of the first movement of
Beethoven's Op. 111. He asks Schenker to supply a copy of his monograph on the Ninth
Symphony to the Beethoven-Haus library.
BNba 318, [1] Handwritten letter from Schenker to Heinrich Rose, dated December 9, 1913
Schenker places an order for photographs of Beethoven piano sonatas Op. 111, Op.
27, No. 2, and Op. 28.
BNba 318, [2] Handwritten letter from Schenker to F. A. Schmidt, dated December 9, 1913
Schenker states that he is writing a letter placing an order for photographs of
Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28, and hoping that Schmidt will extend
his permission to cover the latter two manuscripts.
OC B/203 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
13, 1913
Schmidt thanks Schenker for the copy of his monograph Beethovens neunte
Sinfonie, and raises points of detail about the photography of the three requested
works.
BNba 304g, [3] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
December 14, 1913
Schmidt consults Zitelmann as to whether Schenker should be granted permission
for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28; then proceeds to other
Beethoven-Haus business.
BNba 304g, [4] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to an unknown colleague,
dated December 14, 1913
Schmidt suggests that permission for photography of Beethoven's sonatas Op.
27, No. 2 and Op. 28 should be granted to Schenker; and deals with other Beethoven-Haus
business.
OC B/281 Handwritten letter from Max Meinert to Schenker, dated December 16, 1913
Meinert has been unable to obtain further information.
OC B/175 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated December 20, 1913
Kopfermann inquires after Schenker's photographic requirements.
OC B/174 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated December 22, 1913
Kopfermann sends five photographic prints.
OJ 15/15, [M] Handwritten postcard from Weisse to Schenker, undated [December 24?, 1913?]
Photograph of Hans Weisse with inscription..
BNba 304g, [5]-[6] Handwritten letter and declaration from Schenker to Ernst Zitelmann, dated February 28,
1914
Schenker submits a declaration on his usage of photographic materials
received.
BNba 304g, [7] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
March 2, 1914
Schmidt forwards Schenker's "Declaration" to Zitelmann.
OJ 10/1, [2] Handwritten letter from Dahms to Schenker, dated March 27, 1914
Dahms wishes to start his musical studies afresh in Schenker's "shool," asks
whether there is anyone in Berlin who can teach him, also explores the possibility of coming to
Vienna.
OJ 10/1, [3] Handwritten letter from Dahms to Schenker, dated April 13, 1914
Schenker outlines his financial situation and rehearses alternative plans for
study with Schenker.
OJ 15/15, [3] Handwritten postcard from Weisse to Schenker, dated April 17, 1914
Weisse gives Schenker the ancient Greek term for the German verb
"anschauen."
UG 32/5, [1] Handwritten letter from Schenker to Guido Adler, dated April 21, 1914
Letter of recommendation for Hans Weisse
OJ 10/1, [4] Handwritten letter from Dahms to Schenker, dated June 2, 1914
Dahms says he is not well liked in some Berlin quarters for opposing "fashionable
music." — He plans to study Schenker's theory autodidactically in Berlin, then come to Vienna in
the winter.
OC B/172 Printed form-letter with handwritten additions, from Wilhelm Altmann (Königliche
Bibliothek zu Berlin) to Schenker, dated June 19, 1914
Altmann sends three early editions of Op. 111 on lean.
BNba 304g, [8] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated June 19,
1914
Schenker asks if the Beethoven-Haus Archive has a copy of the Cappi &
Diabelli early edition of Op. 111.
OJ 10/1, [5] Handwritten letter from Dahms to Schenker, dated June 26, 1914
Dahms inquires after Schenker's study of Op. 110, and hopes to review it. He is
sure there will come a day when Schenker's work is fully appreciated.
OJ 15/16, [22] Handwritten letter from Weisse to Schenker, dated July 7, 1914
Weisse reports that he is engrossed in reading Jean-Paul, is resting, practising
piano, and studying Brahms's Second Symphony.
OJ 10/1, [6] Handwritten letter from Dahms to Schenker, dated July 15, 1914
Dahms communicates from the Black Forest, commiserating over Schenker's
experiences with the Vienna Konzerthausgesellschaft.
OJ 15/16, [23] Handwritten letter from Weisse to Schenker, dated July 16, 1914
Weisse thanks Schenker for clippings of two articles from the Münchener Zeitung.
Returning them, he critiques Alexander Berrsche's references there to the theory of the trill as
expounded in Schenker's Beitrag zur Ornamentik.
OJ 9/30, [5] Handwritten letter from Tony Colbert to Schenker, undated [September 13,
1914]
Mrs. Colbert pleads for reduction of lessons to once every other week on account
of the war work she is doing and the difficulties that she and her husband are
facing.
OJ 15/16, [24] Handwritten letter from Weisse to Schenker, dated September 17, 1914
Commenting on an article by Paumgartner, Weisse asks to come and play some new
compositions, and warns that he may be called up for war service.
OJ 13/26, [3] Handwritten postcard from Richard Robert to Schenker, dated September 18,
1914
Robert asks Schenker meet with him, prefereably to visit him, on Saturday or
Sunday.
OJ 15/34, [1] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, dated September 23,
[1914]
Zuckerkandl asks to call on Schenker.
OJ 9/30, [6] Handwritten letter from Tony Colbert to Schenker, dated November[?] 2[?],
1914
Mrs. Colbert has done no piano practice, and explains her circumstances; but she
asks Schenker to fit her in for a lesson every two weeks.
OJ 12/9, [9] Typewritten letter from Karpath to Schenker, dated November 14, 1914
Karpath invites Schenker to contribute to the periodical Der Merker, of which he
has recently become the editor-in-chief.
OJ 12/9, [10] Typewritten letter from Karpath to Schenker, dated November 21, 1914
Karpath describes his editorial policy for the periodical Der Merker and asks
Schenker for contributions.
OJ 10/1, [7] Handwritten field postcard from Dahms to Schenker, dated April 5, 1915
Dahms has been conscripted and writes from the battle front. He has submitted an
article on Schenker's edition of Op. 110.
OJ 10/1, [8] Handwritten field postcard from Dahms to Schenker, dated April 25, 1915
Dahms writes of the "fatherland" and of Hindenburg's
"voice-leading."
OJ 10/1, [9] Handwritten field postcard from Dahms to Schenker, dated June 4, 1915
Dahms echoes Schenker: The German character must prevail over
others.
OJ 5/45, [1] Copy letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated June 17,
1915
In a six-page letter, and following harsh exchanges the previous day, Schenker
castigates Weisse for trying to avoid paying for four lessons, speaking of his own difficulties
in managing the profession of private teacher, and the unfair ways in which artists are treated
financially.
OJ 15/34, [2] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, undated [August 20,
1915]
Zuckerkandl reports on life in the military.
OJ 10/1, [10] Handwritten field postcard from Dahms to Schenker, dated October 2, 1915
Dahms is unable to describe his [wartime] experiences. He has had to revise his
opinions.
OJ 10/1, [11] Handwritten field postcard from Dahms to Schenker, dated October 13, 1915
Dahms is sick.
OJ 10/1, [12] Handwritten field postcard from Dahms to Schenker, dated October 29, 1915
Dahms inquires why Schenker singled out Strauss's Alpine
Symphony.
OJ 10/1, [13] Handwritten letter from Dahms to Schenker, undated but presumably November 1,
1915
Dahms acknowledges Schenker's letter with joy; he is committed to the struggle
against the "other side."
OC B/270 Typewritten letter from Louis Koch to Schenker, dated November 29, 1915
Koch thanks Schenker for a copy of his elucidatory edition of Op. 111, and
reports his Chopin holdings.
OJ 10/1, [14] Handwritten field postcard from Dahms to Schenker, dated January 8, 1916
Dahms is able to do some work, longs for peace, looks forward to Op.
111.
OJ 12/9, [12] Handwritten letter from Karpath to Schenker, dated January 13, 1916
Karpath accepts an article of Schenker's [for Der Merker] and asks for a
modification.
OJ 10/1, [15] Handwritten field postcard from Dahms to Schenker, dated January 15, 1916
Dahms cannot write openly because of censorship.
OJ 12/9, [13] Handwritten letter from Karpath to Schenker, dated January 26, 1916
Karpath is worried about the disappearance of Aron Mittelmann, and asks Schenker
to help him search.
OJ 12/9, [14] Handwritten lettercard from Karpath to Schenker, dated January 28, 1916
Karpath reports a summons to appear before a military court with respect to Aron
Mittelmann.
OJ 12/9, [15] Handwritten postcard from Karpath to Schenker, postmarked February 1, 1916
After attendance at the court [regarding Mittelmann], Karpath asks Schenker to be
in touch with him.
OJ 12/9, [16] Handwritten letter from Karpath to Schenker, dated February 2, 1916
Following an unanounced and abortive visit by Schenker, Karpath asks Schenker to
call him by telephone.
OJ 12/9, [17] Handwritten letter from Karpath to Schenker, dated February 6, 1916
Karpath sends an unidentified letter [from Mittelmann]. — He asks Schenker before
his attendance at court to take on jointly with himself the surety for
Mittelmann.
OJ 12/9, [19] Handwritten letter from Karpath to Schenker, dated February 8, 1916
Karpath reports attorney Kammerer's assessment and recommendations on the
Mittelmann case.
OJ 10/1, [16] Handwritten field postcard from Dahms to Schenker, dated February 21, 1916
Visit to Vienna has to be deferred.
OJ 71/19a, [1] Fragment of a typewritten letter from Emil Kammerer to Ludwig Karpath, undated;
Handwritten letter from Ludwig Karpath to Schenker, dated March 6, 1916
Karpath forwards a letter from the attorney Kammerer's office saying that the
conclusion of the case against Mittelmann is expected soon.
OJ 11/22, [5] Handwritten postcard from the Gesellschaft der Musikfreunde (Bella) to Schenker, dated
March 8[?], [1916]
Mandyczewski invites Schenker to the Archive for March 10.
OJ 10/1, [18] Handwritten letter from Dahms to Schenker, dated March 31, 1916
Dahms acknowledges Op. 111; Schenker's achievement will outlive the "moderns". —
Reports on a Brahms concert attended. — He is in a rest home and working.
OJ 15/16, [25] Handwritten letter from Weisse to Schenker, dated April 7, 1916
Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata
Op. 111, but expresses reservations about the political footnotes. He asks to bring a new
song to Schenker, since he is about to go to the battlefield.
OJ 10/1, [19] Handwritten letter from Dahms to Schenker, undated but presumably May 1,
1916
Dahms laments the state of music and criticism in Berlin. — When the war is over
he plans to draw a line under his life so far and start again.
OJ 10/1, [20] Handwritten letter from Dahms to Schenker, dated June 15, 1916
Dahms may be transferred to Wilna. — Has reviewed Op. 111 for the
Kreuz-Zeitung.
OJ 10/1, [21] Handwritten letter from Dahms to Schenker, dated June 30, 1916
Dahms holds out hope for the position of music critic at Der Abend of Vienna,
about which Schenker has inquired.— He reviews his past work; coming to Vienna is
imperative.
OJ 15/16, [26] Handwritten letter, with original poetry, from Weisse to Schenker, dated July 3,
1916
As a sign of his recovery, Weisse sends Schenker two poems while stationed in
Berezhany, “Der alte Jude” and “Die Dirne."
OJ 9/30, [6a] Handwritten letter from Tony Colbert to Schenker, dated July 13
Mrs. Colbert thanks Schenker for flowers sent while she was in the
sanatorium.
OJ 15/16, [27] Handwritten letter from Weisse to Schenker, dated August 3, 1916
Weisse hopes to see Kontrapunkt II soon. — He reflects on the state of
humanity in the light of being in the midst of the war. — He incloses a cutting of an
article [about sources of Saint-Saëns's music.]
OJ 10/1, [22] Handwritten postcard from Dahms to Schenker, dated November [recte August] 9,
1916
Dahms hopes to be going to Wilna.
OJ 10/1, [23] Handwritten letter from Dahms to Schenker, dated August 27, 1916
Dahms may be posted to Wilna, or may be discharged. He asks about the position of
music critic at the Vienna Der Abend.
OC 1 B/13 Handwritten draft letter from Schenker to Carl Colbert, dated September 18,
1916
Schenker excuses the raising of the name of Walter Dahms in connection with an
inquiry by Tony Colbert.
OJ 10/1, [24] Handwritten letter from Dahms to Schenker, dated October 13, 1916
Dahms reacts to the news that the music-critic position at Der Abend is taken;
laments continued lack of opportunity to work.
OJ 10/1, [25] Handwritten letter from Dahms to Schenker, dated November 26, 1916
Dahms reports on his situation, and seeks Schenker's interest in a forthcoming
lecture in Vienna by Willi von Möllendorf.
OJ 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December
1916]
Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to
Universal Edition.
OJ 15/16, [28] Handwritten letter from Weisse to Schenker, dated December 1, 1916
Weisse is looking forward to leave in mid-December and to seeing
Schenker.
OJ 15/16, [31] Handwritten letter from Weisse to Schenker, dated November 9, 1917
Weisse now has a piano in his army lodgings, plays in the evenings, expects to
send Schenker an analysis of Brahms Intermezzo, Op. 119, No. 2, shortly. The Italian defeat
is near. He has sent a pamphlet by Walther Rathenau.
OJ 12/26, [2] Typewritten letter from the Rothschild Artists' Foundation to Schenker, dated
December 3, 1916
The Rothschild Artists' Foundation invites Schenker to serve on a panel of
jurors with Guido Adler and Alfred Grünfeld.
OJ 11/58, [1] Typewritten letter from the Israelitische Kultusgemeinde to Schenker, dated December
17, 1916
President Alfred Stern expresses his regret at Schenker's refusal to serve as
a juror alongside Guido Adler for the Rothschild Artists' Foundation.
OJ 11/35, 1 Handwritten letter from Halm to Schenker, dated January 4, 1917
Halm reports on his recent and forthcoming publications
OJ 15/16, [29] Handwritten lettercard from Weisse to Schenker, dated January 16, 1917
Back in military service after Christmas leave, Weisse reflects on the nature of
duty, and recommends F. W. Foerster’s Lebensführung to Schenker.
OJ 11/35, 2 Handwritten letter from Halm to Schenker, dated January 27, 1917
Halm reports on his current piano and chamber music publishing plans, and
employment.
OJ 11/35, 9a Handwritten postcard from Halm to Schenker, dated February 3, 1917
Halm acknowledges Schenker's letters, and will write.
OJ 15/16, [30] Handwritten lettercard from Weisse to Schenker, dated February 3, 1917
Weisse asks if Schenker has not received his previous message; he is reading
Kontrapunkt I.
OJ 10/1, [26] Handwritten letter from Dahms to Schenker, dated March 2, 1917
Dahms's nerves are bad and he has difficulty doing any serious reading. —
Moellendorf has sent a review of the quarter-tone harmonium, and Dahms
comments.
OJ 10/1, [27] Handwritten letter from Dahms to Schenker, dated March 18, 1917
Dahms reacts to Schenker's suggestion of a stipendium for study in
Vienna.
OJ 11/35, 4 Handwritten letter from Halm to Schenker, dated March 18, 1917
Halm attempts to identify the fundamental differences between their two views,
with reference to Beethoven, Bruckner and Brahms. He and Karl Grunsky have been estranged for
some years.
OJ 10/1, [28] Handwritten letter from Dahms to Schenker, dated April 20, 1917
Dahms comments on the political situation and decries widespread
corruption.
OJ 10/1, [29] Handwritten letter from Dahms to Schenker, dated June 8, 1917
Dahms hopes for a posting to Berlin; he is gaining strength from reading
Kierkegaard.
OJ 11/35, 5 Handwritten letter from Halm to Schenker, dated July 2, 1917
Halm seeks advice on choice of edition for the Beethoven variations, and offers
advice in negotiating with publishers.
DLA 69.930/1 Handwritten letter from Schenker to Halm, July 8, 1917
Schenker acknowledges Halm's letter; he discusses the relative merits of editions
of Beethoven variations, and looks forward to seeing Halm's review of his "Beethoven editions";
he is putting the finishing touches to Kontrapunkt 2.
OJ 10/1, [30] Handwritten letter from Dahms to Schenker, dated July 10, 1917
Dahms decries democracy's reliance on the "common man" and deplores its
disregard of intellectuals and artists.
OJ 11/35, 9b Handwritten postcard from Halm to Schenker, dated July 21, 1917
Halm thanks Schenker for arranging that Cotta send him NMTP vols. I and
II/1.
OJ 8/3, [49] Handwritten postcard from Schenker to Moriz Violin, dated October 7, 1917
Heinrich and Jeanette are unable to visit. Remarks on parliaments of the
regions.
OJ 15/15, [4] Handwritten field postcard from Weisse to Schenker, dated October 16, 1917
Back in military service, Weisse thanks Schenker profusely for his
teaching.
OJ 10/1, [31] Handwritten letter from Dahms to Schenker, dated November 9, 1917
Dahms is now with the War Ministry in Berlin. He comments on Korngold and
Bruckner.
OJ 8/3, [50] Handwritten postcard from Schenker to Valerie Violin, dated November 16,
1917
Schenker requests Moriz's full army address; pressure of work precludes a visit;
a parcel has gone astray.
OJ 8/3, [51] Handwritten postcard from Schenker to Moriz Violin, dated November 23, 1917
Schenker thinks the worst is over [in World War I]; accepts promised
jam.
OJ 10/1, [32] Handwritten letter from Dahms to Schenker, dated December 27, 1917
Dahms is expecting peace soon. Refers to Schenker's remarks on
Bruckner.
OJ 6/6, [5] Handwritten letter from Schenker to Valerie Violin, dated December 30, 1917
In response to the Violins' condolences on the death of his mother, Schenker
reflects sadly on her life and needs between 1890 and the late 1910s, attributing blame largely
to his younger brother Moriz, less to his older brother Wilhelm; — He explains why he and
Jeanette are unable to visit the Violins in the cold and without adequate
clothing.
OJ 15/16, [32] Handwritten letter from Weisse to Schenker, dated January 2, 1918
Weisse, in a fieldpost letter, writing in Sütterlinschrift, copies out a passage
from Goethe quoted in Chamberlain's "Grundlagen des neunzehnten Jahrhunderts," and informs
Schenker of his imminent change of address.
OJ 15/34, [3] Handwritten letter from Viktor Zuckerkandl to Schenker, dated January 14,
[1918]
Acknowledges one postcard; the other reaches him while writing the letter.
Reports and comments on article by Hans Friedrich in Der Merker. Remarks on the nature of
hatred, national and personal, in wartime.
OJ 11/35, 7 Handwritten letter from Halm to Schenker, dated January 20, 1918
Acknowledges DLA 69.930/2, January 17, 1918. Schenker has accused him of a
contradiction, and he concedes it, referring to several of his publications. UE has not
responded to his request for review copies of Schenker's works, so suggests a reciprocal
exchange.
OC 52/203 Typed letter from Hertzka (UE) to Schenker, dated February 5, 1918
Hertzka acknowledges WSLB 292 and apologizes for late reply; he knows nothing of
August Halm's request for review copies of Schenker's other works, but has ordered a complete
set to be sent to him.
OJ 14/45, [10] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 5,
1918
Schenker, Violin alleges, has accused him of a dearth of subject matter in letter
writing; Violin defends himself on grounds that his life has been disrupted by military service
and the impact of that on his physical and mental state. He accuses Schenker of insensitivity,
and treating him like his pupils. He defends his wife for giving food to the Schenkers, and
explains her motivation for so doing.
OJ 5/38, [2] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm and Dodi
Schenker, dated February 5, 1918
Heinrich relays back the price of transferring Julia Schenker's body from
Waidhofen to Vienna, and would hope to get a discount on that price via the Jewish Religious
Community. He reports on the planned Festschrift for his 50th birthday, and his current troubles
with UE. Jeanette characterizes their life as "farcical," and asks Dodi's advice in obtaining
twine for repairing shirts. She comments on the Versailles Council of War as confirming
Heinrich's warnings.
DLA 69.930/3 Handwritten letter from Schenker to Halm, dated February 7, 1918
Schenker writes scathingly of UE's business practices; describes his
counter-tactics, and his experiences over Niloff, Instrumentations-Tabelle. He will read all of
Halm's writings and asks for a reading-list
OJ 11/35, 8 Handwritten letter from Halm to Schenker, dated February 12, 1918
Halm acknowledges receipt of item from Schenker's publisher, and plans to
reciprocate, but has little time in which to order items. Copies of his essay about Schenker
have been misdirected.
OJ 14/33, [3] Handwritten letter from Steglich to Schenker, dated February 15, 1918
Steglich accepts Schenker's offer of a copy of the Op. 111 Erläuterungsausgabe;
he is a Riemann pupil, and has a keen interest in analyses.
OJ 15/16, [33] Handwritten letter from Weisse to Schenker, dated February 18, 1918
Weisse apologizes profusely for not having paid his condolences to Schenker upon
the death of his mother.
OJ 15/16, [34] Handwritten letter from Weisse to Schenker, dated February 26, 1918
Weisse expresses his concerns about a proposed Festschrift in celebration of
Schenker's fiftieth birthday, fearing that the work will be written largely by eminent people
and journalists who have little knowledge of his teaching and so will not do justice to him as a
theorist; asks Schenker for his own opinion of the matter.
OC 52/559 Typed letter from Hertzka (UE) to Schenker, dated March 5, 1918
Hertzka will inquire about a review published in Lausanne; has dispatched Op. 111
to Steglich and encloses invoice and payment order; in light of Brest-Litovsk, he inquires about
Kontrapunkt2 and the Kleine Bibibliothek.
OJ 14/33, [4] Handwritten field postcard from Steglich to Schenker, dated March 25, 1918
Steglich, on the battlefront in the Ukraine, acknowledges receipt of Schenker's
Erläuterungsausgabe Op. 111, and hopes to study it when things are quieter.
OC 52/205 Typed letter from Hertzka (UE) to Schenker, dated April 10, 1918
Hertzka returns the Bekker review with thanks, and reflects on Schenker's remarks
concerning Urtext editions; he encloses the requested copy of the Gazette de Lausanne.
OC 52/206 Typed postcard from Hertzka (UE) to Schenker, dated April 18, 1918
Hertzka acknowledges return of Gazette de Lausanne article and concurs with
Schenker's view on editing.
OJ 15/15, [5] Handwritten postcard from Weisse to Schenker, dated April 20, 1918
Weisse apologizes for not having written recently, expresses his frustration that
the war continues.
OJ 15/16, [35] Handwritten letter from Weisse to Schenker, dated May 5, 1918
Weisse reports his renewed interest in counterpoint through the rereading of the
first volume of Schenker's Kontrapunkt; he has also come across Bussler's Freier Satz and has
heard mainly positive things about Ernst Kurth's Linearer Kontrapunkt, a book which he will
order and report on to his teacher.
OJ 15/15, [6] Handwritten postcard from Weisse to Schenker, dated May 27, 1918
Weisse, on three-month leave (June-August 1918) to finish work towards his
doctoral degree, asks Schenker for tuition in counterpoint and thoroughbass.
OJ 10/1, [33] Handwritten letter from Dahms to Schenker, dated June 15, 1918
Dahms sends 50th birthday wishes [and encloses a published article].
OJ 12/9, [22] Handwritten postcard from Karpath to Schenker, dated July 18, 1918
Karpath regrets that Schenker's letter came too late, and he was unable to act on
it.
OJ 14/33, [5] Handwritten letter from Steglich to Schenker, dated July 22, 1918
Steglich has studied the Op. 111 Erläuterungsausgabe. Rejecting the polemic as
redundant, he makes detailed suggestions concerning the relationship of the Arietta to the coda
of the first movement.
OJ 14/5, [5] Handwritten postcard from Moriz Schenker to Heinrich Schenker, dated July 22,
1918
Moriz Schenker has received Heinrich's letter and will visit him in a few days'
time.
OJ 12/9, [23] Typewritten letter from Karpath to Schenker, dated July 28, 1918
Karpath contests Schenker's argument that failing to write an obituary for Eduard
Gärtner was a neglect of duty, defends the position of the music critic, and draws attention to
a commemorative article on Gärtner.
OJ 10/1, [34] Handwritten letter from Dahms to Schenker, dated July 29, 1918
Dahms thanks Schenker for his long letter; reports on his vacation in Munich and
visit with Vrieslander; he is looking forward to studying with Schenker in Vienna.
OJ 14/5, [6] Handwritten fieldpostcard from Moriz Schenker and Hans Guttmann to Heinrich Schenker,
dated August 8, 1918
Moriz Schenker regrets not having spoken to Heinrich but hopes to be in Vienna
again soon; he has Hans Guttmann staying, and has written to Sophie Guttmann; note by Hans
Guttmann.
OJ 15/5, [1] Handwritten letter from Eberhard von Waechter to Schenker, dated August 21,
1918
Waechter asks for a copy of Schenker's Kontrapunkt 2, because he is making a
critique of the Neue Musuikalische Theorien und Phantasien; he requests an article for Das Neue
Oesterreich from Schenker, and hopes for regular contributions in future.
OJ 14/5, [8] Handwritten letter from Moriz Schenker to Sophie and Salo Guttmann, dated August 28,
1918
Moriz Schenker promises Sophie and Salo Guttmann that he will help them by
writing to a senior official and guaranteeing their war loan, and asks for details. — He will be
traveling on business and hopes to see Hans Guttmann and Heinrich Schenker.
OJ 14/5, [7] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated August 28,
1918
Moriz Schenker reports that he has received a letter from Sophie and Salo
Guttmann; he has dispatched flour to Heinrich's Vienna address; he will be in Vienna soon and
hopes to call on Heinrich.
OJ 14/5, [10] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 15,
1919
Moriz Schenker found Schenker not at home; can come Thursday; Heinrich's money is
available for collection.
OJ 15/5, [2] Handwritten letter from Eberhard von Waechter to Schenker, dated September 17,
1918
Waechter tries again to elicit contributions from Schenker to Das Neue
Oesterreich, and asks Schenker's opinion on an analysis of a Schubert song. Schenker's
honorarium for lessons is too high.
OJ 15/16, [36] Handwritten letter from Weisse to Schenker, dated September 30, 1918
Still in military service, Weisse asks Schenker for advice regarding the
interpretation of the ritardandos in the first movement of Beethoven's Eighth Symphony.
OJ 11/30, [1] Handwritten postcard from Wilibald Gurlitt to Schenker, dated October 7,
1918
Gurlitt expresses admiration for Schenker's Beethovens Neunte Sinfonie, and
inquires whether his "Formenlehre" or "Kunst des Vortrags" has yet been published.
OJ 10/1, [35] Handwritten postcard from Dahms to Schenker, dated December 13, 1918
Dahms and his wife have moved to Wasserburg, and he is beginning work again.
OJ 11/35, 9c Handwritten postcard from Halm to Schenker, dated December 13, 1918
Halm acknowledges DLA 69.930/4 and help, and promises to write soon.
OJ 11/35, 10 Handwritten letter from Halm to Schenker, dated December 14, 1918
Halm thanks Schenker for assistance over stipend; asks if Schenker has received
compositions sent to him; Halm's post-War prospects may be better.
OJ 15/16, [37] Handwritten letter from Weisse to Schenker, dated December 24, 1918
Weisse sends Schenker a volume [Handel keyboard works] as a Christmas present.
OJ 14/40, [1a] Typed letter from Türkel to Schenker, dated December 27, 1918
Acknowledges letter of December 25, 1918 [not surviving]; Türkel distances
himself from Schenker's recent actions [over stipends]; Schenker cannot count on restitution of
money overspent; these matters have nothing to do with Türkel or the Deutsch estate. Encloses[?]
copy of earlier "disclaimer" [= OJ 14/40, [1b]].
DLA 69.930/6 Printed/typed bank authorization to Halm, dated December 28, 1918
856 Marks transferred to Halm.
OJ 11/35, [10a] Handwritten letter from Halm to Schenker, dated December 31, 1918
Halm acknowledges DLA 69.930/6; asks for payment to be made to his Esslingen bank
a/c; comments on effects of currency changes; refers to assistance offered by Schenker.
OJ 11/35,9d Handwritten postcard from Halm to Schenker, dated January 12, 1919
Halm acknowledges receipt of 856 Mk.
OJ 13/10, [6] Handwritten letter from Oppel to Schenker, dated February 19, 1919
Oppel thanks Schenker for EA, Opp. 110 and 111, which he has enjoyed, inquires
after EA, Opp. 101 and 106, and Kontrapunkt 2, and raises a possible thematic link between two
movements of Op. 110 (music example). His plan to study with Schenker has to be deferred; he
will soon send compositions, and asks for unsparing criticism.
OJ 12/9, [24] Typewritten letter from Karpath to Schenker, dated March 11, 1919
The amount [for Hammerschlag] was 500, not 400, Kronen.
OJ 10/1, [36] Handwritten letter from Dahms to Schenker, dated March 15, 1919
Dahms is spending time with Otto Vrieslander, working through Schenker's
Harmonielehre with him and preparing himself for study with Schenker. He rejoices at the
crushing of German militarism.
OJ 12/9, [25] Handwritten letter from Karpath to Schenker, dated March 27, 1919
Mittelmann refused Schenker's 100 Kronen. Karpath has terminated Mittelmann's
working relationship with him.
OC 52/207 Typed postcard from Ernst Roth (UE) to Schenker, dated May 20, 1919
Hertzka is away and expected back in 8-10 days.
OC 52/923 Typed letter from Hertzka (UE) to Schenker, dated June 6, 1919
Hertzka acknowledges receipt of WSLB 302; he cannot entertain early publication
of Weisse's work but wishes to get to know it now. — He hopes to have work from Schenker's pen
as soon as work for Cotta is finished. — He proposes that the Foreword to Die letzten fünf
Sonaten von Beethoven ... op. 111 be omitted [in an future edition].
OJ 10/1, [37] Handwritten letter from Dahms to Schenker, dated June 11, 1919
Dahms sends greetings on Schenker's birthday, finds solace in Nietzsche and
Kierkegaard, and is studying counterpoint with Vrieslander.
OC 52/924 Typed letter from Hertzka (UE) to Schenker, dated June 16, 1919
Hertzka acknowledges WSLB 303 and seeks a meeting; the Foreword [to Op. 111] will
remain unchanged.
OJ 15/16, [38] Handwritten letter from Weisse to Schenker, dated July 15, 1919
On hearing that Schenker is already on holiday, and being not far from him (In
Bad Ischl), Weisse inquires about the possibility of paying a visit.
OJ 10/1, [38] Handwritten postcard from Dahms to Schenker, dated July 22, 1919
Dahms thanks Schenker for his postcard and letter, hopes to visit Schenker, and
asks how long he will be staying at Schloss Tantalier.
OJ 15/16, [39] Handwritten letter from Weisse to Schenker, dated August 2, 1919
Weisse accepts Schenker's invitation to visit him while on
holiday.
OJ 10/1, [39] Handwritten letter from Dahms to Schenker, dated August 9, 1919
Dahms is busy writing; hopes to visit Schenker around August 25.
OJ 10/1, [40] Handwritten letter from Dahms to Schenker, dated August 23, 1919
Dahms gives his travel plans.
OJ 10/1, [43] Handwritten postcard from Dahms to Schenker, dated August 31, 1919
Dahms reports on his journey home and sends thanks for an unforgettable
experience.
OJ 15/16, [40] Handwritten letter from Weisse to Schenker, dated September 1, 1919
Weisse thanks Schenker for his hospitality, and is glad to learn that he and
Jeanette will be able to remain on holiday at Klammerth's castle.
OJ 15/5, [3] Handwritten letter from Eberhard von Waechter to Schenker, dated September 2,
1919
Waechter is sending copy of his Schubert study, and offers to send the manuscript
of his forthcoming book for Schenker's assessment.
OJ 14/5, [9] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 3,
1919
Moriz Schenker assures Heinrich that his deposited money is safe, and expresses
delight that all impediment to the marriage has been rescinded.
OJ 13/10, [7] Handwritten letter from Oppel to Schenker, dated September 7, 1919
Oppel expresses his pessimism in the aftermath of the war and the prospects for
his generation. He sends a chaconne for Schenker's comment, and reports his appointment as a
teacher in theory and composition at the Kiel Conservatory. Alfred Einstein asked him for a
review of the Erläuterungsausgabe, but he declined.
OJ 10/3, [2] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 8, 1913
Deutsch encloses part of a letter from Ludwig Scheibler, which he says will interest Schenker. He
has finished work on two volumes of his documentary biography.
OJ 10/1, [44] Handwritten letter from Dahms to Schenker, dated September 10, 1919
Dahms thanks the Schenker's for his time with them, and reports what he is doing
currently; he endorses Nietzsche's view of Germany and the Germans, and speaks of the
unprincipledness that its legal system and officialdom fosters.
OJ 10/1, [45] Handwritten letter from Dahms to Schenker, dated September 26, 1919
Dahms responds to Schenker's letter (non-extant). He reflects on Prussian
militarism. He declares that there is no such things as "military genius"; Germany was as guilty
as the Entente Powers for the war; soldiers were treated as slaves by their officers, with
Wilhelm II bearing the ultimate guilt. He rejects all political parties. England does not treat
its people as Germany does. He believes only in the German spirit, which he regards as the
spirit of the world. He cannot wait to leave Germany, and wants only to immerse himself in
Schenker's work.
OJ 15/5, [4] Handwritten letter from Eberhard von Waechter to Schenker, dated October 1,
1919
Waechter asks for an article on performance for Der Merker, remarking that
analysis takes the performer only so far, after which the latter's feelings must take over. He
praises Schenker's prowess in analysis, and asks again if he may send the manuscript of his
latest book for Schenker's appraisal.
OJ 15/18, [2] Credit slip from Wiener Bank-Verein, dated October 10, 1919
Credits Schenker with 346.92 Marks and converts them to 1,121.40
Kronen.
OJ 15/18, [3] Account from Wiener Bank-Verein, dated October 10, 1919
Statement of account, balance 1,121.40 Kronen.
OJ 15/5, [5] Handwritten note from Eberhard von Waechter to Schenker, dated October 11,
1919
Waechter regrets Schenker's refusal to agree to write articles for Der Merker,
and expresses doubts about his "prophetic zeal."
OJ 10/1, [46] Handwritten postcard from Dahms to Schenker, dated October 17, 1919
Dahms reports on the present whereabouts of the autograph manuscript of Beethoven
Op. 101.
OJ 15/5, [6] Handwritten letter from Eberhard von Waechter to Schenker, dated October 19,
1919
Waechter understands Schenker's wish not to pre-publish his Art of Performance in
article form, and hopes that Schenker will provide a universal solution to the performance
problem; explains the editorial control of Der Merker, encouraging Weisse to submit his two
articles to it; expresses pleasure that he has procured from Halm reviews of Schenker's
Harmonielehre and Kontrapunkt 1; is unable to send his Musikkritik der Gegenwart at present.
OJ 11/16, [A] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker that evening.
OJ 11/16, [B] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker the coming
Friday.
OJ 11/16, [C] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker the coming
Sunday.
OJ 11/16, [D] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler hopes to visit Schenker in about a week's time.
OJ 11/16, [E] Handwritten letter from Furtwängler to Schenker, undated [1928‒30]
Furtwängler cancels meeting on account of illness.
OJ 11/16, [F] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks for a meeting this evening at Meißl.
OC 16/37v-36v Typed letter from Türkel to Schenker, dated November 3, 1919
Tükel reports the contents of a letter he has received from Dr. Friedmann.
OJ 11/35, 11 Handwritten letter from Halm to Schenker, dated November 3, 1919
Acknowledges DLA 69.930/8, October 27, 1919, sends a serenade and asks for
comments. Sends best wishes for relocation to Germany and inquires as to city.
OC 52/210 Typed letter from Hertzka (UE) to Schenker, dated November 8, 1919
Hertzka has arranged for a copy of his monograph Beethovens Neunte Sinfone to be
sent, and welcomes Schenker's remarks about resuming work for UE. PS: He is sending the first
issue of Musikblätter des Anbruch.
OC 52/211 Typed letter from Hertzka (UE) to Schenker, dated November 14, 1919
Hertzka will correct the price of Beethovens Neunte Sinfonie and send a copy of
Die letzten fünf Sonaten von Beethoven ... op. 111 to Dolfi Baudrexel. He hopes that Schenker
will contribute to Musikblätter des Anbruch.
OJ 10/3, [4] Handwritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1919
Deutsch announces that he has taken over a book dealership, and seeks custom.
OJ 11/16, [1] Handwritten letter from Furtwängler to Schenker, dated November [18 or 19,]
1919
Furtwängler prizes Schenker's approval higher than that of others; he is
uncertain what role he is destined to play in the musical life of Vienna; he hopes to talk with
Schenker.
OJ 11/16, [2] Handwritten letter from Furtwängler to Schenker, dated November 27, 1919
Furtwängler proposes that they meet in a restaurant on Saturday evening.
OJ 10/1, [47] Handwritten letter from Dahms to Schenker, dated November 28, 1919
Dahms discusses his future prospects for study, particular where to study (he
discusses conditions in several cities), and with whom. He asks Schenker's advice. He is
resolved to leave Vrieslander because of the latter's pessimism.
OC 52/212-213 Typed letter from Hertzka (UE) to Schenker, dated December 1, 1919
Hertzka is pleased to hear that the availability of the autograph manuscript of
Op. 101 means that the series Die letzten fünf Sonaten von Beethoven can go forward, and is in
agreement with Schenker's proposal to edit the remaining twenty-seven Beethoven sonatas. He asks
for a meeting to discuss the honorarium.
OC 52/214 Typed postcard from Hertzka (UE) to Schenker, dated December 9, 1919
Hertzka agrees to place and time of a meeting on Friday May 12.
OC B/268 Typewritten letter from Louis Koch to Schenker, dated December 10, 1919
Koch asks about the format of the required photography.
OC 16/38v Typed letter from Türkel to Schenker, dated December 13, 1919
Türkel acknowledges letter and requests explanation.
OC 52/507-508 Typed letter from Hertzka (UE) to Schenker, dated December 19, 1919
Hertzka is pleased that Louis Koch has given his consent [for Op. 101]; he
suggests that UE obtain certain sources from the Gesellschaft der Musikfreunde Archive on loan
at the office for Schenker to work on; and offers a larger fee for Op. 101, and cautions
Schenker about growing costs of photographic work.
OJ 10/1, [48] Handwritten letter from Dahms to Schenker, dated December 21, 1919
Dahms thanks Schenker for his advice on the next stage of instruction. He wrote
to Halm, who confirmed what Schenker had said. He congratulates Schenker on the superhuman work
that he is doing under current adverse circumstances.
OJ 10/1, [49] Handwritten letter from Dahms to Schenker, dated December 27, 1919
Thanking Schenker for his kindness, he agrees that Schenker should delay the
payment of a sum of money to him, and asks if he might stay near Schenker for a few weeks during
the summer of 1920.
OC B/170 Typewritten letter from Wilhelm Altmann to Schenker, dated January 5,
1920
Altmann will have photographs [of sketches of Beethoven, Op. 101] prepared
upon receipt of application form.
OJ 11/35, 14 Handwritten letter from Halm to Schenker, dated January 5, 1920
Halm offers advice on securing satisfactory contractual terms, favoring
percentages over one-time payments.
OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8,
1920
Deutsch reports that Hertzka wants the music connoisseur edition of the
"Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch
outlines the basis of the contract (editors will receive 8% of the retail price) and the
production timetable. He asks if Schenker would rather take on a different facsimile due to
competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in
Vienna.
OJ 10/3, [6] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 9,
1920
Deutsch is sorry that a customer prevented him for speaking with the Schenkers
when they visited his store. Photographic originals will be needed for the connoisseur
edition.
OJ 11/35, 15 Handwritten letter from Halm to Schenker, dated January 11, 1920
Halm expresses reservations about Kleine Bibliothek plan; wishes Schenker might
write history of music. —PS: Advises Sschenker to insure a regular income before moving to
Germany.
OJ 8/3, [80] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 12, 1920
Schenker comments acerbically on the settlement with Emil Kornfeld. — Reports on
a contract Halm has shown him. — Inquires about the children's health and reports that Wilhelm
has been taken ill.
OC 52/446 Typed letter from Hertzka (UE) to Schenker, dated January 14, 1920
Hertzka has not yet gone to Frankfurt.—- He wants to publish the "Moonlight"
Sonata in a series edited by Otto Erich Deutsch. — Would like to do new edition of complete
Beethoven sonatas, but without wholesale reengraving. — Discusses financial arrangements for the
latter, and for the Kleine Bibliothek. — Encloses the contract for Die letzten fünf Sonaten von
Beethoven ... op. 101.
OJ 10/3, [7] Handwritten letter from Otto Erich Deutsch Deutsch to Schenker, dated January 16,
1920
Deutsch will write to the Beethoven House in Bonn to seek permission to
reproduce the manuscript of the "Moonlight" Sonata. He suggests using the first edition as
the source for the missing opening and closing bars, and asks Schenker to refrain from
polemics in his commentary. Copies of the manuscripts of Beethoven's piano sonatas Opp. 28,
109, 110 and 111 should not be difficult to obtain, and he has made inquiries regarding the
manuscripts of Beethoven's Piano Sonata Op. 106 and Mozart's A minor Rondo K.
511.
OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22,
1920
OC 52/215 Typed letter from Hertzka (UE) to Schenker, dated January 23, 1920
Hertzka is sending the publisher's copy of the contract for Die letzten fünf
Sonaten von Beethoven ... op. 101 and the first tranche of honorarium, discusses the facsimile
edition of the "Moonlight" Sonata, raises issues regarding the prospective Beethoven collected
sonatas edition and Kleine Bibliothek, and expresses pleasure that he and Schenker are again in
accord.
OC 16/39v-40v Typed letter from Türkel to Schenker, dated January 26, 1920
Following affirmative reaction from Fritz Mendel, Türkel asks Schenker to call on
him.
OJ 8/3, [81] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 31, 1920
Schenker asks Violin to inquire about availability of the apartment of one of the
Rosé String Quartet members.
OC B/168 Typewritten postcard from Wilhelm Altmann to Schenker, dated February 5,
1920
The photographs of Op. 101 are ready and will be sent.
OJ 10/3, [8] Handwritten postcard from Otto Erich Deutsch Deutsch to Schenker, dated February 12,
1920
The Beethoven House will only allow reproduction of the manuscript of the
"Moonlight" Sonata in return for a royalty. Deutsch has offered 5% of the retail
price.
OJ 8/3, [82] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated February 13, 1920
Amount of divorce settlement and its investment. — Op. 101/3 sketches arrived.
OC 52/218 Typed letter from Fischmann (UE) to Schenker, dated February 19, 1920
Acting for the Schutzverband deutscher Schriftsteller in Wien, Fischmann offers
Schenker advice on the draft contract for the Kleine Bibliothek.
OJ 11/35, 16 Handwritten letter from Halm to Schenker, dated February 10, 1920
Halm acknowledges 69.930/9 and return of contracts. H is looking for a new
publisher for his compositions, and wonders whether Schenker would put in a good word to UE on
his behalf, or whether Schenker knows of a small press that might be suitable. Wishes
Furtwängler would perform something of his.
OC B/168 Typewritten letter from Wilhelm Altmann to Schenker, dated February 25,
1920
Altmann is glad Schenker hopes to visit the Library; photography of Chopin
Etudes Op. 10 is in progress.
OC B/267 Typewritten letter from Louis Koch to Schenker, dated February 27, 1920
Koch is sending photographs separately.
OJ 10/3, [9] Handwritten postcard from Otto Erich Deutsch to Schenker, dated March 1,
1920
Deutsch thanks Schenker for his suggestion of Brahms's Op. 117; Mr. Kalbeck
has suggested Brahms's "Sapphische Ode" (Op. 95, No. 4) and "Nachtwandler" (Op. 86, No.
3).
OJ 10/1, [50] Handwritten picture postcard from Dahms to Schenker, dated March 6, 1920
Dahms sends greetings from Berlin.
OJ 8/3, [83] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 8, 1920
Tonschl's report on conversation with Moriz Schenker, and advice.
OC 52/219 Typed postcard from Rothe (UE) to Schenker, dated March 9, 1920
Vol. II of the Beethoven sonatas is being dispatched to Schenker.
OC 52/220 Typed letter from Hertzka (UE) to Schenker, dated March 13, 1920
Hertzka thanks Schenker for commiserations, expresses pleasure that the
photographs [of Op. 101] have arrived, and seeks a meeting to discuss the Kleine Bibliothek.
OJ 8/3, [84] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 16, 1920
Moriz Schenker extends invitation to meet, confirms sum of 68,080 Kronen. —
Meeting with Hertzka scheduled for next day.
OC 52/223 Handwritten draft contract, in Jeanette Schenker's hand, between UE and Schenker for
the Kleine Bibliothek and Beethoven sonatas edition, undated [March 17,?] 1920
Handwritten draft contract jointly for the Kleine Bibliothek and Beethoven
sonatas edition.
OC 52/221 Typed letter from Hertzka (UE) to Schenker, dated March 26, 1920
Hertzka seeks a meeting to discuss the letter of agreement about the Beethoven
sonatas edition, and laments their difficulty in meeting.
OC 52/222 Typed letter from Fischmann to Schenker, dated March 26, 1920
Fischmann asks Schenker to call on him on March 31.
OC 52/224 Typed letter from Fischmann (UE) to Schenker, dated April 3, 1920
Fischmann gives advice on Schenker's contracts for the Kleine Bibliothek and the
collected Beethoven piano sonatas.
OC 16/41v-42v Typed letter from Türkel to Schenker, dated April 6, 1920
Türkel corrects Schenker and suggests he make inquiries with Friedmann.
OC 52/225 Typed postcard from Hertzka/Rothe (UE) to Schenker, dated April 7, 1920
Hertzka agrees to meet Schenker.
OC 52/409 Typed letter from Hertzka (UE) to Schenker, dated April 12, 1920
Hertzka encloses the contracts for the Kleine Bibliothek and collected Beethoven
sonatas, hoping that it will meet with approval. -- He explains the rise in price of the
Instrumentations-Tabelle.
OJ 8/3, [85] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 12, 1920
Schenker inquires about Furtwängler, and reports progress with Hertzka.
OJ 11/35, 17 Handwritten letter from Halm to Schenker, dated April 13, 1920
Halm acknowledges receipt of DLA 69.930/9; voices misgivings about publishing
with UE and discusses publishers' unscrupulous tactics and the difficulty of legal redress.
OC 52/226 Typed letter from Hertzka (UE) to Schenker, dated April 16, 1920
Hertzka agrees to pay extra costs for photography [of Op. 53], but sets
conditions.
OC 52/227 Typed letter from Fischmann (UE) to Schenker, dated April 17, 1920
Fischmann sees two points still outstanding over the contracts for the Kleine
Bibliothek and Beethoven sonatas, and advises him how to handle them.
OC B/162 Typewritten letter from Wilhelm Altmann to Schenker, dated April 19, 1920
Altmann advises Schenker on the early sources of Beethoven piano sonatas in
the Library's possession.
OC 52/228 Typed postcard from Hertzka (UE) to Schenker, dated April 22, 1920
Hertzka regrets the difficulties that Schenker has made over the letter of
agreement, and will be away for several weeks.
OC 32/29v-27v Typed letter from Friedmann to Schenker, dated April 23, 1920
Friedmann asks Schenker if he might explain the situation in
person.
OJ 8/3, [86] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated May 5, 1920
Schenker writes scathingly about his brother Moriz's attitude to Schenker's
problems.
OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920
OJ 10/1, [52] Handwritten letter from Dahms to Schenker, dated June 9, 1920
Reflecting on the difficulty of finding housing and provisions, and on the recent
German federal elections, Dahms asks whether mastery of chorale and fugue is to be obtained
solely by exercises in the manner of [E. F.] Richter and others. — He inquires whether Schenker
knows Kurth's Grundlagen des linearen Kontrapunkts, and whether there are any worthwhile
[musical] people in Salzburg.
OJ 10/3, [10] Handwritten postcard from Otto Erich Deutsch to Schenker, dated June 15,
1920
The Beethoven House has given permission for the reproduction of the
"Moonlight" Sonata, and have suggested a photographer. Before arranging for the
reproduction, Deutsch asks Schenker to send his existing prints to determine if they are
suitable.
OJ 10/1, [53] Handwritten letter from Dahms to Schenker, dated June 15, 1920
Dahms sends birthday greetings and reflects on the sorry conditions for the arts
prevailing in the current political climate.
OC 52/229 Typed letter from Hertzka (UE) to Schenker, dated June 24, 1920
Hertzka will meet with Schenker on Friday July 2 to receive the manuscript of
Schenker's Op. 101 monograph and photographs of the "Moonlight" Sonata.
OJ 15/16, [41] Handwritten letter from Weisse to Schenker, dated "end of June, 1920"
Taking his leave of Schenker as a pupil, Weisse expresses his gratitude for all
that Schenker has done for his artistic and human development, and declares himself ready to
continue in the service of his teacher's highest ideals.
OC 52/448 Typed contract between UE and Schenker for the Beethoven sonatas edition, dated July
10, 1920
Contract between UE and Schenker for the Beethoven sonatas collected edition.
OJ 15/16, [42] Handwritten letter from Weisse to Schenker, dated July 11, 1920
Weisse wishes Schenker an enjoyable summer holiday, and looks forward to visiting
him. He inquires about the possibility of moving into Reisnerstraße 38, in the event that the
Schenkers move elsewhere, and informs his teacher about the organization of a lecture series at
the Vienna Urania. He concludes with some remarks about literary works, Wedekind's Schloß
Wetterstein and Jean Paul's Levana.
OJ 10/3, [12] Typewritten postcard from Otto Erich Deutsch to Schenker, dated July 12,
1920
Deutsch has written to Edward Speyer about the sketchleaf [of the "Moonlight"
Sonata], and wishes Schenker success with his contract for the Little Library and Complete
Edition.
OJ 10/1, [54] Handwritten postcard from Dahms to Schenker, dated July 12, 1920
Dahms is pleased that Schenker is in the mountains, and hopes for a meeting with
him in Munich on Schenker's way to Stuttgart.
OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14,
1920
The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit
them?
OJ 15/16, [43] Handwritten letter from Weisse to Schenker, dated July 19, 1920
Weisse reports his arrival for the summer in Ischl, and the grave illness that
has befallen his grandfather there. He sends Schenker three excerpts from Jean Paul's review of
Mme. de Staël's "On Germany" (1810), which he expects his teacher will find useful as cultural
and political ammunition against the French.
OC 52/517 Typed contract from between UE and Schenker for the Kleine Bibliothek, dated July 10,
1920
Contract between UE and Schenker for the Kleine Bibliothek.
OJ 10/1, [55] Handwritten letter from Dahms to Schenker, dated July 30, 1920
Dahms finds the Berlin musicians on vacation to be ignorant – "artistic
bolshevism." — He now understands Kurth's work better for Schenker's comments.
OJ 8/3, [88] Handwritten postcard from Heinrich & Jeanette Schenker to Moriz Violin, dated July
30, 1920
Schenker reports that the attempt to procure an apartment in Reisnerstraße 17 has
failed, and complains about the corrupt circumstances.
OJ 10/3, [13] Typewritten postcard from Otto Erich Deutsch to Schenker, dated August 5,
1920
The photograph of Speyer's sketchleaves is still forthcoming. Deutsch has
discovered that a Dr. Wilhelm Kux possesses a further sketchleaf of the "Moonlight" Sonata,
and asks Schenker if he wants Deutsch to try secure a reproduction of it.
OJ 15/16, [44] Handwritten letter from Weisse to Schenker, dated August 10, 1920
Weisse explains that his grandfather's death prevents him from visiting Schenker
in Seefeld, but hopes that he might nonetheless visit him elsewhere before the end of the summer
holidays.
OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16,
1920
Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight"
Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he
cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside.
Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the
Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him
to write to the Museum to request a photograph of the sketchleaf.
OJ 10/1, [56] Handwritten letter from Dahms to Schenker, dated August 19, 1920
Dahms is having difficulty obtaining a passport, but still hopes to see Schenker
this summer, perhaps in Munich. — He sends his three biographical books to Schenker, but is
apprehensive of the latter's reaction to their hemeneutic elements; he hopes to writes something
more fitting.
OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920
Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp.
109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek
for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's
attentions.
OJ 11/35,18a Handwritten postcard from Halm to Schenker, dated August 21, 1920
Halm advises Schenker on choice of carbon copy systems.
OJ 8/3, [89] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 23, 1920
Gives date of return to Vienna, and confirms Tuesday meeting.
OJ 10/1, [57] Handwritten postcard from Dahms to Schenker, dated August 25, 1920
Dahms understands that he cannot meet with Schenker; the three books are about to
be dispatched.
OJ 10/1, [58] Handwritten postcard from Dahms to Schenker, dated September 2, 1920
Dahms explains the sources of the three books. — Vrieslander gave him an
enthusiastic account of his time in Seefeld.
OJ 9/30, [7] Handwritten letter from Carl Colbert to Schenker, dated September 6, 1920
Carl Colbert invites Schenker to submit an article to Der Abend for the 150th
anniversary of Beethoven's birth.
OC 52/231 Typed letter from Kalmus and Detoni (UE) to Schenker, dated September 8,
1920
Kalmus encloses print samples of type-sizes for the Kleine Bibliothek, and
promises samples of the engraving, and copies requested.
OJ 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13,
1920
Deutsch asks Schenker to clarify whether bars are missing from the start of
the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal
Edition's intended format for the volume, and ask if Schenker approves of their proposals.
Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds
Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical
Times.
OC B/159 Typewritten postcard from Wilhelm Altmann to Schenker, dated September 20,
1920
The photographs of Beethoven's Fifth Symphony, first movement, should be
dispatched next week.
OC 52/233 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 23,
1920
UE is sending over large and small engraving samples of the Kleine Bibliothek for
Schenker's approval, and confirms receipt of the documentary evidence and Schenker's previous
letter.
OC B/158 Handwritten postcard from Wilhelm Altmann to Schenker, dated September 25,
1920
Altmann notifies Schenker of the cost of photographic work
done.
OJ 10/3, [16] Typewritten letter from Otto Erich Deutsch to Schenker, dated October 1,
1920
Deutsch encloses images of Wilhelm Kux's sketchleaf of the "Moonlight" Sonata
for Schenker to study. He is writing to the [Fitzwilliam] Museum in Cambridge about their
sketchleaf of the Sonata.
OC 52/234 Typed postcard from Nella Balassa (UE) to Schenker, dated October 4, 1920
Schenker is asked to send the figure back with messenger.
OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October
16, 1920
Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking
a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit
Wally next Sunday.
OJ 8/3, [90] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, undated,
postmarked [October] 17, 1920
The Schenkers are unable to visit Wally this Sunday, but will do so the following
Sunday.
OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920
Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the
publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about
the autograph manuscript for which Schenker is waiting.
OJ 15/15, [8] Handwritten postcard from Weisse to Schenker, dated November 2, 1920
Weisse asks for help in explaining the development section of the first movement
of Brahms's Piano Trio No. 1 in B major, Op. 8; asks for the address of Fräulein Fried.
OC 52/237 Typed letter from Kalmus (UE) to Schenker, dated November 5, 1920
Kalmus confirms that the "Secondary Literature" section of Op. 101 will be set in
small type; he is writing to Paris about the "Appassionata."
OJ 10/3, [17] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 6,
1920
Deutsch encloses two photographic prints of the Fitzwilliam Museum's
"Moonlight" Sonata sketchleaf. Edward Speyer has not yet had his sketchleaf photographed,
but has sent a description of its content, which Deutsch passes on.
OJ 10/3, [18] Typewritten postcard from Otto Erich Deutsch to Schenker, dated November 13,
1920
Deutsch has obtained a sheet with corrections for Beethoven's "Hammerklavier"
Sonata, which he would like to show Schenker. The photographic images of the "Moonlight"
Sonata will be made this week.
OJ 10/3, [19] Typewritten postcard from Leo Fischmann to Schenker, dated November 22,
1920
Leo Fischmann (legal attorney) invites Schenker to visit him at
home.
OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26,
1920
Replying to Schenker's postcard of November 20th, Deutsch writes that the
connoisseur edition is to be reproduced using photolithography, and repeats the particulars
of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his
sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from
Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111).
Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks
for sight of the draft of Schenker's Preface.
OJ 11/16, [3] Handwritten letter from Furtwängler to Schenker, dated November 26, 1920
Furtwängler proposes that they meet on Tuesday [November 30, 1920].
OC 52/238 Typed letter from Rothe (UE) to Schenker, dated December 6, 1920
UE are delivering [first] proofs of Op. 111 and second proofs of figures [for
"Schubert: Ihr Bild"].
OJ 10/3, [21] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 11,
1920
Deutsch encloses the photographs of Edward Speyer's "Moonlight" Sonata
sketchleaves and asks Schenker to revise his Preface accordingly, before forwarding the
photographs and Preface to him. The photographic reproduction of the Sonata manuscript in
Bonn has been delayed by a chemical and glass shortage. Schenker's corrections were used for
the prospectus.
OC 52/485 Contract between Otto Erich Deutsch and Schenker, dated December 16, 1920
Contract between Otto Erich Deutsch and Schenker for the facsimile edition of
Beethoven, "Moonlight" Sonata.
OC 52/239-240 Typed letter from Hertzka (UE) to Schenker, dated December 18, 1920
Hertzka and Schenker will discuss the Niloff Instrumentations-Tabelle; Hertzka
offers two alternative solutions to UE's taking over of Kontrapunkt 2.
OC 52/241 Typed letter from Kalmus (UE) to Schenker, dated December 21, 1920
UE acknowledges receipt of the manuscript of "Beethoven's Fifth Symphony" and
notifies Schenker that he will be receiving proofs of Die letzten fünf Sonaten von Beethoven ...
op. 101.
OJ 10/1, [59] Handwritten letter from Dahms to Schenker, dated December 22, 1920
Dahms sends the Schenkers best wishes for Christmas and the New Year; speaks of
Schenker as "our great leader"; inquires about progress on publication of three Schenker works
and whether Schenker has sufficient fuel and other necessities.
OJ 10/3, [22] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 23,
1920
Deutsch confirms receipt of Schenker preface for the "Moonlight" Sonata
edition and five photographs of sketchleaves. He will send a formal contract in the next few
days.
OC B/155 Typewritten letter from Wilhelm Altmann to Schenker, dated December 28,
1920
Altmann reports extra cost of photographic work.
OJ 10/1, [60] Handwritten letter from Dahms to Schenker, dated December 29, 1920
Dahms thanks Schenker for his assessment of the three of his books that he has
sent him; gives a chapter synopsis of his next book, concerning Nietzsche and music; reports on
his movement in the coming months.
OC 52/561 Typed letter from Hertzka (UE) to Schenker, dated December 30, 1920
Hertzka wishes to discuss the transfer of Kontrapunkt 2 in person. He also wishes
urgently to discuss "The Mission of German Genius." [This crucial letter marks the beginning of
the deterioration of relations between Schenker, Hertzka, and UE between 1920 and 1925.]
OJ 11/35, 18b Handwritten letter from Halm to Schenker, dated December 30, 1920
Halm acknowledges letter, sends one newly-published composition, and tells
Schenker of a forthcoming performance of a concerto by him, and three compositions turned down
for publication.
OC 52/242 Typed postcard from Hertzka (UE) to Schenker, dated January 3, 1921
Hertzka confirms day and time of meeting.
OJ 10/1, [61] Handwritten letter from Dahms to Schenker, dated January 5, 1921
Dahms thanks Schenker for a photograph.
OJ 8/4, [1] Handwritten postcard from Schenker to Moriz Violin, dated January 10, 1921
Schenker asks Violin to arrange for payments and currency
conversion.
OC 52/244 Typed letter from Hertzka (UE) to Schenker, dated January 12, 1921
Hertzka sends contracts for NMTP and Kontrapunkt 2, and discusses the take-over
from Cotta, requesting Schenker's estimate of remaining stocks, and asking whether changes would
be required in a second edition of Kontrapunkt I.
OC B/156 Typewritten postcard from Wilhelm Altmann to Schenker, postmarked January 18,
1921
Photographing of movements 2-4 of Beethoven's Fifth Symphony will be delayed
until February.
OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30,
1921
The overdue ["Moonlight" Sonata edition] contract is finally ready, and
Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready.
Schenker should expect to receive an edited version of his commentary, and perhaps also an
English translation.
OJ 8/4, [2] Handwritten postcard from Schenker to Moriz Violin, dated February 6, 1921
Schenker congratulates Violin on obtaining a teaching post in Hamburg and reports
on progress on his written work and publications.
OJ 8/4, [3] Handwritten postcard from Schenker to Valerie Violin, dated February 8, 1921
Schenker accepts an invitation to lunch from Valerie Violin.
OJ 8/4, [4] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, dated
February 26, 1921
Schenker inquires about a series of payments from Miss Reich for
lessons.
OJ 10/1, [62] Handwritten letter from Dahms to Schenker, dated April 4, 1921
Dahms asks Schenker to recommend him to Cotta re: the book he is writing on
Italian opera.
OJ 8/4, [5] Handwritten postcard from Schenker to Moriz Violin, dated April 29, 1921
Schenker describes some of the last-minute activities prior to their moving to a
new apartment, at No. 8 Keilgasse, lists his works that are about to be published, and reports
that Buxbaum has been dismissed as cellist of the Arnold Rosé Quartet.
OC B/151 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 10,
1921
Altmann sends Schenker Beethoven Op. 31, No. 3 in the Simrock edition on
loan.
OJ 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921
Schenker gives an account of the move into Keilgasse 8 and describes his study in
the apartment. He outlines his holiday plans, and explains how he is raising the fees for
lessons in the autumn.
OJ 10/1, [63] Handwritten letter from Dahms to Schenker, dated June 17, 1921
Dahms sends birthday greetings. — Cotta has turned down his book proposal. — He
will soon obtain a passport and hopes to visit the Schenkers during the summer.
OC 24/22 Typewritten postcard from Otto Erich Deutsch to Schenker, dated June 28,
1921
Deutsch thanks Schenker for his postcard of June 26, 1921, and wishes him good
luck in his new home and with his summer trip to Galtür. Deutsch has read issue 1 of
Tonwille with great interest, and hopes that their connoisseur edition will be as
successful.
OC B/152 Handwritten postcard from Wilhelm Altmann to Schenker, dated June 30,
1921
Altmann reports on holdings of Handel keyboard works edition
(1702).
OJ 8/4, [6] Handwritten picture postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated
June 30, 1921
On holiday (for the first time) in Galtür in the Paznaun Valley, Schenker
composes two short verses in local dialect, and Jeanette a third, to convey something of the
Tyrolean atmosphere.
OJ 8/4, [7] Handwritten picture postcard from Schenker to Moriz Violin, dated July 6, 1921
In anticipation of preparing an edition of Handel's keyboard works, Schenker asks
Violin for the address of a library in Hamburg that would be likely to have an early print or
handwritten copy of Handel's first book of Suites.
OJ 10/1, [64] Handwritten letter from Dahms to Schenker, dated July 14, 1921
Dahms has to go to Berlin, after which he will explore visiting the Schenkers in
Galtür.
OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921
Weisse has completed a string quartet, the parts of which are being copied out,
after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as
a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept
because his knowledge of English is insufficient. He enquires about the progress of Schenker's
current projects.
OJ 11/35, 19 Handwritten letter from Halm to Schenker, dated July 28, 1921
Halm discusses an "intended gift," and the merits of Matthäus Hentz and K. T. Schmid to
receive it. Halm reports that he has moved from Esslingen to Wickersdorf, and that his Concerto for Large
Orchestra has been performed by Fritz Busch in Stuttgart, and comments on Cotta's hand-over of
Kontrapunkt.
OC 24/4-5 Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 3, 1921
Violin expresses his awe concerning the first issue of Der Tonwille, and declares
himself ready to offer his services in making Schenker's work better understood.
OJ 10/1, [65] Handwritten letter from Dahms to Schenker, dated August 21, 1921
Dahms is unable to visit the Schenkers in Galtür. — He criticizes Berlin and its
artists and critics.
OJ 15/15, [9] Handwritten postcard from Weisse to Schenker, postmarked August 22, 1921
Weisse is taking a very late summer holiday and so cannot visit Schenker in
Galtür. He has finished composing a sonata and is writing out a fair copy.
OJ 14/45, [11] Handwritten letter from Moriz Violin to Schenker, dated September 1, 1921
Violin announces the formation of a piano trio ensemble with a violinist named
Wolfsthal and the cellist Friedrich Buxbaum, inquires about the proposed edition of Handel's
keyboard works, and reports on the incipient civil unrest in the wake of a national movement in
Germany.
OC B/148 Typewritten letter from Wilhelm Altmann to Schenker, dated September 9,
1921
Altmann reports on holdings of Handel keyboard works; and on progress in
photographing Beethoven's Symphony No. 5; and thanks Schenker for sending Tonwille 1 and Op.
101.
OJ 15/15, [10] Handwritten postcard from Weisse to Schenker, dated September 12, 1921
Nearing the end of a two-week holiday in Bad Ischl, Weisse hopes to see Schenker
in Vienna the following Sunday.
OJ 10/1, [66] Handwritten picture postcard from Margarete and Walter Dahms to Schenker, dated
September 22, 1921
Dahms and his wife send greetings from Munich.
OJ 8/4, [8] Handwritten postcard from Schenker to Moriz Violin, dated September 23, 1921
Schenker alerts Violin to the imminent arrival of a payment.
OJ 10/3, [24] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 24,
1921
Deutsch reports that the "Moonlight" Sonata edition is almost finished, but
because of translation problems he has asked Dr. Kalmus to show Schenker the latest revision
of the English preface. Schenker's photographic reproductions will be returned once a sample
print-out of the edition has been prepared and approved. The edition will launch in the
autumn, and Schenker's fee will have increased because of the delay.
OJ 14/45, [105] Handwritten postcard from Moriz Violin to Heinrich Schenker, dated October 6, 1921
Violin acknowledges receipt of payment, inquires about reviews of Der
Tonwille.
OJ 10/1, [67] Handwritten postcard from Dahms to Schenker, dated October 12, 1921
Dahms reports on his Italian sojourn and work.
OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921
Violin reports on his work, and on musicians in Hamburg, and congratulates
Schenker on his (publication) successes.
OJ 10/3, [25] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 15,
1921
Deutsch notes the advance payments for Vrieslander's and Hoboken's copies of
the luxury edition of the "Moonlight" Sonata, both of which are to be delivered to
Vrieslander.
OJ 10/1, [68] Handwritten letter from Dahms to Schenker, dated November 22, 1921
Rome has been overtaken by commerce. — [material missing] — Berlin regards Dahms
as stuck in the past.
OJ 15/15, [11] Handwritten postcard from Hertha and Hans Weisse to Schenker, dated December 1,
1921
Weisse has returned a score to Universal Edition and written to Moriz Violin. He
has, with some reluctance, raised his lesson fee.
OJ 11/36, [4] Handwritten letter from Hammer to Schenker, dated December 9, 1921
Hammer owns several of Schenker's books and is beginning to understand their
concepts.
JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921
Schenker seeks to articulate the difference between the painter's and the
composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper,"
and "Linie".
JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921
Schenker seeks to articulate the difference between the painter's and the
composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper,"
and "Linie".
OJ 10/3, [26] Typewritten postcard from Otto Erich Deutsch to Schenker, dated December 28,
1921
A payment of 1,200 marks from Seidel's Book Dealership, on behalf of Deutsch,
has been made to Schenker's Deutsche Bank account.
OJ 10/3, [27] Typewritten postcard from Österreichisches Credit-Institut to Schenker, dated
December 30, 1921
The Österreichisches Credit-Institut informs Schenker that 1,200 marks has
been paid into his account from Seidel's Book Dealership, O. E. Deutsch & Co,
Vienna.
OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922
Schenker offers to lend Violin his performing materials for two keyboard
concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most
recent work, continues to despair of his financial situation.
OJ 14/45, [13] Handwritten letter from Moriz Violin to Schenker, dated February 2, 1922
In this direct reply to Schenker's previous letter, OJ 6/7, [2], Violin expresses
his dismay that some of the performing material for keyboard concertos by C. P. E. Bach,
including original cadenzas by Schenker, appear to have gone missing. — He reports on his
growing number of pupils, on the acquisition of a piano for his apartment, and on Hamburg's
extremely conservative musical tastes.
OJ 10/3, [28] Typewritten letter from Deutsch to Schenker, dated February 14, 1922
Deutsch offers to provide several books to Schenker instead of two or three hardback copies of the
"Moonlight" Sonata edition, and then details several misprints and factual errors in Romain Rolland's biography
of Beethoven.
OJ 14/21, [3] Delivery note from Seidel'sche Buchhandlung to Schenker, dated February 15, 1922
Delivery note from Deutsch's bookshop (Seidel'sche Buchhandlung) to Schenker for works by J. S.
Bach, Mozart and Brahms.
OC 12/1 Handwritten letter from Theodor Frimmel to Deutsch, dated February 22, 1922 (forwarded from Deutsch to
Schenker with marginal note dated Feburary 27, 1922)
Deutsch forwards Schenker a letter from Theodor Frimmel regarding errors in Rolland's Beethoven
biography. In the original letter, Frimmel asks Deutsch to send his regards to the Schenkers.
OJ 10/1, [69] Typed letter from Dahms to Schenker, dated March 11, 1922
Dahms's book, which has earned an award, is delayed at the bindery. He blames
this on the prevailing undisciplined conditions in Germany, criticizes the current government,
and predicts war.
OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922
Deutsch writes that the "Moonlight" Sonata facsimile edition is still being printed, and that he
cannot make a decision on the production of a second facsimile edition until the new contract has been agreed
with Universal Edition. The contract has been delayed by Universal Edition's dispute with Drei Masken. If they
have to abandon plans for the facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute,
Deutsch suggests Beethoven's String Quartet Op. 95 as an alternative.
OJ 11/36, [5] Handwritten letter from Hammer to Schenker dated March 23, 1922
Hammer praises Schenker's edition of Bach's Chromatic Fantasy & Fugue,
raising an issue about fingering on the clavichord.— He inquires after Tonwille 2, and hopes to
visit Schenker in Vienna soon.
OJ 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922
Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to
reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When
Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven
manuscript.
OJ 8/4, [11] Handwritten postcard from Schenker to Moriz Violin, dated April 9, 1922
Schenker apologizes for not having been in touch with Violin, mainly owing to
overwork and a severe diabetic reaction, which required medical attention. He reports on a new
series of Beethoven sonata editions – an "Urlinie-Ausgabe" – he is planning to
undertake.
OJ 10/3, [31] Typewritten letter from Deutsch to Schenker, dated April 18, 1922
Deutsch informs Schenker that Drei Masken is publishing a facsimile of Beethoven's Piano Sonata in
C minor, Op. 111.
OJ 10/3, [32] Typewritten postcard from Deutsch to Schenker, dated April 20, 1922
Deutsch thanks Schenker for his suggestions [for further facsimile editions] and has passed them
on to Universal Edition.
OJ 10/3, [33] Typewritten postcard from Deutsch to Schenker, dated April 21, 1922
Deutsch has already written to Universal Edition about [Schenker's proposal for a facsimile
edition of] Beethoven's Piano Sonata Op. 109. Should this plan be realized, he hopes that Schenker will provide
a foreword.
OJ 10/3, [34] Typewritten letter from Deutsch to Schenker, dated April 26, 1922
Deutsch reports that Universal Edition has agreed to publish facsimile editions of Beethoven's
Piano Sonatas Opp. 109 and 110; he asks what sources Schenker could make available. Deutsch would also like to
know which Beethoven string quartet Schenker would recommend for a further facsimile edition.
OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922
This wide-ranging letter describes the difficulties encountered with Emil Hertzka
at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the
"Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success
as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's
generosity. — Ends with generous praise for Violin's musicianship.
OJ 10/3, [35] Typewritten letter from Deutsch to Schenker, dated May 12, 1922
Deutsch has passed Schenker's suggestions for facsimile editions on to Universal Edition, and asks
for a reference for the Bekker article that Schenker mentioned.
OJ 15/15, [12] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated May 20,
1922
Hertha Weisse gives Jeanette Schenker the name and address of a tailor who can
make her a coat, and tells her how much material she needs to buy.
OJ 10/3, [36] Typewritten postcard from Deutsch to Schenker, dated May 22, 1922
Deutsch asks Schenker to visit him in his office in the next few days.
JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922
Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an
instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to
read Fiedler and Hildebrand.
OJ 10/3, [37] Typewritten postcard from Deutsch to Schenker, dated May 26, 1922
Deutsch reports that Drei Masken will not publish a facsimile edition of Beethoven's "Spring"
Sonata Op. 24, and will instead publish editions of Beethoven's Piano Sonata in F-sharp Op. 78, a string quartet
by Haydn, and Schubert's Winterreise and B minor Symphony.
OJ 11/36, [6] Handwritten letter from Hammer to Schenker dated May 29, 1922
Hammer thanks Schenker for his letter and generosity, and invites Heinrich and
Jeanette to visit, suggesting May 31; — proofs of his monograph have arrived.
OJ 14/46, [1] Handwritten postcard from Fanny Violin to Jeanette Schenker, dated May 29, 1922
Fanny apologizes for missing Jeanette and plans to visit.
JOB 94-3, [3] Handwritten postcard from Schenker to Hammer dated May 29, 1922
Schenker accepts Hammer's invitation for May 31.
OJ 11/36, [7] Handwritten postcard from Hammer to Schenker, postmarked May 30, 1922
Hammer changes time of Schenker visit.
OJ 8/4, [12] Handwritten postcard from Schenker to Moriz Violin, undated [June 17, 1922]
Schenker explains why the "Miscellanea" is missing from Tonwille 2; he likens
Hertzka's heavy-handedness to Prince Metternich's police-state tactics.
OJ 10/1, [70] Handwritten postcard from Margarete and Walter Dahms to Schenker, dated June 19,
1922
The Dahmses sent birthday greetings and report on their life in
Italy.
OJ 14/21, [4] Invoice from Seidel'sche Buchhandlung to Schenker, dated June 30, 1922
Invoice from Deutsch's bookshop (Seidel'sche Buchhandlung) for works by Mozart and Brahms, and a
book by Hildebrand, which also shows a credit remittance for one copy of Schenker's facsimile edition of
Beethoven's "Moonlight" Sonata.
OJ 10/1, [71] Handwritten picture postcard from Dahms to Schenker, dated July 12, 1922
Acknowledges and praises Tonwille 2; inquires about Thal Verlag.
OJ 15/15, [13] Handwritten postcard from Weisse to Schenker, dated July 17, 1922
Weisse has returned to Vienna, thanks Schenker for the Galtür visit, and will
order the bread [for diabetics] the next day.
OJ 15/16, [46] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 21, 1922
Weisse reports from Vienna that a sum of money has arrived, and will be paid to
its intended recipient (Kohn), and gives an account of his and Hertha Weisse's travels in
Vorarlberg following a visit to the Schenkers in Galtür.
OJ 8/4, [13] Handwritten postcard from Schenker to Moriz Violin, dated July 9, 1922
Schenker reports the publication of the second part of Kontrapunkt and continued
difficulties with Universal Edition.
OJ 11/35, 20 Handwritten letter from Halm to Schenker, dated July 24 and August 19, 1922
Halm announces publication of his three suites for piano trio, and has arranged for two of
them to be sent to Schenker. He thanks Schenker for sending him Kontrapunkt II, and expresses admiration
for the "power of the broad conception" of Schenker's work. He is distressed at Schenker's attacks on
other countries and glorification of Germany, and speaks with appreciation of French and Russian music. He
describes his new publisher.
OJ 14/45, [14] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1922
In this highly emotional letter, Violin describes his personal difficulties in
the face of spiraling inflation in Germany.
OJ 8/4, [14] Handwritten postcard from Schenker to Moriz Violin, dated August 5, 1922
Schenker commends Walter Dahm's latest book, Die Offenbarung der Musik, to Violin
as one which ought to have important consequences for the course of music.
OJ 10/18, [1] Handwritten letter from Elias to Schenker, dated August 10, 1922
Miss Elias is unable to get to Galtüt on account of bad weather. — She
compares prices in the Tyrol with those in Vienna. — She hopes to meet up with the Schenkers
in Innsbruck on the homeward journey. — She confirms that she will be able to meet her
financial obligations in teh coming year.
OJ 15/16, [47] Handwritten letter from Hans and Hertha Weisse to Schenker, dated August 11, 1922
Weisse reports that he is dealing with business matters entrusted to him by
Schenker, and thanks his teacher for arranging the posting of Kontrapunkt 2, which he is in the
midst of reading.
OJ 14/45, [15] Handwritten letter from Moriz Violin to Schenker, dated September 3, 1922
Violin reports that his son Karl has suffered several setbacks of health,
including inflammation of a cardiac muscle. Plans for Musikhochschule in Hamburg are making
strides.
OJ 8/4, [15] Handwritten postcard from Schenker to Moriz Violin, dated September 10, 1922
Hearing of the Violins' son Karl's recent illness, Schenker sends his sympathy,
then reports on his financial troubles. His application for a post at the University of Leipzig
was received without enthusiasm, on the grounds that he is "more an artist than a
scholar."
OJ 14/45, [16] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922
Violin reports briefly about his son's health, then goes into the practical
issues arising from Schenker's active search for a post at a German music institute.
OJ 14/45, [17] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922
Apparently having returned from a visit to Vienna, Violin expresses his joy at
having seen Schenker recently.
DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922
Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on
Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him;
speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting
Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in
public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker,
Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's
publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a
delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development"
and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to
become brain); Schenker deplores "artifice" (French) as against nature (German). — Things
French: praises German superiority over French in its joy of work. — Higher Plane: the German
should not abase himself before the Frenchman.
OC B/145 Typewritten letter from Wilhelm Altmann to Schenker, dated September 25,
1922
Altmann has dispatched two items to Schenker, and asks Schenker to instruct UE
to send copies of Der Tonwille to the Preussische Staatsbibliothek.
OJ 8/4, [16] Handwritten postcard from Schenker to Moriz Violin, dated September 29, 1922
Schenker reports, among other things, that Hans Weisse has returned as a paying
pupil.
OC B/143 Typewritten letter from Wilhelm Altmann to Schenker, dated October 9,
1922
Altmann acknowledges receipt of Der Tonwille and return of two editions, and
refers to Universal Edition.
OJ 10/1, [72] Handwritten letter from Dahms to Schenker, dated October 28, 1922
Dahms chooses to remain in Italy in view of the "moral and physical devastation"
that he hears reported from Germany. — He is committed to Schust & Loeffler for a Haydn
biography. He reports on a review of his book "Offenbarung."
OJ 10/3, [38] Typewritten postcard from Deutsch to Schenker, dated October 30, 1922
Deutsch apologizes for the delay to Schenker's payment for the "Moonlight"
Sonata facsimile edition, for which Deutsch himself is to blame. Schenker's debt to Seidel's
Book Dealership is 301 marks and 300 kronen, which should be balanced by his income from the
facsimile edition.
DLA 69.930/11 Handwritten letter from Schenker to Halm, dated November 2, 1922
Schenker acknowledges receipt of two booklets on youth and the new republic,
returns them, comments on them critically: idealistic German democrats desire maximal
remuneration with minimal work; illustrates point by difficulties with maids in Schenker
household; German democrats naively overestimate social and intellectual status of non-German
commoners (French, British, American); Schenker decries cosmopolitanism and those Germans who
advocate individuality at the expense of society; Schenker praises the fascists as countering
communism and social leveling, compares Mussolini's Italy favorably with present-day
Germany.
OJ 11/35, 21 Handwritten letter from Halm to Schenker, dated September 30, 1922]
Halm acknowledges receipt of a letter, and returns newspaper
clippings.
OJ 14/45, [106] Handwritten postcard from Moriz Violin to Schenker, dated December 19, 1922
Violin points out that Universal Edition is advertising Schoenberg's
Harmonielehre but not Schenker's.
OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922
Schenker reports the imminent publication of Tonwille 3, and some new publishing
ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the
Short Preludes by J. S. Bach.
OJ 8/4, [17] Handwritten postcard from Schenker to Moriz Violin, dated December 23, 1922
Amplifying a thought expressed in a recent letter, Schenker speaks of a plan to
silence the throng that worships Schoenberg and the moderns, but money for it is
lacking.
OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27,
1922
Dahms has been trying to improve his publishers' financial terms. — He is in
low-grade accommodation; housing in the "German colonies" is available only to officials. —
Reports on the concert season in Rome. — Die Musik would not accept an article from him on
Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's
"sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on
his latest book, for which he is arranging a de luxe edition by subscription. — Reports
unfavorably on an incident in which Otto Klemperer played the Italian fascist
hymn.
OJ 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922
Deutsch provides a full overview of Schenker income from the current sales reported by Universal
Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker
owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the
publication.
JOB 94-3, [4] Handwritten postcard from Schenker to Hammer dated January 21, 1923
Schenker alerts Hammer to the publication of Tonwille 3.
OJ 14/45, [20] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 6, 1923
Violin thanks Schenker for Tonwille 3 and reports on growing social unrest and
anti-French feeling in Germany.
OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923
Dahms reports change of address and explains circumstances; has sent a
prospectus to UE; progress on subscriptions to his de luxe edition and a new American
contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille
3, and comments on Schenker's understanding of democracy.
OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923
Baroness Fischer responds to Schenker's plan for distribution of issues of Der
Tonwille by suggesting contacts in the Vienna music schools and professional
association.
OJ 11/2, [2] Handwritten letter from Emma Fischer to Schenker, dated February 23, 1923
Baroness Fischer gives names and addresses of five of her pupils to whom Der
Tonwille should be sent; she regrets that Schenker will not spread his theory further by
means of lectures.
OJ 8/4, [21] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 5,
1923
Schenker asks after Violin and his family, reports on progress with Der Tonwille
and the edition of the Beethoven sonatas.
OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26,
1923
Not having heard from him for a long time, Schenker’s asks for news of Violin and
his family.
OJ 14/45, [21] Handwritten letter from Moriz Violin to Heinrich Schenker, dated April 28, 1923
Violin reports on a brief trip to Berlin for respite from the strain of teaching
and his son’s illness. He is reading the second volume of Schenker’s Counterpoint, but asks him
for clarification of a matter concerning second-species counterpoint in two voices, discussed in
volume 1.
OJ 10/1, [75] Handwritten postcard from Dahms to Schenker, dated May 7, 1923
Dahms has received Vrieslander's essay on Schenker; reports progress on
subscriptions for his de luxe edition, proofs, and his work on Haydn; political comment.
OJ 10/1, [76] Handwritten postcard from Dahms to Schenker, dated May 19, 1923
Hertzka's excuse for not subscribing; gives summer address; asks ornamentation
question about the "Les adieux" sonata.
OJ 14/45, [22] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated May 31, 1923
Apparently replying to a letter from Schenker (not recorded in his diary), Violin
describes the widespread self-disparagement among Germans, and blames Jewish intellectuals for
the defeatist atmosphere in Germany.
OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11,
1923
Responding to a letter from Violin despairing of the political situation in
Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which
resonate with his own views that German society is, in effect, ruled by foreign despots.
OJ 10/1, [77] Handwritten letter from Dahms to Schenker, dated June 15, 1923
Dahms sends best wishes on Schenker's [55th] birthday, thanks him for his
assistance, and praises vol. I of Schenker's Beethoven sonata edition. Members of the German
community in Rome reject his assertions about genius.
OJ 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 14/45, [23] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated July 12, 1923
Violin writes approvingly of Schenker’s scheme to make Der Tonwille available by
subscription, as a periodical publication, and has a plan in mind. He inquires about the cost of
staying in Galtür.
OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923
Violin has met an industrialist by the name of Max Temming who would be willing
to help make Schenker’s work more widely accessible. Violin will probably not visit the
Schenkers in Galtür this summer, as prices have gone up in Germany.
OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923
Weisse summarizes his recent travels in northern Italy and Switzerland, and
inquires about progress on Der freie Satz, a work which he thinks will be an indispensable
foundation for the analyses in Der Tonwille.
OJ 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20,
1923
Schenker describes his efforts to make Der Tonwille more widely read, through its
distribution by his pupils and its display in music shop windows. He needs more help from pupils
and friends with the dissemination of his work, but complains that Hans Weisse has let him down
on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about
whether he should accept an invitation to speak at a conference in Leipzig, or whether he should
simply stay at home and continue to write.
OJ 8/4, [24] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 9,
[1923]
Concerned that Violin has not arrived in Galtür, Schenker asks him if something
has gone amiss with his plans to visit.
OJ 14/45, [25] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 16, 1923
Violin cannot come to the Tyrol to visit the Schenkers, on account of the
turmoil in Germany and horrendous currency situation; he will come to Vienna for Christmas, but
only for a few days.
OJ 10/1, [78] Handwritten letter from Dahms to Schenker, dated August 23, 1923
Dahms has received Tonwille 4 but not yet examined it. — Has deferred work on
his Haydn book because of financial problems over Musik des Südens and poor take-up of
subscriptions. — Debates whether to attend the Leipzig musicology conference. — Comments on
German politics as the occupation of the Ruhr unfolds, and compares German attitudes with
Italian.
OJ 15/16, [49] Handwritten letter from Weisse to Schenker, dated September 7, 1923
Weisse asks Schenker why he and his wife treated him so coldly when they recently
met on the street; he suspects this had something to do with his recent trip to Italy, protests
his innocence but affirms his unchanged love for his teacher.
OC 12/7-9 Handwritten letter from Halm to Schenker dated November 6‒10, 1923
Halm has sent the published score of a string quartet to Schenker. —Patronage has
enabled him to publish three volumes of compositions; reports on current and past composition
activities and publications. —Discusses what he has learned from Schenker's theories, and
questions whether it would be a fault were Bruckner's symphonies not to contain the Urlinie;
Halm's book on Bruckner's symphonies has gone into its second edition. —Halm suspects that
Schenker may not "agree with" his compositions, and asks whether Schenker wishes to receives
further scores. —Halm considers socialism a "historical necessity."
OJ 12/11, [1] Handwritten letter from Klenau to Schenker, dated September 17, 1923
First approach from Klenau: asks to visit Schenker.
OJ 12/11, [2] Handwritten letter from Klenau to Schenker, dated September 19, 1923
Klenau agrees the date and time for his visit to Schenker.
OJ 12/17, [1] Handwritten letter from Komorn to Heinrich Schenker, dated September 20,
1923
Miss Komorn is transferring her studies from Hans Weisse to Schenker. She asks
for suggested pieces to prepare, and for the day and time of her first
lesson.
OJ 12/11, [3] Handwritten letter from Klenau to Schenker, dated September 25, 1923
Klenau thanks Schenker for their discussion on September 21.
OJ 12/17, [2] Handwritten postcard from Komorn to Schenker, dated October 1, 1923
Mrs. Komorn will turn up for her first lesson as notified.
OJ 11/16, [4] Handwritten postcard from Furtwängler to Schenker, undated [October 3, 1923]
Furtwängler proposes that they meet on Thursday [October 4, 1923].
OJ 8/4, [25] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 3,
1923
Schenker asks for a few lines from Violin, just to let him know that things are
all right, so that he can send him a longer message.
OJ 12/11, [4] Handwritten letter from Klenau to Schenker, dated October 4, 1923
Klenau asks Schenker questions about the performance of the "Eroica"
Symphony.
OJ 14/45, [26] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated October 9, 1923
In response to Schenker’s recent postcard, Violin reports that his family are
mainly well, but that the political situation in Germany is so depressing that it is almost
impossible to write. He would be glad to have some news from Schenker.
OC 54/333-336 Handwritten letter (copy) from Schenker to Klenau, dated October 9‒10,
1923
Schenker offers further advice on performing the "Eroica"
Symphony.
OJ 12/11, [5] Handwritten letter from Klenau to Schenker, dated October 21, 1923
Klenau thanks Schenker for advice on performing the "Eroica"
Symphony.
OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21,
1923
In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving
health, and goes on to mention a number of personal successes he has lately had, including a
visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa
solemnis. He has also had some unexpected support from his publisher, who wants to expand Der
Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts
(three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are
overtaking Furtwängler as conductors in Vienna by accepting more modest fees.
OJ 11/36, [8] Handwritten letter from Hammer to Schenker dated October 22, 1923
Hammer buys all Schenker's publications, including Tonwille, but admits he has
difficulty understanding Schenker's Harmonielehre; — asks for loan of Halm's [Klavierübung]; —
gives his forthcoming dates;— comments on the lute and its tablature; — considers Busoni's
[Entwurf] wrong-headed.
OJ 15/15, [14] Handwritten postcard from Weisse to Schenker, dated October 23, 1923
Weisse accepts a social invitation from the Schenkers, and hopes to reciprocate
soon.
JOB 94-3, [5] Handwritten letter from Schenker to Hammer dated October 24, 1923
Schenker invites Hammer and his wife for November 7; — The problem of the
"middleman" (performer, etc.) in music, by contrast with painting; — he reports on Hertzka's
proposal to make Tonwille a quarterly publication.
OJ 11/36, [9] Handwritten letter from Hammer to Schenker undated [October 25, 1923]
Hammer sympathizes with the composer's dilemma over middlemen, but points to
cases in which the painter has suffered a similar fate.
OJ 10/1, [79] Handwritten letter from Dahms to Schenker, dated November 1, 1923
Dahms has devoted a chapter of his Musik des Südens to "genius" in which he
asserts its absoluteness and the gulf between genius and mediocrity. — He concurs with
Hertzka's judgement of Furtwängler as a "coward"; In his quest for success, the latter has
compromised his belief in genius by pandering to Schoenberg. The Korngolds are coming to
Rome in August.
OJ 10/1, [80] Handwritten letter from Dahms to Schenker, undated [c. November 18, 1923]
Having sent a subscription copy of Musik des Südens to Moriz Schenker and
received no acknowledgement, Dahms asks Schenker's help.
OJ 10/1, [81] Handwritten letter from Dahms to Schenker, dated November 20, 1923
Dahms has now received acknowledgement from Moriz Schenker. — He asks
Schenker's help in approaching financier Castiglioni for financial backing for his planned
bel canto book.
OJ 11/16, [5] Handwritten postcard from Furtwängler to Schenker, dated November 25, 1923
Furtwängler had been hoping to speak with Schenker at the performance of
[Handel's] Samson but realizes this is not possible; mentions his December program, hopes to see
Schenker.
OJ 11/36, [10] Handwritten letter from Hammer to Schenker dated November 25, 1923
Hammer thanks Schenker for hospitality on November 7, and recommends Eugen
Steinhof for lessons.
JOB 94-3, [6] Handwritten letter from Schenker to Hammer dated December 2, 1923
Schenker has heard nothing from Eugen Steinhof; — he commends Hammer's
reaction to Halm's work, and comments unfavorably on the latter's musicianship, character,
and opinions; — he writes disparagingly of Robert Brünauer.
OJ 14/45, [27] Handwritten letter from Moriz Violin to Heinrich Schenker, dated December 11, 1923
Violin reports the conversion to a new, stable currency in Germany; Hamburg has
been among the first cities to benefit from this, as a result of which he is somewhat better off
and the prospects for the future appear brighter. He plans to come to Vienna for Christmas, if
only for a few days; this will give him an opportunity to discuss arrangements for the
distribution of copies of Der Tonwille to libraries and schools.
OC 52/483 Handwritten letter from Elias to Schenker dated December 21, 1923
Miss Elias has obtained vols II-III of Schenker's Beethoven piano sonata
edition as a Christmas present for Marianne Kahn.
OJ 10/1, [82] Handwritten letter from Dahms to Schenker, dated December 28, 1923
Dahms gratefully acknowledges receipt of a grant from Schenker, reports on his
book writing, and sends New Year greetings to Heinrich and Jeanette.
OJ 12/11, [6] Handwritten letter from Klenau to Schenker, dated December 28, 1923
Klenau praises Schenker's monograph Beethovens Neunte Sinfonie; regrets being
unable to visit Schenker and Schenker's being unable to attend his performance of the Missa
solemnis.
OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924
Schenker responds to Klenau's remarks on atonal composers and a coming
Renaissance; invites him to visit on a Wednesday.
OJ 10/1, [83] Handwritten letter from Dahms to Schenker, dated January 4, 1924
Money has arrived. Dahms hopes for better conditions in 1924.
OJ 11/36, [11] Handwritten letter from Hammer to Schenker, dated January 5, 1923 [recte
1924]
Hammer refers to the making of a portrait; — he discusses German and Austrian art
with respect to Italian and French; — he comments favorably on Der Tonwille, but defends the art
of the French.
OJ 5/45, [5] Copy of letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated January 12,
1924
Schenker outlines his attitude to Bamberger's leaving him, and offers advice to
Weisse.
JOB 94-3, [7] Handwritten letter from Schenker to Hammer dated January 13, 1924
Schenker responds to a long letter from Hammer by, first, agreeing to his
proposal to sittings for a portrait, and, second, saying that there is no one in music now
capable of judging the artistry of musicians. Schenker feels he has uniquely this ability,
but others in music do not understand him.
OJ 15/16, [51] Handwritten letter from Weisse to Schenker, dated January 14, 1924
Responding to Schenker's explanation of a recent coldness between them, Weisse
asserts that his questions arise only from his own studies, not from work with his pupils; it is
not fear, but dependency on Schenker as a "medium," that drives him to ask such
questions.
OJ 11/35, 22 Handwritten letter from Halm to Schenker, dated January 22, 1924
Halm checks that Schenker has received a letter and score from him. — He asks
for guidance over Oppel's music.
OJ 12/17, [3] Handwritten notecard from Komorn to Schenker, dated February 1, 1924
Miss Komorn acquiesces to the fee increase; she is fortunate to have the small
number of lessons that she does.
OJ 14/21, [5] Handwritten receipt for payment by Schenker to Seidel'sche Buchhandlung, dated February 1,
1924
Receipt for a 180,000 kronen payment by Schenker to Seidel'sche Buchhandlung.
OJ 14/21, [6] Interim invoice from Seidel'sche Buchhandlung to Schenker, dated February 2, 1924
Delivery note from Seidel'sche Buchhandlung to Schenker for Beethoven's Piano Sonata in F-sharp,
Op. 78.
OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924
Violin reports that Max Temming is keen to support his plan to promote Schenker's
work. Following discussions with Schenker in Vienna, he makes some provisional calculations on
how the gift of money would give Schenker more time to devote to his writings. He also thinks
about the happy prospect of Schenker coming to Hamburg.
OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924
Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111;
he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and
its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a
passage exhibiting non-genius in his or Oppel's music and discuss it in Der
Tonwille.
OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924
Schenker reports continuing trouble with Hertzka, especially over delays to the
publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is
beginning to think about legal action. Hertzka has made his position so difficult that he feels
obliged to turn down Max Temming's offer of direct financial support for his work. He asks
Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he
neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if
Violin received any of the four volumes of the Beethoven piano sonata edition.
OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924
Dahms thanks Schenker for information about Castiglione. The Deutsche
Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has
excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in
Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong
reaction outside Germany.
OJ 14/45, [31] Handwritten letter from Moriz Violin to Schenker, dated March 16, 1924
Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In
the former, he finds the graphs of the short preludes by Bach more difficult than anything that
Schenker has previously done. He will write to Bamberger with the offer of help (in finding an
accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of
his pupils, he offers an explanation for the falling direction of the transitional theme
(measures 24-30) and its reappearance in the development section (measures 94-100) in inverted,
ascending form; he asks if this interpretation is sensible.
OJ 12/17, [4] Handwritten postcard from Komorn to Schenker, dated March 30, 1924
Mrs. Komorn asks for an extra lesson.
OJ 8/4, [28] Handwritten postcard from Schenker to Moriz Violin, undated [March 30, 1924]
Schenker confirms Violin's interpretation [given in his previous letter] of the
"Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has
written to say that he and his son are using Schenker's analyses of Bach preludes in their
counterpoint classes, and expresses the hope that one day they will continue Schenker's work
independently.
OC 12/13-14 Handwritten letter from Halm to Schenker dated March 15, 1924 and April 1,
1924
Halm attacks Schenker for condemning Berlioz's melodic practice without
substantiating his argument, and for harsh language. Halm compares Berlioz favorably to
Mendelssohn.
DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924
In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.
OJ 8/4, [29] Handwritten postcard from Schenker to Moriz Violin, undated [April 11, 1924]
Schenker offers Violin advice about holidaying in Austria, recommending the Tyrol
above all. He expects that Otto Vrieslander and possibly Herman Roth will visit them [in
Galtür]. He also inquires about the establishment of a Hochschule for music in Hamburg.
OJ 11/36, [12] Handwritten letter from Hammer to Schenker, dated May 1, 1924
Hammer invites Schenker to a first sitting for his portrait.
JOB 94-3, [8] Handwritten letter from Schenker to Hammer dated May 3, 1924
Schenker agrees to come on May 27 to sit for his portrait, and tells Hammer of
the forthcoming historical Beethoven Ninth Symphony concert.
OC 12/15-17 Handwritten letter from Halm to Schenker dated April 7, April 14, and May 6,
1924]
Halm again asks Schenker to point out an instance of non-genius in his [Halm's]
music. — Has long believed that foreground (= corporeality) has been neglected at the expense of
background (= spirituality) in music. — Defends Kurth against Schenker's critical remarks. —
Suggests an explanation for the Bruckner classroom incident. — Will send parts of his [A major]
String Quartet and promises a copy of his "Von Grenzen und Ländern". — Accepts offer of
assistance with publication costs. — Comments on Reger.
OJ 10/3, [40] Typewritten letter from Deutsch to Schenker, dated May 9, 1924
Deutsch thanks Schenker for the most recent (sixth) issue of Tonwille. He read Schenker's comments
on Schubert's "Gretchen am Spinnrade" (Op. 2) with great interest, although he did not fully understand them.
Deutsch encloses an announcement from the publisher Vieweg that may be of interest to Schenker.
OJ 12/11, [7] Handwritten calling card from Klenau to Schenker, dated May 13, 1924
Klenau asks to make a brief visit.
OJ 12/11, [8] Handwritten letter from Klenau to Schenker, undated [May 20, 1924]
Klenau asks Schenker to read over an article that he has
written.
OJ 11/36, [13] Handwritten postcard from Hammer to Schenker, postmarked May 21, 1924
Hammer reschedules the next sitting for the portrait.
UMdK Z 312 D/1924, [1] Typewritten letter from the Verein zur Speisung to the Akademie für Musik, dated May
21, 1924
The letter quotes the will of Mrs Sofie Deutsch, then announces that the
Verein is in process of dissolution, and decrees that the capital in question be devolved
upon the Akademie für Musik und darstellende Kunst, and refers the Akademie to its
attorney.
OC B/183 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 12,
1924
The Library does not possess the autograph of J. S. Bach's Kleine
Präludien.
OJ 11/36, [15] Handwritten postcard from Hammer to Schenker, dated June 16, 1924
Hammer invites Schenker to resume sitting for his portrait.
OJ 11/36, [16] Handwritten postcard from Hammer to Schenker, postmarked June 17, 1924
Hammer sets the arrival time for the portrait sitting on June
18.
OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924
The Dahmses send birthday greetings. They are staying in the Abruzzi; will not
get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest.
OJ 12/17, [5] Handwritten letter from Komorn to Heinrich Schenker, dated June 18, 1924
Miss Komorn thanks Schenker profusely for all that he has taught her in the
past year.
OJ 14/46, [2] Handwritten letter from Fanny Violin to Heinrich Schenker, dated June 18, 1924
Fanny thanks Schenker for sending Tonwille 5 and 6 and reports holiday plans.
OC B/184 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 27,
1924
Altmann states the cost of photographing autograph parts of the St Matthew
Passion.
UMdK Z 312 D/1924, [2] Typewritten internal memorandum of the Akademie für Musik, dated June 27,
1924
Records receipt of UMdK Z 312 D/1924, [1] and includes the texts of letters to
be sent to attorney Ernst Lambert and the Ministry of Education.
UMdK Z 312 D/1924, [3] Typewritten letter from Lamberg to Julius Zappert (Verein zur Speisung), dated June
30, 1924
The letter quotes that of the Akademie für Musik to the Verein zur Speisung,
and requests transfer of sum of money tothe Akademie.
JOB 94-3, [9] Handwritten picture postcard from Heinrich and Jeanette Schenker to Hammer, dated
July 19 [1924]
Heinrich and Jeanette send greetings from the Tyrol; they are expecting the
Vrieslanders.
OJ 14/45, [32] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1924
Writing from the nearby town of Schruns, in the Montafun Valley (Vorarlberg),
Violin asks Schenker to suggest a day when he and his wife might visit them in Galtür.
OJ 8/4, [30] Handwritten picture postcard from Schenker to Moriz Violin, dated July 28, 1924
Writing from Galtür to Schruns in the nearby Motafon Valley, Schenker invites the
Violins to visit them some time during their Austrian holiday, and shows them, on the picture,
the mountain pass where they can meet up.
OJ 15/15, [15] Handwritten postcard from Weisse to Schenker, dated August 2, 1924
Responding to a request for information about Brahms's meeting with Wagner,
Weisse promises to send Schenker the relevant volume of Max Kalbeck's biography of Brahms.
OJ 15/15, [16] Handwritten postcard from Weisse to Schenker, dated August 4, 1924
Weisse has sent Schenker a volume of Kalbeck's Brahms biography, and reports that
Universal Edition is about to send him the proofs for two of his compositions, a set of vocal
quartets and a string quartet.
OJ 8/4, [32] Handwritten picture postcard from Schenker to Moriz Violin, dated August 5, 1924
Schenker sends a greeting on the occasion of the Violins' return to Hamburg after
their holiday in Austria, writing a picture postcard showing the cottage where they presumably
went for a meal.
OJ 8/4, [31] Handwritten picture postcard from Heinrich and Jeanette Schenker and others to Moriz
Violin, undated [postmarked August 12, 1924]
In this postcard, begun by Heinrich Schenker, continued by Jeanette Schenker and
Carl Bamberger, and additionally signed by Anthony and Annemarie van Hoboken and Otto
Vrieslander, all express their regret that the Violins could not be with them.
OJ 14/45, [107] Handwritten postcard from Moriz Violin to Schenker, dated August 14, 1924
Violin thanks Schenker for his recent postcard, and reports that he will resume
negotiations with Max Temming concerning the distribution of copies of Der Tonwille when the
latter return to Hamburg.
OJ 15/16, [52] Handwritten letter from Weisse to Schenker, dated August 28, 1924
Weisse is so absorbed in his work that he is unable to give Schenker a precise
number of subscribers to Der Tonwille among his circle of pupils. He will see Gerald Warburg
soon, but confesses that the latter felt hurt by Schenker’s article “The Mission of German
Genius.” — Weisse will devote much time to composition during the coming season, and for this
reason will forego taking further lessons from Schenker.
OJ 14/45, [33] Handwritten letter from Moriz Violin to Schenker, dated August 29, 1924
Violin reports on continued negotiations with Max Temming on the distribution of
free copies of Der Tonwille, and gives a brief description of the Hamburger Fremdenblatt (in
which something about Schenker's writings may have recently appeared). He expresses his
embarrassment regarding the essay he had written at the behest of Otto Vrieslander on the
occasion of Schenker's 50th birthday, but agrees to let him see it.
OJ 15/16, [53] Handwritten letter from Weisse to Schenker, dated September 6, 1924
Weisse apologizes for not writing sooner, saying that he will return to Vienna by
the middle of the following week.
OJ 12/17, [6] Handwritten postcard from Komorn to Schenker, dated September 12, 1924
Mrs. Komorn inquires whether Schenker is back from vacation.
OJ 12/11, [9] Handwritten letter from Klenau to Schenker, dated September 17, 1924
Klenau sends a letter he has received from Heinrich Rickert, and thanks
Schenker for a discussion earlier the same day.
OJ 12/11, [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.
OJ 14/45, [34] Handwritten letter from Moriz Violin to Schenker, dated October 8, 1924
Violin has secured the agreement of Max Temming to subsidize 100 subscriptions to
Der Tonwille, and asks for a list of names and addresses for the recipients. With money growing
scarce, he has raised his fees, as a result of which several have left; but he has also gained
some new ones.
OJ 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924
After thanking Violin for his touching fiftieth-birthday tribute of 1918,
Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which
Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate
more on the dissemination of Der Tonwille, with a new publisher.
OJ 5/7a, [1] (formerly vC 1) Handwritten postcard from Schenker to Cube, dated October 19, 1924
Schenker sends Cube a prospective student, and recommends level of payment.
OJ 11/54, [1] Handwritten letter from Hoboken to Schenker, dated October 20, 1924
Hoboken encloses photographs; reports his summer travel; is now living in
Paris.
OJ 14/45, [36] Handwritten letter from Moriz Violin to Schenker, dated October 22, 1924
In the process of arranging for copies of Der Tonwille to be distributed, Violin
discovers that a pupil of his paid twice as much for one issue as the marked price in Austria.
He has made some inquiries into this matter, and asks Schenker what an issue currently costs in
Austria. There are no respectable music institutions in Hamburg, so Violin will distribute
copies there personally.
OJ 14/45, [37] Handwritten letter from Moriz Violin to Schenker, dated November 23, 1924
Violin sends thanks to Jeanette for copying out the article he wrote in 1918. He
has sent off ten letters [re distribution of copies of Der Tonwille] and placed the order with
UE. He reports on Buxbaum and Pollak, and also Blüthner.
OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924
Schenker names ten universities that should receive complimentary copies of Der
Tonwille, explaining that university music departments (Seminare) are more suitable recipients
than conservatories and other types of music schools. With 1924 coming to an end, he will resign
from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The
latter have agreed to publish his study of Beethoven's Sonata Op. 106
OC B/185 Handwritten postcard from Wilhelm Altmann to Schenker, dated October 30,
1924
Altmann is about to send Schenker the autograph parts of J. S. Bach's St
Matthew Passion, and asks for remittance.
OJ 15/16, [54] Handwritten letter from Weisse to Schenker, dated November 3, 1924
Weisse acknowledges Schenker’s recent letter, wants to speak with him face to
face about a number of things but uses this letter to defend his "hypersensitivity" towards
Schenker as stemming from the love and honor that he bestows on him.
OJ 6/7, [11] Handwritten letter from Schenker to Moriz Violin, dated November 6, 1924
Schenker has received a photographic reproduction of the opening chorus of Bach's
St Matthew Passion. — Gives account of delays to the publication of Tonwille 8/9 and 10, blaming
Hertzka for being slow to send work to the engraver, and has written to him with a request to
dissolve the Tonwille contract with UE. — Refers to a recent review by (Julius) Korngold, and
recounts a long story about his piano dealer, Bernhard Kohn.
OJ 10/1, [86] Handwritten postcard from Dahms to Schenker, dated November 8, 1924
Dahms visited Germany for two weeks; invites the Schenkers to visit him in
Venice.
OJ 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924
Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. —
Encloses a draft of a letter to the university music departments chosen to be given copies of
Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution
of complimentary copies of Der Tonwille to needy scholars.
OJ 6/7, [13] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1924
Schenker sends Violin Jeanette's handwritten copy of the essay Violin had
composed for Schenker's fiftieth birthday in 1918, and hopes that it may one day be published. —
Has received a conciliatory letter from Hertzka, but is determined to move Der Tonwille to a
Munich publisher.
OC B/187 Handwritten postcard from Wilhelm Altmann to Schenker, dated November 14,
1924
Schenker may hold on to the parts of the St Matthew Passion for some
time.
OC B/188 Handwritten letter from Wilhelm Altmann to Schenker, dated November 17,
1924
Altmann asks Schenker to send the balance of the charge for the Bach St
Matthew Passion parts.
OC 54/2 Typed letter from Alfred Einstein & August Demblin (DMV) to Schenker, dated
November 27, 1924
Having had soundings from Otto Vrieslander about taking over the publishing of
Der Tonwille, Drei Masken Verlag now approach Schenker directly, asking him to come to an
agreement with Universal Edition about the the future of the publication.
UMdK Z 641 D/1924, [1] Handwritten letter from Schenker to Joseph Marx (Akademie für Musik) to Schenker,
dated December 3, 1924
Schenker appeals to Marx that the full conditions laid down by Sofie Deutsch
for the stipends be honored.
OC 54/3 Typed letter from Theodor Baumgarten to Schenker, dated December 9, 1924
Schenker’s lawyer, Theodor Baumgarten, advises caution in dealing with Universal
Edition over the winding-up of Der Tonwille, and with Drei Masken Verlag over the future of the
new venture.
OC 54/4 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated
December 9, 1924
Drei Masken Verlag acknowledge the receipt of Schenker’s letter of December 5,
1924.
OJ 14/45, [39] Handwritten letter from Moriz Violin to Schenker, dated December 10, 1924
This somewhat cryptic letter, possibly relating to a subscription order for Der
Tonwille, was sent with an enclosure that required some interpretation or action on the part of
Schenker. Violin also reports that the music department at the University of Berlin has
received, with gratitude, the copies of Der Tonwille.
OJ 12/51, [1] Typewritten letter from Joseph Marx (Akademie für Musik) to Schenker, dated December
13, 1924
Marx has submitted the form of award of the Sophie Deutsch stipends to the
Ministry of Education.
UMdK Z 641 D/1924, [2] Handwritten internal memorandum of the Akademie für Musik, dated December 13,
1924
Drafts of letters to (1) the Federal Ministry of Education, (2) Schenker, both
regarding Schenker's appeal to Marx of December 3.
OC 54/9 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated
December 22, 1924
DMV acknowledge receipt of Schenker’s letter of December 9, 1924 and promise
to reply after the Christmas holidays.
OC 54/10 Typed letter from Theodor Baumgarten to Schenker, dated January 15, 1925
Baumgarten expresses his concerns about Schenker’s negotiations with a new
publisher, and cautiously advises that his client might instead wish to reach a peaceful
agreement with Universal Edition.
OC 54/11 Typewritten postcard from Otto Vrieslander to Schenker, dated January 19,
1925
Vrieslander thanks Schenker for Tonwille 10, remarks about negotiations with
Universal Edition and Drei Masken Verlag, and promises to send him an offprint of his recent
essay on C. P. E. Bach.
OJ 14/45, [41] Handwritten letter from Moriz Violin to Schenker, dated January 19, 1925
Violin reports on a successful concert in which he performed both as a soloist
and with the Klingler String Quartet. He thanks Schenker for Tonwille 10. He has received a copy
of Hans Weisse’s recent vocal quartets, and is puzzled by how a limited talent can write such
good music. He is going to see Max Temming, and has received four courteous letters of
acknowledgement from university music departments for copies of Der Tonwille.
OC 54/12 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January
20, 1925
Drei Masken Verlag offer to publish Schenker's future work as a yearbook,
entitled "Das Meisterwerk in der Musik," in volumes comprising fifteen gatherings (180 pages).
The manuscript would need to be delivered in July in order for the book to be published in time
for Christmas.
OJ 9/34, [1] Handwritten letter from Cube to Schenker, dated January 21, 1925
Cube has had to extend his holiday to take care of his father, who has been forced to abandon his
second marriage under pressure from his firm.
OJ 15/15, [17] Handwritten postcard from Weisse to Schenker, dated January 22, 1925
Weisse alerts Schenker to the January 1925 issue of Die Musik, which contains two
pieces concerned with him. He suggests that Schenker travel to Munich, to negotiate a deal with
Alfred Einstein at Drei Masken-Verlag concerning the publication of a successor to Der
Tonwille.
OC 54/14 Handwritten postcard from Theodor Baumgarten to Schenker, dated January 23,
1925
Baumgarten will let Schenker know whether he is able to visit him the following
Monday (January 26, 1925), to discuss Drei Masken Verlag's letter of January 20 (OC
54/12).
OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24,
1925
Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred
Einstein, whose character he rates highly and who assured him that he was looking forward to
publishing Schenker's work.
OJ 6/7, [16] Handwritten letter from Schenker to Moriz Violin, dated January 24, 1925
Responding point by point to Violin's previously letter (OJ 14/45, [41]),
Schenker congratulates his friend on the success of his recent concert. He writes at length
about Hertzka's last efforts to hold onto Der Tonwille, and about successful negotiations with
Drei Masken Verlag over its successor, Das Meisterwerk in der Musik. He has now to prepare
enough material for a yearbook comprising fifteen gatherings by July 1, so that the volume can
be published by Christmas. Finally, he echoes Violin's assessment of Hans Weisse, adding a few
disparaging remarks about his character.
OJ 14/45, [42] Handwritten letter from Moriz Violin to Schenker, dated January 30, 1925
Violin lends Schenker the letters sent by university music departments
acknowledging receipt of their copies of Der Tonwille. The reviews of his recent concert were
cooler than the audience’s reception, and the concert suffered a financial loss; nonetheless he
hopes to persevere with public performances as a pianist. Finally, he wishes Schenker luck with
his new publisher, Drei Masken Verlag.
OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925
Schenker, repeating some of the points made in earlier letters, continues to give an account of
Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the
subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music
departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent
concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists;
the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the
canonic composers.
OC 54/19 Typewritten letter from August Demblin (DMV) to Schenker, dated February 3,
1925
Replying to Schenker's earlier queries, Drei Masken Verlag explain that Schenker
will receive a royalty of 15% of the selling price of a paperback copy for each Yearbook sold,
whether hardback or paperback. They offer an advance of 500 marks against expected sales at the
time of publication (early November), and can give him half that sum upon receipt of his
manuscript at the end of June.
OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925
Violin explains why, and how, the number of free copies of Der Tonwille
distributed to German university music departments was reduced from 10 per university to 7.
He has seen Paul Bekker's recent book, which includes a survey of recent trends in music
theory.
OC 54/23 Typed letter from August Demblin (DMV) to Schenker, dated February 11, 1925
A copy of the Mozart-Jahrbuch II will be sent to Schenker as a model for
Meisterwerk.
OJ 8/4, [35] Handwritten postcard from Schenker to Moriz Violin, dated February 14,
1925
Schenker asks Violin urgently to send him the receipt for payment made to
Universal Edition (for the copies of Der Tonwille paid for by Max Temming).
OC 54/25 Typed letter from August Demblin (DMV) to Schenker, dated February 21, 1925
Drei Masken Verlag acknowledge Schenker's acceptance of their terms and issue a
contract for the Meisterwerk Yearbooks.
OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925
Schenker thanks Violin for his recent letter (and enclosure), which contains
evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark
contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the
publication of Weisse's recently published vocal quartets than to his writings. Leaving Der
Tonwille behind, which has earned him little money and caused him much misery, he has written a
lengthy study of Bach's solo violin works, which will be published in the first volume of Das
Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen
Kontrapunkts.
UMdK Z 163 D/1925, [1] Typewritten letter from Kallina (Bundesministerium) to the Akademie für Musik, dated
February 23, 1925
The Akademie is instructed to draw up an endowment letter concerning the
Sophie Deutsch stipends, and to avoid inclusion of slates of candidates; Schenker must
determine how adjudication should be conducted after his death.
OJ 14/45, [109] Handwritten postcard from Moriz Violin to Schenker, undated, postmarked February 24,
1925
Visiting his dying brother Eduard in the Sophienspital in Vienna, Violin hopes
to see Schenker if at all possible.
OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925
Dahms reports on the Vrieslanders' Italian travels; compares Hertzka
unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold.
OC 54/28 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated March 3,
1925
Drei Masken Verlag is willing to use Der Tonwille as the title of Schenker's
Yearbook, but only with the approval of Hertzka at Universal Edition.
OC 52/648 Handwritten letter from Moriz Violin to Schenker, dated March 5, 1925
Violin sends Schenker receipts for the purchase of Der
Tonwille.
OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925
The St. Matthew Passion parts may be retained until mid-July; Altmann is
pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in
Galtür next summer.
OJ 12/17, [7] Handwritten letter from Komorn to Heinrich Schenker, dated April 7, 1925
Miss Komorn tries to arrange a meeting with Furtwangler.
OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925
Continuing the story of the ongoing financial battle against Hertzka and
Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid
for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the
order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr.
Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek
a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned
royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact –
outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this
issue is still in demand, despite Hertzka's claims to the contrary. He has attended a
performance of Hans Weisse's Sextet, of which he found the variation movement and the trio
section of the scherzo to be the most satisfactory parts.
OJ 11/35, 23 Handwritten letter from Halm to Schenker, dated April 6 and 15, 1925
Halm explains why he has not written before and reports successful performance
of his A major Symphony; wishes Schenker luck with move from UE to Drei-Masken Verlag;
reports events at Freie Schulgemeinde.
OJ 10/1, [88] Typewritten postcard from Dahms to Schenker, dated April 20, 1925
Dahms gives his new temporary address.
OC 52/644 Handwritten letter from Moriz Violin to Schenker, dated April 21, 1925
Violin has had the order for nine copies of Tonwille 1 placed in Berlin, and
has collected the receipts. He has not heard from Weisse, but attended a performance of his
String Sextet and, like Schenker, found the variations and the trio section of the scherzo
the most successful.
OJ 8/4, [36] Handwritten postcard from Schenker to Moriz Violin, dated April 23, 1925
Schenker thanks Violin for ordering copies of Tonwille 1. He gives a brief
account of a visit from Furtwängler, and mentions the arrival of the bronze medallion with
his likeness (designed by Alfred Rothberger).
OJ 15/15, [18] Handwritten postcard from Weisse to Schenker, dated April 27, 1925
Weisse has come across a letter from Brahms to his publisher Fritz Simrock, which
he thinks will be of interest to his teacher.
OJ 10/1, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925]
Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers
to visit. — Hindenburg's election as German President has given a "jolt" to Europe and
pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will
be able to lift Germany out of mediocrity.
OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925
In a wide-ranging letter, Schenker sends Violin money for arranging the order of
Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative,
Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action.
Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact
that does not prevent him from earning huge fees for conducting in New York. He has turned down
a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish
to spend some time with him in Galtür. He enquires about the personal difficulties that Violin
writes about in his letter, and asks him to say more; they will invite his sister for a visit.
He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor
Hammer is not yet finished.
OJ 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925
Making preparations with his solicitor for the legal action against Universal
Edition, Schenker asks Violin to find out whether Max Temming paid for the additional
subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of
Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk
yearbook and asks Violin whether he has yet made summer plans and whether these might include a
trip to Galtür.
OC 52/618 Handwritten letter from Moriz Violin to Schenker, dated May 26, 1925
Dealing at the same time with a family matter, Violin sends Schenker the
receipt for Max Temming's purchase of subscriptions to Der Tonwille and confirms that the
money for this was sent to the Leipzig office of Universal Edition. He is not planning any
summer holiday this year.
OJ 11/54, [2] Handwritten letter from Hoboken to Schenker, May 29, 1925
Hoboken wishes to become a pupil of Schenker; he has studied Schenker's
theoretical works under Vrieslander, and describes his progress so far; outlines previous
education in piano and music theory at the Hoch Conservatory,Frankfurt, and activity as composer
and conductor; after breaking his shoulder, he neglected his musical studies; outlines the areas
he wishes to study with Schenker; if accepted, he would take up residence in
Vienna.
OJ 6/7, [22] Handwritten letter from Schenker to Moriz Violin, dated May 30, 1925
Schenker thanks Violin for his latest efforts to account for subscriptions to Der
Tonwille. He sends him the smaller version of the bronze medallion designed by Alfred
Rothberger.
OJ 14/45, [43] Handwritten letter from Moriz Violin to Schenker, dated June 4, 1925
Violin thanks Schenker for sending him the small version of the medallion
designed by Alfred Rothberger. He does not want to give an account of the difficult times he
is facing, expecting that things will eventually turn out for the better. He returns some
money, left over from the purchase of copies of Tonwille 10, which Schenker had previously
sent him.
OJ 8/4, [37] Handwritten postcard from Schenker to Moriz Violin, dated June 9, 1925
Schenker asks Violin to write to one of the German university music
departments who received subscriptions to Der Tonwille through the generosity of Max
Temming, to find out if, and when, they received Tonwille 10, which was published in
January. He reports being on the verge of completing the first Meisterwerk
Yearbook.
OC 54/29 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated June
10, 1925
Drei Masken Verlag requests that Schenker send the manuscript of the first
Meisterwerk Yearbook directly to their Munich office.
OJ 11/54, [3] Handwritten letter from Hoboken to Schenker, dated June 10, 1925
Acknowledges Schenker's communication; is pleased to become a pupil of Schenker;
accepts fee and agrees to three lessons per week.
OC 52/631 Handwritten letter from Elias to Heinrich Schenker, dated June 13, 1925
Miss Elias reports on the pricing of issues of Der Tonwille in two music
stores.
OC B/190 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked June 15,
1925
Altmann thanks Schenker for the medallion; he will be unable to visit
Galtür.
OC 52/649 Handwritten letter from Moriz Violin to Schenker, dated June 15, 1925
Violin has received letters from the music departments of two German
universities, which show that the tenth issue of Der Tonwille (published in January 1925)
was not received until June 10.
OJ 10/1, [90] Handwritten letter from Dahms to Schenker, dated June 16, 1925
Dahms sends birthday greetings to Schenker, and gratitude for the [Rothberger]
medallion. — Margarete Dahms has given birth to a girl. — Speaks of "rotten German laws."
OJ 12/20, [1] Handwritten postcard from Hedwig Kraus (Gesellschaft der Musikfreunde) to Schenker,
dated June 17, 1925
OJ 8/4, [38] Handwritten postcard from Schenker to Moriz Violin, dated June 22, 1925
Schenker thanks Violin for his most recent efforts concerning the
subscriptions to Der Tonwille; he is astonished to learn that Tonwille 10, published in
January 1925, did not reach some subscribers until June. He hopes that Violin will be able
to visit him in the Tyrol this summer, as he is expecting Vrieslander with his
son.
OC 54/15 Typewritten letter from Moriz Schenker to Heinrich Schenker, dated July 24,
1925
Moriz Schenker tells his brother that he will ask his friend Sobotka to
intervene directly in the matter of obtaining the advance of 250 marks from Drei Masken
Verlag
OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925
Two weeks after arriving in Galtür for the summer holidays, Schenker reports that
he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue
on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to
interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag
for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe
of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and
those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second
impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work,
has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to
Galtür sometime during the summer.
OC 54/32 Typed letter from Moriz Schenker to Schenker, dated July 28, 1925
Moriz Schenker has seen his friend Sobotka, who will arrange for the advance
from Drei Masken Verlag to be paid into his account.
OJ 14/45, [108] Handwritten postcard from Moriz Violin to Schenker, dated July 28, 1925
Unable to leave Hamburg this summer because of financial difficulties, but having
nothing worth saying in a letter, Violin asks for some news from Schenker.
OJ 15/16, [55] Handwritten letter from Weisse to Schenker, incomplete, written c. August 5,
1925
Weisse apologizes for not having written for a long time. He has seen Furtwängler
and reports that the conductor knows nothing of his writings and has no idea about the Urlinie.
Universal Edition have declined to publish his Sextet. (In the missing portion of the letter,
which is summarized in Schenker's diary, he asks his teacher's help in finding another
publisher, perhaps with Wilhelm Altmann's intervention.)
OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925
After expressing his sympathy for Violin, in response to his friend's depressing
postcard, Schenker gives an account of some of the summer events, including a visit from
Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail
against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to
send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is,
however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this
connection the payment has been made.
OJ 8/4, [39] Handwritten picture postcard from Schenker to Moriz Violin, undated, postmarked
August 27, 1925
Schenker sends greetings from the Tyrol, reports the publication of an article
on him by Elsa Bienenfeld, which includes a reproduction of his pupil Alfred Rothberger's
bronze medallion.
OJ 14/45, [45] Handwritten letter from Moriz Violin to Schenker, dated August 28, 1925
Violin, in a philosophical mood, thanks Schenker for his concerns; he paints a
pessimistic picture of the world in general, embracing the injustices that his friend must
also suffer.
OC 54/33 Typewritten letter from C. Alberti (DMV) to Schenker, dated September 1,
1925
In response to Schenker's request for proofs for the first Meisterwerk Yearbook,
Drei Masken Verlag explain that they have not yet decided on a printing house. They advise
Schenker to submit his next manuscript earlier in the year, on account of the complexity of the
work.
OJ 9/35, [1] Handwritten letter from Gustav von Cube to Schenker, dated September 7, 1925
Finding himself adversely affected by the current financial crisis, Gustav von
Cube asks Schenker to help find work for his son Felix, to help help him finance his
studies.
OJ 5/7a, [2] (formerly vC 2) Handwritten letter from Schenker to Gustav von Cube, dated September 13, 1925
Schenker explains to Cube's father why his first teaching assignment went awry, but promises to
continue to help him; he suggests Anthony van Hoboken may be able to assist him.
OC 54/34 Typewritten letter from August Demblin (DMV) to Schenker, dated September 16,
1925
Drei Masken Verlag tell Schenker that a printer for the first Meisterwerk
Yearbook has not yet been found, owing to the high costs of this work, and that first proofs
will not be ready for another two weeks.
OC 54/35 Typewritten postcard from August Demblin (DMV) to Schenker, dated September 22,
1925
Drei Masken Verlag arranges for Schenker to be paid his advance of 250
marks.
OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925
Van Hoboken reports on his recent travels, describing the house that he has
rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he
thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on
October 13, 1925; encloses $60 in advance monthly payment.
OJ 9/8, [1] Handwritten letter from Wilhelm Altmann to Schenker, dated October 3,
1925
Altmann asks Schenker to send his [Hammer] portrait to the editor of Die
Musik.
OJ 12/17, [8] Handwritten letter from Komorn to Heinrich Schenker, dated October 5,
1925
Cessation of lessons comes as a blow, but Mrs. Komorn thanks Schenker
unreservedly for all she has learned.
OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925
Weisse asks Schenker to look at some suitable frames for Hammer's portrait of
him. He reports that several autograph manuscripts of Brahms are being put up for sale, of
which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly
interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest
theoretical concepts are being taught at Damrosch's music school in New
York.
OJ 11/54, [5] Handwritten letter from van Hoboken to Schenker, dated October 11, 1925
Van Hoboken will leave Munich for Vienna on October 14 and attend lesson on
October 15.
FS 40/27, [1] Handwritten letter from Weisse to Schenker, dated October 12, 1925
Weisse has come across a letter from Haydn to Carl Friedrich Zelter expressing
gratitude and admiration for Zelter's analysis of "The Representation of Chaos" from The
Creation, and thinks that it might be worth looking up Zelter's work in connection with
Schenker's forthcoming study of the same work.
OC B/191 Typewritten postcard from Wilhelm Altmann to Schenker, dated October 12,
1925
Conditions under which Altmann could purchase Brahms autograph for
Library.
OC 54/36 Typewritten postcard from August Demblin (DMV) to Schenker, dated October 13,
1925
Drei Masken Verlag has still not found a suitable printing house, and informs
Schenker that the first Meisterwerk Yearbook cannot be published in 1925.
OC 54/37 Copy of letter from Schenker to Drei Masken Verlag, dated October 16,
1925
Expressing his distress at the delays, Schenker expresses his hope that the
first Meisterwerk Yearbook might nonetheless be published by December and, if not, that it
should still bear the date of 1925.
FS 40/27, [2] Handwritten letter from Weisse to Schenker, dated October 17, 1925
Weisse has found Zelter's review of Haydn's Creation and has copied out the
section concerned with "The Representation of Chaos." He finds nothing of value in the
review, but says it must have pleased Haydn because it shows that the composer was entirely
conscious of how he went about writing the work.
WSLB-Hds 191.557 Handwritten letter from Schenker to Deutsch, dated October 18, 1925
Responding to Deutsch's request, Schenker sends his text for inclusion in the forthcoming
Schubert issue of Moderne Welt, and invites the Deutsches for an afternoon snack.
OC 54/39 Typewritten letter from August Demblin (DMV) to Schenker, dated October 19,
1925
Drei Masken Verlag are near agreement with a printer; Yearbook I will be
backdated to 1925.
OJ 10/3, [41] Typewritten postcard from Deutsch to Schenker, dated October 20, 1925
Deutsch thanks Schenker for quickly providing his text [for the forthcoming Schubert issue of
Moderne Welt]. He has written to Thomas Mann regarding the reference to Schubert's "Der Lindenbaum" in Mann's
novel Der Zauberberg. The Deutsches accept Schenker's invitation for an afternoon snack, but can only come on a
Sunday after Novemeber 2.
OJ 9/4, [1] Typewritten letter from Franz Schmidt (Akademie für Musik) to Schenker, dated October
21, 1925
Schmidt reports the response from the Federal Ministry of
Education.
OJ 14/45, [46] Handwritten letter from Moriz Violin to Schenker, dated October 23, 1925
Informing Schenker that he is beginning to recover after a disastrous year,
Violin reports that he has formed a trio with the violinist Mauritz van den Berg and the
cellist Friederich Buxbaum, and has scheduled concerts for January. His son has started
school, which he also regards as a blessing.
OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925
In this wide-ranging letter, Schenker commiserates with Violin about the high
cost of living, and his inability to raise his fees to keep up with it (in particular, he
feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on
sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his
portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original
drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the
portrait, and things are now going well with the corrections to Meisterwerk 1 and the
writing of Meisterwerk 2.
UMdK Z 641 D/1925, [1] Handwritten letter from Schenker to Franz Schmidt (Akademie für Musik), dated
October 30, 1925
Schenker determines how the Sofie Deutsch stipend should be adjudicated after
his death.
OC 54/42 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 6,
1925
Drei Masken Verlag in Vienna report that Waldheim-Eberle has been chosen as the
printing house for Yearbook I; they ask Schenker for the precise wording of the title of the
book, and issue instructions for dealing with the galley-proofs.
OC 54/41 Typewritten letter from August Demblin (DMV) to Schenker, dated November 6,
1925
Drei Masken Verlag in Munich have now transferred all matters of production
concerning Meisterwerk I to their office in Vienna.
OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925
Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior
knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which
refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of
removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven
manuscript at Heck's.
OJ 10/3, [43] Typewritten postcard from Deutsch to Schenker, dated November 7, 1925
Deutsch thanks Schenker for agreeing to the cuts to his article, and asks to come to the Schenkers
on November 22 for the planned snack.
WSLB-Hds 191.558 Handwritten letter from Schenker to Deutsch, dated November 7, 1925
Schenker agrees to the cuts to his article, and invites the Deutsches for a snack and chat
on November 12 or 15. Schenker is planning to see Heck's Beethoven manuscript.
OC 54/43 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 18,
1925
New stamps for the printing of Schenker's careted numbers must be ordered before
the proofs of the first Meisterwerk Yearbook can be completed; they will therefore be delayed by
a few days.
OC 54/44 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 21,
1925
The printing-house has just received the stamps with the special characters
needed to set the first Yearbook, and the proofs will be ready in a few days.
OJ 9/8, [2] Handwritten postcard from Wilhelm Altmann to Schenker, dated November 21,
1925
Altmann acknowledges receipt of the [Hammer] portrait. — He refers to a booklet
explaining Schenker's Urlinie.
OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925
Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer
books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing
Deutsch's collection of Schubert first editions.
OC 54/45 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 28,
1925
The text of Yearbook I has been set, but the music examples will require more
time.
OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925
The [Hammer] mezzotint has arrived; Dahms expresses a reservation about
it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE.
OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925
Violin gives Schenker the program of his concerts with van den Berg and
Buxbaum.
OJ 14/14, [1] Handwritten letter from Artur Schnabel to Schenker, dated December 6, 1925
Schnabel divulges only some details of his publisher's contract.
OC 54/48 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated December 9,
1925
Drei Masken Verlag acknowledge receipt of the Foreword to Meisterwerk I. They
note that he has made a large number of corrections to the proofs, and warn him that, though
they can be incorporated in the final text, he will have to bear the expense if they exceed 10%
of the overall printing costs.
OJ 10/3, [45] Typewritten postcard from Deutsch to Schenker, dated December 9, 1925
Deutsch sends Schenker a dedication copy of the Schubert special issue of Moderne Welt, to which
Schenker contributed an article. Deutsch had already requested a copy to be sent to Schenker from the publisher,
but this has gone missing.
OJ 10/3, [46] Typewritten postcard from Deutsch to Schenker, dated December 15, 1925
Deutsch thanks Schenker for his postcard [not known to survive] and hopes to speak to him soon
about the matters raised therein. Deutsch, however, could neither read nor understand a sentence from Schenker's
postcard and affixes it to this reply.
OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21,
1925
Interrupting his correcting of the proofs for the first Meisterwerk Yearbook,
Schenker sends Christmas greetings to the Violins, and informs his friend that an
out-of-court settlement was made with Universal Edition. Recent concert appearances of the
cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio
concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be
sent to Hamburg.
OJ 14/45, [47] Handwritten letter from Moriz Violin to Schenker, dated December 25, 1925
Catching up on his correspondence on Christmas Day, Violin thanks Schenker for
his recent postcard, and hopes that 1926 will be a less troublesome year for him. He quotes
an extract from a negative review of Berg's Wozzeck, and reports on his practice and
rehearsal plans for the trios that he will perform with van der Berg and Buxbaum in a
month's time.
OJ 11/54, [6] Handwritten letter from van Hoboken to Schenker, dated January 3, 1926
Van Hoboken sends New Year greetings; reports that he is to see in the Paris
Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which
Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson
on January 9.
OJ 14/45, [50] Handwritten letter from Moriz Violin to Schenker, dated January 12, 1926
Violin asks Schenker if he would consider taking one of his pupils, Miss Agnes
Becker, as a pupil for the remainder of the teaching year.
OC 54/56 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 14,
1926
Drei-Masken Verlag says that there are plans to publish the autograph manuscript
of Mozart’s Don Giovanni in facsimile. They are in the process of finishing the first
Meisterwerk Yearbook, note Schenker’s wish for wider Urlinie graphs in future
yearbooks.
OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926
Drei Masken Verlag in Munich have now transferred all matters of production
concerning the first Meisterwerk Yearbook to their office in Vienna.
OJ 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926
Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon
as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern
music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He
is not optimistic that humanity in general will truly understand the classics, which
underscores the important of his (and Violin's) mission.
OC 54/58 Typewritten letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
January 16, 1926
The facsimile edition of Mozart’s Don Giovanni will not be ready for some time; a
facsimile of Beethoven’s Op. 57 is planned, not by DMV but by a Paris
printing-house.
OC 54/59 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 21,
1926
Drei Masken Verlag announce that the second galley-proofs are on their way to Schenker and
explain that, owing to the complexity of the publication, it will take time to complete the
corrections to the text and the music examples.
OC 54/60 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 25,
1926
Drei Masken Verlag are sending Schenker the second galley-proofs for the first Meisterwerk
Yearbook, together with a separate printout of the music examples.
OC 54/62 Typed letter from Alfred Böhme (DMV) to Schenker, dated February 3, 1926
The Vienna branch of Drei Masken Verlag are forwarding Schenker’s request for an
announcement about the Meisterwerk Yearbooks to their Munich office. They explain that
difficulties in printing the music examples have delayed the production of Yearbook
1.
OC 54/63 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
February 5, 1926
Drei Masken Verlag invite Schenker to write a short announcement about the
Meisterwerk Yearbook, to be sent to newspapers and music journals in advance of
publication.
OJ 9/3, [4] Typewritten letter from Guido Adler to Schenker, dated February 10, 1926
Invitation to join the Conference Committee of the Beethoven Centennial
Celebration 1927.
OJ 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11,
1926
Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg
went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in
putting together the first Meisterwerk Yearbook, on account of the numerous music examples
and separate Urlinie graphs, and summarizes the contents of the second
Yearbook.
OJ 10/3, [47] Typewritten postcard from Deutsch to Schenker, dated February 15, 1926
Deutsch has received Schenker's request for a subscription to Die literarische Welt and has
dispatched the required payment transfer form.
OJ 14/45, [51] Handwritten letter from Moriz Violin to Schenker, dated February 18, 1926
Violin, in the aftermath of two enormously successful trio concerts with
Mauritz van den Berg and Friedrich Buxbaum, gives an account of Buxbaum's vanity and the
difficulty this causes in rehearsals and more generally for the ensemble. His doctor has
recommended that he spends three weeks in Bad Gastein this summer. He has not yet received
Hammer's portrait of Schenker.
OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926
In a wide-ranging letter responding to Moriz Violin's previous letter,
Schenker asks his friend to confide in him his personal troubles. He offers his support in
the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to
find a way of getting the Hammer portrait to him safely, possibly by having it sent directly
from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil
Agnes Becker, recently arrived from Hamburg where Violin had been teaching
her.
OC 54/68 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 4, 1926
Drei Masken Verlag reprimands Schenker for introducing so many changes to the
music examples, and ask him to consider whether he wishes to bear the additional cost of
reingraving the music example plates.
OJ 14/45, [52] Handwritten letter from Moriz Violin to Schenker, dated March 6, 1926
Responding to Schenker's continuing queries, Violin gives some details of
recent illnesses, the cure for which his doctor has ordered him to spend part of the summer
in Bad Gastein. He is awaiting the arrival of the Hammer portrait, and is considering the
future of his piano trio ensemble.
OC 54/69 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 10, 1926
Drei Masken Verlag report a short delay in the production of the first
Meisterwerk Yearbook.
OJ 14/45, [111] Handwritten postcard from Moriz Violin to Schenker, dated March 13, 1926
Violin thanks Schenker for Hammer's excellent portrait of him, which has
finally arrived.
OC 54/70 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 15, 1926
Drei Masken Verlag agree to print a list of corrections at the end of Meisterwerk
1, and announce that they have now completed the revision of the volume.
OJ 10/3, [49] Handwritten letter from Hanna Deutsch to Schenker, dated March 20, 1926
Hanna Deutsch invites the Schenkers to afternoon tea on March 28, 1926.
OJ 10/3, [50] Typewritten letter from Deutsch to Schenker, dated March 26, 1926
Deutsch requests that the Schenkers' planned visit for afternoon tea be postponed because their
children and nanny have contracted flu.
OC 82/27-28 Handwritten letter from Georg Dohrn to Schenker, dated April 2, 1926
Dohrn inquires as to the performance of the opening of the second movement of
Beethoven's Ninth Symphony.
OJ 5/9a, [1] Handwritten letter from Schenker to Georg Dohrn, dated April 5, 1926
Schenker answers Dohrn's inquiry as to the performance of the opening of the
second movement of Beethoven's Ninth Symphony.
WSLB 369 Handwritten letter from Schenker to UE, dated April 7, 1926
Schenker encloses an order from Bauer and asks for it to be fulfilled.
OJ 10/3, [51] Handwritten letter from Hanna Deutsch to Jeanette Schenker, dated April 8, 1926
Hanna Deutsch tries to arrange a date for the Schenkers, Hoboken and Vrieslander to visit for
afternoon tea.
OC 52/545 Typed postcard from Hugo Winter (UE) to Schenker, dated April 9, 1926
Winter acknowledges order from Otto Bauer.
OC 54/74 Typed letter from Alfred Böhme (DMV) to Schenker, dated April 15, 1926
Drei Masken Verlag inform Schenker that the proof-copy of Meisterwerk 1 has been
sent to Dr. Einstein in Munich for final checking. They confirm that the majority of the music
examples will appear as an unbound supplement at the end of the book, agree to correct two
errors in the typesetting, and confirm the appearance of the cover.
OJ 15/15, [20] Handwritten postcard from Weisse to Schenker, dated April 16, 1926
Schenker has, mistakenly, sent Weisse a copy of Reger's "Telemann" Variations
(Op. 134) instead of the "Bach" Variations (Op. 81) which he had lent him. Weisse asks what
is holding up the publication of the first Meisterwerk Yearbook, and suggests that Schenker
might write about Bruckner in the next one. A Brahms analysis would help strengthen his
position against his opponents. He also recommends that Schenker discuss a work that is less
than perfect, and cites Eduard Mörike's "Um Mitternacht" as an example of a poem whose
opening verses are beautiful but which deteriorates in meaning and poetic
quality.
OC 54/75 Typed letter from DMV to Schenker, dated April 24, 1926
Drei Masken Verlag will send Schenker new page-proofs for the first gathering, to
ensure that the title-page and the list of printing errors are correct. They also ask about the
binding of the separate pages of musical illustration, and the notice about his earlier
publications.
OC 54/76 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 4, 1926
Drei Masken Verlag are sending Schenker the proofs for the first gathering of
his first Meisterwerk Yearbook, with the list of printing errors. There is not enough room
for a special notice about the new series, but they will include the contents of the ten
issues of Der Tonwille.
OC 54/77 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 7, 1926
Drei Masken Verlag alert Schenker to the printing error in the proof of
the advertisement page, which was to be included in the first Meisterwerk volume, and ask that
he disregard the imprimatur. They send linen swatches for the cover and recommend using coloured
lettering for the title.
OC 54/78 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 14, 1926
A further mistake has been found in the text of the first Meisterwerk
Yearbook, and Schenker is asked to confirm the correction by return of
post.
OJ 10/1, [92] Typewritten letter from Dahms to Schenker, dated May 21, 1926
Dahms reports plans, with a young Munich publisher, to launch a popular music
"almanach," anti-modern, propagandizing for "our ideas," and later a serious periodical. —
He has to raise 10,000 Marks, and asks for Heinrich's help in doing this. — Margarete has
had surgery.
OJ 11/54, [7] Handwritten letter from Hoboken to Schenker, dated May 22, 1926
Hoboken excuses himself from May 22 lesson, looks forward to May 25 lesson.
OC 54/79 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 5, 1926
The binding of the first Meisterwerk Yearbook has been transferred to another
firm, mainly because the printing-house of Waldheim-Eberle would not do this work for the
agreed price. Schenker is asked not to press for an early release of the book, before the
bindings have had a chance to dry thoroughly.
OJ 14/45, [53] Handwritten letter from Moriz Violin to Schenker, dated June 7, 1926
Violin thanks Schenker for his recent postcard, gives a brief account of his
own illnesses, and gives a somewhat longer account of those of his son Karl, which will
complicate summer travel plans. He has learned from music shops in Hamburg that the
Erläuterungsausgabe of Op. 106 is not yet published, and has also heard that Schenker's
Beethoven sonata edition is no longer available; he asks Schenker if this is
true.
OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9,
1926
Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two
Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing
article about Schenker in Die Musik; advice for Weisse over choice of
publisher.
OC 54/80 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 11, 1926
Drei Masken Verlag acknowledge receipt of the manuscript of Das Meisterwerk in
der Musik, vol. 2.
OC 54/82 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated June
14, 1926
The Munich office of Drei Masken Verlag acknowledges receipt of the
manuscript for Das Meisterwerk in der Musik, volume 2.
OC 54/83 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 15, 1926
Drei Masken Verlag are sending Schenker ten hard-bound complimentary copies of
the first Meisterwerk Yearbook, although he may contractually be entitled only to five
hard-bound and five paper-bound copies. They ask him to send the addresses to which review
copies may be sent. (Schenker has made some pencil notes about the receipients of the
complimentary copies.)
OC 54/84 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 16, 1926
Drei Masken Verlag ask Schenker to exchange five paper-bound copies of the
first Meisterwerk Yearbook for five of the hard-bound copies they had recently sent
him.
OJ 10/1, [93] Handwritten letter from Walter and Margarete Dahms to Schenker, dated June 17,
1926
Birthday greetings.
OC 54/87 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 19, 1926
Drei Masken Verlag inform Schenker that the distribution of the first
Meisterwerk volume will be delayed until their Munich branch have announced the retail
price.
OC 54/88 Typed letter from August Demblin (DMV) to Schenker, dated June 21, 1926
Drei Masken Verlag will arrange to have the remainder of the advance for the
first Meisterwerk Yearbook paid in shillings, but they are reducing the royalties because
the corrections he made exceed 10% of the printing costs. They are also reserving judgment
on the publication of the second Yearbook until they see some sales figures for the first.
(Pencil annotations to the letter indicate Schenker’s displeasure at this
news.)
OC 54/89 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 22, 1926
Drei Masken Verlag in Vienna report having paid the remainder of the advance
for the first Meisterwerk Yearbook into Schenker’s account.
OC 54/90 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 23, 1926
In response to Schenker’s query regarding advance payments for Das Meisterwerk
in der Musik, the Vienna office of Drei Masken Verlag explain that they have instructions
only to offer the remainder of the advance on the first Yearbook, and that no decision has
yet been made with regard to the second.
OC 54/91-92 Draft of a letter from Schenker to DMV in Schenker’s hand, dated June 24,
1926
In response to Drei Masken Verlag’s delay in initiating production of the
second Meisterwerk Yearbook, Schenker points out that the publishers are in breach of
paragraph 8 of the contract between them for not informing him the previous summer. He
threatens them with legal action if he has not had a reply within a week, or if they insist
on delaying production.
OC 54/94 Typed letter from Hirsch to Schenker, dated June 26, 1926
Treuga Bank confirm that the General Director has read through the contract
and letters regarding payment for the first Meisterwerk volume. He will send a report as
soon as he has discussed the matter with the Consul General.
OJ 10/1, [94] Handwritten letter from Dahms to Schenker, dated June 26, 1926
Dahms thanks Schenker for his report [on the viability of the almanach
proposal]. — He plans to devote part of the almanach to Beethoven, and asks whether Schenker
might contribute something new, or grant permission to reprint some of what he has written
in Der Tonwille.
OJ 10/1, [95] Handwritten letter from Dahms to Schenker, undated, presumably late June or early
July, 1926
Dahms's almanach plans have failed. — Germany has shown its gratitude for his
work by denying him a divorce [from Agnes] for 15 years.
OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926
Violin announces his arrival in Bad Gastein, to improve his health. The rest
of his family is in Bistrai, near Bielitz, in Silesia.
OJ 8/4, [43] Handwritten postcard from Schenker to Moriz Violin, written July 8, 1926
Schenker expresses his pleasure that the Violins are on holiday in Badgastein;
he enquires about whether Violin has received a complimentary copy of Meisterwerk 1, which
his publishers seem slow to dispatch, and whether he has further plans to give piano trio
concerts.
OC 54/95 Typed letter from August Demblin (DMV) to Schenker, dated July 9, 1926
Drei Masken Verlag ask Schenker to agree to a delay until October 1926 before
a decision is reached about proceeding with production of the second Meisterwerk
Yearbook.
WSLB 370 Handwritten postcard from Schenker to Hugo Winter (UE), dated July 12, 1926
Schenker requests final account for the series Musikalische Theorien und
Phantasien.
OJ 14/45, [54] Handwritten letter from Moriz Violin to Schenker, undated, written July 13,
1926
Replying to Schenker's postcard of July 8 and the receipt of the first
Meisterwerk Yearbook, Violin singles out the article "Weg mit dem Phrasierungsbogen" and
remarks on passages in two Chopin etudes and in Beethoven's "Pathétique" Sonata which
Schenker would find interesting. There is no news concerning his piano trio (with Mauritz
van den Berg and Friedrich Buxbaum) but he is considering playing a concerto in the 1926-27
season.
OC 52/907 Typed letter from Hugo Winter (UE) to Schenker, dated July 14, 1926
UE have mailed Schenker's statement of account to Galtür.
OJ 10/1, [96] Handwritten letter from Dahms to Schenker, dated July 14, 1926
Dahms acknowledges receipt of Das Meisterwerk 1, and will review it for the
Allgemeine Musikzeitung and his Almanach. — Is going to Berlin. — PS on acoustics of
under-dominant.
OC B/193 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked August 3,
1926
Altmann thanks Schenker for Meisterwerk I and describes his summer
travels.
OJ 10/1, [97] Handwritten postcard from Dahms to Schenker, dated August 11, 1926
Dahms gives his travel plans and [temporary] Berlin address.
OJ 11/35, 24 Handwritten postcard from Halm to Schenker, dated August 11, 1926
Halm acknowledges receipt of Meisterwerk vol. I.
OJ 9/34, [2] Handwritten letter from Cube to Schenker, dated August 14, 1926
Cube is having difficulty getting his father to pay Schenker for lessons given over the previous
year, and asks Schenker to write firmly to the latter; speaks of his attempts to make contacts within Düsseldorf
artistic circles.
OJ 5/8 [1] Handwritten letter from Schenker to Gustav von Cube, dated August 18, 1926
Schenker insists that Gustav von Cube pay the fee for his son Felix’s last three
months of lessons with him. He does not teach without being paid, explaining that this would be
self-degrading – in his case all the more so, as he lives frugally and teaches only much as is
necessary to afford to pursue his own research.
OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926
The composition of a clarinet quintet has kept Weisse from writing to Schenker.
Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to
meet with him in Vienna to discuss its content.
OJ 11/54, [8] Handwritten letter from Hoboken to Schenker, dated August 22, 1926
Hoboken will probably not now visit Schenker in Galtür; explains his and his
wife's departure from Munich and their subsequent travels to Bern, Naples, and Capri, and
reports that his house in Vienna should be ready for occupancy on October 1. — Vrieslander and
he are considering founding a music journal, and wish to discuss the idea with Schenker.
OJ 9/35, [2] Handwritten letter from Gustav von Cube to Schenker, dated August 24, 1926
Responding to Schenker’s demand for final payment for his son’s lessons, Gustav
von Cube has arranged for 250 Marks to be paid to Schenker in Galtür; he will send the remainder
to Vienna.
OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926
Schenker has received indication of part-payment from Cube's father [for Cube's
lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has
completed a clarinet quintet.
OJ 5/7a, [4] (formerly vC 4) Handwritten postcard from Schenker to Cube, dated September 4, 1926
Schenker acknowledges Cube's note, sends best wishes, and refers to Der freie Satz.
OJ 14/45, [55] Handwritten letter from Moriz Violin to Schenker, dated September 5, 1926
Violin reports that he had to cut short his holiday in Bad Gastein because his
son Karl was again seriously ill. The costs of treatment amounted to nearly 4000 Marks, and
this sum must be paid by the end of the year.
OJ 6/7, [29] Handwritten letter from Schenker to Moriz Violin, dated September 7, 1926
Schenker conveys his personal grief over the serious illness of Violin's son
Karl. He philosophizes about the ills of the world, noting financial difficulties recently
faced by Vrieslander, Dahms, and van der Berg. He reports Robert Pollak's imminent departure
for San Francisco.
OJ 5/7a, [5] (formerly vC 5) Handwritten letter from Schenker to Cube, undated [c. October 7, 1926]
Schenker praises Cube's talent as a writer; informs Cube of forthcoming article on Schenker by
Vrieslander with portrait by Hammer; expresses his wish that Cube's father would pay all that he owes
him.
OJ 14/45, [56] Handwritten letter from Moriz Violin to Schenker, dated October 10, 1926
Violin reports that his son Karl's health has improved, but that he has to
find a new apartment because Karl cannot stay on the ground floor. He will obtain a copy of
the current issue of Die Musik, and reports that a review of (presumably) Meisterwerk 1 has
appeared in the Hamburger Fremdenblatt.
WSLB 371 Handwritten letter from Schenker to UE, dated October 10, 1926
Schenker thanks UE for the advertisement in Die Musik, and asks if they can
obtain a review in Rivista musicale italiana.
OC 54/101 Typed letter from Drei Masken Verlag (Vienna) to Schenker, dated October 12,
1926
Drei Masken Verlag in Vienna will forward Schenker’s query about the lack of
publicity for the first Meisterwerk Yearbook to their Munich office.
OC 52/831 Typed postcard from Barbara Rothe (UE) to Schenker, dated October 13, 1926
UE have written for review in Rivista musicale italiana.
OC 54/104 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
October 15, 1926
Drei Masken Verlag think that an advertisement for the first Meisterwerk
Yearbook in the December 1926 issue of Die Musik would be timely; they also report that
sales of the book have been slow.
OJ 11/51, [1] Typed letter from Hindemith to Schenker, dated October 25, 1926
Finding his name mentioned adversely in Meisterwerk 1, Hindemith writes that
he has always striven to fulfill in his own work the fundamental truths that are stated in
Schenker's books. He encloses two scores, and is convinced Schenker will find the Urlinie in
them.
OC 52/832 Typed letter from Barbara Rothe (UE) to Schenker, dated October 26, 1926
Rothe encloses review from Rivista musicale italiana.
WSLB 372 Handwritten letter from Schenker to UE, dated November 2, 1926
Schenker returns the review in Rivista musicale italiana.
OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926]
In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first
draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently
from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable
with material property; the music of today is quite different from that of the past, the rules
of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to
speak his own mind.
OJ 8/4, [44] Handwritten postcard from Schenker to Moriz Violin, dated November 10,
1926
Schenker enquires about the health of Violin and his son Karl. He has received
a cordial letter from Hindemith, assuring him that the fruits of his theory may be found in
his works, including the Urlinie; he has responded politely but candidly.
OJ 10/1, [98] Handwritten postcard from Dahms to Schenker, dated November 13, 1926
Dahms has written his review of Meisterwerk, and has dispatched a copy of his
Almanach to Schenker.
OJ 14/45, [57] Handwritten letter from Moriz Violin to Schenker, dated November 17, 1926
Violin reports on having moved to a new apartment, no longer on the ground
floor, which his sister and (especially) a friend in Berlin named Martha Loeb have helped to
finance. He is amused what Schenker told him about his letter from Hindemith, whose words,
he believes, ought to be taken at face value.
OJ 9/34, [3] Handwritten letter from Cube to Schenker, dated November 25, 1926
Cube asks for a letter of recommendation to be sent to the Provincial School
Council.
OC 54/108 Typed letter from Alfred Böhme (DMV) to Schenker, dated November 26, 1926
Drei Masken Verlag are not at liberty to make a direct approach to a
retailer’s customers. They suggest that Schenker contact the firm of Gutmann directly, and
that the appeal to his readers is personally composed; they will offer Gutmann a reduction
in the cost of copies ordered or sold by the firm.
OJ 5/7a, [6] (formerly vC 6) Handwritten postcard from Schenker to Cube, dated November 28, 1926
Schenker acknowledges receipt OJ 9/34, [3]; has written letter of recommendation to Koblenz
authorities, and supporting letter to recipient.
OJ 11/54, [9] Handwritten postcard from van Hoboken to Schenker, dated December 2, 1926
Hoboken cannot attend December 3 lesson.
OC 54/109 Typed letter from Alfred Einstein (DMV) to Schenker, dated December 11,
1926
Although he is confident that Drei Masken Verlag is not bound to publishing
Schenker’s second Meisterwerk Yearbook, Einstein suggests that the two of them come to a new
financial agreement so that production can take place.
OJ 9/34, [4] Handwritten letter from Cube to Schenker, dated December 14, 1926
Cube was not given recognition, and has to take an examination for purposes of the appointment. Sends
Christmas greetings.
OC 54/110 Typed letter from Alfred Böhme (DMV) to Schenker, dated December 17, 1926
Drei Masken Verlag inform Schenker that a glowing review of the first
Meisterwerk volume has appeared in Der Abend, and ask that he send them details of interested individuals to whom they can forward the review.
UMdK Z 767 D/1926, [1] Handwritten letter from Schenker to the Akademie für Musik, dated December 17,
1926
Schenker inquires whether interest on the capital will be available for him to
award the Sofie Deutsch stipend in 1927.
OJ 5/7a, [7] (formerly vC 7) Handwritten postcard from Schenker to Cube, dated December 19, 1926
Schenker acknowledges receipt OJ 9/34, [4], and asks to be told
outcome.
OJ 6/7, [30] Handwritten letter from Schenker to Moriz Violin, dated December 19, 1926
Schenker expresses his delight that his friend received sufficient financial
help to be able to move into a new apartment for the sake of his son Karl's health. He
reports having shown Agnes Becker some straightforward examples of the Urlinie, out of
desperation (she shows little aptitude for piano playing), and then explains that a great
deal of time, patience and faith are needed to understand such things. Of his current
pupils, only Elias, Brünauer, Hoboken and (to some extent) Albersheim are capable of
following the ramifications of the new theory, which he sees as his unique gift to the
world. At present, he is working on his "crowning work," Free Composition.
OJ 9/4, [2] Typewritten letter from the Alexander Wunderer (Akademie für Musik) to Schenker, dated
December 21, 1926
The accumulated interest is available for distribution for the Sofie Deutsch
stipend.
UMdK Z 767 D/1926, [3] Typewritten internal memorandum of the Akademie für Musik, dated December 21,
1926
Records the interest for 1925 and 1926 for the Sophie Deutsch Stipend of
1927.
OC 52/908 Typed letter from Hugo Winter (UE) to Schenker, dated December 28, 1926
Payments for Beethoven sonatas and Der Tonwille have been transferred.
OJ 10/1, [99] Handwritten postcard from Dahms to Schenker, dated December 28, 1926
Dahms's review of Meisterwerk 1 is out. Christmas greetings.
WSLB 373 Handwritten letter from Schenker to Hugo Winter (UE), dated December 30,
1926
Schenker requests continuation of half-yearly statements for the Musikalische
Theorien und Phantasien.
OJ 9/34, [5] Handwritten letter from Cube to Schenker, dated December 31, 1926
Teaching situation has been resolved; asks Schenker's advice on an Urlinie graph; will hear from
Conservatory in New Year; sends New Year's greetings.
UMdK Z 767 D/1926, [4] Handwritten letter from Schenker to the Akademie für Musik, dated December 31,
1926
Schenker asks the amount of interest that will be available for the Sofie
Deutsch stipends in 1927.
OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927
Violin reports on his son Karl's continued health problems and also his
affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in
Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for
comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for
two pianos by C. P. E. Bach in an arrangement by Schenker.
OC 52/909 Typed letter from Hugo Winter (UE) to Schenker, dated January 4, 1927
Encloses Schenker's royalty statement for the second half of 1926.
OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927
Deutsch thanks Schenker for his recent communications, including a copy of the
contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of
relevant extracts from the correspondence with the publishers. He reports progress in the
establishment of a Photogram Archive at the Austrian National Library, with the cooperation
of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to
photographically reproduce autograph manuscripts are underway at the Beethoven House in
Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that
proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses
his delight in being able to assist Schenker in the promotion of his work.
UMdK Z 767 D/1927, [2] Typewritten letter (carbon copy) from Hans Waizmann (Akademie für Musik) to
Schenker, dated January 11, 1927
Waizmann reports the amount of the interest on the Sophie Deutsch
stipend.
OJ 11/54, [10] Handwritten letter from van Hoboken to Schenker, dated January 16, 1927
Van Hoboken acknowledges [non-extant] missive; has been unable to look up Gerald
Warburg; asks for John Petrie Dunn's address; has seen Otto Vrieslander.
OC 54/119 Typed letter from August Demblin (DMV) to Schenker, dated January 17,
1927
Drei Masken Verlag agree to publish the second Meisterwerk Yearbook, under
terms suggested by Otto Erich Deutsch, and will send Schenker an advance of 250
marks.
OC 54/120 Typed letter from August Demblin (DMV) to Schenker, dated January 18,
1927
Drei Masken Verlag inform Schenker that they have sent the manuscript of his
second Meisterwerk Yearbook to the typesetter, Mandruck (Munich), from whom he will receive
the galley-proofs.
OC 54/122 Handwritten postcard from Alfred Einstein (DMV) to Schenker, dated January 19,
1927
Einstein thanks Schenker for the information provided (via Otto Erich Deutsch)
about the manuscripts of Beethoven’s Ninth Symphony, and uses the opportunity to express his
happiness that production of the second Meisterwerk Yearbook is now
underway.
OC 54/124 Typed letter from Otto Vrieslander to Schenker, dated January 20, 1927
Vrieslander has received the Urlinie graphs for two essays in the second
Meisterwerk Yearbook, and explains to Schenker that he will exercise the utmost care in
preparing them for publication.
OC 54/125 Typed postcard from August Demblin (DMV) to Schenker, dated January 21,
1927
Drei Masken Verlag agree to send Schenker proofs of the text and the music
examples at the same time.
OJ 15/15, [21] Handwritten postcard from Weisse to Schenker, dated January 21, 1927
Weisse provides Schenker with Gerald Warburg's address in New York City. He
also asks a question about Schenker's fingerings for the trills in the second movement of
Beethoven's Op. 111.
DLA 69.930/14 Handwritten postcard from Schenker to Halm, dated January 22, 1927
Schenker thanks Halm for sending his book, and hopes to read it
soon.
OJ 9/34, [6] Handwritten letter from Cube to Schenker, dated January 24, 1927
Acknowledges Schenker's reply and corrections. There will be no problem with his
teacher's examination in May. Reports on recent activities.
OC 54/126 Typed letter from August Demblin (DMV) to Schenker, dated January 27,
1927
Drei Masken Verlag have enclosed a page of music examples and a letter from
the printers. They request a response as soon as possible.
OJ 11/54, [12] Handwritten letter from van Hoboken to Schenker, dated January 28, 1927
Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. —
He reports on library visits in London and Paris, discusses manuscripts and conditions for
photography, purchases. — He plans no further trips this season.
OJ 9/3, [5] Typewritten letter from Adler to Schenker, dated January 28, 1927
Invitation to give a lecture to the conference associated with the Beethoven
Centennial Celebration [March 1927].
OJ 5/7a, [8] (formerly vC 8) Handwritten postcard from Schenker to Cube, undated [January 31, 1927]
Schenker wishes Cube well in his new job, offers encouragement over his graphing
technique, and praises his writing.
OJ 9/4, [3] Typewritten letter from Joseph Marx and Alexander Wunderer (Akademie für Musik) to
Schenker, dated February 3, 1927
Schenker is asked to give the Federal Ministry of Education his opinion as to
how the Sofie Deutsch stipends should be adjudicated after his death.
OJ 9/34, [7] Handwritten letter from Cube to Schenker, dated February 7 1927
Cube reports on his careers as critic and teacher.
OC 54/129 Typed letter from Otto Vrieslander to Schenker, dated February 10, 1927
Vrieslander assures Schenker that he has prepared the graphs for Mozart’s
Symphony in G minor with the utmost care, with due regard to his
instructions.
OC 54/130 Typed postcard from August Demblin (DMV) to Schenker, dated February 12,
1927
Drei Masken Verlag inform Schenker that the proofs will be sent in the manner
that he has requested.
OC 54/131 Typed postcard from Otto Vrieslander to Schenker, postmarked February 14,
1927
Vrieslander explains the way he has dealt with Schenker’s detailed comments on
the graph of Mozart’s Symphony in G minor.
OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927
Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave
the music examples for the second Meisterwerk volume in order to ensure a flawless
reproduction. He also reports that the width of the pages in the supplement will be
expanded, and notifies Schenker of the changes that he will make to the music examples
following this decision. Vrieslander states he has officially enquired with Einstein about
potential problems in the printing process, making clear that Schenker will not be able to
bear any additional costs for printing errors.
OC 54/133 Copy of a letter from Otto Vrieslander to Alfred Einstein (DMV), dated February 15,
1927
Following Einstein’s determination to have the Urlinie graphs engraved, not
hand-drawn, Vrieslander asks that the engraver pays particular attention to the shape of the
large slurs, and suggests a meeting with the engraver to go over further problems. If the
graphs were relegated to an appendix, they could be as wide as necessary, for sake of
clarity.
OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927
Schenker acknowledges and returns Cube's review; reports on the progress of his
own publications.
OJ 6/7, [32] Handwritten letter from Schenker to Violin, dated February 16, 1927, with postscript
from Fanny Violin
Replying to Violin's previous letter, Schenker expresses surprise about (Egon)
Pollak's enthusiasm for C. P. E. Bach's Double Concerto. He also expresses uncertainty about
whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and
adaptation of part of his Counterpoint, vol. 2, has been prepared; and Herman Roth's book on
counterpoint has also been published. He sends little Karl a picture of himself, and leaves
space for Violin's sister Fanny to add a short greeting.
OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927
Vrieslander, at pains to ensure that the music illustrations in the second
Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are
having difficulty interpreting Schenker’s music examples. He is putting his own work to one
side in order to work exclusively on creating clear and elegant graphs; he proposes to come
to Vienna in mid-March to go through all his work with Schenker.
OC B/228 Typewritten letter from V. A. Heck to Schenker, dated February 21, 1927
Heck informs Schenker of a Beethoven manuscript in his hands.
OJ 13/25, [1] Handwritten letter from Albert Trentini (on behalf of Hermann Rinn) to Schenker,
dated February 23, 1927
Trentini invites Schenker to contribute to Der Kunstwart.
OJ 14/45, [61] Handwritten letter from Moriz Violin to Schenker, dated February 23, 1927
Following a brief description of a recent illness, Violin replies to
Schenker's question about accepting the Order of Merit from the Viennese Academy of Art and
Science and advises him to accept it. He realizes that staying in Hamburg would be bad for
his son's long-term health and has spoken to Artur Schnabel about the possibility of moving
to Berlin or Frankfurt. An influential man in Frankfurt is the father-in-law of Paul Klenau;
Violin knows of Klenau's respect for Schenker, and asks his friend to write to Klenau in
support of his application for a post there.
OC 54/135 Typed letter from DMV to Schenker, dated February 24, 1927
Drei Masken Verlag inform Schenker that there is a delay with the production
of the music examples for the second Meisterwerk yearbook. They anticipate that he will
receive the proofs soon.
OC B/227 Typewritten letter from V. A. Heck to Schenker, dated February 25, 1927
Heck has sent the sketchleaves for photographic reproduction.
OJ 8/4, [46] Handwritten postcard from Schenker to Violin, postmarked [February] 26,
1927
Responding to a request from Violin, Schenker says he will write to Paul von
Klenau on behalf of Violin, apparently in connection with a possible position in
Frankfurt.
OJ 8/4, [47] Handwritten postcard from Schenker to Violin, dated February 27, 1927
Schenker is about to write to Paul von Klenau on Violin's behalf, but asks
whether he should wait until Easter, as suggested in Violin's previous
letter.
OJ 14/45, [62] Handwritten letter from Violin to Schenker, dated March 2, 1927
Violin thanks Schenker for his willingness to intervene on his behalf with
regard to a position in Frankfurt, and asks him to get in touch with Paul von Klenau before
a possible meeting in person at Easter.
OC B/226 Typewritten letter from V. A. Heck to Schenker, dated March 4, 1927
Heck asks Schenker to proof read the galleys of an article.
OC 54/136 Typed letter from August Demblin (DMV) to Schenker, dated March 4, 1927
Drei Masken Verlag send Schenker a proof of the Urlinie graph for Chopin’s Op.
15, No. 2, and ask him to correct and return it.
OC B/224 Typewritten letter from V. A. Heck to Schenker, dated March 10, 1927
Heck asks Schenker to identify a Beethoven sketchleaf.
OC B/223 Typewritten letter from V. A. Heck to Schenker, dated March 12, 1927
Heck thanks Schenker for information supplied, and will send a
photograph.
OC 54/137 Typed letter from Otto Erich Deutsch to Schenker, dated March 16, 1927
Deutsch returns part of the proofs of the second Meisterwerk Yearbook and
provides bibliographical details of a Haydn sketch-leaf to be reproduced for the essay on
“The Representation of Chaos.”
OC 54/139 Typed letter from August Demblin (DMV) to Schenker, dated March 18, 1927
In response to queries about the typography in the second Meisterwerk
Yearbook, Drei Masken Verlag ask Schenker to return the proof-sheets with the corrections
indicated, so that they can investigate the specific problems.
OJ 12/11, [11] Handwritten letter from Klenau to Schenker, undated [c. March 23, 1927]
Klenau agrees to approach his brother-in-law to help Moriz Violin. — He
responds to a comment by Schenker about Albert Schweizer.
OC 54/141 Typed postcard from August Demblin (DMV) to Schenker, dated March 24,
1927
Drei Masken Verlag confirm that the facsimile sketch for Haydn’s “Chaos” will
be stereotyped.
OC 54/140 Typed postcard from Otto Vrieslander to Schenker, dated March 24, 1927
Vrieslander, in Vienna, makes arrangements to meet Schenker on March 25 to go
over the music illustrations for the second Meisterwerk Yearbook, leaving the following day
available if necessary.
OJ 8/4, [48] Handwritten picture postcard from Schenker to Violin, dated March 27,
1927
Schenker has written to Paul von Klenau on Violin's behalf, and received an
assurance that Klenau will write to his brother-in-law (not father-in-law, as Violin had
originally thought) but thinks that Artur Schnabel will be more influential. Klenau will
visit the Schenkers on Saturday.
OJ 8/4, [49] Handwritten postcard from Schenker to Violin, dated March 29, 1927
In advance of seeing Klenau, Schenker reports on a meeting with Wilhelm
Altmann and Ludwig Rottenberg, who believe that only people under 30 years old are likely to
be appointed to a post of the sort that Violin is seeking in Frankfurt – a situation that he
finds appalling.
OJ 14/45, [63] Handwritten letter from Violin to Schenker, dated March 31, 1927
In reply to Schenker's recent postcards, Violin maintains that Klenau's
support for his appointment in Frankfurt is important, as the Ministry of Education in
Berlin can exert only a limited amount of pressure on the Frankfurt circle.
OC 54/143 Typed postcard from August Demblin (DMV) to Schenker, dated April 5, 1927
Drei Masken Verlag confirm receipt of the corrected graphs and freshly copied
music examples for Meisterwerk 2.
OJ 13/25, [2] Typewritten letter from Rinn to Schenker, dated April 6, 1927
Having received a letter from Schenker to Albert Trentini, Rinn welcomes the
prospect of Schenker contributing the occasional article to Der Kunstwart, and asks for a
title.
OJ 14/45, [113] Handwritten postcard from Violin to Schenker, dated April 6, 1927
In a reply to a recent letter, Violin thanks Schenker for the news concerning
the position he is hoping to obtain in Frankfurt and asks him whether Klenau might discover
what the people in Frankfurt think of him as a candidate.
OC B/222 Typewritten letter from V. A. Heck to Schenker, dated April 12, 1927
Heck sends a Beethoven sketchleaf and asks Schenker's opinion of
it.
OJ 10/1, [100] Typewritten letter from Dahms to Schenker, dated April 13, 1927
His Almanach has been a success but produced no financial return in a hostile
environment. — They are leaving Berlin for the south; he has lost faith in German spirit,
intellect, and morality.
OJ 14/45, [64] Handwritten letter from Violin to Schenker, dated April 14, 1927
Violin thanks Schenker for his article (on Beethoven). He is still hoping for
a positive reply regarding Paul von Klenau's support for him in Frankfurt.
OJ 15/15, [22] Handwritten postcard from Weisse to Schenker, dated April 14, 1927
Weisse calls his teacher's attention to a recent article by Edmund Schmid,
which questions the objectivity of Schenker's Beethoven research and deplores the slavish
adherence of his disciples to the concept of Urlinie.
OJ 11/54, [13] Handwritten postcard from van Hoboken to Schenker, dated April 22, 1927
Hoboken invites the Schenkers to a quartet concert.
OC 54/145 Typed letter from August Demblin (DMV) to Schenker, dated April 25, 1927
Drei Masken Verlag inform Schenker that they have sent all of the material for
the second Meisterwerk volume to the printers, and that he should expect to receive three
copies of the page proofs and two copies of the music examples in due
course.
OJ 8/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated April 25, 1927
Schenker explains that what he is doing behind the scene to assist Violin in
obtaining a post in Frankfurt, and hopes for some news from Wilhelm Altmann. Artur Schnabel
will be more useful to his cause than Paul von Klenau and his brother-in-law Heinrich
Simon.
WSLB 375 Handwritten letter from Schenker to UE, dated April 25, 1927
Having gained access to the facsimile of the "Appassionata" Sonata, Schenker
sends revisions to his edition.
OC 52/834 Typed letter from Barbara Rothe (UE), dated April 26, 1927
Rothe acknowledges corrections to the "Appassionata" Sonata and promises
proofs.
OJ 15/16, [57] Handwritten letter from Weisse to Schenker, dated April 29, 1927
Lacking an official state teaching certificate, Weisse asks Schenker for a
testimonial that states that he studied with him from 1908 to 1915, and in 1919, and that he is
fully qualified to teach harmony, counterpoint, composition, and piano.
OC 54/147 Typed postcard from August Demblin (DMV) to Schenker, dated April 30,
1927
Drei Masken Verlag inform Schenker that they have forwarded the imprimatur
engravings to the printers, along with his query about Fig. 33.
OC 54/149 Typed postcard from August Demblin (DMV) to Schenker, dated May 3, 1927
Drei Masken Verlag confirm that they have arranged for two copies of the page
proofs for the second Meisterwerk volume to be sent to him, and the third to Otto Erich
Deutsch.
OC 54/154 Typed postcard from August Demblin (DMV) to Schenker, dated May 9, 1927
Drei Masken Verlag confirm receipt of the imprimatur copy of Figure 33 for the
second Meisterwerk volume. They request that Schenker now send the galley proofs for pages
1–30.
OJ 11/1, [1] Typewritten letter from Atelier Pietzner-Fayer to Schenker, dated May 10,
1927
Pietzner-Fayer extends the deadline for portrait photography to May
20.
OC 52/835 Typed letter from Kalmus (UE) to Schenker, dated May 13, 1927
Kalmus notifies Schenker that proofs of the newly-revised "Appassionata"
Sonata are on their way.
OC 54/157 Typed postcard from August Demblin (DMV) to Schenker, dated May 13, 1927
Drei Masken Verlag inform Schenker that they have forwarded his requested
corrections to the printing house, and will be in touch soon regarding the completion of the
graphs for the second Meisterwerk volume.
OC 54/158 Typed letter from August Demblin (DMV) to Schenker, dated May 16, 1927
Drei Masken Verlag notify Schenker that they will send him the missing galley
proofs for the second Meisterwerk volume that day, and inform him that his requests for corrections
regarding the Mozart graph have been successfully processed.
WSLB 378 Handwritten letter from Schenker to UE, dated May 17, 1927
Schenker returns proofs of the "Appassionata" Sonata.
OC 54/162 Typed letter from Mandruck to Drei Masken Verlag, dated May 19, 1927
Mandruck notify Drei Masken Verlag that they have enclosed a new set of proofs
for the second Meisterwerk volume, amended in accordance with Schenker's
wishes.
OC 52/837 Typed postcard from Kalmus (UE) to Schenker, dated May 20, 1927
Kalmus acknowledges the "Appassionata" proofs.
OC 54/163 Typed letter from August Demblin (DMV) to Schenker, dated May 20, 1927
Drei Masken Verlag notify Schenker that they have enclosed a set of amended
proofs for the second Meisterwerk yearbook.
OC 54/164 Typed letter from August Demblin (DMV) to Schenker, dated May 23, 1927
Drei Masken Verlag confirm receipt of Schenker's imprimatur graphs and amended proofs for
the second Meisterwerk yearbook, assuring him that the requested correction in the Mozart
Symphony has been made.
OJ 9/8, [3] Handwritten postcard from Wilhelm Altmann to Schenker, dated May 26, 1927
Altmann reports on conversion of Hoch Conservatory to
Hochschule.
OC 52/838 Typed postcard from Kalmus (UE) to Schenker, dated May 27, 1927
Proofs of the defective pages of the revised "Appassionata" Symphony have been
dispatched to Schenker.
OJ 6/7, [33] Handwritten letter from Schenker to Violin, dated May 27, 1927
Schenker has tried to find out more about the plans for the conservatory in
Frankfurt to be upgraded to a music Hochschule (and, presumably, for Violin to be posted
there), but he is reluctant to press his contacts too far, as this may prove
counterproductive.
WSLB 380 Handwritten postcard from Schenker to UE, dated May 27, 1927
Schenker asks that a complimentary copy of his Fifth Symphony monograph be sent
to Vrieslander.
OJ 9/34, [8] Handwritten letter from Cube to Schenker, dated May 28, 1927
Cube reports on the state teaching examination, on which he was graded
"satisfactory," deploring the way it was conducted.
OC 54/167 Typed letter from August Demblin (DMV) to Schenker, dated May 30, 1927
Drei Masken Verlag have enclosed the sample proofs of the first two gatherings
for Meisterwerk 2, and request that he responds to their query about the size and placement
of music examples as soon as possible.
WSLB 382 Handwritten letter from Schenker to UE, dated May 30, 1927
Schenker returns final proofs of "Appassionata" Sonata with
imprimatur.
OC 52/840 Typed postcard from Barbara Rothe (UE) to Schenker, dated May 31, 1927
A copy of Schenker's Fifth Symphony monograph has been dispatched to
Vrieslander as requested.
OJ 5/7a, [10] (formerly vC 10) Handwritten letter from Schenker to Cube, dated June 1, 1927
Schenker congratulates Cube on appointment to professorship; reports that Oppel
has been appointed to a professorship at the Leipzig Conservatory, and on the spread of
Schenker's theory elsewhere; looks forward to visit from Cube.
OJ 14/45, [65] Handwritten letter from Violin to Schenker, dated June 6, 1927
Violin still maintains that Paul von Klenau's petitioning on his behalf would
provide a strong measure of support for his application for a post in
Frankfurt.
OC 54/169 Typed postcard from August Demblin (DMV) to Schenker, dated June 7, 1927
Drei Masken Verlag inform Schenker that the page proofs for the second
Meisterwerk volume will be completed in around two weeks time.
OC 52/841 Typed postcard from Kalmus and unknown signatory (UE) to Schenker, dated June 9,
1927
Acknowledges second proofs of "Appassionata" Sonata.
OC 54/171 Typed letter from Mandruck to Schenker, dated June 11, 1927
Mandruck enclose two sets of gatherings for the second Meisterwerk yearbook,
along with the galley proofs. They request an explanation regarding Figure
75a.
OC 54/174 Typed postcard from Mandruck to Schenker, dated June 14, 1927
Mandruck have enclosed the page proofs for the second Meisterwerk volume, along
with a printout of the galley proofs and gatherings 5–6.
OC 54/175 Typed postcard from August Demblin (DMV) to Schenker, dated June 15, 1927
Drei Masken Verlag enclose a paper sample intended for the second Meisterwerk Yearbook,
and request Schenker's approval.
OJ 14/45, [66] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1927
In deepest admiration and gratitude, Violin sends Schenker (59th) birthday
greetings and pictures of his children.
OC 54/177 Typed letter from August Demblin to Schenker, dated June 21, 1927
Drei Masken Verlag confirm that Schenker's requests regarding the music
examples for the second Meisterwerk volume have been honoured, and inform him that he will
receive a complete copy of the proofs once the pagination has been completed.
OC 54/178 Typed letter from Mandruck to Schenker, dated June 21, 1927
Mandruck have enclosed further page proofs for the second Meisterwerk volume,
and request that he return the previous set as soon as possible.
OJ 6/7, [34] Handwritten letter from Schenker to Moriz Violin, dated June 30, 1927
Schenker answers Violin's birthday greetings letter philosophically. He is
able to work on the final version Der freie Satz at leisure and in good spirits. He reports
on the establishment of an archive of photographic reproductions of autograph and gives an
account of a visit from Violin's sister Fanny: in return for a picture of Karl Violin, he is
enclosing two pictures of himself and one of Jeanette. Finally, he urges his friend to spend
part of the summer in Galtür.
WSLB 385 Handwritten postcard from Schenker to UE, dated June 30, 1927
Has UE forgotten to send him a copy of his own revised edition of the
"Appassionata" Sonata?
Sbb 55 Nachl. 13, [2] Handwritten letter from Schenker to Furtwängler, dated July 3, 1927
Schenker recommends Oppel's Mass, and commends Anthony van Hoboken to
Furtwängler.
OC 52/842 Typed postcard from Barbara Rothe to Schenker, dated July 6, 1927
The revised edition of Schenker's "Appassonata" Sonata edition has not yet
appeared.
OC 54/181 Typed letter from Mandruck to Schenker, dated July 8, 1927
Mandruck enclose the remaining page proofs for the second Meisterwerk volume,
along with copies of the relevant music examples. They request guidance on the positioning
of the music examples.
DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927
Thanking Halm for his Beethoven book, he believes that their misunderstandings
could be removed and hopes Der freie Satz will help bring that about; gives order of publication
for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work
of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his
correspondence with Hindemith.
OJ 11/16, [6] Handwritten letter from Furtwängler to Schenker, dated July 18, 1927
Furtwängler mentions several mutual acquaintances, and hopes to see Schenker in
Vienna.
OC 54/183 Typed postcard from C. Alberti (DMV) to Schenker, dated August 5, 1927
Drei Masken Verlag inform Schenker that they expect to receive a complete,
corrected copy of the second Meisterwerk volume in around a week, and anticipate that it
will be released in September.
OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927
In a wide-ranging letter, Schenker underscores the importance of his friend's
taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by
Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where
he will teach from Schenker's texts. He comments at length on the decline of society, as
exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders;
until it is published, he will be working on Der freier Satz.
OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927
Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He
has made progress on his index of Haydn's works, and has purchased some Beethoven first
editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He
asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn.
OJ 14/45, [67] Handwritten letter from Violin to Schenker, dated August 13, 1927
Violin reports that he was hoping to get away, but things came up that he had
to deal with, which made the summer the saddest of his life. His wife and son will move to
Vienna in the fall, and he will be there for Christmas.
PhA/Ar 56, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
PhA/Ar, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
OJ 11/32, [1] Typed letter from Robert Haas to Schenker, dated August 19, 1927
Acknowledges "Appeal"; looks forward to working with
Schenker.
OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927
Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and
expresses the hope that it will be possible to interest Furtwängler in performance according to
the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and
discusses negotiations with the Austrian National Library and Ministry of Education. — Comments
on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. —
Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig
Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and
Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory.
OJ 11/54, [16] Handwritten letter from van Hoboken to Schenker, dated August 30, 1927
Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and
manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early
sources. -- Gives addresses for forthcoming travels.
OJ 11/54, [17] Handwritten letter from van Hoboken to Schenker, dated September 6, 1927
Van Hoboken reports from Drei Masken Verlag that Vrieslander's text for the
Meisterwerk prospectus is overlength, and seeks Schenker's opinion.
OC 52/843 Typed postcard from Barbara Rothe to Schenker, dated September 7, 1927
A copy of Schenker's new edition of the "Appassionata" Sonata is on its
way.
OJ 5/7a, [11] (formerly vC 11) Handwritten postcard from Schenker to Cube, dated September 7, 1927
Schenker acknowledges Cube's postcards; Cube will receive the appeal [for photostats of
MSS].
WSLB 388 Handwritten postcard from Schenker to UE, dated September 10, 1927
Acknowledges copy of revised edition of the "Appassionata"
Sonata.
OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927
Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of
Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to
visit C. S. Terry.
OJ 11/54, [19] Handwritten letter from van Hoboken to Schenker, dated September 29, 1927
Van Hoboken reports receipt of Meisterwerk II and reports progress in
photographing manuscripts in London and Paris.
OC 54/188 Typed postcard from August Demblin (DMV) to Schenker, dated September 30,
1927
Drei Masken Verlag confirm that the complimentary hardbound copies of the
second Meisterwerk volume are on their way to Schenker, and inform him that the first set of
bound copies will be dispatched from the bindery in the next few days.
OJ 11/32, [2] Typed letter from Robert Haas to Schenker, dated September 30, 1927
Haas invites Schenker to view the Photogrammarchiv.
OJ 8/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated October 5, 1927
Schenker has asked a former pupil (Felix-Eberhard von Cube), who knows Dr.
Simon in Frankfurt, about the likely opening date of a music Hochschule there, but has
received little information in return. the second volume of Meisterwerk will be published
very soon.
WSLB 389 Handwritten letter from Schenker to UE, dated October 6, 1927
Schenker inquires after revised edition of Beethoven, Piano Sonata
Op.78.
OJ 12/8, [1] Typed letter from Kalmus (UE) to Schenker, dated October 10, 1927
Kalmus explains the situation over Beethoven Sonata Op. 78.
OC 54/191 List of customs charges, October 21, 1927
List of customs charges for receipt of the second Meisterwerk
volume.
OJ 15/16, [58] Handwritten letter from Weisse to Schenker, dated October 27, 1927
Weisse congratulates Schenker on the publication of the second Meisterwerk
Yearbook, of which has expresses mainly admiration. But he is unhappy with Schenker's dismissal
of the fugue from Reger's Variations and Fugue on a theme of Bach, and with his reading of the
Urlinie in Schubert's Waltz Op. 9 (D. 365), No. 5, and Beethoven's Sonata Op. 10, No.
2.
OJ 9/34, [9] Handwritten letter from Cube to Schenker, dated October 29, 1927
Cube has had 'flu; reports on his [conservatory] teaching of Schenkerian theory
(though disguised from the authorities), his private teaching, his work in composition; he has
joined the Reichsverband deutscher Tonkünstler und Musiklehrer. Dunn has sent him his
translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that
of Vrieslander. He is enjoying using his radio; sends two Galtür portraits; his father has had a
son.
OJ 9/8, [4] Handwritten picture postcard from Wilhelm Altmann to Schenker, dated November 8,
1927
Altmann thanks Schenker for Masterwork 2; — Has retired but is temporarily
continuing in his position; — Reports publication of his handbook for string quartet
players.
OJ 5/7a, [12] (formerly vC 12) Handwritten letter from Schenker to Cube, dated November 9, 1927
Schenker thanks Cube for the pictures enclosed with OJ 9/34, [9] and expresses
pleasure at Cube's reports of his teaching, composition, listening to the radio, Urlinie
studies, and advocacy of good editions; refers to Vrieslander's planned monograph on Schenker,
the prospectus for Meisterwerk I and II, and the call [for the
Photogrammarchiv].
OJ 14/45, [68] Handwritten letter from Violin to Schenker, dated November 13, 1927
Violin thanks Schenker for sending him the second volume of Meisterwerk, which
he regards as a milestone in offering the strongest statement of his theories. He is
accompanying a cellist in early January and will not be able to get to Vienna at Christmas
after all. His wife and son – who is now able to get up and around – are hoping to go to
Vienna at Easter.
OJ 10/1, [101] Handwritten postcard from Dahms to Schenker, undated [c. November 14,
1927]
Meisterwerk 2 has still not arrived; Dahms gives an address in Nice.
OJ 11/54, [20] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken inquires whether the next day is a holiday or lesson day,
provisionally suggesting a discussion with Robert Haas.
OJ 11/54, [21] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken confirms meeting with Robert Haas.
OJ 8/4, [52] Handwritten postcard from Schenker to Violin, dated November 16, 1927
Schenker congratulates Violin on obtaining many private pupils, and for his
continued activity as a performer. He expresses his joy that Violin's son Karl will be
visiting Vienna next year.
DLA 69.930/16 Handwritten postcard from Schenker to Halm, dated November 21, 1927
Schenker asks for confirmation of receipt of Meisterwerk II, and thanks Halm for
the parcel of sheet music.
OJ 11/35, 25 Handwritten postcard from Halm to Schenker, dated November 22, 1927
Halm acknowledges receipt of Meisterwerk vol. I.
OJ 10/1, [102] Handwritten postcard from Dahms to Schenker, dated November 30, 1927
Meisterwerk 2 has arrived, and Dahms rejoices at its content and form of
expression.
PhA/Ar 56, [2] Handwritten letter from Schenker to Haas, dated December 7, 1927
Schenker sends Haas photographic copies of five Beethoven
works.
OJ 15/15, [23] Handwritten postcard from Weisse to Schenker, dated December 9, 1927
Weisse asks Schenker if he could see him about a matter of mutual
interest.
OJ 15/15, [24] Handwritten postcard from Weisse to Schenker, dated December 10, 1927
Weisse arranges to meet with Schenker the following morning (Sunday, December
11, 1927).
OJ 15/15, [25] Handwritten postcard from Weisse to Schenker, dated December 17, 1927
Weisse thanks Schenker for supporting his latest project in principle, and for
informing him of Antony van Hoboken's intention to establish a publication related to the
the Photogram Archive.
OC 52/844 Typed letter from Ernst Roth (UE) to Schenker, dated December 19, 1927
Roth announces that UE has stitched stocks of Der Tonwille issues together to
form three year-volumes.
WSLB 392 Handwritten letter from Schenker to UE, dated December 21, 1927
Schenker thanks UE for its promotion of Der Tonwille.
OJ 10/18, [2] Handwritten letter from Elias to Schenker, dated December 25, 1927
Miss Elias begs Schenker to accept her present of the Brahms piano
works.
OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927
Violin reports that his concert (cello recital) has been put back a week
because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his
recent written work, but he feels that Vrieslander does not truly understand Schenker's
cause, does not have the same "orientation" towards it as he, and expresses himself poorly.
(Weisse, he says, could have done things better.) However, all this pettiness is nothing
compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon
follow.
OC 52/910 Typed letter from Hugo Winter (UE) to Schenker, dated December 29, 1927
Announces that Schenker's 1927 royalty has been transferred.
OJ 6/7, [36] Handwritten letter from Schenker to Moriz Violin, dated December 29, 1927
Sending greetings for the New Year, Schenker expresses the hope that his
friend's fortunes will begin to improve in 1928. He agrees with Violin's pronouncements on
Vrieslander’s character and ability to convey Schenker's thoughts, and has no idea of what
to expect in Vrieslander's (supposedly) forthcoming monograph on him. Weisse, whom he
regards as a more skilled interpreter of his work, has announced plans for a monthly
journal, Die Tonkunst, to be edited with his pupils Oswald Jonas and Felix Salzer, which
will be based exclusively on Schenker's theoretical approach. But he is afraid that Weisse
might leave Vienna, to teach at Damrosch's music school.
OJ 15/15, [26] Handwritten postcard from Weisse to Schenker, dated January 2, 1928
Weisse gives Schenker Bruno Walter's address in Vienna, and informs his
teacher that invitations to contribute to Die Tonkunst have been sent out.
OJ 12/38, [2] Handwritten picture postcard from Hans Liebstoeckl to Schenker, dated January 11,
1928
Without naming the composer or title, Liebstöckl expresses himself in disparaging
terms about Ernst Krenek and the latter's opera, Jonny spielt auf.
WSLB 394 Handwritten postcard from Schenker to Winter (UE), dated January 11, 1928
Schenker asks for settlement of royalties.
OJ 15/15, [27] Handwritten postcard from Weisse to Schenker, dated Januray 21, 1928
Weisse is trying to arrange a time to see Schenker. He has not heard from
Reinhard Oppel (presumably about his projected periodical, Die Tonkunst, but has received a
letter from Moriz Violin.
OJ 15/15, [28] Handwritten postcard from Weisse to Schenker, dated January 25, 1928
Weisse accepts a social invitation from Schenker, asks whether Viktor Hammer
might also join them.
OJ 9/34, [10] Handwritten letter from Cube to Schenker, dated January 30, 1928
Cube reports progress in his class and private teaching, performance of his
compositions, his forthcoming lecture; outlines plan for an exhibition in Duisburg to celebrate
Schenker's 60th birthday; has heard nothing of Hoboken's "Aufruf."
OJ 12/6, [1] Handwritten letter from Jonas to Schenker, dated February 1, 1928
Jonas asks to meet with Schenker to discuss the "matter of the
periodical."
PhA/Ar 56, [6] Handwritten postcard from Schenker to Kromer, dated February 1, 1928
Schenker asks Kromer to send the Appeal to Hans Weisse.
PhA/Ar 56, [7] Handwritten postcard from Schenker to Kromer, dated February 2, 1928
Schenker asks Kromer to send copies of the Appeal to Felix-Eberhard von
Cube.
OJ 12/6, [2] Handwritten postcard from Jonas to Schenker, dated February 9, 1928
Jonas asks for address of John Petrie Dunn.
OJ 5/7a, [13] (formerly vC 13) Handwritten letter from Schenker to Cube, dated February 12, 1928
Schenker expresses joy at Cube's report of his class and private teaching; refers
to Hoboken's "Aufruf" and Vrieslander's prospectus; reports Weisse's plan for a monthly
periodical; thanks Cube for his efforts with book dealers in Duisburg and
Essen.
OJ 11/32, [3] Typed letter from Robert Haas to Schenker, dated March 1, 1928
The Photogrammarchiv has a source that Schenker is at liberty to
consult.
OJ 12/6, [3] Handwritten letter from Jonas to Schenker, dated March 3, 1928
Discusses the proposal to create a "journal," raised in previous correspondence,
and airs Schenker's misgivings. Plans to send an invitation to 2,000 people.
OJ 11/54, [22] Handwritten letter from Hoboken to Schenker, dated March 11, 1928
Hoboken recounts the difficulties he is having in getting 2,500 photographs of
autograph manuscripts made at the Paris Conservatory.
OJ 11/54, [23] Handwritten letter from Hoboken to Schenker, dated March 21, 1928
Hoboken has still made no progress on photographic work at the Paris
Conservatory. — He will go to Rotterdam and Münster. — Speaks of the importance of his Archive
work and contacts he has made. Will probably go to a concert featuring music of Alban Berg. — He
asks Schenker to intervene with O. E. Deutsch.
OJ 89/2, [5] Handwritten letter from Schenker to Hoboken, dated March 26, 1928
Schenker conveys Deutsch's response to van Hoboken's questioning of a planned
facsimile of Schubert sketches. — Schenker discusses strategy for persuading Paris to supply
photographs for the Photogrammarchiv.
OJ 8/4, [54] Handwritten postcard from Schenker to Moriz Violin, dated April 2, 1928
The Schenkers invite Violin to an evening meal at their
apartment.
OJ 15/15, [29] Handwritten postcard from Weisse to Schenker, dated April 13, 1928
Recovering from illness, Weisse is unable to join the Schenkers for lunch,
suggests instead seeing Schenker on Sunday morning.
OJ 9/34, [11] Handwritten letter from Cube to Schenker, dated April 24, 1928
Cube describes difficulties with his colleagues, loss of pupils, and reactions to
his lecture; Scheuermann and Schmemann will put Schenker exhibits in their shop windows, items
requested; inquires after Weisse journal plan.
WSLB 395 Handwritten postcard from Schenker to UE, dated April 25, 1928
Schenkers asks for the Tonwille volumes to be sent to Julius
Gold.
OC 52/911 Typed letter from Hugo Winter (UE) to Schenker, dated April 27, 1928
Encloses invoice for sending Der Tonwille to San Francisco.
OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928
Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the
approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him
to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties
he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and
speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.
OJ 9/34, [12] Handwritten letter from Cube to Schenker, dated May 24, 1928
Cube acknowledges receipt of the Hammer engravings and reports on the planned
Scheuermann exhibition; reports on a forthcoming lecture and seminar, and the growth of his
student numbers.
OJ 15/15, [30] Handwritten postcard from Weisse to Schenker, dated May 25, 1928
About to leave Vienna, Weisse asks if he can see Schenker to say
good-bye.
OJ 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928
Schenker sends Cube an article written for the Beethoven centenary festival and suggests a
"connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA;
outlines summer plans.
OJ 15/15, [31] Handwritten postcard from Weisse to Schenker, dated May 31, 1928
Weisse will bid up to twice the estimated price at auction for a copy of C. P.
E. Bach's Essay on the True Art of Playing Keyboard Instruments.
OJ 14/45, [70] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1928
Violin sends 60th birthday greetings to Schenker, adding that he is unlikely
to leave Hamburg this summer.
OJ 9/10, [1] Telegram from the Photogrammarchiv to Schenker, dated June 19, 1928
Best wishes [on Schenker's 60th birthday]
OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928
With thanks for birthday greetings, Schenker expresses how highly he values the
Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. —
Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the
success of the Urlinie through Der Tonwille, he no longer considers himself isolated.
PhA/Ar 56, [8] Handwritten letter from Schenker to Kromer, dated June 22, 1928
Schenker expresses thanks for the greetings telegram, and extolls the work of
the Photogrammarchiv.
OJ 6/7, [38] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated June 23,
1928
Schenker thanks Violin for his kind birthday greetings, explaining the
discrepant birth dates assigned to him. He reaffirms his spiritual solidarity with his
friend. He has read some articles and reviews mentioning his work, at all of which he
laughs.
OJ 5/7a, [16] (formerly vC 16) Handwritten picture postcard from Schenker to Cube, dated July 3, 1928
Schenker inquires whether Cube has encounted obstacles to his
plans.
OJ 8/4, [55] Handwritten picture postcard from Schenker to Moriz Violin, dated July 3,
1928
Schenker asks Violin to write to Fritz Stein, to ask him to return one of his
arrangements of a musical work.
OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928
Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses
associated newspaper article; also on recent lecturing and composition activity. He is unlikely
to visit Schenker this year; recalls people at Galtür.
OJ 10/18, [3] Handwritten letter from Elias to Schenker, dated July 11, 1928
Miss Elias is glad that Schenker is "not dissatisfied" with her graphings of
his piano piece Op. 4, No. 1 and looks forward to her October lessons for a detailed
discussion. — She inquires about Vrieslander's "monograph." — She was interested to see the
autograph and first edition of "Erlkönig" juxtaposed in a Schubert
exhibition.
OJ 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928
Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises
recent article by Cube, but corrects overstated connection between himself and Brahms and
Joachim.
OJ 14/45, [71] Handwritten letter from Moriz Violin to Schenker, dated July 18, 1928
Owing to a "complete breakdown," Violin is recovering at a sanatorium in
Schierke, from where he writes. In response to Schenker's previous postcard, Violin had
written more than once to Prof. [Fritz?] Stein for the return of the manuscript of a Handel
arrangement by Schenker, and he will chase him up in August. A pupil of his, Harry Hahn, has
taken upon himself to lecture on Schenker's theories at the local society of composers; for
this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude
and a Schubert waltz, and has proved a surprisingly competent and persuasive
speaker.
OJ 6/7, [39] Handwritten envelope from Schenker to Moriz Violin, postmarked July 22, 1928
Schenker asks about Violin's breakdown, and comments on Halm's avoidance of
fearful situations and on Cube's shop window exhibition.
OJ 8/4, [56] Handwritten picture postcard from Schenker to Moriz Violin, dated July 25,
1928
Writing to the sanatorium in the Harz mountains, Schenker ask Violin how
things are with him.
OJ 15/16, [59] Handwritten letter from Weisse to Schenker, dated July 26, 1928
Writing while on holiday (in Bad Aussee), Weisse apologizes for not having
replied to Schenker's previous letter. He is enjoying reading C. P. E. Bach's Versuch, and
reports the illness and recovery of Viktor Hammer, who was staying in Grundlsee near the Weisses
during the month of June.
WSLB 397 Handwritten postcard from Schenker to UE, dated August 5, 1928
Schenker asks why he has not received his royalty.
OC 52/913 Typed letter from Hugo Winter (UE) to Schenker, dated August 7, 1928
UE has written to the Postal Savings Bank about the royalty
payment.
OC 52/914 Typed letter from Ernst Roth (UE) to Schenker, dated August 20, 1928
UE understands that the royalty payment has now been made.
OJ 11/54, [24] Typed letter from Hoboken to Schenker, dated August 27, 1928
Hoboken recounts his and his wife's travels through Germany, including encounters
with Thomas Mann and others. He expects to return to Vienna in mid-October.
OJ 8/4, [57] Handwritten postcard from Schenker to Moriz Violin, postmarked September 5,
1928
Having just returned from the Tyrol, Schenker asks how Violin and his family.
He would also like to see the voice-leading diagrams that Violin's pupil Harry Hahn has
prepared for his lectures.
OJ 89/2, [7] Handwritten letter from Schenker to Hoboken, dated September 5, 1928
The Schenkers have just returned to Vienna. — The "fantastic nature" of the
Hobokens' travels by auto. — The exceptional heat in Galtür. —Salzburg as magnificent but
too small to hold Mozart.
OJ 5/7a, [18] (formerly vC 18) Handwritten postcard from Schenker to Cube, dated September 6, 1928
Freier Satz will be prepared for publication this year; gives news of former pupils and
supporters.
OJ 14/45, [72] Handwritten letter from Moriz Violin to Schenker, dated September 21,
1928
Violin apologizes for not writing sooner; he has suffered a further health
setback. His pupil Harry Hahn will send Schenker the illustrations and a copy of his lecture
(on the Schubert waltz and Bach prelude). He enquires about Der freie Satz.
OJ 15/15, [32] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated September 28,
1928
In reply to a postcard from Jeanette Schenker, Hertha Weisse recommends
linoleum as a covering for the flat surfaces of a sideboard and bench.
OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928
Schenker has received large-format Urlinie charts from Harry Hahn and recommends
format to Cube.
OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928
Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and
plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to
return the Hammer etching.
OJ 5/7a, [20] (formerly vC 20) Handwritten postcard from Schenker to Cube, dated October 8, 1928
Schenker acknowledges receipt of Hammer portrait; urges Cube when in Cologne to
visit Gerhard Albersheim's parents and Felix Hupka.
OJ 8/4, [58] Handwritten postcard from Schenker to Moriz Violin, dated October 9, 1928
Schenker is glad to hear that his friend's setback was only a minor one. He
has received a nice letter from Harry Hahn, together with a copy of his lecture and the
splendid voice-leading diagrams.
OJ 8/4, [59] Handwritten postcard from Schenker to Moriz Violin, dated October 22,
1928
The large-format graphs prepared by Harry Hahn have been greeted
enthusiastically by Schenker's pupils and friends; Schenker suggests that a "light
projection apparatus" (i.e. an overhead projector), which is now often available in schools
and hospitals, might be more practical.
OJ 15/15, [33] Handwritten postcard from Weisse to Schenker, dated October 23, 1928
Weisse points out a part-writing error in Schenker's Counterpoint, vol. 2. He
suggests that his teacher looks at Alois Haba's recently published Neue Harmonielehre, and
commends Oppel's recent article on Bach's fugal technique.
OJ 14/45, [73] Handwritten letter from Moriz Violin to Schenker, dated October 26, 1928
Violin queries Schenker's suggestion for displaying graphic work by
light-projection. He has recently made the acquaintance of a Hamburg organist name
Hahnemann, who teaches only according to Schenker's theory. Finally he asks whether the
"last volume" (Der freie Satz) has been published.
OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928
Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a
"connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next
time.
OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928
Sends best wishes for Cologne lecture-series; is planning to issue a folder of
Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv,
which will be officially opened on November [25]. The "counter-examples" should be taken
slowly.
OJ 10/1, [103] Typewritten letter from Dahms to Schenker, dated November 23, 1928
Dahms is unable to attend the Schubert conference in Vienna. — His latest
appeals on marital situation have been rejected.
OC B/300 Typewritten letter from V. A. Heck to Schenker, dated November 24, 1928
Heck consults Schenker on another Beethoven sketchleaf.
WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated
November 27, 1928
Schenker reports the impact of his Urlinie concept on the educational world
within Germany and in the USA. — He seeks to re-establish a working relationship with UE,
raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical
study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of
NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his
existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the
"Eroica."
OC B/301 Typewritten letter from V. A. Heck to Schenker, dated November 29, 1928
Heck thanks Schenker for information regarding a Beethoven
sketchleaf.
OC 52/846 Typed letter from Kalmus (UE) to Schenker, dated December 1, 1928
Hertzka is away until mid-December.
OJ 13/25, [3] Typewritten letter from Rinn to Schenker, dated December 7, 1928
Rinn enthusiastically thanks Schenker for his intention to write an article,
and for arranging to have the necessary photographic reproductions
prepared.
PhA/Ar 56, [9] Typewritten letter of confirmation from Schenker to Kromer, dated December 12,
1928
Schenker acknowledges receipt of Beethoven photograms.
OJ 15/16, [60] Handwritten letter from Weisse to Schenker, dated December 16, 1928
Weisse reports the birth of his (first) child, a girl. In a postscript, he
informs Schenker that C. P. E. Bach's "Prussian" and "Württemberg" sets of keyboard sonatas
have been published in a modern edition.
OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928
Hertzka welcomes Schenker's intention now to produce [his elucidatory edition
of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the
"Eroica" study and Der freie Satz but cannot schedule them until after
1929.
OJ 8/4, [60] Handwritten poscard from Schenker to Moriz Violin, dated December 22,
1928
The Schenkers send the Violins their best wishes.
WSLB 403 Handwritten letter from Schenker to Hertzka (UE), dated December 23, 1928
Schenker reports on the autograph manuscript of Beethoven Op. 79. — He is
"convinced" that the autograph of Op. 106 is in England.
OJ 14/45, [74] Handwritten letter from Moriz Violin to Schenker, dated December 24, 1928
On his first teaching-free day, Violin writes to say that his health is good,
and to wish the Schenkers a happy holiday. His organist friend Hahnemann will probably write
to Schenker soon about performing some of his arrangements. Schnabel, too, wants to obtain
the score, parts and cadenzas for the keyboard concertos of C. P. E. Bach that Schenker has
prepared.
OC 52/915 Typed letter from Hugo Winter (UE) to Schenker, dated December 27, 1928
Announces that Schenker's 1928 royalty has been transferred.
OJ 15/15, [34] Handwritten postcard from Weisse to Schenker, dated January 2, 1929
Weisse invites the Schenkers for a Sunday morning
get-together.
WSLB 405 Handwritten letter from Schenker to Hertzka (UE), dated January 9, 1929
Schenker sets deadline for decision on publishing "Eroica" monograph; stresses
urgency.
OC 52/849 Typed letter from Hertzka (UE) to Schenker, dated January 15, 1929
Hertzka asks for Schenker's deadline for the "Eroica" monograph decision to be
put off to the end of 1929.
OJ 15/15, [35] Handwritten postcard from Weisse to Schenker, dated January 18, 1929
Weisse regrets that Schenker is still unable to visit. He has arranged for a
photograph to be made of a Brahms sonata autograph manuscript.
WSLB 407 Handwritten postcard from Schenker to Hugo Winter (UE), dated January 24,
1929
Schenker reminds Winter to send him his half-yearly
statement.
OJ 13/25, [4] Typewritten letter from Rinn to Schenker, dated February 7, 1929
Rinn reports that publication of "Eine Rettung der klassischen Musik-Texte"
must be delayed because a copy of the faulty Peters edition of Schubert's Sonata (Op. 78, in
G major), which is the subject of Schenker's essay, cannot be found anywhere in Munich. He
asks Schenker to send him his own copy, so that it can be used for the reproduction of the
musical text. He also mentions the death of August Halm, and his intention of marking the
event in the same issue in which Schenker's article is now to appear.
OJ 15/15, [36] Handwritten postcard from Weisse to Schenker, dated February 20, 1929
Owing to family illness, the Schenker's forthcoming visit is
postponed.
OJ 14/45, [75] Handwritten letter from Violin to Schenker, dated February 25, 1929
Violin has heard terrible things from Vienna on account of the extremely cold
weather, and hope that the Schenkers are in good health. His brother-in-law will take him on
holiday at Easter, and also pay for a family holiday in the summer.
OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929
Schenker thanks Violin for his concerns, describes how they survived the cold
weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished
and that he has written an article about the Photogram Archive, which has acquired over
seven thousand pages of manuscripts. He looks forward to seeing his friend in the
summer.
OJ 15/15, [37] Handwritten postcard from Weisse to Schenker, postmarked March 2, 1929
Weisse asks Schenker to postpone a planned visit to the following Sunday, as
there is a Philharmonic Concert this Sunday.
OJ 14/45, [76] Handwritten letter from Moriz Violin to Schenker, dated March 3, 1929
On the point of departing for the Riviera with his brother-in-law – possibly
via Vienna – Violin asks Schenker to make a quick assessment of his voice-leading reduction
of Bach's first Two-Part Invention, in C major.
OJ 13/25, [5] Typewritten letter from Rinn to Schenker, dated March 7, 1929
Rinn apologizes for the small format in which the autograph of Schubert's
minuet was reproduced for Schenker's article "Eine Rettung der klassischen Musik-Texte." He
has publicized the work, and intends to send copies of it to university music departments
and inform other newspapers and journals of it. He expresses thanks for the efforts that
Schenker made in contributing to Der Kunstwart, and for his remarks on Bruckner's Ninth
Symphony.
OJ 6/7, [42] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated March 7,
1929
In reply to Violin's previous letter, Schenker writes out a graphic analysis
of Bach's Two-Part Invention in C major, and wishes him an enjoyable holiday on the French
Riviera.
OJ 15/15, [38] Handwritten postcard from Weisse to Schenker, dated March 8, 1929
Weisse confirms an invitation to the Schenkers for the following
Sunday.
OJ 14/45, [77] Handwritten letter from Violin to Schenker, dated March 20, 1929
Violin thanks Schenker for his letter with the voice-leading sketch of Bach's
C major Invention, and for the article from Der Kunstwart on the Photogram Archive. He is
enjoying the climate of Nice, and seems to be getting on well with the French language; a
lady who overheard him playing the piano praised his expressive playing.
OJ 13/25, [6] Typewritten letter from Rinn to Schenker, dated March 22, 1929
Rinn tells Schenker that Alfred Einstein has expressed an interest in
promoting Schenker's work on autograph manuscripts with a notice in the Berliner
Tageblatt.
OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929
Cube is listening by radio to music being performed in Vienna. The two caricatures are his
fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous
lectures, and forthcoming lecture series.
OJ 11/54, [25] Typed letter from Hoboken to Schenker, dated March 27, 1929
Hoboken has broken off his friendship with Otto Vrieslander after discovering
that the latter has been cheating him.
OJ 89/3, [1] Handwritten letter from Schenker to Hoboken, dated March 28, 1929
Schenker expresses surprise at Vrieslander's "deception" and approves Hoboken's
response to him.
OJ 9/34, [17] Handwritten letter from Cube to Schenker, dated April 5, 1929
Miss Edith Sauerbrey may call on Schenker.
OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)
Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17],
and offers advice and a warning: ordinary people are not interested in beauty in art, but look
for quick, easy judgments.
OJ 15/15, [39] Handwritten postcard from Weisse to Schenker, dated April 13, 1929
Weisse arranges to meet Schenker outside the Musikverein before a performance
of Beethoven's Ninth Symphony.
OJ 15/15, [40] Handwritten postcard from Weisse to Schenker, dated April 16, 1929
In response to a query from Schenker concerning a pupil (Gerhard Albersheim),
Weisse explains the requirements of the state examination for prospective music teachers who
have not had a formal training at the Academy.
OJ 14/45, [78] Handwritten letter from Moriz Violin to Schenker, dated April 29, 1929
Violin has finally paid off a large debt, and promises to save enough money so
that he can spend a few days in Galtür with the Schenkers. He apologizes for any
indiscretion on the part of his sister Fanny.
OJ 8/4, [62] Handwritten postcard from Schenker to Violin, dated May 3, 1929
Schenker assures Violin that there is no friction whatever between his sister
Fanny and himself; he looks forward to seeing him in the summer.
OJ 9/34, [18] Handwritten letter from Cube to Schenker, dated May 14, 1929
Cube explores the possibility of a student of his, Erich Voss, studying with
Schenker.
OJ 5/7a, [23] (formerly vC 23) Handwritten letter from Schenker to Cube, dated May 15, 1929
Gerhard Albersheim will leave a space in Schenker's calendar that Schenker offers
to Erich Voss; will teach him himself because Weisse may not be up to date with Der freie Satz;
Voss to contact him.
OJ 15/16, [61] Handwritten letter from Weisse to Schenker, dated May 29, 1929
Weisse reports that Gerhard Albersheim is going to see him about the
possibility of having lessons from him. He congratulates Schenker on completing his study of
the "Eroica" Symphony, and hopes to be able to get together with his teacher sometime in the
next two weeks.
OJ 15/15, [41] Handwritten postcard from Weisse to Schenker, dated June 3, 1929
Weisse arranges to meet Schenker on Wednesday, June 11, 1929.
OJ 15/15, [42] Handwritten postcard from Weisse to Schenker, dated June 5, 1929
Weisse confirms arrangements to meet Schenker on June 11.
OJ 14/45, [79] Handwritten letter from Violin to Schenker, dated June 16, 1929
In spite of an earlier promise, Violin says he cannot visit the Schenkers in
Galtür because he must stay with his son, who has had an inflammation of his kidney
following the news of the death of a Prof. Schreier. He will instead take his son on a
holiday in the Harz Mountains, and hopes to visit Vienna in the autumn or over
Christmas.
WSLB 408 Handwritten letter from Schenker to Hertzka (UE), dated June 19, 1929
Schenker inquires after Hertzka's decision on the "Eroica" monograph; gives
his vacation address.
OC 52/850 Typed letter from Hertzka (UE) to Schenker, dated June 21, 1929
No decision on the "Eroica" monograph yet.
WSLB 410 Handwritten letter from Schenker to Hertzka (UE), dated June 28, 1929
Schenker will be patient until 1930.
OJ 5/7a, [24] (formerly vC 24) Handwritten postcard from Schenker to Cube, dated July 6, 1929
Schenker has heard again from Erich Voß about lessons and shows signs of
annoyance. Has completed his "Eroica" study, and Der freie Satz looms.
OJ 89/3, [2] Handwritten letter from Schenker to Hoboken, dated July 6, 1929
Schenker encloses a newspaper clipping regarding a Haydn manuscript find, and the
statement from Vrieslander.
PhA/Ar 56, [3] Handwritten letter from Schenker to Haas, dated July 6, 1929
Schenker draws Haas's attention to an article in the Neue Freie Presse
regarding Haydn manuscripts.
OJ 89/3, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 7,
1929
Hoboken recounts recent travels. — Is now at Kliffende, where he is about to
build a house. — Reports meetings with Hubermann and Harburger; encloses a letter and articles
from the latter. — Refers to a Vrieslander problem.
OJ 89/3, [4] Handwritten letter from Schenker to Hoboken, dated July 12, 1929
Schenker thanks Hoboken for the Harburger items and agrees to write to
Vrieslander.
OJ 5/7a, [25] (formerly vC 25) Handwritten postcard from Schenker to Cube, dated July 14, 1929
Voß is coming to Vienna.
OJ 14/45, [114] Handwritten picture postcard from Moriz and Karl Violin to Schenker, undated,
postmarked July 16, [1929]
Violin and his son have taken a bus to Brocken in the Harz mountains, the
highest point in northern Germany.
OJ 9/34, [19] Handwritten letter from Cube to Schenker, dated July 18, 1929
Acknowledges two postcards; no word from Eric Voss; reports on teaching activities; reports on
composing and sends two sonatas for Schenker's comment.
WSLB 411 Handwritten picture postcard from Schenker to UE, dated July 19, 1929
Requests half-yearly statement of account.
OJ 5/7a, [26] (formerly vC 26) Handwritten postcard from Schenker to Cube, dated July 22, 1929
Acknowledges the sonatas Cube sent with OJ 9/34, [19]; reports on Reinhard Oppel
and on Hans Weisse's recent publication success; Schenker approves of Cube's use of pianistic
diminution.
OJ 89/3, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 22,
1929
Hoboken gives his view on Vrieslander's honorarium demand.— He is not yet
finished with analyzing Brahms Op. 117, No. 1.
OC 52/916 Typed letter from Hugo Winter (UE) to Schenker, dated July 23, 1929
Schenker should have received the statement and money
meantime.
OC 52/851 Typed letter from Kalmus (UE) to Schenker, dated July 24, 1929
Encloses remarks made by Edmund Schmid.
WSLB 414 Handwritten letter from Schenker to UE, dated July 27, 1929
Schenker comments on Schmid's remarks; inquires after editorship of Mozart
edition.
OC 52/852 Typed letter from Ernst Roth (UE) to Schenker, dated July 30, 1929
Names the revisers of the Mozart sonata edition.
OJ 89/3, [6] Handwritten letter from Schenker to Hoboken, dated August 2, 1929
Schenker has passed the [fee] verdict on to Vrieslander; alludes to Reinhard
Oppel, and advises on the analysis of Brahms Op. 117, No. 1.
OC 52/853 Typed letter from Ernst Roth (UE) to Schenker, with enclosure, dated August 5,
1929
Encloses additional remarks by Edmund Schmid.
OJ 15/16, [62] Handwritten letter from Weisse to Schenker, dated August 5, 1929
Weisse, absorbed by Schenker's ideas (especially the concept of "tonal space")
tells of his plans to write about his teacher's significance as a contemporary theorist. He
describes his progress in composition, which includes the completion of a set of six bagatelles
for piano and a Clarinet Quintet, and much work on an Octet. He asks about progress on Der freie
Satz and about the publication of Schenker's analysis of the "Eroica" Symphony, and reports his
and Hertha's joy in parenthood.
OJ 89/3, [7] Handwritten letter from Schenker to Hoboken, dated August 5, 1929
Further communications between Hoboken and Vrieslander should now go via
Kromer, not Schenker; Oppel leaves tomorrow; how is house-construction
going?
WSLB 417 Handwritten letter from Schenker to UE, dated August 9, 1929
Reacting to Edmund Schmid's follow-up remarks, Schenker points up a favorable
passage and comments wrily on a critical one.
OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929
Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ
9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music,
after which publication should ensue. Schenker gives detailed comments, with music examples, on
Cube's two piano sonatas, praising them highly and making suggestions for
improvement.
OJ 15/7, [1] Handwritten letter from Arthur Waldeck to Schenker, dated August 27, 1929
Introductory letter from Arthur Waldeck to Schenker.
OJ 11/16, [7] Handwritten letter from Furtwängler to Schenker, dated August 30, 1929
Furtwängler comments retrospectively on the Heidelberg affair, and rejoices over
the "Eroica" monograph.
OJ 89/3, [8] Handwritten letter from Schenker to Hoboken, dated September 10, 1929
Schenker increases his lesson fee by inflation. — He reports on Oppel and
Vrieslander, referring to his (Schenker's) not having been appointed to a professorship at
Heidelberg; on Albersheim's marriage, and approaches made to him by Cube and
Waldeck.
OJ 89/3, [9] Typewritten letter from Hoboken to Schenker, dated September 15, 1929
Hoboken encloses his analytical study of Brahms's Intermezzo, Op. 117, No. 1,
and raises several technical matters. — He reports on his building project, and responds to
Schenker's refusal, in OJ 89/3, [7], to continue acting as intermediary with Vrieslander. —
He encloses a check for his lesson fee.
OJ 89/3, [10] Handwritten letter from Schenker to Hoboken, dated September 18, 1929
Schenker acknowledges check; — comments on Hoboken's work on a Chopin Etude; —
discusses an approach by Vrieslander; — explains how the possibility of a professorship at
Heidelberg had come about.
OJ 10/18, [4] Handwritten letter from Elias to Schenker, dated September 23, 1929
Miss Elias confirms her forthcoming lesson for October 1, and plans to finish
her voice-leading sketch of a fugue by Handel.
OJ 5/44, [1] Handwritten letter from Schenker to Arthur Waldeck, dated September 23, 1929
Schenker encourages Waldeck to spread his (Schenker's) ideas in America, and
apprises him of Dunn's translation of Kontrapunkt and his own recent and forthcoming
publications.
OJ 15/15, [44] Handwritten postcard from Weisse to Schenker, postmarked October 13, 1929
Weisse seeks to arrange a meeting with Schenker during the
week.
OJ 89/3, [11] Typewritten letter (typed copy) from Vrieslander to Schenker, dated October 23,
1929
Vrieslander reports that Hoboken has given him notice to vacate, and rehearses
the course of events leading up to this situation, events that intertwine with Vrieslander's
obligations to the Photogrammarchiv.
OJ 89/3, [12] Handwritten letter from Schenker to Hoboken, dated October 24, 1929
Schenker forwards Vrieslander's letter.
OJ 6/7, [43] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1929
Urging his friend to write only when he feels up to it, Schenker gives Violin
some news of his own: that the Eroica Symphony monograph is finished but a publisher who is
capable of dealing with the numerous music examples must be found; that Schenker will work
unceasingly on Der freie Satz once the Eroica is