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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.
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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.
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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.
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DLA 69.930/13 Handwritten letter from Schenker to Halm, dated October 6, 1924
Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of
performance of the A major string quartet. —Deplores current situation over Sofie Deutsch
stipends. —Reports difficulties with UE and intention to change publisher.
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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.
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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.
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JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925
Wherever Hammer may travel, Schenker declares, he will never lose his
Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the
west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an
account of the dispute with Universal Edition and the outcome of negotiations with Drei
Masken Verlag.
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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."
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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.
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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.
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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.
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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.
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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.