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OJ 8/3, [59] Handwritten postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz Violin,
dated May 13, 1918
Schenker thanks Moriz Violin for an address; reports on planned visit to his
brother Wilhelm Schenker, and food promised by him and items sent by Felix Hupka; Heinrich and
Jeanette expect to spend the summer in Vienna.
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OJ 6/6, [9] Handwritten triple-letter from Jeanette Kornfeld and Heinrich Schenker to Valerie and
Moriz Violin, dated July 15, 1919
(1) Jeanette to Valerie: offers sympathy and reassurance about her illness;
describes the Tantalier Castle and its romantic associations; (2) Heinrich to Valerie:
recommends eating large quantities; (3) Heinrich to Moriz: supports food theory by reference to
his own proneness to nervous depression; suggests that Valerie recuperate in Zell am
See.
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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.
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OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21,
1923
In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving
health, and goes on to mention a number of personal successes he has lately had, including a
visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa
solemnis. He has also had some unexpected support from his publisher, who wants to expand Der
Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts
(three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are
overtaking Furtwängler as conductors in Vienna by accepting more modest fees.
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OJ 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.
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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.
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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.
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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.
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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.
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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.
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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.
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OJ 6/7, [32] Handwritten letter from Schenker to Violin, dated February 16, 1927, with postscript
from Fanny Violin
Replying to Violin's previous letter, Schenker expresses surprise about (Egon)
Pollak's enthusiasm for C. P. E. Bach's Double Concerto. He also expresses uncertainty about
whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and
adaptation of part of his Counterpoint, vol. 2, has been prepared; and Herman Roth's book on
counterpoint has also been published. He sends little Karl a picture of himself, and leaves
space for Violin's sister Fanny to add a short greeting.
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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.
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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.
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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.
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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.
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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.
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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.
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OJ 14/45, [85] Handwritten letter from Moriz Violin to Jeanette Schenker, dated June 16,
1930
Violin thanks Jeanette Schenker for sending him a recent article. His wife and
daughter will spend the summer holiday with his brother-in-law, who is also paying for a
three-week holiday for him and his son Karl.
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OJ 14/45, [115] Handwritten postcard from Moriz Violin to Schenker, dated July 3, 1930
Violin is spending two weeks with Karl in Schierke, in the Harz Mountains. In
the fall, he will have to make a decision about what to do about his son.
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OJ 14/45, [86] Handwritten letter from Moriz Violin to Schenker, dated July 23, 1930
Violin despairs of the future for his son, who has just turned 17, and about
life in general. He has faith only in Schenker, whom he sees as truly a product of his time,
because of his intimate attachment to the great achievements of bygone eras. He thinks that
the rest of the world will recognize in half a century what he knows now; he has no interest
in Furtwängler, who may appear to be modest in Schenker's company, but is no less arrogant
than any other idiot when left to his own devices. He is concerned about things that might
interfere with the completion of Schenker's last works.
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OJ 6/7, [50] Handwritten letter from Schenker to Moriz Violin, dated July 31, 1930
Schenker assures his friend that he understands his difficulties, and that he
can be proud of holding his head high above those who do not understand music, or are
incapable of interpreting it beautifully. His own problems are focussed around money,
especially as his brother (Moses) has not given him the second part of his inheritance. He
has sought to find cheaper ways of producing the music examples for his latest writings: he
is more satisfied with the Eroica examples than the engraved illustrations from previous
volumes of Das Meisterwerk in der Musik, and is planning to issue Der freie Satz with a
volume of examples that is separate from the text. He repeats the news, from an earlier
letter, of his being mentioned in Romain Rolland's most recent Beethoven book, and of his
entry in Meyers Konversations-Lexicon, and also reports on an item about him in the Deutsche
Tonkünstler-Lexikon.
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OJ 6/8, [3] Handwritten letter from Schenker to Violin, dated May 24, 1931
Schenker sends Violin clippings of a positive anonymous review of Das
Meisterwerk 3, and an article by Bruno Walter from the Neue freie Presse mentioning
him.
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OC 38/155v Handwritten letter (fragment) from Violin to Schenker, dated July 18,
1931
Violin’s son collapsed while away on a school holiday, but is now recovering.
The family are about to move to a new apartment in Hamburg, and Violin is sending Schenker a
copy of the prospectus for the Schenker Institute.
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OeNB Mus.Hs. 36390/1, [4] Letter from Moriz Violin to Schenker, dated June 28, 1933
The Violin family have escaped Nazi Germany, and are preparing for life in
Vienna; Violin looks forward to seeing his friend, and wishes him good
health.
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OJ 8/5, [23] Handwritten postcard from Schenker to Violin, dated October 27, 1933
Schenker has worked out a lesson plan that leaves him free on Wednesday
afternoon, a time he would like to reserve for visits from Violin and his family; but his
friend should feel free to turn up at other times.
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OJ 6/8, [27] Handwritten letter from Schenker to Violin, dated November 9, 1933
Schenker reports that Hoboken has asked to come for coffee, and he has invited
him for Saturday, as a result of which he offers his tickets for a concert conducted by Carl
Bamberger to Violin and his daughter.
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OJ 6/8, [29] Handwritten letter from Schenker to Violin, dated December 11, 1933
Schenker asks Violin to seek his sister Fanny’s help in finding someone who
can produce typed copies of an article about him published in America [Israel Citkowitz,
“The Role of Heinrich Schenker”].
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OJ 70/26, [1] Handwritten letter from Willem Mengelberg to Eva Violin, dated June 23, 1938
Mengelberg is unable to help Moriz and Eva Violin directly in obtaining positions
in America, but encloses a letter of recommendation to Julia Steinway for
Moriz.
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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.
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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 27/45, [19] Handwritten letter from Moriz Violin to Schoenberg, dated February 12,
1940
Violin admits that he did not write to the St. Louis Institute of Music when
urged before, but has now done so. He wrote in English. — He reports the correspondence that
he brought with him from Vienna, and that which was lost or stolen on the
way.
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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.
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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.
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LC ASC 27/45, [29] Handwritten letter from Moriz Violin to Schoenberg, dated July 20, 1941
Violin recounts his experience with one of his sponsors and subsequent
interview with her skeptical agent regarding an (unspecified) new project.