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 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926

Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He is not optimistic that humanity in general will truly understand the classics, which underscores the important of his (and Violin's) mission.

OJ 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 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 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 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette Schenker’s hand, dated November 11‒16, 1931

OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and Heinrich Schenker’s hand, dated November 11‒16, 1931

OJ 89/5, [3] Handwritten letter from Schenker to Hoboken, dated July 31, 1932

Schenker welcomes a visit from Hoboken and Miss Boy, and encloses a clipping of an article.

OJ 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933

Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political developments in Germany, and attributes his threatened hunger to Violin's return to Vienna.

OJ 89/6, [9] Handwritten letter from Schenker to Hoboken, dated July 25, 1933

In writing of Hoboken's prospects as a composer, Schenker is not interested in creating imitation Bachs and Brahmses. — He delights in Cortot's visit to the Photogram Archive - but Cortot belongs to the already convinced. — He makes observations on some inclosed feuilletons, and gives information about Goos.

Diary entry by Schenker for 9 September 1925

Diary entry by Schenker for 8 March 1926

Diary entry by Schenker for 20 March 1926

Diary entry by Schenker for 25 April 1926

Diary entry by Schenker for 25 February 1931

Diary entry by Schenker for 27 February 1932

Diary entry by Schenker for 6 January 1934