-
OJ 70/35, [1] Handwritten postcard from Schoenberg to Moriz Violin, undated, postmarked March 9,
1902
Schoenberg asks Violin to arrange the next day's reheasal.
-
LC ASC 27/45, [1] Handwritten letter from Moriz Violin to Schoenberg, dated March 26, 1902
Violin has attended the successful premiere of Schoenberg's Verklärte Nacht,
and wishes to talk with him in person, apparently rather than sending a written report.
Violin speaks in strong terms of certain people, presumably in Wolzogen's Buntes Theater in
Berlin.
-
OJ 70/35, [2] Handwritten letter from Schoenberg to Moriz Violin, dated April 10, 1902
Schoenberg rarely goes to the [Buntes] Theater. He insists on receiving a
report from Violin on a performance of his Verklärte Nacht.
-
LC ASC 27/45, [2] Handwritten notecard with envelope from Moriz Violin to Schoenberg, dated February
26, 1903
Violin is too unwell to meet Schoenberg and say "Adieu", and hopes for a
meeting on September 1.
-
Sbb B II 3550 Handwritten letter from Schenker to Busoni, dated August 30, 1903
In response to Busoni's expressed desire to include the Syrische Tänze,
orchestrated, in a concert later in the year, Schenker admits that he would prefer, if
possible, to orchestrate the work himself rather than using the orchestration on which
Schoenberg was currently working.
-
Sbb B II 3549 Handwritten letter from Schenker to Busoni, undated [c. September 1,
1903?]
Schenker explains that Arnold Schoenberg asked to orchestrate the piano duet
Syrian Dances years earlier, therefore that an orchestral version should be available. He
says, however, that he had from the beginning conceived the pieces in orchestral colors, but
that the orchestration would now take time, so he asks Busoni's preference. He reports that
other music societies have asked to perform works by him.
-
OJ 9/27, [13] Handwritten letter from Busoni to Schenker, dated September 3, 1903
Busoni offers three arguments why Schenker should adopt Schoenberg's
orchestrations of the Syrische Tänze, but leaves Schenker to decide whether to make his own
orchestrations. He sets a deadline of October 19 for receipt of orchestral materials. He
suggests a change of title to Jüdische Tanzweisen."
-
Sbb B II 4432 Handwritten letter with envelope from Schenker to Busoni, dated September 9,
1903
Schenker informs Busoni that the Schoenberg orchestrations will reach him by
October 9. He has taken soundings over the suggested title change and now permits Busoni to
go ahead with the change, though with a reservation. He hopes to bring Alphons Rothschild to
the performance.
-
OJ 14/15, [1] Handwritten letter from Schoenberg to Schenker, dated September 12, 1903
Schoenberg reports his progress on orchestrating Schenker's Syrische Tänze, and
raises the matter of his fee for the work. He has approached Busoni about having his own
symphonic poem performed.
-
OJ 14/45, [6] Handwritten letter from Moriz Violin to Schenker[?], dated September 14,
1903
In a bleak and formal message, Violin declares that withdrawal of friendship by
the recipient of this letter would carry "great danger" for his (Violin's) way of life. He hopes
for a peaceable solution.
-
OJ 14/15, [2] Handwritten letter from Schoenberg to Schenker, undated [September 15,
1903?]
Schoenberg accepts Schenker's offer [unspecified], and hopes to see him in Vienna
two days later.
-
OJ 14/15, [3] Handwritten letter from Schoenberg to Schenker, undated [September 21,
1903?]
Schoenberg will visit Schenker the next day.
-
OJ 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.
-
Sbb B II 4424 Handwritten letter from Schenker to Busoni, dated October 8, 1903
The orchestral parts of Schoenberg's orchestration of Schenker's Syrische
Tänze have been dispatched to Busoni: Schenker comments on their degree of clarity and
correctness, and offers advice on performance. He will be attending rehearsals in Berlin.
Weinberger have asked that the existing title be retained. -- Schenker reports on
prospective performances of his works. He also reports on good chances of receiving a theory
professorship at the Vienna Conservatory, and doesn't want Jewishness associated with his
compositions lest this should impair those chances.
-
OJ 14/15, [6] Handwritten letter from Schoenberg to Schenker, undated [October 13, 1903?]
Schoenberg inquires whether Schenker has yet sent the [orchestral] materials to
Busoni.
-
OJ 14/15, [7] Handwritten letter from Schoenberg to Schenker, undated [November 10, 1903?]
Schoenberg needs to speak with Schenker.
-
OJ 14/15, [8] Handwritten letter from Zemlinsky, Gutheil, and Schoenberg to Schenker, dated January,
1904
Invitation to attend a meeting to discuss the promotion of new music in Vienna
through education and performance.
-
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 70/35, [3] Handwritten postcard from Schoenberg to Moriz Violin, dated February 21,
1904
Since none of his [Op. 6?] songs is for female voice, Schoenberg decides not
to send them to Violin.
-
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 70/35, [4] Handwritten letter from Schoenberg to Moriz Violin, dated April 5, 1904
Schoenberg asks for Violin's withdrawal from the Vereinigung schaffender
Tonkünstler in writing, and indicates that he cnnot understand it.
-
OJ 9/6, [42] Handwritten letter from Eugen d'Albert to Schenker, dated July 11,
1905
Eugen d'Albert asks about the Vienna Volksoper as a suitable venue for
his opera "Flauto Solo," and the ethics of not approaching Gustav Mahler
first.
-
OJ 14/15, [14] Handwritten letter from Schoenberg to Schenker, undated [c. February 1,
1907]
Schoenberg expresses disappointment at Schenker's non-attendance, and hopes he
can attend the performances of his String Quartet [No. 1] and [First] Chamber Symphony on
February 5 and 8.
-
OJ 14/15, [15] Printed invitation from Schoenberg to Schenker, undated [c. November 1,
1907]
Invitation to a concert of music by pupils of Schoenberg.
-
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 14/23, [15] Handwritten postcard from Seligmann to Schenker, postmarked October 14,
1910
Seligmann thanks Schenker for his kind words about the most recent feuilleton
(on artistic life in Vienna).
-
WSLB 75 Handwritten letter from Schenker to Hertzka (UE), dated May 17, 1911
The manuscript of Beethovens Neunte Sinfonie will be handed over complete
tomorrow. — Academy Director Wilhelm Bopp still favors the planned Bach-Beethoven editions
scheme, and Schenker awaits a summons from President Carl von Wiener.— Schenker argues the
case for UE to publish his arrangements of two C. P. E. Bach concertos and a work by
Handel.
-
WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912
Schenker responds combatively to Hertzka's warning about correction
costs.
-
OC 52/434 Typewritten letter from Hertzka (UE) to Schenker, with holograph insertions, dated
May 28, 1912
Hertzka invites Schenker to his home for a discussion of the monograph
Beethovens neunte Sinfonie.
-
WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912
Schenker inquires about the print-run and retail cost of his
Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for
clarity on a payment he has just received, stressing his probity.
-
WSLB 120 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1912
A long letter, biblical in tone, in which Schenker prophesies that a "Flood of
the moderns" will come to pass, and in Noah's ark his works will "occupy the place of
honor," and that a "bright new light" will establish Universal Edition as superior to the
German publishers. He accepts Hertzka's terms for the Beethoven Last Five Sonatas edition
for now. He again urges Hertzka to contact Dr. Harpner regarding the planned Organization of
Creative and Performing Musicians. He encourages Hertzka to deal more generously with Hans
Weisse.
-
WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912
Schenker returns the contract for Die letzten fünf Sonaten von Beethoven
signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to
Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that
tradition, which will spawn a new generation of composers superior to the present
"cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau
der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der
Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of
Musicians project in the fall.
-
WSLB 141 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1912
In a satyrical letter, Schenker asks Hertzka to make up his mind about the
compositions of Hans Weisse submitted for publication.
-
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 15/15, [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.
-
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 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.
-
LC ASC 27/45, [2a] Handwritten letter from Moriz Violin to Schoenberg, dated January 13,
1919
Violin urgently asks to meet.
-
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.
-
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 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 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 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 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 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, [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 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20,
1923
Schenker describes his efforts to make Der Tonwille more widely read, through its
distribution by his pupils and its display in music shop windows. He needs more help from pupils
and friends with the dissemination of his work, but complains that Hans Weisse has let him down
on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about
whether he should accept an invitation to speak at a conference in Leipzig, or whether he should
simply stay at home and continue to write.
-
OJ 10/1, [79] Handwritten letter from Dahms to Schenker, dated November 1, 1923
Dahms has devoted a chapter of his Musik des Südens to "genius" in which he
asserts its absoluteness and the gulf between genius and mediocrity. — He concurs with
Hertzka's judgement of Furtwängler as a "coward"; In his quest for success, the latter has
compromised his belief in genius by pandering to Schoenberg. The Korngolds are coming to
Rome in August.
-
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 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 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925
Dahms reports on the Vrieslanders' Italian travels; compares Hertzka
unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold.
-
OJ 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.
-
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 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 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.
-
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 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, [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 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 89/1, [8] Handwritten letter from Schenker to van Hoboken, dated December 17, 1927
Reply from Dr. Richtera has arrived, and Schenker encloses it; Otto Erich Deutsch
is invited to give a lecture about the damages. — Hoboken has had a letter from Alban Berg that
may be intentionally ironic; Schenker reflects on the spirit of the Photogrammarchiv.
-
OJ 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929
After reply to some of the more personal points in Violin's previous letter,
Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony
monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books
are still in print and his status as a theorist has been acknowledged by the the fact that
the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A
recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when
approaching a publisher. That same issue also contains an article by Schoenberg touching on
various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1;
Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet).
He feels that it is beneath his dignity to make a formal reply; but to illustrate what he
means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs
and other music examples concerning these works.
-
OJ 89/3, [A] Handwritten letter from Schenker to Hoboken, undated [between November 14, 1928 and
January 1, 1929]
Schenker asks Hoboken to send a copy of a Schubert minuet to Munich, and draws
his attention to a Landshoff article and notice about the Andreas Bach
book.
-
OJ 14/45, [81] Handwritten letter from Violin to Schenker, dated December 19, 1929
Violin has two possible publishers for the "Eroica" monograph. One of these he
names as Rather in Leipzig, which has recently bought up Simrock. The other, Breitkopf &
Härtel, has been suggested by Furtwängler, who believes that the proposal would be supported
by Karl Straube. Violin also considers the possibility replying to a recent article by
Schoenberg.
-
OJ 5/7a, [28] (formerly vC 28) Handwritten letter from Schenker to Cube, dated January 12, 1930
Acknowledges OJ 9/34, [20], and gives detailed critique of Cube's analysis of
the C major Prelude from WTC I, including graphs; advises on additional reading and Cube's
plans to publish the analysis.
-
WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930
Schenker is sending Deutsch copies of letters written by Leo Kestenberg
praising his theories for their practical application to composition and
performance, noting that Furtwängler is championing his cause everywhere. -- He then
launches into a tirade against the city of Vienna for snubbing him and his
work.
-
WSLB-Hds 94479 Handwritten letter from Schenker to Seligmann, dated February 26, 1931
Schenker asks Seligmann to read the opening essay in the third volume of Das
Meisterwerk in der Musik. He quotes from a letter to his pupil Hans Weisse which
demonstrates the attention his theories have been gaining in Germany, especially Berlin, and
expresses his regret that no one in Vienna shows similar respect for him.
-
OJ 6/8, [6] Handwritten letter from Schenker to Violin, dated September 28, 1931
Schenker is heartened that Herman Roth, once again, seems to be supporting his
cause. Schenker recommends a series of possible “guest speakers” at the Schenker Institute
and asks if there is some sort of monument or commemorative space devoted to C. P. E. Bach
in Hamburg.
-
OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
-
OJ 9/34, [33] Handwritten letter from Cube to Schenker, dated July 2, 1932
Cube outlines, with music examples and graphs, a theory of tonal system and modal
mixture based on "the series of 5ths," "the closed-up circle of 5ths," and "differentiation of
the resultant intervals in a diatonic projection" as a scale. He asks for Schenker's
reaction.
-
OJ 11/54, [40] Typewritten letter from Hoboken to Schenker, dated July 29, 1932
Hoboken comments on some contemporary music; — he comments adversely on the
new edition by Edouard Ganche of Chopin's works; — he may visit the Schenkers and bring Eva
Boy with him.
-
OJ 8/5, [15] Handwritten postcard from Schenker to Violin, dated February 15, 1933
Schenker reports reading a newspaper article in which Arnold Schoenberg was
not offered a post at the Vienna Academy, and draws from it a parallel with Violin and
himself.
-
OJ 15/16, [91] Handwritten letter from Hans Weisse to Schenker, dated March 30, 1933
In this long letter, Weisse expresses his bitter regret about Otto
Vrieslander's reaction to his criticism of a recently published collection of his
(Vrieslander's) songs, and to Schenker's exaggerated claims of their worth. Weisse defends
his critical stance on the grounds that objective discussions are the only worthwhile ones,
and that he took the trouble to write about the songs in a 14-page letter to Vrieslander
only for the sake of art (in the Schenkerian sense) and feels hurt both by Vrieslander's
personal reaction to Weisse's criticism and by Schenker's defence of the older pupil. — In
the final paragraph, he inquires again about gaining permission to make multiple copies of
Schenker's foreground graph of the "Eroica" Symphony.
-
OJ 9/34, [38] Handwritten letter from Cube to Schenker, dated September 7, 1933
Cube reports on his poor health and straitened cirumstances, teaching at two
conservatories and private pupils; he eagerly awaits Der freie Satz, and reports on his
investigation of diatonic systems.
-
OJ 5/18, 33 Handwritten letter from Schenker to Jonas, dated December 21, 1933
Schenker sends article [by Citkowitz]. — In response to Jonas's quoting from a
Jewish lexikon, he refers to the sermons by Cardinal Faulhaber, and writes of his pride in
being Jewish but in having assimilated thoroughly enough to establish favorable relations
with the Catholic church, antisemites, and the news media. — Implying a parallel between
himself and Jesus, he offers his "monotheistic theory of music" as "a new message to the
world from the Jews." — He has no copy of his Syrische Tänze; — writes of the work's
history.
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OJ 9/34, [42] Handwritten letter from Cube to Schenker, dated October 4, 1934
Quotes letter from Furtwängler in extenso touching on reasons for dismissal and
articulating the importance of Schenker's theory; Cube describes the impact of this letter on his
Director. The names of Schenker, Halm, and Kurth were deleted from a recent text of his, and
censorship has been imposed. Describes his own recent activities. Outlines his geometric theory of the
diatonic components of tonality. Encloses photograph of his wife and son; describes hardships. Denies
rumors that he has cheated Moriz Violin, and refers to the resulting backlash on him: Violin has a
"complex", feels downtrodden by everyone.
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OJ 12/6, [39] Typewritten letter (carbon copy) from Jonas to Schenker, dated November 28,
1934
Jonas has agreed to let his publisher proceed with a lawsuit against Willi
Reich; he has written up the documentary evidence of the case and asks Schenker to circulate
it among his circle. — He reports his activities in Berlin. — He reports his dispute with
the Jüdischer Verlag.
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OJ 12/6, [40] Handwritten letter from Jonas to Schenker, dated December 19, 1934
Jonas encloses a translation of an English review of his book; comments
despairingly. — Lawsuit against Willi Reich comes to court on December 22. — Jonas hopes to
give lectures in Vienna. —Asks if Schenker knows Carl Johann Perl. —Holiday good
wishes.
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LC ASC 27/45, [3] Handwritten letter from Moriz Violin to Schoenberg, dated April 17, 1938
Violin tells Schoenberg he expects to obtain an affidavit to emigrate to the
USA, and ask if Schoenberg could write a letter of recommendation for work in San Francisco,
and advise him on possibilities there.
-
LC ASC 27/45, [4] Handwritten letter from Moriz Violin to Schoenberg, dated June 11, 1938
Violin seeks an affidavit to emigrate and asks Schoenberg's help in achieving
this. He would like to move to San Francisco.
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LC ASC 27/45, [5] Handwritten letter from Moriz Violin to Schoenberg, dated August 10, 1938
Violin provides Schenker with details of his wife and
himself.
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OJ 70/35, [5] Handwritten letter from Schoenberg to Moriz Violin, dated December 23,
1938
Schoenberg has asked a rabbi to produce an affidavit, and offers this to
Violin in advance of receiving it.
-
LC ASC 27/45, [6] Handwritten letter from Moriz Violin to Schoenberg, dated January 17,
1939
Violin informs Schoenberg that he already has his affidavit, and thanks him
for his attempts. He asks Schoenberg for letters of recommendation for San
Francisco.
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LC ASC 27/45, [7] Handwritten letter from Moriz Violin to Schoenberg, dated May 17, 1939
Violin has been ill for three months, and is due to sail on May 27 arriving
New York June 5. He asks about the cost of travel from Los Angeles, where he hopes to stay
en route, to San Francisco, and gives a temporary address in New York.
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LC ASC 27/45, [8] Handwritten letter from Moriz Violin to Schoenberg, dated June 13, 1939
Violin comments on American red tape. He has had to give the addresses of his
supporters and asks Schoenberg to provide a testimonial if asked; and expresses gratitude
for the Schoenbergs' offer of hospitality in Los Angeles.
-
LC ASC 27/45, [9] Handwritten letter from Moriz Violin to Schoenberg, dated June 20, 1939
Violin asks Schoenberg to write to the refugee committee in San Francisco. He
will let him know his arrival time.
-
OJ 70/71, [2] Typewritten letter of recommendation from Schoenberg to the Coordinating Committee
for German Refugees, San Francisco, dated June 21, 1939
Schoenberg letter of recommendation to the Coordinating Committee for German
Refugees in San Francisco.
-
LC ASC 27/45, [10] Handwritten postcard from Moriz Violin to Schoenberg, dated July 7, 1939
Violin informs Schoenberg of his route from New York to
California.
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LC ASC 27/45, [11] Handwritten notecard from Moriz Violin to Schoenberg, dated July 19, 1939
Violin thanks the Schoenbergs for their hospitality, and promises his c.v.
shortly.
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LC ASC 27/45, [12] Handwritten coverletter from Moriz Violin to Schoenberg, dated July 20,
1939
Covering letter or note to Violin's c.v. [LC ASC 27/45, [13], including list
of names.
-
LC ASC 27/45, [13] Handwritten curriculum vitae from Moriz Violin to Schoenberg, undated [July 20,
1939]
Violin's curriculum vitae.
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OJ 70/35, [6] Typewritten testimonial (carbon copy) from Schoenberg concerning Moriz Violin, dated
July 21, 1939
Schoenberg letter of recommendation to "whom it may concern."
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LC ASC 27/45, [14] Handwritten letter from Moriz Violin to Schoenberg, dated July 24, 1939
Violin tries to express his debt to Schoenberg for recent help. — He advises
Schoenberg on how to transfer money at half the standard dollar-mark exchange
rate.
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LC ASC 27/45, [15] Handwritten letter from Moriz Violin to Schoenberg, dated August 24, 1939
Violin reports his progress in contacting people in the Bay Area to whom he
has been given introductions.
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LC ASC 27/45, [16] Handwritten letter from Moriz Violin to Schoenberg, dated September 21,
1939
Violin expresses misgivings about his situation, and is concerned that his
daughter is in Amsterdam.
-
LC ASC 7/50, [9] Handwritten telegram draft from Schoenberg to Moriz Violin, dated January 23,
1940
Schoenberg has wrongly addressed LC ASC 7/50, [8] and asks Violin to check
with the Post Office to recover the letter.
-
LC ASC 27/45, [17] Handwritten letter from Moriz Violin to Schoenberg, dated January 26,
1940
Violin acquiesces to applying for the job in St. Louis, despite reservations
about the climate there. He laments the backwardness of San Francisco's musical world. He
admits to being "kept" by his wife.
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LC ASC 7/50, [10] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated January 27,
1940
Schoenberg reports a letter that he has received from R. E. Stuart. He detects
that Gottfried Galston will see him as a rival, so advises Violin to write stressing his
primary area as composition. He regrets that he can no longer avoid recommending some of his
own students.
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LC ASC 27/45, [18] Handwritten letter from Moriz Violin to Schoenberg, dated January 29,
1940
Violin expresses pain that his wife has to do menial work to support them
both. He prefers not to apply for the St. Louis job because he feels Schoenberg was insulted
by Stuart's letter. He hopes to gain entrée to the performance world.
-
LC ASC 27/45, [19] Handwritten letter from Moriz Violin to Schoenberg, dated February 12,
1940
Violin admits that he did not write to the St. Louis Institute of Music when
urged before, but has now done so. He wrote in English. — He reports the correspondence that
he brought with him from Vienna, and that which was lost or stolen on the
way.
-
OJ 70/38, [1] Typewritten letter from R. E. Stuart to Moriz Violin, dated April 2, 1940
The St. Louis Institute of Music does not feel sure enough of Violin's being
given the position in the event of being interviewed, and so wishes to spare him the expense
of travel. It questions whether, as a recently arrived European, he would be able to adapt
to the staff and students.
-
LC ASC 27/45, [20] Handwritten letter from Moriz Violin to Schoenberg, dated April 8, 1940
Violin makes an outraged critique of the rejection letter he has received from
R. E. Stuart. — His daughter, Eva, is now safely in San Francisco.
-
OJ 70/35, [7] Typewritten letter from Schoenberg to Moriz Violin, dated April 9, 1940
Schoenberg tempers Violin's reaction to R. E. Stuart's letter, offering a
sympathetic portrayal of the American character as courteous, unlike the Germans, and
describing the attitude and degree of preparation of American students. All German criteria
are inapplicable.
-
LC ASC 27/45, [21] Handwritten letter from Moriz Violin to Schoenberg, dated June 8, 1940
Violin asks Schoenberg to write to Elizabeth Sprague Coolidge recommending him
to play with the Coolidge Quartet.
-
LC ASC 27/45, [22] Handwritten letter from Moriz Violin to Schoenberg, dated October 23,
1940
Violin says that he is completely without work, but is not giving in to
despair.
-
LC ASC 27/45, [23] Handwritten letter from Moriz Violin to Schoenberg, dated December 19,
1940
In sending Christmas greetings, Violin tells Schoenberg that he heard his
Second Chamber Symphony [by radio] from New York. — He speaks of a course that he has been
hired to teach at the Jewish Center, and mentions a second possibility without divulging
details.
-
LC ASC 27/45, [24] Handwritten letter from Moriz Violin to Schoenberg, dated January 16,
1941
Violin reports on his "Music workshop" at the Jewish Center; is reading about
New York; is looking through his letters from Schoenberg from c.1902; reflects on knowledge
versus ignorance; wants to talk with Schoenberg about possibilities for playing in New
York.
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LC ASC 27/45, [26] Handwritten letter from Moriz Violin to Schoenberg, dated March 29, 1941
Violin thanks Schoenberg for his recent stay in Los Angeles, and comments on
Schoenberg's lecture "Composition with Twelve Tones," which he attended during that stay. —
He reminds Schoenberg to advocate for him for an engagement with the New York New Friends of
Music; and he mentions for the first time his plan to found an institute in San
Francisco.
-
LC ASC 27/45, [27] Handwritten letter from Moriz Violin to Schoenberg, dated April 14, 1941
Violin reports encouraging news on his planned "institute," spells out some of
his ideas, and seeks to discuss further with Schoenberg.
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LC ASC 27/45, [28] Handwritten letter from Moriz Violin to Schoenberg, dated May 21, 1941
Violin reports that he has been trying to rescue his sister from Vienna. — He
wants to report to Schoenberg in person how his "institute" ideas are developing.— He asks
for the score of a Schoenberg composition in order to see how the 12-tone method is
implemented. — He asks for answers to recently asked questions. — And he inquires after the
Guggenheim Foundation.
-
OJ 70/1, [1] Handwritten draft letter from Moriz Violin to Mrs. Schwabacher, undated [c. July 10,
1941]
Violin reports – perhsps protests – to Mrs. Schwabacher on his interview with
her agent, Mr. Pettis.
-
LC ASC 27/45, [29] Handwritten letter from Moriz Violin to Schoenberg, dated July 20, 1941
Violin recounts his experience with one of his sponsors and subsequent
interview with her skeptical agent regarding an (unspecified) new project.
-
LC ASC 27/45, [30] Handwritten letter from Moriz Violin to Schoenberg, dated April 5, 1945
Violin conveys his desperation over his job situation, and asks Schoenberg to
write to Pierre Monteux to request an interview.
-
LC ASC 27/45, [31] Handwritten letter from Moriz Violin to Schoenbeg, undated [March? 1949?]
Violin writes of his solitude and despair. He sees that Schoenberg is coming
to San Francisco, and pleads to be allowed to meet with him.
-
OJ 70/35, [8] Typewritten letter from Schoenberg to Moriz Violin, dated April 1, 1949
Schoenberg regrets that he is unable to visit San Francisco on account of
ill-health. He suggests Violin write an article on Schenker's theories for the Musical
Quarterly. He hopes to send Violin his forthcoming book "Style & Idea."
-
LC ASC 27/45, [32] Handwritten letter from Moriz Violin to Schoenberg, undated [September? 17?,
1949]
Having read that Schoenberg did not attend a birthday concert for him in Los
Angeles, Violin asks after his health, anxious not to lose contact. He deplores a speech by
Furtwängler.
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LC ASC 27/45, [34] Handwritten letter from Moriz Violin to Schoenberg, undated [October 1?,
1949]
Violin reports on a successful performance of a C. P. E. Bach concerto at the
Carmel Bach Festival and on a Music Teacher's Convention in San Francisco.
-
OJ 70/35, [9] Handwritten open letter from Schoenberg dated September 16, 1949, with handwritten
letter from Schoenberg to Moriz Violin, dated October 14, 1949
Schoenberg sends a copy of his open letter on his 75th birthday, embedded
within a letter in which he expresses pleasure at Violin's report of his Carmel
performance.
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LC ASC 27/45, [33] Handwritten letter from Moriz Violin to Schoenberg, undated [ late October?,
1949]
Violin writes of his longing for face-to-face communication with
Schoenberg.
-
OJ 70/37, [1] Typewritten letter from Roger Sessions to Moriz Violin, dated December 14,
1949
Roger Sessions proposes that he and Violin meet.
-
LC ASC 27/45, [35] Handwritten letter from Moriz Violin to Schoenberg, dated December 22,
1949
Violin reports on his meeting with Roger Sessions and subsequent invitation to
Christmas Day lunch.
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LC ASC 27/45, [36] Handwritten letter from Moriz Violin to Schoenberg, undated [ca. January 10,
1950]
Violin inquires whether Schoenberg might agree to serve as a judge in a
composition competition offered by Noel Sullivan.
-
OJ 70/35, [10] Typewritten letter from Schoenberg to Moriz Violin, dated February 4,
1950
Schoenberg declines the invitation by Noel Sullivan to serve as a judge for a
composition prize, and urges Violin to be patient with Sessions.
-
LC ASC 27/45, [37] Handwritten letter from Moriz Violin to Schoenberg, undated [1950]
Violin thanks Schoenberg for his copy of Style & Idea, and comments on it
enthusiastically. He describes himself as a "displaced artist."