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.

OC 54/318 Typewritten picture postcard from Deutsch to Schenker, dated August 27, 1930

Deutsch has no objection to Schenker adding a note about a possible source for the “Eroica” Symphony in his notes on the text of the work. -- He is happy that reading the proofs of the third Meisterwerk yearbook has been useful. -- He suggests that the [Austrian] Minister for Education ought to see the letters that Leo Kestenberg has written about Schenker’s work. -- He asks Schenker for a possible journalist contact in Aussig.

OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21, 1930

Writing after a long and serious illness, Schenker assures his friend that he is alive and well. The doctors have pronounced him generally fit, but he suffers from a painful tightening of the thorax, and also a flickering that causes him to "lose" letters and notes. He has had to give many double-lessons of late, in theory, which he finds tiring. To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons without having prepared anything, he would rather play than give over-long lectures. He is concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that Violin is going to Berlin, and will give him instructions about what to do there. His Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers – and his brother still has half of his inheritance. But he is still alive – with Der freie Satz.

OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November 26, 1930

Schenker summarizes the achievements and ambitions of several of his pupils and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse is the most ambitious of all of these though he is not completely at home in the new theory. He fears that something might go wrong at Weisse's forthcoming lecture at the Central Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse will give a trial run of the lecture at the Schenkers' apartment.

OJ 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931

Hearing that Schenker expects to complete Der freie Satz by early spring, Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the author against Schenker.

OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931

In this long and wide-ranging two-part letter, which includes a graphic analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald Warburg), or even found an institute that would give employment to Felix Salzer and other Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg. For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes with a tirade against those who have caused him financial misery (including his brother Mozio), culminating in a cynical passage in which Schenker advises his friend to look after himself and engage some dull pedagog to teach conventional theory. In the end, he wishes Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s clutches.

OJ 11/54, [35] Handwritten letter from Hoboken to Schenker, dated September 27, 1931

Hoboken encloses a check for 39 past lessons and reports on his work during the summer. -- He comments on books by Hans Meyer and Cassirer.

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.

Diary entry by Schenker for 20 June 1925

Diary entry by Schenker for 29 August 1930

Diary entry by Schenker for 5 December 1930