WSLB 11 Handwritten postcard from Schenker to Hertzka (UE), dated June 30, 1908

Schenker asks for his honorarium to be sent promptly because of difficulties with the post service to the Tyrol.

OJ 7/4, [54] Handwritten picture postcard from Jenny Kornfeld to Moriz Violin, dated September 23, 1909

Jenny Kornfeld sends Moriz Violin best wishes for recovery, and greetings to Fanny Violin; — her husband (Emil Kornfeld) adds his greetings.

OJ 7/4, [65] Handwritten picture postcard from Schenker and Jenny Kornfeld to Violin, dated July 12, 1910

Heinrich asks Violin to bring tarot cards; Jenny Kornfeld asks for sunshine.

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 6/4, [51] Handwritten letter from Schenker to Violin, dated August 19, 1910

Schenker sends Violin 50 florins in partial repayment of a debt, expressing anxieties about his financial situation. — No word yet from Cotta. — The effect of the hotel fire on hotel businesses. — Emil Kornfeld arrives today.

CA 127 Handwritten letter from Schenker to Cotta, dated September 20, 1910

Schenker asks for a copy of Kontrapunkt 1 to be sent to Ernst Rudorff and copies of that and Harmonielehre to be sent to Jenny Kornfeld at her Aussig address.

CA 129 Handwritten postcard from Schenker to Cotta, dated October 3, 1910

Schenker redirects the copies of Harmonielehre and Kontrapunkt I destined for Jenny Kornfeld to his own address in Vienna.

OJ 9/31, [27] Stenographically handwritten letter from Cotta to Schenker, dated October 4, 1910

Publication of Kontrapunkt 1 having taken place this day, Cotta confirms the orders of complimentary and review copies to Jenny Kornfeld, Ernst Rudorff, Ludwig Karpath, and Schenker himself.

OJ 8/1, [2] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated April 15, 1911

A jokey message giving the menu of a meal eaten in Pressbaum.

OJ 8/1, [3] Handwritten picture postcard from Jenny Kornfeld and Heinrich Schenker to Moriz Violin, dated June 11, 1911

Heinrich Schenker and Jenny Kornfeld report the delights of the Vienna Woods.

OJ 8/1, [5] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated July 10, 1911

Schenker asks why Violin is silent about visiting them.

OJ 8/1, [6] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated July 22, 1911

Violin has written an unclear letter: Schenker presses him to say why he isn't coming to visit; and Jenny Kornfeld urges him not to be so poor a correspondent.

OJ 8/1, [7] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated August 4, 1911

Schenker inquires after Violin's location and company; — reports his work on Riemann's theories.

OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated August 18, 1911

Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes about his planned refutation of the theories of Hugo Riemann and the need to establish his own theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes more somberly about the coming autumn and its difficulties.

OJ 6/5, [2] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated August 26, 1911

With Heinrich and Jenny Kornfeld still in Sulden (Tyrol), Heinrich alludes to the uncertainty about their return on account of a recent storm and destruction to the road; — they have decided that, on return to Vienna, Jenny shall stay in a hotel until an apartment is found for her; — Violin is asked to mail a letter to Schenker's attorney which concerns Jenny's maintenance payments; Jenny reports that she is unrecognized in Sulden.

OJ 8/1, [8] Handwritten picture postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz Violin, dated August 27, 1911

Schenker and Jeanette vie with short stanzas. — Heinrich reports a walk to Gomagoi.

OJ 8/1, [9] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated September 8, 1911

Schenker asks if a letter has arrived at Violin's address, and asks for it to be forwarded to him if so.

OJ 6/5, [3] Handwritten letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated September 26, 1911

Seemingly in response to a cry for companionship, Heinrich and Jenny Kornfeld express their willingness to help, and ask what would be best.

OJ 6/5, [4] Handwritten letter from Jenny Kornfeld and Heinrich Schenker to Moriz Violin, dated October 5, 1911

Jenny Kornfeld gives Violin an account of the verdict of October 3, 1911 on her divorce plea.

OJ 8/1, [11] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 9, 1911

In promising to visit Violin, Schenker gives details of the lessons he has to give over three days; — reports pending visit by Vrieslander.

OJ 8/1, [12] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 10, 1911

Citing Hebbel, and referring to the mystery "Frau O.," Schenker speaks of Violin's unreliability, and also of Jenny Kornfeld's financial difficulties.

OJ 8/1, [13] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 29, 1911

Schenker has booked four seats for the theater [for Wedekind: Erdgeist].

OJ 8/1, [15] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated November 5, 1911

Schenker reports a difficult encounter with "Frau O."; also reports a first victory in Jenny Kornfeld's divorce application.

OJ 8/1, [17] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated November 27, 1911

Schenker reports the impossibility of Jenny Kornfeld's defending herself in her divorce plea; and Jenny writes that she has had to send an inventory of all her chattels to Emil Kornfeld.

WSLB 105 Handwritten letter from Schenker to Hertzka (UE), dated March 28, 1912

Schenker will send the complete manuscript only on receipt of written assurance that it be returned to him later -- He speaks of being not only to "procreator" of his work but also "a manufacturer, hence a busieness man." -- He implies his refusal to pay any correction costs. He points out a placement error in gathering 16.

WSLB 115 Handwritten letter from Schenker to Hertzka (UE), dated May 29, 1912

Schenker accepts Hertzka's invitation to his home on June 1, and declares his willingness to cooperate. He acknowledges receipt of a set of his previous UE publications.

OJ 11/17, [2] Handwritten letter from Eduard Gärtner to Schenker, dated July 14, 1912

Eduard Gärtner regrets that he is unable to help.

OJ 13/29, [9] Handwritten postcard from Moriz Rosenthal, Wilhelmine and Jacob Klein to Schenker, undated, postmarked November 13, 1912

Greetings

OJ 6/5, [29] Handwritten letter from Heinrich Schenker to Valerie Violin, dated November 28, 1913

Heinrich and Jeanette have regarded it as their duty to invite Fanny Violin on each occasion that they invited Moriz and Valerie; their conduct is thus blameless; only now have they understood Fanny's true meaning in writing as she did after two years. They wish to place no pressure on her and to help her overcome her illness.

OJ 9/30, [5] Handwritten letter from Tony Colbert to Schenker, undated [September 13, 1914]

Mrs. Colbert pleads for reduction of lessons to once every other week on account of the war work she is doing and the difficulties that she and her husband are facing.

OJ 15/16, [24] Handwritten letter from Weisse to Schenker, dated September 17, 1914

Commenting on an article by Paumgartner, Weisse asks to come and play some new compositions, and warns that he may be called up for war service.

OJ 5/45, [1] Copy letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated June 17, 1915

In a six-page letter, and following harsh exchanges the previous day, Schenker castigates Weisse for trying to avoid paying for four lessons, speaking of his own difficulties in managing the profession of private teacher, and the unfair ways in which artists are treated financially.

OJ 15/16, [25] Handwritten letter from Weisse to Schenker, dated April 7, 1916

Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op. 111, but expresses reservations about the political footnotes. He asks to bring a new song to Schenker, since he is about to go to the battlefield.

OJ 15/16, [26] Handwritten letter, with original poetry, from Weisse to Schenker, dated July 3, 1916

As a sign of his recovery, Weisse sends Schenker two poems while stationed in Berezhany, “Der alte Jude” and “Die Dirne."

OJ 9/30, [6a] Handwritten letter from Tony Colbert to Schenker, dated July 13

Mrs. Colbert thanks Schenker for flowers sent while she was in the sanatorium.

OJ 15/16, [27] Handwritten letter from Weisse to Schenker, dated August 3, 1916

Weisse hopes to see Kontrapunkt II soon. — He reflects on the state of humanity in the light of being in the midst of the war. — He incloses a cutting of an article [about sources of Saint-Saëns's music.]

WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916

Schenker explains why he is reluctant to produce a critical edition with commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could be freed from some of his teaching obligations, and also the autograph manuscript and other sources are missing. He also defends his sharp tongue in discussions of the secondary literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical editions of the late Beethoven piano sonatas).

OJ 15/16, [28] Handwritten letter from Weisse to Schenker, dated December 1, 1916

Weisse is looking forward to leave in mid-December and to seeing Schenker.

OJ 15/16, [31] Handwritten letter from Weisse to Schenker, dated November 9, 1917

Weisse now has a piano in his army lodgings, plays in the evenings, expects to send Schenker an analysis of Brahms Intermezzo, Op. 119, No. 2, shortly. The Italian defeat is near. He has sent a pamphlet by Walther Rathenau.

OJ 12/52, [1] Typewritten letter from Fritz Mendl to Schenker, dated January 12, 1917

Fritz Mendl informs Schenker of the bequests to him in Sofie Deutsch's will, and asks him to come to a meeting.

OJ 15/16, [29] Handwritten lettercard from Weisse to Schenker, dated January 16, 1917

Back in military service after Christmas leave, Weisse reflects on the nature of duty, and recommends F. W. Foerster’s Lebensführung to Schenker.

OJ 15/16, [30] Handwritten lettercard from Weisse to Schenker, dated February 3, 1917

Weisse asks if Schenker has not received his previous message; he is reading Kontrapunkt I.

OJ 8/3, [49] Handwritten postcard from Schenker to Moriz Violin, dated October 7, 1917

Heinrich and Jeanette are unable to visit. Remarks on parliaments of the regions.

OJ 8/3, [51] Handwritten postcard from Schenker to Moriz Violin, dated November 23, 1917

Schenker thinks the worst is over [in World War I]; accepts promised jam.

OJ 6/6, [5] Handwritten letter from Schenker to Valerie Violin, dated December 30, 1917

In response to the Violins' condolences on the death of his mother, Schenker reflects sadly on her life and needs between 1890 and the late 1910s, attributing blame largely to his younger brother Moriz, less to his older brother Wilhelm; — He explains why he and Jeanette are unable to visit the Violins in the cold and without adequate clothing.

OJ 15/16, [32] Handwritten letter from Weisse to Schenker, dated January 2, 1918

Weisse, in a fieldpost letter, writing in Sütterlinschrift, copies out a passage from Goethe quoted in Chamberlain's "Grundlagen des neunzehnten Jahrhunderts," and informs Schenker of his imminent change of address.

OJ 8/3, [55] Handwritten postcard from Schenker to Valerie Violin, dated January 6, 1918

Schenker recounts explosion of gas oven and subsequent activities. Jeanette has transferred things to her apartment and stayed up late to help.

OJ 5/38, [1] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm Schenker, dated January 24, 1918

Heinrich comments on the attack of the mumps, from which Wilhelm's children are suffering. Heinrich encourages Wilhelm and his family to move from Kautzen permanently, and in that connection will investigate the cost of having Julia Schenker's body moved from Waidhofen to Vienna for burial with the cooperation of the Vienna Kultusgemeinde. He envisions purchasing burial plots for Jeanette and himself adjacent to Julia's grave. He thanks Dodi for her invitation to stay with them if Vienna becomes intolerable.

OJ 14/45, [10] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 5, 1918

Schenker, Violin alleges, has accused him of a dearth of subject matter in letter writing; Violin defends himself on grounds that his life has been disrupted by military service and the impact of that on his physical and mental state. He accuses Schenker of insensitivity, and treating him like his pupils. He defends his wife for giving food to the Schenkers, and explains her motivation for so doing.

OJ 5/38, [2] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm and Dodi Schenker, dated February 5, 1918

Heinrich relays back the price of transferring Julia Schenker's body from Waidhofen to Vienna, and would hope to get a discount on that price via the Jewish Religious Community. He reports on the planned Festschrift for his 50th birthday, and his current troubles with UE. Jeanette characterizes their life as "farcical," and asks Dodi's advice in obtaining twine for repairing shirts. She comments on the Versailles Council of War as confirming Heinrich's warnings.

OJ 6/6, [7] Handwritten letter from Schenker to Moriz Violin, dated March 20, 1918

[50th Festschrift:] Schenker intends not to influence anyone in their decision to contribute or not. — [Personal issues:] Schenker agrees to draw a line under issues discussed in OJ 6/6, [6]; however, he accounts for his epistolary silence regarding Valerie Violin, including the possible contact with Seligmann; he attempts to explain the matter of the jars of jam and the absence of visits to Schönbrunn, describing vividly how tirelessly Jeanette works and how dependent they both are on Sunday for work time; he expresses outrage that he and Jeanette live so poorly while his pupils live lives of luxury, commenting bitterly on state of play over the Sofie Deutsch stipend; he wishes the Violins well for their 6-month stay in Marburg.

OJ 8/3, [57] Handwritten postcard from Schenker to Moriz Violin, dated April 7, 1918

Schenker has implemented the increase in fee, for his pupils, and describes how intolerable life is in Vienna; -- is trying with dificulty to book summer lodgings; -- reports Weisse's declining of the invitation to contribute to the Schenker Festschrift; -- he is working hard on his library.

OJ 8/3, [58] Handwritten postcard from Schenker to Moriz Violin, dated April 13, 1918

Schenker reports on Kufferath's article in the Gazette de Lausanne discussing the polemical materials in Die letzten fünf Sonaten ... op. 111, and on the treasonous stance of the Arbeiterzeitung.

OJ 15/15, [5] Handwritten postcard from Weisse to Schenker, dated April 20, 1918

Weisse apologizes for not having written recently, expresses his frustration that the war continues.

OJ 14/5, [5] Handwritten postcard from Moriz Schenker to Heinrich Schenker, dated July 22, 1918

Moriz Schenker has received Heinrich's letter and will visit him in a few days' time.

OJ 8/3, [61] Handwritten postcard from Schenker to Moriz Violin, dated August 21, 1918

The Schenkers went to Mariazell on the 16th for a work-free vacation. - - Schenker has had difficulties with Wilhelm and Moriz Schenker. - - He describes visit to Hupka in Kapuvár (Hungary). - - Comments on Violin's forthcoming promotion to Lieutenant.

OJ 14/5, [7] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated August 28, 1918

Moriz Schenker reports that he has received a letter from Sophie and Salo Guttmann; he has dispatched flour to Heinrich's Vienna address; he will be in Vienna soon and hopes to call on Heinrich.

OJ 15/16, [37] Handwritten letter from Weisse to Schenker, dated December 24, 1918

Weisse sends Schenker a volume [Handel keyboard works] as a Christmas present.

OJ 15/16, [38] Handwritten letter from Weisse to Schenker, dated July 15, 1919

On hearing that Schenker is already on holiday, and being not far from him (In Bad Ischl), Weisse inquires about the possibility of paying a visit.

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.

OJ 15/16, [39] Handwritten letter from Weisse to Schenker, dated August 2, 1919

Weisse accepts Schenker's invitation to visit him while on holiday.

OJ 6/6, [10] Handwritten letter from Heinrich Schenker to Moriz Violin, dated August 17, 1919

Schenker hopes that colleagues will support Moriz Violin. – The court has favored Emil Kornfeld unduly. – A move to Germany might save Schenker money, but he is uncertain how many of his pupils would follow him there (only Pairamall has indicated willingness). – He asks Weisse to act as an intermediary in booking a supply of wood for burning. – Dahms and Weisse are due for simultanous visits. – He is glad to hear Valerie Violin is better.

OJ 10/1, [43] Handwritten postcard from Dahms to Schenker, dated August 31, 1919

Dahms reports on his journey home and sends thanks for an unforgettable experience.

OJ 15/16, [40] Handwritten letter from Weisse to Schenker, dated September 1, 1919

Weisse thanks Schenker for his hospitality, and is glad to learn that he and Jeanette will be able to remain on holiday at Klammerth's castle.

OJ 10/1, [44] Handwritten letter from Dahms to Schenker, dated September 10, 1919

Dahms thanks the Schenker's for his time with them, and reports what he is doing currently; he endorses Nietzsche's view of Germany and the Germans, and speaks of the unprincipledness that its legal system and officialdom fosters.

OJ 10/1, [45] Handwritten letter from Dahms to Schenker, dated September 26, 1919

Dahms responds to Schenker's letter (non-extant). He reflects on Prussian militarism. He declares that there is no such things as "military genius"; Germany was as guilty as the Entente Powers for the war; soldiers were treated as slaves by their officers, with Wilhelm II bearing the ultimate guilt. He rejects all political parties. England does not treat its people as Germany does. He believes only in the German spirit, which he regards as the spirit of the world. He cannot wait to leave Germany, and wants only to immerse himself in Schenker's work.

OJ 10/1, [46] Handwritten postcard from Dahms to Schenker, dated October 17, 1919

Dahms reports on the present whereabouts of the autograph manuscript of Beethoven Op. 101.

OJ 11/16, [A] Handwritten letter from Furtwängler to Schenker, undated

Furtwängler asks if he can call on Schenker that evening.

OJ 11/16, [B] Handwritten letter from Furtwängler to Schenker, undated

Furtwängler asks if he can call on Schenker the coming Friday.

OJ 11/16, [C] Handwritten letter from Furtwängler to Schenker, undated

Furtwängler asks if he can call on Schenker the coming Sunday.

OJ 11/16, [D] Handwritten letter from Furtwängler to Schenker, undated

Furtwängler hopes to visit Schenker in about a week's time.

OJ 11/16, [E] Handwritten letter from Furtwängler to Schenker, undated [1928‒30]

Furtwängler cancels meeting on account of illness.

OJ 8/3, [72] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 2, 1919

The [wedding] date will be fixed next Wednesday; the engravings on the two rings. – They are due at Furtwängler's concert, but cannot commit to any other times.

OJ 11/16, [2] Handwritten letter from Furtwängler to Schenker, dated November 27, 1919

Furtwängler proposes that they meet in a restaurant on Saturday evening.

OJ 10/1, [47] Handwritten letter from Dahms to Schenker, dated November 28, 1919

Dahms discusses his future prospects for study, particular where to study (he discusses conditions in several cities), and with whom. He asks Schenker's advice. He is resolved to leave Vrieslander because of the latter's pessimism.

OJ 8/3, [73] Handwritten postcard from Heinrich Schenker to Moriz Violin, December 15, 1919

Schenker reports on his meeting with Emil Hertzka and the latter's offers on Die letzten fünf Sonaten ... op. 101 and the Kleine Bibliothek, about which Schenker wishes to talk with Violin.

WSLB 310 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1919

Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine Bibliothek and other tasks.

OJ 10/1, [48] Handwritten letter from Dahms to Schenker, dated December 21, 1919

Dahms thanks Schenker for his advice on the next stage of instruction. He wrote to Halm, who confirmed what Schenker had said. He congratulates Schenker on the superhuman work that he is doing under current adverse circumstances.

OJ 10/1, [49] Handwritten letter from Dahms to Schenker, dated December 27, 1919

Thanking Schenker for his kindness, he agrees that Schenker should delay the payment of a sum of money to him, and asks if he might stay near Schenker for a few weeks during the summer of 1920.

OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8, 1920

Deutsch reports that Hertzka wants the music connoisseur edition of the "Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch outlines the basis of the contract (editors will receive 8% of the retail price) and the production timetable. He asks if Schenker would rather take on a different facsimile due to competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in Vienna.

OJ 10/3, [6] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 9, 1920

Deutsch is sorry that a customer prevented him for speaking with the Schenkers when they visited his store. Photographic originals will be needed for the connoisseur edition.

OC 52/215 Typed letter from Hertzka (UE) to Schenker, dated January 23, 1920

Hertzka is sending the publisher's copy of the contract for Die letzten fünf Sonaten von Beethoven ... op. 101 and the first tranche of honorarium, discusses the facsimile edition of the "Moonlight" Sonata, raises issues regarding the prospective Beethoven collected sonatas edition and Kleine Bibliothek, and expresses pleasure that he and Schenker are again in accord.

OJ 10/3, [9] Handwritten postcard from Otto Erich Deutsch to Schenker, dated March 1, 1920

Deutsch thanks Schenker for his suggestion of Brahms's Op. 117; Mr. Kalbeck has suggested Brahms's "Sapphische Ode" (Op. 95, No. 4) and "Nachtwandler" (Op. 86, No. 3).

OJ 10/1, [50] Handwritten picture postcard from Dahms to Schenker, dated March 6, 1920

Dahms sends greetings from Berlin.

OJ 8/3, [84] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 16, 1920

Moriz Schenker extends invitation to meet, confirms sum of 68,080 Kronen. — Meeting with Hertzka scheduled for next day.

OC 52/224 Typed letter from Fischmann (UE) to Schenker, dated April 3, 1920

Fischmann gives advice on Schenker's contracts for the Kleine Bibliothek and the collected Beethoven piano sonatas.

OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920

OJ 10/1, [52] Handwritten letter from Dahms to Schenker, dated June 9, 1920

Reflecting on the difficulty of finding housing and provisions, and on the recent German federal elections, Dahms asks whether mastery of chorale and fugue is to be obtained solely by exercises in the manner of [E. F.] Richter and others. — He inquires whether Schenker knows Kurth's Grundlagen des linearen Kontrapunkts, and whether there are any worthwhile [musical] people in Salzburg.

OJ 10/1, [53] Handwritten letter from Dahms to Schenker, dated June 15, 1920

Dahms sends birthday greetings and reflects on the sorry conditions for the arts prevailing in the current political climate.

OJ 10/3, [10] Handwritten postcard from Otto Erich Deutsch to Schenker, dated June 15, 1920

The Beethoven House has given permission for the reproduction of the "Moonlight" Sonata, and have suggested a photographer. Before arranging for the reproduction, Deutsch asks Schenker to send his existing prints to determine if they are suitable.

OJ 15/16, [42] Handwritten letter from Weisse to Schenker, dated July 11, 1920

Weisse wishes Schenker an enjoyable summer holiday, and looks forward to visiting him. He inquires about the possibility of moving into Reisnerstraße 38, in the event that the Schenkers move elsewhere, and informs his teacher about the organization of a lecture series at the Vienna Urania. He concludes with some remarks about literary works, Wedekind's Schloß Wetterstein and Jean Paul's Levana.

OJ 10/1, [54] Handwritten postcard from Dahms to Schenker, dated July 12, 1920

Dahms is pleased that Schenker is in the mountains, and hopes for a meeting with him in Munich on Schenker's way to Stuttgart.

OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14, 1920

The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit them?

OJ 15/16, [43] Handwritten letter from Weisse to Schenker, dated July 19, 1920

Weisse reports his arrival for the summer in Ischl, and the grave illness that has befallen his grandfather there. He sends Schenker three excerpts from Jean Paul's review of Mme. de Staël's "On Germany" (1810), which he expects his teacher will find useful as cultural and political ammunition against the French.

OJ 10/1, [55] Handwritten letter from Dahms to Schenker, dated July 30, 1920

Dahms finds the Berlin musicians on vacation to be ignorant – "artistic bolshevism." — He now understands Kurth's work better for Schenker's comments.

OJ 8/3, [88] Handwritten postcard from Heinrich & Jeanette Schenker to Moriz Violin, dated July 30, 1920

Schenker reports that the attempt to procure an apartment in Reisnerstraße 17 has failed, and complains about the corrupt circumstances.

OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16, 1920

Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight" Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside. Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him to write to the Museum to request a photograph of the sketchleaf.

OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920

Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp. 109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's attentions.

OJ 10/1, [57] Handwritten postcard from Dahms to Schenker, dated August 25, 1920

Dahms understands that he cannot meet with Schenker; the three books are about to be dispatched.

OJ 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13, 1920

Deutsch asks Schenker to clarify whether bars are missing from the start of the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal Edition's intended format for the volume, and ask if Schenker approves of their proposals. Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical Times.

OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October 16, 1920

Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit Wally next Sunday.

OJ 8/3, [90] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, undated, postmarked [October] 17, 1920

The Schenkers are unable to visit Wally this Sunday, but will do so the following Sunday.

OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920

Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about the autograph manuscript for which Schenker is waiting.

OJ 15/15, [8] Handwritten postcard from Weisse to Schenker, dated November 2, 1920

Weisse asks for help in explaining the development section of the first movement of Brahms's Piano Trio No. 1 in B major, Op. 8; asks for the address of Fräulein Fried.

OJ 10/1, [59] Handwritten letter from Dahms to Schenker, dated December 22, 1920

Dahms sends the Schenkers best wishes for Christmas and the New Year; speaks of Schenker as "our great leader"; inquires about progress on publication of three Schenker works and whether Schenker has sufficient fuel and other necessities.

OJ 10/1, [61] Handwritten letter from Dahms to Schenker, dated January 5, 1921

Dahms thanks Schenker for a photograph.

OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30, 1921

The overdue ["Moonlight" Sonata edition] contract is finally ready, and Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready. Schenker should expect to receive an edited version of his commentary, and perhaps also an English translation.

OJ 8/4, [2] Handwritten postcard from Schenker to Moriz Violin, dated February 6, 1921

Schenker congratulates Violin on obtaining a teaching post in Hamburg and reports on progress on his written work and publications.

OJ 8/4, [3] Handwritten postcard from Schenker to Valerie Violin, dated February 8, 1921

Schenker accepts an invitation to lunch from Valerie Violin.

OJ 8/4, [4] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, dated February 26, 1921

Schenker inquires about a series of payments from Miss Reich for lessons.

OJ 10/1, [62] Handwritten letter from Dahms to Schenker, dated April 4, 1921

Dahms asks Schenker to recommend him to Cotta re: the book he is writing on Italian opera.

OJ 8/4, [5] Handwritten postcard from Schenker to Moriz Violin, dated April 29, 1921

Schenker describes some of the last-minute activities prior to their moving to a new apartment, at No. 8 Keilgasse, lists his works that are about to be published, and reports that Buxbaum has been dismissed as cellist of the Arnold Rosé Quartet.

OJ 10/1, [63] Handwritten letter from Dahms to Schenker, dated June 17, 1921

Dahms sends birthday greetings. — Cotta has turned down his book proposal. — He will soon obtain a passport and hopes to visit the Schenkers during the summer.

OC 24/22 Typewritten postcard from Otto Erich Deutsch to Schenker, dated June 28, 1921

Deutsch thanks Schenker for his postcard of June 26, 1921, and wishes him good luck in his new home and with his summer trip to Galtür. Deutsch has read issue 1 of Tonwille with great interest, and hopes that their connoisseur edition will be as successful.

OJ 8/4, [6] Handwritten picture postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated June 30, 1921

On holiday (for the first time) in Galtür in the Paznaun Valley, Schenker composes two short verses in local dialect, and Jeanette a third, to convey something of the Tyrolean atmosphere.

OJ 8/4, [7] Handwritten picture postcard from Schenker to Moriz Violin, dated July 6, 1921

In anticipation of preparing an edition of Handel's keyboard works, Schenker asks Violin for the address of a library in Hamburg that would be likely to have an early print or handwritten copy of Handel's first book of Suites.

OJ 10/1, [64] Handwritten letter from Dahms to Schenker, dated July 14, 1921

Dahms has to go to Berlin, after which he will explore visiting the Schenkers in Galtür.

OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921

Weisse has completed a string quartet, the parts of which are being copied out, after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept because his knowledge of English is insufficient. He enquires about the progress of Schenker's current projects.

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.

OJ 15/15, [9] Handwritten postcard from Weisse to Schenker, postmarked August 22, 1921

Weisse is taking a very late summer holiday and so cannot visit Schenker in Galtür. He has finished composing a sonata and is writing out a fair copy.

OJ 14/45, [11] Handwritten letter from Moriz Violin to Schenker, dated September 1, 1921

Violin announces the formation of a piano trio ensemble with a violinist named Wolfsthal and the cellist Friedrich Buxbaum, inquires about the proposed edition of Handel's keyboard works, and reports on the incipient civil unrest in the wake of a national movement in Germany.

OJ 15/15, [10] Handwritten postcard from Weisse to Schenker, dated September 12, 1921

Nearing the end of a two-week holiday in Bad Ischl, Weisse hopes to see Schenker in Vienna the following Sunday.

OJ 10/1, [66] Handwritten picture postcard from Margarete and Walter Dahms to Schenker, dated September 22, 1921

Dahms and his wife send greetings from Munich.

OJ 8/4, [8] Handwritten postcard from Schenker to Moriz Violin, dated September 23, 1921

Schenker alerts Violin to the imminent arrival of a payment.

OJ 10/3, [24] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 24, 1921

Deutsch reports that the "Moonlight" Sonata edition is almost finished, but because of translation problems he has asked Dr. Kalmus to show Schenker the latest revision of the English preface. Schenker's photographic reproductions will be returned once a sample print-out of the edition has been prepared and approved. The edition will launch in the autumn, and Schenker's fee will have increased because of the delay.

OJ 10/1, [67] Handwritten postcard from Dahms to Schenker, dated October 12, 1921

Dahms reports on his Italian sojourn and work.

OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921

Violin reports on his work, and on musicians in Hamburg, and congratulates Schenker on his (publication) successes.

OJ 10/3, [25] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1921

Deutsch notes the advance payments for Vrieslander's and Hoboken's copies of the luxury edition of the "Moonlight" Sonata, both of which are to be delivered to Vrieslander.

OJ 14/1, [5] Handwritten letter from Felix Hupka to Schenker, dated November 18, 1921

Hupka reports on his latest concert, in Munich. Otto Vrieslander and Herman Roth were present, and Hupka reports their critical reactions to his program. He visited the home of Paul Hirsch.

OJ 10/1, [68] Handwritten letter from Dahms to Schenker, dated November 22, 1921

Rome has been overtaken by commerce. — [material missing] — Berlin regards Dahms as stuck in the past.

OJ 11/36, [4] Handwritten letter from Hammer to Schenker, dated December 9, 1921

Hammer owns several of Schenker's books and is beginning to understand their concepts.

JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921

Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie".

JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921

Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie".

JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921

Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie".

OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922

Schenker offers to lend Violin his performing materials for two keyboard concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most recent work, continues to despair of his financial situation.

OC 12/1 Handwritten letter from Theodor Frimmel to Deutsch, dated February 22, 1922 (forwarded from Deutsch to Schenker with marginal note dated Feburary 27, 1922)

Deutsch forwards Schenker a letter from Theodor Frimmel regarding errors in Rolland's Beethoven biography. In the original letter, Frimmel asks Deutsch to send his regards to the Schenkers.

OJ 10/1, [69] Typed letter from Dahms to Schenker, dated March 11, 1922

Dahms's book, which has earned an award, is delayed at the bindery. He blames this on the prevailing undisciplined conditions in Germany, criticizes the current government, and predicts war.

OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922

Deutsch writes that the "Moonlight" Sonata facsimile edition is still being printed, and that he cannot make a decision on the production of a second facsimile edition until the new contract has been agreed with Universal Edition. The contract has been delayed by Universal Edition's dispute with Drei Masken. If they have to abandon plans for the facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute, Deutsch suggests Beethoven's String Quartet Op. 95 as an alternative.

OJ 8/4, [11] Handwritten postcard from Schenker to Moriz Violin, dated April 9, 1922

Schenker apologizes for not having been in touch with Violin, mainly owing to overwork and a severe diabetic reaction, which required medical attention. He reports on a new series of Beethoven sonata editions – an "Urlinie-Ausgabe" – he is planning to undertake.

OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922

This wide-ranging letter describes the difficulties encountered with Emil Hertzka at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the "Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's generosity. — Ends with generous praise for Violin's musicianship.

OJ 15/15, [12] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated May 20, 1922

Hertha Weisse gives Jeanette Schenker the name and address of a tailor who can make her a coat, and tells her how much material she needs to buy.

JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922

Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to read Fiedler and Hildebrand.

OJ 11/36, [6] Handwritten letter from Hammer to Schenker dated May 29, 1922

Hammer thanks Schenker for his letter and generosity, and invites Heinrich and Jeanette to visit, suggesting May 31; — proofs of his monograph have arrived.

OJ 14/46, [1] Handwritten postcard from Fanny Violin to Jeanette Schenker, dated May 29, 1922

Fanny apologizes for missing Jeanette and plans to visit.

OJ 11/36, [7] Handwritten postcard from Hammer to Schenker, postmarked May 30, 1922

Hammer changes time of Schenker visit.

OJ 10/1, [70] Handwritten postcard from Margarete and Walter Dahms to Schenker, dated June 19, 1922

The Dahmses sent birthday greetings and report on their life in Italy.

OJ 10/1, [71] Handwritten picture postcard from Dahms to Schenker, dated July 12, 1922

Acknowledges and praises Tonwille 2; inquires about Thal Verlag.

OJ 15/15, [13] Handwritten postcard from Weisse to Schenker, dated July 17, 1922

Weisse has returned to Vienna, thanks Schenker for the Galtür visit, and will order the bread [for diabetics] the next day.

OJ 15/16, [46] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 21, 1922

Weisse reports from Vienna that a sum of money has arrived, and will be paid to its intended recipient (Kohn), and gives an account of his and Hertha Weisse's travels in Vorarlberg following a visit to the Schenkers in Galtür.

OJ 14/45, [14] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1922

In this highly emotional letter, Violin describes his personal difficulties in the face of spiraling inflation in Germany.

OJ 10/18, [1] Handwritten letter from Elias to Schenker, dated August 10, 1922

Miss Elias is unable to get to Galtüt on account of bad weather. — She compares prices in the Tyrol with those in Vienna. — She hopes to meet up with the Schenkers in Innsbruck on the homeward journey. — She confirms that she will be able to meet her financial obligations in teh coming year.

OJ 15/16, [47] Handwritten letter from Hans and Hertha Weisse to Schenker, dated August 11, 1922

Weisse reports that he is dealing with business matters entrusted to him by Schenker, and thanks his teacher for arranging the posting of Kontrapunkt 2, which he is in the midst of reading.

OJ 14/45, [15] Handwritten letter from Moriz Violin to Schenker, dated September 3, 1922

Violin reports that his son Karl has suffered several setbacks of health, including inflammation of a cardiac muscle. Plans for Musikhochschule in Hamburg are making strides.

OJ 8/4, [15] Handwritten postcard from Schenker to Moriz Violin, dated September 10, 1922

Hearing of the Violins' son Karl's recent illness, Schenker sends his sympathy, then reports on his financial troubles. His application for a post at the University of Leipzig was received without enthusiasm, on the grounds that he is "more an artist than a scholar."

OJ 14/45, [16] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922

Violin reports briefly about his son's health, then goes into the practical issues arising from Schenker's active search for a post at a German music institute.

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.

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."

DLA 69.930/11 Handwritten letter from Schenker to Halm, dated November 2, 1922

Schenker acknowledges receipt of two booklets on youth and the new republic, returns them, comments on them critically: idealistic German democrats desire maximal remuneration with minimal work; illustrates point by difficulties with maids in Schenker household; German democrats naively overestimate social and intellectual status of non-German commoners (French, British, American); Schenker decries cosmopolitanism and those Germans who advocate individuality at the expense of society; Schenker praises the fascists as countering communism and social leveling, compares Mussolini's Italy favorably with present-day Germany.

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 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922

Schenker reports the imminent publication of Tonwille 3, and some new publishing ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the Short Preludes by J. S. Bach.

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 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922

Deutsch provides a full overview of Schenker income from the current sales reported by Universal Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the publication.

OJ 13/35, [4] Handwritten letter from Hilde Rubinraut to Schenker, dated January 5, 1923

Hilde Rubinraut reports that she has her permanent Austrian visa. -- She is pregnant, and will have to defer visits to Vienna for a few weeks.

OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923

Dahms reports change of address and explains circumstances; has sent a prospectus to UE; progress on subscriptions to his de luxe edition and a new American contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille 3, and comments on Schenker's understanding of democracy.

OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923

Baroness Fischer responds to Schenker's plan for distribution of issues of Der Tonwille by suggesting contacts in the Vienna music schools and professional association.

OJ 14/23, [21] Handwritten postcard from Seligmann to Schenker, postmarked February 24, 1923

Seligmann accepts an invitation to the Schenkers’ place for the following Wednesday (February 28, 1923).

OJ 14/23, [22] Handwritten postcard from Seligmann to Schenker, postmarked September 30, 1924

Seligmann thanks Schenker for sending him a copy of Tonwille 7; he would like to accept the Schenker’s invitation, but must wait for the neuralgia in his leg to subside.

OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26, 1923

Not having heard from him for a long time, Schenker’s asks for news of Violin and his family.

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 10/1, [75] Handwritten postcard from Dahms to Schenker, dated May 7, 1923

Dahms has received Vrieslander's essay on Schenker; reports progress on subscriptions for his de luxe edition, proofs, and his work on Haydn; political comment.

OJ 10/1, [76] Handwritten postcard from Dahms to Schenker, dated May 19, 1923

Hertzka's excuse for not subscribing; gives summer address; asks ornamentation question about the "Les adieux" sonata.

OJ 14/45, [22] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated May 31, 1923

Apparently replying to a letter from Schenker (not recorded in his diary), Violin describes the widespread self-disparagement among Germans, and blames Jewish intellectuals for the defeatist atmosphere in Germany.

OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11, 1923

Responding to a letter from Violin despairing of the political situation in Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which resonate with his own views that German society is, in effect, ruled by foreign despots.

OJ 10/1, [77] Handwritten letter from Dahms to Schenker, dated June 15, 1923

Dahms sends best wishes on Schenker's [55th] birthday, thanks him for his assistance, and praises vol. I of Schenker's Beethoven sonata edition. Members of the German community in Rome reject his assertions about genius.

OJ 11/10, [17] Handwritten postcard from Frimmel to Schenker, dated July 6, 1923

Frimmel makes a word-play on a feuilleton of the same date by Korngold relating to Sigenfeld.

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 12/59, [2] Handwritten letter from Siegfried Fritz Müller to Schenker, dated July 12, 1923

Siegfried Fritz Müller asks for a testimonial for a piano teaching position.

OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923

Weisse summarizes his recent travels in northern Italy and Switzerland, and inquires about progress on Der freie Satz, a work which he thinks will be an indispensable foundation for the analyses in Der Tonwille.

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, [78] Handwritten letter from Dahms to Schenker, dated August 23, 1923

Dahms has received Tonwille 4 but not yet examined it. — Has deferred work on his Haydn book because of financial problems over Musik des Südens and poor take-up of subscriptions. — Debates whether to attend the Leipzig musicology conference. — Comments on German politics as the occupation of the Ruhr unfolds, and compares German attitudes with Italian.

OJ 12/59, [3] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 7, 1923

Siegfried Fritz Müller reports on a recital that he has given, inclosing the program and early reviews. –- He has just done an audition for the position for which he has applied. -- He has to do a short period of military service, after which he will continue his studies with Schenker.

OJ 15/16, [49] Handwritten letter from Weisse to Schenker, dated September 7, 1923

Weisse asks Schenker why he and his wife treated him so coldly when they recently met on the street; he suspects this had something to do with his recent trip to Italy, protests his innocence but affirms his unchanged love for his teacher.

OJ 12/17, [1] Handwritten letter from Komorn to Heinrich Schenker, dated September 20, 1923

Miss Komorn is transferring her studies from Hans Weisse to Schenker. She asks for suggested pieces to prepare, and for the day and time of her first lesson.

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.

OJ 15/15, [14] Handwritten postcard from Weisse to Schenker, dated October 23, 1923

Weisse accepts a social invitation from the Schenkers, and hopes to reciprocate soon.

JOB 94-3, [5] Handwritten letter from Schenker to Hammer dated October 24, 1923

Schenker invites Hammer and his wife for November 7; — The problem of the "middleman" (performer, etc.) in music, by contrast with painting; — he reports on Hertzka's proposal to make Tonwille a quarterly publication.

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.

OJ 10/1, [81] Handwritten letter from Dahms to Schenker, dated November 20, 1923

Dahms has now received acknowledgement from Moriz Schenker. — He asks Schenker's help in approaching financier Castiglioni for financial backing for his planned bel canto book.

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 11/36, [10] Handwritten letter from Hammer to Schenker dated November 25, 1923

Hammer thanks Schenker for hospitality on November 7, and recommends Eugen Steinhof for lessons.

OC 52/483 Handwritten letter from Elias to Schenker dated December 21, 1923

Miss Elias has obtained vols II-III of Schenker's Beethoven piano sonata edition as a Christmas present for Marianne Kahn.

OJ 10/1, [82] Handwritten letter from Dahms to Schenker, dated December 28, 1923

Dahms gratefully acknowledges receipt of a grant from Schenker, reports on his book writing, and sends New Year greetings to Heinrich and Jeanette.

OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924

Schenker responds to Klenau's remarks on atonal composers and a coming Renaissance; invites him to visit on a Wednesday.

OJ 10/1, [83] Handwritten letter from Dahms to Schenker, dated January 4, 1924

Money has arrived. Dahms hopes for better conditions in 1924.

OJ 11/36, [11] Handwritten letter from Hammer to Schenker, dated January 5, 1923 [recte 1924]

Hammer refers to the making of a portrait; — he discusses German and Austrian art with respect to Italian and French; — he comments favorably on Der Tonwille, but defends the art of the French.

OJ 15/16, [51] Handwritten letter from Weisse to Schenker, dated January 14, 1924

Responding to Schenker's explanation of a recent coldness between them, Weisse asserts that his questions arise only from his own studies, not from work with his pupils; it is not fear, but dependency on Schenker as a "medium," that drives him to ask such questions.

OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924

Schenker reports continuing trouble with Hertzka, especially over delays to the publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is beginning to think about legal action. Hertzka has made his position so difficult that he feels obliged to turn down Max Temming's offer of direct financial support for his work. He asks Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if Violin received any of the four volumes of the Beethoven piano sonata edition.

OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924

Dahms thanks Schenker for information about Castiglione. The Deutsche Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong reaction outside Germany.

OJ 14/45, [31] Handwritten letter from Moriz Violin to Schenker, dated March 16, 1924

Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In the former, he finds the graphs of the short preludes by Bach more difficult than anything that Schenker has previously done. He will write to Bamberger with the offer of help (in finding an accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of his pupils, he offers an explanation for the falling direction of the transitional theme (measures 24-30) and its reappearance in the development section (measures 94-100) in inverted, ascending form; he asks if this interpretation is sensible.

JOB 94-3, [8] Handwritten letter from Schenker to Hammer dated May 3, 1924

Schenker agrees to come on May 27 to sit for his portrait, and tells Hammer of the forthcoming historical Beethoven Ninth Symphony concert.

OJ 10/3, [40] Typewritten letter from Deutsch to Schenker, dated May 9, 1924

Deutsch thanks Schenker for the most recent (sixth) issue of Tonwille. He read Schenker's comments on Schubert's "Gretchen am Spinnrade" (Op. 2) with great interest, although he did not fully understand them. Deutsch encloses an announcement from the publisher Vieweg that may be of interest to Schenker.

OJ 11/36, [16] Handwritten postcard from Hammer to Schenker, postmarked June 17, 1924

Hammer sets the arrival time for the portrait sitting on June 18.

OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924

The Dahmses send birthday greetings. They are staying in the Abruzzi; will not get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest.

OJ 12/17, [5] Handwritten letter from Komorn to Heinrich Schenker, dated June 18, 1924

Miss Komorn thanks Schenker profusely for all that he has taught her in the past year.

OJ 14/46, [2] Handwritten letter from Fanny Violin to Heinrich Schenker, dated June 18, 1924

Fanny thanks Schenker for sending Tonwille 5 and 6 and reports holiday plans.

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.

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.

OJ 15/15, [15] Handwritten postcard from Weisse to Schenker, dated August 2, 1924

Responding to a request for information about Brahms's meeting with Wagner, Weisse promises to send Schenker the relevant volume of Max Kalbeck's biography of Brahms.

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.

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.

OJ 15/16, [52] Handwritten letter from Weisse to Schenker, dated August 28, 1924

Weisse is so absorbed in his work that he is unable to give Schenker a precise number of subscribers to Der Tonwille among his circle of pupils. He will see Gerald Warburg soon, but confesses that the latter felt hurt by Schenker’s article “The Mission of German Genius.” — Weisse will devote much time to composition during the coming season, and for this reason will forego taking further lessons from Schenker.

OJ 12/17, [6] Handwritten postcard from Komorn to Schenker, dated September 12, 1924

Mrs. Komorn inquires whether Schenker is back from vacation.

OJ 12/59, [5] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 21, 1924

Siegfried Fritz Müller has met with resistence in rural Switzerland to Schenker's ideas. -- He describes his daily working practices. -- He plans to return to Schenker for lessons in Spring 1925 and lists the works in his prepared programs.

WSLB-Hds 95659 Handwritten postcard from Schenker to Seligmann, dated September 26, 1924

Schenker reports a visit from a Munich art historian, Wilhelm Hausenstein; despite their strong artistic and political differences, the afternoon was entirely civilized.

OJ 9/12, [1] Handwritten letter from Carl Bamberger to Schenker, dated October 6, 1924

Bamberger writes of his pleasure at working in a theater, and his liking of Danzig as a medieval city. He is studying Schenker's edition of the Beethoven sonatas, and has ordered Harmonielehre and Kontrapunkt I and II. He is subscribing to Der Tonwille, and is interesting one of his colleagues in Schenker's ideas. He inquires after two Schenker pupils.

OJ 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924

After thanking Violin for his touching fiftieth-birthday tribute of 1918, Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate more on the dissemination of Der Tonwille, with a new publisher.

OJ 11/54, [1] Handwritten letter from Hoboken to Schenker, dated October 20, 1924

Hoboken encloses photographs; reports his summer travel; is now living in Paris.

OJ 14/45, [37] Handwritten letter from Moriz Violin to Schenker, dated November 23, 1924

Violin sends thanks to Jeanette for copying out the article he wrote in 1918. He has sent off ten letters [re distribution of copies of Der Tonwille] and placed the order with UE. He reports on Buxbaum and Pollak, and also Blüthner.

OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924

Schenker names ten universities that should receive complimentary copies of Der Tonwille, explaining that university music departments (Seminare) are more suitable recipients than conservatories and other types of music schools. With 1924 coming to an end, he will resign from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The latter have agreed to publish his study of Beethoven's Sonata Op. 106

OJ 15/16, [54] Handwritten letter from Weisse to Schenker, dated November 3, 1924

Weisse acknowledges Schenker’s recent letter, wants to speak with him face to face about a number of things but uses this letter to defend his "hypersensitivity" towards Schenker as stemming from the love and honor that he bestows on him.

OJ 10/1, [86] Handwritten postcard from Dahms to Schenker, dated November 8, 1924

Dahms visited Germany for two weeks; invites the Schenkers to visit him in Venice.

OJ 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924

Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. — Encloses a draft of a letter to the university music departments chosen to be given copies of Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution of complimentary copies of Der Tonwille to needy scholars.

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.

OJ 9/34, [1] Handwritten letter from Cube to Schenker, dated January 21, 1925

Cube has had to extend his holiday to take care of his father, who has been forced to abandon his second marriage under pressure from his firm.

OJ 15/15, [17] Handwritten postcard from Weisse to Schenker, dated January 22, 1925

Weisse alerts Schenker to the January 1925 issue of Die Musik, which contains two pieces concerned with him. He suggests that Schenker travel to Munich, to negotiate a deal with Alfred Einstein at Drei Masken-Verlag concerning the publication of a successor to Der Tonwille.

OC 54/14 Handwritten postcard from Theodor Baumgarten to Schenker, dated January 23, 1925

Baumgarten will let Schenker know whether he is able to visit him the following Monday (January 26, 1925), to discuss Drei Masken Verlag's letter of January 20 (OC 54/12).

OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24, 1925

Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred Einstein, whose character he rates highly and who assured him that he was looking forward to publishing Schenker's work.

OJ 6/7, [16] Handwritten letter from Schenker to Moriz Violin, dated January 24, 1925

Responding point by point to Violin's previously letter (OJ 14/45, [41]), Schenker congratulates his friend on the success of his recent concert. He writes at length about Hertzka's last efforts to hold onto Der Tonwille, and about successful negotiations with Drei Masken Verlag over its successor, Das Meisterwerk in der Musik. He has now to prepare enough material for a yearbook comprising fifteen gatherings by July 1, so that the volume can be published by Christmas. Finally, he echoes Violin's assessment of Hans Weisse, adding a few disparaging remarks about his character.

OJ 8/4, [35] Handwritten postcard from Schenker to Moriz Violin, dated February 14, 1925

Schenker asks Violin urgently to send him the receipt for payment made to Universal Edition (for the copies of Der Tonwille paid for by Max Temming).

OJ 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18, 1925

Bamberger reports that after six months of repetiteur work he has been granted some conducting. -- He laments the lack of musical education of the Danzig citizens, and its impact on the theater's repertory. Talent is not appreciated by the theater's administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks Schenker a question about Schubert's song "Wohin?"

OJ 9/12, [3] Handwritten letter from Carl Bamberger to Schenker, dated February 23, 1925

As a follow-up to his previous letter, Bamberger gives a full account of the number of subscriptions to Der Tonwille that he has either instigated himself or encouraged others to take on.

OJ 14/45, [109] Handwritten postcard from Moriz Violin to Schenker, undated, postmarked February 24, 1925

Visiting his dying brother Eduard in the Sophienspital in Vienna, Violin hopes to see Schenker if at all possible.

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 11/36, [17] Handwritten letter from Hammer to Schenker, dated March 1, 1925

Hammer describes his travels and work in the past eight months, and compares the piano playing of Otto Vrieslander with that of Schenker.

OJ 9/12, [4] Handwritten letter from Carl Bamberger to Schenker, dated March 4, 1925

Bamberger seeks Schenker's advice on the choice of works for a series of Sunday morning concerts that is included in his new contract with Danzig.

OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925

The St. Matthew Passion parts may be retained until mid-July; Altmann is pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in Galtür next summer.

OJ 12/17, [7] Handwritten letter from Komorn to Heinrich Schenker, dated April 7, 1925

Miss Komorn tries to arrange a meeting with Furtwangler.

OJ 10/1, [88] Typewritten postcard from Dahms to Schenker, dated April 20, 1925

Dahms gives his new temporary address.

OJ 8/4, [36] Handwritten postcard from Schenker to Moriz Violin, dated April 23, 1925

Schenker thanks Violin for ordering copies of Tonwille 1. He gives a brief account of a visit from Furtwängler, and mentions the arrival of the bronze medallion with his likeness (designed by Alfred Rothberger).

OJ 10/1, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925]

Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers to visit. — Hindenburg's election as German President has given a "jolt" to Europe and pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will be able to lift Germany out of mediocrity.

OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925

In a wide-ranging letter, Schenker sends Violin money for arranging the order of Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative, Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action. Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact that does not prevent him from earning huge fees for conducting in New York. He has turned down a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish to spend some time with him in Galtür. He enquires about the personal difficulties that Violin writes about in his letter, and asks him to say more; they will invite his sister for a visit. He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor Hammer is not yet finished.

OJ 11/54, [2] Handwritten letter from Hoboken to Schenker, May 29, 1925

Hoboken wishes to become a pupil of Schenker; he has studied Schenker's theoretical works under Vrieslander, and describes his progress so far; outlines previous education in piano and music theory at the Hoch Conservatory,Frankfurt, and activity as composer and conductor; after breaking his shoulder, he neglected his musical studies; outlines the areas he wishes to study with Schenker; if accepted, he would take up residence in Vienna.

OJ 6/7, [22] Handwritten letter from Schenker to Moriz Violin, dated May 30, 1925

Schenker thanks Violin for his latest efforts to account for subscriptions to Der Tonwille. He sends him the smaller version of the bronze medallion designed by Alfred Rothberger.

OJ 14/45, [43] Handwritten letter from Moriz Violin to Schenker, dated June 4, 1925

Violin thanks Schenker for sending him the small version of the medallion designed by Alfred Rothberger. He does not want to give an account of the difficult times he is facing, expecting that things will eventually turn out for the better. He returns some money, left over from the purchase of copies of Tonwille 10, which Schenker had previously sent him.

OJ 8/4, [37] Handwritten postcard from Schenker to Moriz Violin, dated June 9, 1925

Schenker asks Violin to write to one of the German university music departments who received subscriptions to Der Tonwille through the generosity of Max Temming, to find out if, and when, they received Tonwille 10, which was published in January. He reports being on the verge of completing the first Meisterwerk Yearbook.

OJ 11/54, [3] Handwritten letter from Hoboken to Schenker, dated June 10, 1925

Acknowledges Schenker's communication; is pleased to become a pupil of Schenker; accepts fee and agrees to three lessons per week.

OC 52/631 Handwritten letter from Elias to Heinrich Schenker, dated June 13, 1925

Miss Elias reports on the pricing of issues of Der Tonwille in two music stores.

OC B/190 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked June 15, 1925

Altmann thanks Schenker for the medallion; he will be unable to visit Galtür.

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."

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.

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.

OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925

After expressing his sympathy for Violin, in response to his friend's depressing postcard, Schenker gives an account of some of the summer events, including a visit from Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is, however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this connection the payment has been made.

JOB 94-3, [12] Handwritten letter from Schenker to Hammer, dated August 23, [1925]

Heinrich and Jeanette consider the test proof of the Schenker mezzotint finished and urge him to finalize it. Heinrich tells Hammer about Anthony van Hoboken.

OJ 8/4, [39] Handwritten picture postcard from Schenker to Moriz Violin, undated, postmarked August 27, 1925

Schenker sends greetings from the Tyrol, reports the publication of an article on him by Elsa Bienenfeld, which includes a reproduction of his pupil Alfred Rothberger's bronze medallion.

OJ 11/10, [18] Handwritten postcard from Frimmel to Schenker, dated September 10, 1925

Frimmel will correct [errors pointed out by Schenker], and reports that his Beethovenhandbuch is in press.

OJ 11/36, [20] Handwritten letter from Hammer to Schenker, dated September 11, 1925

Hammer is working on the plate of the Schenker mezzotint.

OJ 9/12, [5] Handwritten letter from Carl Bamberger to Schenker, dated September 27, 1925

Bamberger is officially a "conductor" at Danzig. -- He asks how to obtain a Rothberger medallion of Schenker and inquires after Hammer's etching. -- He reports on Hupka's progress in Cologne, and inquires after F.E. von Cube.

OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925

Van Hoboken reports on his recent travels, describing the house that he has rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on October 13, 1925; encloses $60 in advance monthly payment.

OJ 9/8, [1] Handwritten letter from Wilhelm Altmann to Schenker, dated October 3, 1925

Altmann asks Schenker to send his [Hammer] portrait to the editor of Die Musik.

OJ 12/17, [8] Handwritten letter from Komorn to Heinrich Schenker, dated October 5, 1925

Cessation of lessons comes as a blow, but Mrs. Komorn thanks Schenker unreservedly for all she has learned.

OJ 11/36, [23] Handwritten letter from Hammer to Schenker, dated October 6, 1925

Hammer encloses as a gift two prints of his mezzotint of Schenker; Weisse will convey to Schenker a print from which the printing block of the mezzotint can be made for Die Musik's purposes. -- The Albertina has just purchased one of the proofs.

OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925

Weisse asks Schenker to look at some suitable frames for Hammer's portrait of him. He reports that several autograph manuscripts of Brahms are being put up for sale, of which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest theoretical concepts are being taught at Damrosch's music school in New York.

OJ 14/45, [46] Handwritten letter from Moriz Violin to Schenker, dated October 23, 1925

Informing Schenker that he is beginning to recover after a disastrous year, Violin reports that he has formed a trio with the violinist Mauritz van den Berg and the cellist Friederich Buxbaum, and has scheduled concerts for January. His son has started school, which he also regards as a blessing.

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 10/3, [46] Typewritten postcard from Deutsch to Schenker, dated December 15, 1925

Deutsch thanks Schenker for his postcard [not known to survive] and hopes to speak to him soon about the matters raised therein. Deutsch, however, could neither read nor understand a sentence from Schenker's postcard and affixes it to this reply.

OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21, 1925

Interrupting his correcting of the proofs for the first Meisterwerk Yearbook, Schenker sends Christmas greetings to the Violins, and informs his friend that an out-of-court settlement was made with Universal Edition. Recent concert appearances of the cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be sent to Hamburg.

OJ 11/54, [6] Handwritten letter from van Hoboken to Schenker, dated January 3, 1926

Van Hoboken sends New Year greetings; reports that he is to see in the Paris Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson on January 9.

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 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11, 1926

Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in putting together the first Meisterwerk Yearbook, on account of the numerous music examples and separate Urlinie graphs, and summarizes the contents of the second Yearbook.

OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926

In a wide-ranging letter responding to Moriz Violin's previous letter, Schenker asks his friend to confide in him his personal troubles. He offers his support in the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to find a way of getting the Hammer portrait to him safely, possibly by having it sent directly from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil Agnes Becker, recently arrived from Hamburg where Violin had been teaching her.

OJ 10/3, [50] Typewritten letter from Deutsch to Schenker, dated March 26, 1926

Deutsch requests that the Schenkers' planned visit for afternoon tea be postponed because their children and nanny have contracted flu.

OJ 10/3, [51] Handwritten letter from Hanna Deutsch to Jeanette Schenker, dated April 8, 1926

Hanna Deutsch tries to arrange a date for the Schenkers, Hoboken and Vrieslander to visit for afternoon tea.

OJ 10/1, [92] Typewritten letter from Dahms to Schenker, dated May 21, 1926

Dahms reports plans, with a young Munich publisher, to launch a popular music "almanach," anti-modern, propagandizing for "our ideas," and later a serious periodical. — He has to raise 10,000 Marks, and asks for Heinrich's help in doing this. — Margarete has had surgery.

OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9, 1926

Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing article about Schenker in Die Musik; advice for Weisse over choice of publisher.

OJ 9/12, [6] Handwritten letter from Carl Bamberger to Schenker, dated June 15, 1926

Bamberger has introduced pianist Stefan Askenase to Schenker's Erläuterungsausgabe of Op. 111, to the latter's delight. He would like to visit the Schenkers in Galtür.

OJ 10/1, [94] Handwritten letter from Dahms to Schenker, dated June 26, 1926

Dahms thanks Schenker for his report [on the viability of the almanach proposal]. — He plans to devote part of the almanach to Beethoven, and asks whether Schenker might contribute something new, or grant permission to reprint some of what he has written in Der Tonwille.

OJ 10/1, [95] Handwritten letter from Dahms to Schenker, undated, presumably late June or early July, 1926

Dahms's almanach plans have failed. — Germany has shown its gratitude for his work by denying him a divorce [from Agnes] for 15 years.

OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926

Violin announces his arrival in Bad Gastein, to improve his health. The rest of his family is in Bistrai, near Bielitz, in Silesia.

OJ 8/4, [43] Handwritten postcard from Schenker to Moriz Violin, written July 8, 1926

Schenker expresses his pleasure that the Violins are on holiday in Badgastein; he enquires about whether Violin has received a complimentary copy of Meisterwerk 1, which his publishers seem slow to dispatch, and whether he has further plans to give piano trio concerts.

OJ 10/1, [96] Handwritten letter from Dahms to Schenker, dated July 14, 1926

Dahms acknowledges receipt of Das Meisterwerk 1, and will review it for the Allgemeine Musikzeitung and his Almanach. — Is going to Berlin. — PS on acoustics of under-dominant.

OC B/193 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked August 3, 1926

Altmann thanks Schenker for Meisterwerk I and describes his summer travels.

OJ 10/1, [97] Handwritten postcard from Dahms to Schenker, dated August 11, 1926

Dahms gives his travel plans and [temporary] Berlin address.

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, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926

The composition of a clarinet quintet has kept Weisse from writing to Schenker. Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to meet with him in Vienna to discuss its content.

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.

OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926

Schenker has received indication of part-payment from Cube's father [for Cube's lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has completed a clarinet quintet.

OJ 14/45, [55] Handwritten letter from Moriz Violin to Schenker, dated September 5, 1926

Violin reports that he had to cut short his holiday in Bad Gastein because his son Karl was again seriously ill. The costs of treatment amounted to nearly 4000 Marks, and this sum must be paid by the end of the year.

OJ 5/7a, [5] (formerly vC 5) Handwritten letter from Schenker to Cube, undated [c. October 7, 1926]

Schenker praises Cube's talent as a writer; informs Cube of forthcoming article on Schenker by Vrieslander with portrait by Hammer; expresses his wish that Cube's father would pay all that he owes him.

OJ 14/45, [56] Handwritten letter from Moriz Violin to Schenker, dated October 10, 1926

Violin reports that his son Karl's health has improved, but that he has to find a new apartment because Karl cannot stay on the ground floor. He will obtain a copy of the current issue of Die Musik, and reports that a review of (presumably) Meisterwerk 1 has appeared in the Hamburger Fremdenblatt.

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.

OJ 10/1, [98] Handwritten postcard from Dahms to Schenker, dated November 13, 1926

Dahms has written his review of Meisterwerk, and has dispatched a copy of his Almanach to Schenker.

OJ 14/45, [57] Handwritten letter from Moriz Violin to Schenker, dated November 17, 1926

Violin reports on having moved to a new apartment, no longer on the ground floor, which his sister and (especially) a friend in Berlin named Martha Loeb have helped to finance. He is amused what Schenker told him about his letter from Hindemith, whose words, he believes, ought to be taken at face value.

OJ 9/34, [3] Handwritten letter from Cube to Schenker, dated November 25, 1926

Cube asks for a letter of recommendation to be sent to the Provincial School Council.

OJ 9/34, [4] Handwritten letter from Cube to Schenker, dated December 14, 1926

Cube was not given recognition, and has to take an examination for purposes of the appointment. Sends Christmas greetings.

OJ 5/7a, [7] (formerly vC 7) Handwritten postcard from Schenker to Cube, dated December 19, 1926

Schenker acknowledges receipt OJ 9/34, [4], and asks to be told outcome.

OJ 6/7, [30] Handwritten letter from Schenker to Moriz Violin, dated December 19, 1926

Schenker expresses his delight that his friend received sufficient financial help to be able to move into a new apartment for the sake of his son Karl's health. He reports having shown Agnes Becker some straightforward examples of the Urlinie, out of desperation (she shows little aptitude for piano playing), and then explains that a great deal of time, patience and faith are needed to understand such things. Of his current pupils, only Elias, Brünauer, Hoboken and (to some extent) Albersheim are capable of following the ramifications of the new theory, which he sees as his unique gift to the world. At present, he is working on his "crowning work," Free Composition.

OJ 10/1, [99] Handwritten postcard from Dahms to Schenker, dated December 28, 1926

Dahms's review of Meisterwerk 1 is out. Christmas greetings.

OJ 9/34, [5] Handwritten letter from Cube to Schenker, dated December 31, 1926

Teaching situation has been resolved; asks Schenker's advice on an Urlinie graph; will hear from Conservatory in New Year; sends New Year's greetings.

OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927

Violin reports on his son Karl's continued health problems and also his affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for two pianos by C. P. E. Bach in an arrangement by Schenker.

OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927

Deutsch thanks Schenker for his recent communications, including a copy of the contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of relevant extracts from the correspondence with the publishers. He reports progress in the establishment of a Photogram Archive at the Austrian National Library, with the cooperation of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to photographically reproduce autograph manuscripts are underway at the Beethoven House in Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses his delight in being able to assist Schenker in the promotion of his work.

OJ 10/3, [55] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January 18, 1927

Deutsch asks Schenker not to mention his name in connection with the “curiosity” about Schubert mentioned in his postcard of January 15.

OC 54/124 Typed letter from Otto Vrieslander to Schenker, dated January 20, 1927

Vrieslander has received the Urlinie graphs for two essays in the second Meisterwerk Yearbook, and explains to Schenker that he will exercise the utmost care in preparing them for publication.

OJ 11/54, [11] Handwritten note from Annamarie van Hoboken to Jeanette Schenker, dated January 20, 1927

Mrs van Hoboken thanks Jeanette for her invitation, and will come on January 27.

OJ 15/15, [21] Handwritten postcard from Weisse to Schenker, dated January 21, 1927

Weisse provides Schenker with Gerald Warburg's address in New York City. He also asks a question about Schenker's fingerings for the trills in the second movement of Beethoven's Op. 111.

OJ 9/34, [6] Handwritten letter from Cube to Schenker, dated January 24, 1927

Acknowledges Schenker's reply and corrections. There will be no problem with his teacher's examination in May. Reports on recent activities.

OJ 11/54, [12] Handwritten letter from van Hoboken to Schenker, dated January 28, 1927

Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. — He reports on library visits in London and Paris, discusses manuscripts and conditions for photography, purchases. — He plans no further trips this season.

OJ 5/7a, [8] (formerly vC 8) Handwritten postcard from Schenker to Cube, undated [January 31, 1927]

Schenker wishes Cube well in his new job, offers encouragement over his graphing technique, and praises his writing.

OJ 9/34, [7] Handwritten letter from Cube to Schenker, dated February 7 1927

Cube reports on his careers as critic and teacher.

OC 54/131 Typed postcard from Otto Vrieslander to Schenker, postmarked February 14, 1927

Vrieslander explains the way he has dealt with Schenker’s detailed comments on the graph of Mozart’s Symphony in G minor.

OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927

Schenker acknowledges and returns Cube's review; reports on the progress of his own publications.

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.

OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927

Vrieslander, at pains to ensure that the music illustrations in the second Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are having difficulty interpreting Schenker’s music examples. He is putting his own work to one side in order to work exclusively on creating clear and elegant graphs; he proposes to come to Vienna in mid-March to go through all his work with Schenker.

OJ 8/4, [46] Handwritten postcard from Schenker to Violin, postmarked [February] 26, 1927

Responding to a request from Violin, Schenker says he will write to Paul von Klenau on behalf of Violin, apparently in connection with a possible position in Frankfurt.

OJ 8/4, [47] Handwritten postcard from Schenker to Violin, dated February 27, 1927

Schenker is about to write to Paul von Klenau on Violin's behalf, but asks whether he should wait until Easter, as suggested in Violin's previous letter.

OJ 5/9, [1] Handwritten draft letter from Schenker to Deutsch, dated February 28, 1927

Schenker explains to Deutsch why he does not want to be considered for an honor from the Austrian Republic. He thanks Deutsch (and Karl Kobald) for their kind intention to put his name forward.

OJ 12/11, [11] Handwritten letter from Klenau to Schenker, undated [c. March 23, 1927]

Klenau agrees to approach his brother-in-law to help Moriz Violin. — He responds to a comment by Schenker about Albert Schweizer.

OJ 8/4, [48] Handwritten picture postcard from Schenker to Violin, dated March 27, 1927

Schenker has written to Paul von Klenau on Violin's behalf, and received an assurance that Klenau will write to his brother-in-law (not father-in-law, as Violin had originally thought) but thinks that Artur Schnabel will be more influential. Klenau will visit the Schenkers on Saturday.

OJ 8/4, [49] Handwritten postcard from Schenker to Violin, dated March 29, 1927

In advance of seeing Klenau, Schenker reports on a meeting with Wilhelm Altmann and Ludwig Rottenberg, who believe that only people under 30 years old are likely to be appointed to a post of the sort that Violin is seeking in Frankfurt – a situation that he finds appalling.

OJ 14/45, [63] Handwritten letter from Violin to Schenker, dated March 31, 1927

In reply to Schenker's recent postcards, Violin maintains that Klenau's support for his appointment in Frankfurt is important, as the Ministry of Education in Berlin can exert only a limited amount of pressure on the Frankfurt circle.

OJ 10/1, [100] Typewritten letter from Dahms to Schenker, dated April 13, 1927

His Almanach has been a success but produced no financial return in a hostile environment. — They are leaving Berlin for the south; he has lost faith in German spirit, intellect, and morality.

OJ 10/3, [59] Typewritten express postcard from Deutsch to Schenker, dated April 14, 1927

Deutsch invites the Schenkers for afternoon tea at the weekend; Hoboken and Vrieslander will also be there.

OJ 14/45, [64] Handwritten letter from Violin to Schenker, dated April 14, 1927

Violin thanks Schenker for his article (on Beethoven). He is still hoping for a positive reply regarding Paul von Klenau's support for him in Frankfurt.

OJ 10/3, [60] Typewritten express postcard from Deutsch to Schenker, dated April 21, 1927

Deutsch looks forwarded to seeing the Schenkers at Hoboken’s place. The Society of the Friends of Music would like their print of a Haydn sketchleaf to be returned; Eusebius Mandyczewki is unable to find a copy of Scarlatti’s Op. 1 (a collection of six keyboard sonatas).

OJ 11/54, [13] Handwritten postcard from van Hoboken to Schenker, dated April 22, 1927

Hoboken invites the Schenkers to a quartet concert.

OJ 8/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated April 25, 1927

Schenker explains that what he is doing behind the scene to assist Violin in obtaining a post in Frankfurt, and hopes for some news from Wilhelm Altmann. Artur Schnabel will be more useful to his cause than Paul von Klenau and his brother-in-law Heinrich Simon.

OJ 15/16, [57] Handwritten letter from Weisse to Schenker, dated April 29, 1927

Lacking an official state teaching certificate, Weisse asks Schenker for a testimonial that states that he studied with him from 1908 to 1915, and in 1919, and that he is fully qualified to teach harmony, counterpoint, composition, and piano.

OJ 9/12, [7] Handwritten letter from Carl Bamberger to Schenker, dated May 10, 1927

Bamberger has been appointed second conductor at the Darmstadt operahouse. He asks to visit Schenker in Vienna.

OJ 9/8, [3] Handwritten postcard from Wilhelm Altmann to Schenker, dated May 26, 1927

Altmann reports on conversion of Hoch Conservatory to Hochschule.

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.

OJ 9/34, [8] Handwritten letter from Cube to Schenker, dated May 28, 1927

Cube reports on the state teaching examination, on which he was graded "satisfactory," deploring the way it was conducted.

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.

OJ 10/3, [63] Typewritten postcard from Deutsch to Schenker, dated June 4, 1927

Deutsch has found a reference to the autograph manuscript of Beethoven’s Piano Sonata in G, Op. 79, and tells Schenker he can find out more about it from the British Museum. The Hammers are visiting him on Wednesday (June 8), and he hopes that the Schenkers will be able to join them.

OJ 14/45, [66] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1927

In deepest admiration and gratitude, Violin sends Schenker (59th) birthday greetings and pictures of his children.

OJ 10/3, [64] Typewritten letter from Deutsch to Schenker, dated June 24, 1927

Deutsch has received the second galley proofs to the second Meisterwerk yearbook but did not read them as he did not have a source with which to compare them. He will, however, assist Schenker correcting the page proofs, if necessary.

OJ 6/7, [34] Handwritten letter from Schenker to Moriz Violin, dated June 30, 1927

Schenker answers Violin's birthday greetings letter philosophically. He is able to work on the final version Der freie Satz at leisure and in good spirits. He reports on the establishment of an archive of photographic reproductions of autograph and gives an account of a visit from Violin's sister Fanny: in return for a picture of Karl Violin, he is enclosing two pictures of himself and one of Jeanette. Finally, he urges his friend to spend part of the summer in Galtür.

Sbb 55 Nachl. 13, [2] Handwritten letter from Schenker to Furtwängler, dated July 3, 1927

Schenker recommends Oppel's Mass, and commends Anthony van Hoboken to Furtwängler.

OJ 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927

Deutsch tells Schenker that the second edition of Schindler’s Beethoven biography is available, but not the first. --- He explains at length a misunderstanding over the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and expresses his regret that Drei Masken Verlag have been slow to prepare the second Meisterwerk yearbook for publication.

OJ 11/16, [6] Handwritten letter from Furtwängler to Schenker, dated July 18, 1927

Furtwängler mentions several mutual acquaintances, and hopes to see Schenker in Vienna.

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 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927

Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927; encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the Hobokens' trip to Switzerland, reporting on von Cube.

OJ 11/32, [1] Typed letter from Robert Haas to Schenker, dated August 19, 1927

Acknowledges "Appeal"; looks forward to working with Schenker.

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 5/7a, [11] (formerly vC 11) Handwritten postcard from Schenker to Cube, dated September 7, 1927

Schenker acknowledges Cube's postcards; Cube will receive the appeal [for photostats of MSS].

OJ 10/3, [67] Typewritten letter from Deutsch to Schenker, dated September 8, 1927

Deutsch has the text of the prospectus for the second Meisterwerk yearbook prepared by Otto Vrieslander, which the publishers say is too long and he thinks is unnecessarily repetitious. He is forwarding it to Schenker for his opinion.

OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927

Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus" and the suitability of Vrieslander's text for that purpose. — He expresses an interest in Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the whereabouts of the autograph manuscript of Beethoven's Op. 106.

OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927

Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to visit C. S. Terry.

OJ 11/32, [2] Typed letter from Robert Haas to Schenker, dated September 30, 1927

Haas invites Schenker to view the Photogrammarchiv.

OJ 8/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated October 5, 1927

Schenker has asked a former pupil (Felix-Eberhard von Cube), who knows Dr. Simon in Frankfurt, about the likely opening date of a music Hochschule there, but has received little information in return. the second volume of Meisterwerk will be published very soon.

OJ 9/34, [9] Handwritten letter from Cube to Schenker, dated October 29, 1927

Cube has had 'flu; reports on his [conservatory] teaching of Schenkerian theory (though disguised from the authorities), his private teaching, his work in composition; he has joined the Reichsverband deutscher Tonkünstler und Musiklehrer. Dunn has sent him his translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that of Vrieslander. He is enjoying using his radio; sends two Galtür portraits; his father has had a son.

OJ 9/8, [4] Handwritten picture postcard from Wilhelm Altmann to Schenker, dated November 8, 1927

Altmann thanks Schenker for Masterwork 2; — Has retired but is temporarily continuing in his position; — Reports publication of his handbook for string quartet players.

OJ 5/7a, [12] (formerly vC 12) Handwritten letter from Schenker to Cube, dated November 9, 1927

Schenker thanks Cube for the pictures enclosed with OJ 9/34, [9] and expresses pleasure at Cube's reports of his teaching, composition, listening to the radio, Urlinie studies, and advocacy of good editions; refers to Vrieslander's planned monograph on Schenker, the prospectus for Meisterwerk I and II, and the call [for the Photogrammarchiv].

OJ 14/45, [68] Handwritten letter from Violin to Schenker, dated November 13, 1927

Violin thanks Schenker for sending him the second volume of Meisterwerk, which he regards as a milestone in offering the strongest statement of his theories. He is accompanying a cellist in early January and will not be able to get to Vienna at Christmas after all. His wife and son – who is now able to get up and around – are hoping to go to Vienna at Easter.

OJ 10/1, [101] Handwritten postcard from Dahms to Schenker, undated [c. November 14, 1927]

Meisterwerk 2 has still not arrived; Dahms gives an address in Nice.

OJ 8/4, [52] Handwritten postcard from Schenker to Violin, dated November 16, 1927

Schenker congratulates Violin on obtaining many private pupils, and for his continued activity as a performer. He expresses his joy that Violin's son Karl will be visiting Vienna next year.

OJ 10/1, [102] Handwritten postcard from Dahms to Schenker, dated November 30, 1927

Meisterwerk 2 has arrived, and Dahms rejoices at its content and form of expression.

OJ 9/12, [8] Handwritten letter from Carl Bamberger to Schenker, dated December 2, 1927

Bamberger praises Schenker's initiative in the Photogrammarchiv and Anthony van Hoboken's philanthropy; he is making progress as a conductor.

OJ 10/18, [2] Handwritten letter from Elias to Schenker, dated December 25, 1927

Miss Elias begs Schenker to accept her present of the Brahms piano works.

OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927

Violin reports that his concert (cello recital) has been put back a week because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his recent written work, but he feels that Vrieslander does not truly understand Schenker's cause, does not have the same "orientation" towards it as he, and expresses himself poorly. (Weisse, he says, could have done things better.) However, all this pettiness is nothing compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon follow.

OJ 12/17, [9] Handwritten calling card from Komorn to Heinrich Schenker, dated December 29, 1927

New Years greetings and thanks.

OJ 6/7, [36] Handwritten letter from Schenker to Moriz Violin, dated December 29, 1927

Sending greetings for the New Year, Schenker expresses the hope that his friend's fortunes will begin to improve in 1928. He agrees with Violin's pronouncements on Vrieslander’s character and ability to convey Schenker's thoughts, and has no idea of what to expect in Vrieslander's (supposedly) forthcoming monograph on him. Weisse, whom he regards as a more skilled interpreter of his work, has announced plans for a monthly journal, Die Tonkunst, to be edited with his pupils Oswald Jonas and Felix Salzer, which will be based exclusively on Schenker's theoretical approach. But he is afraid that Weisse might leave Vienna, to teach at Damrosch's music school.

OJ 9/34, [10] Handwritten letter from Cube to Schenker, dated January 30, 1928

Cube reports progress in his class and private teaching, performance of his compositions, his forthcoming lecture; outlines plan for an exhibition in Duisburg to celebrate Schenker's 60th birthday; has heard nothing of Hoboken's "Aufruf."

OJ 10/3, [77] Handwritten letter from Hanna and Otto Erich Deutsch to Schenker, dated March 1, 1928

The Deutsches accept the Schenkers’ invitation for the afternoon of Wednesday, March 7.

OJ 11/32, [3] Typed letter from Robert Haas to Schenker, dated March 1, 1928

The Photogrammarchiv has a source that Schenker is at liberty to consult.

OJ 10/3, [78] Handwritten letter from Hanna Deutsch to Schenker, dated March 2, 1928

Hanna asks Schenker to accept her apologies for not being able to visit them on March 7, as Otto Erich has been invited to tea with the President of the Republic..

OJ 10/3, [79] Handwritten letter from Hanna Deutsch to Schenker, dated March 4, 1928

The Deutsches will visit the Schenkers on Wednesday, March 14. Hanna reports that Hoboken has been unwell.

OJ 11/54, [22] Handwritten letter from Hoboken to Schenker, dated March 11, 1928

Hoboken recounts the difficulties he is having in getting 2,500 photographs of autograph manuscripts made at the Paris Conservatory.

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 8/4, [54] Handwritten postcard from Schenker to Moriz Violin, dated April 2, 1928

The Schenkers invite Violin to an evening meal at their apartment.

OJ 9/34, [11] Handwritten letter from Cube to Schenker, dated April 24, 1928

Cube describes difficulties with his colleagues, loss of pupils, and reactions to his lecture; Scheuermann and Schmemann will put Schenker exhibits in their shop windows, items requested; inquires after Weisse journal plan.

OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928

Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.

OJ 9/34, [12] Handwritten letter from Cube to Schenker, dated May 24, 1928

Cube acknowledges receipt of the Hammer engravings and reports on the planned Scheuermann exhibition; reports on a forthcoming lecture and seminar, and the growth of his student numbers.

OJ 10/3, [87] Handwrittenwritten picture postcard from Hanna and Otto Erich Deutsch to Schenker, dated June 10, 1928

The Deutsches hope to see the Schenkers once before both couples go away for the summer, and they invite them for tea on Tuesday, June 12.

OJ 10/3, [89] Typewritten letter from Deutsch to Schenker, dated June 17, 1928

Deutsch sends Schenker birthday greetings; he hopes that the last volume of his “great work” [i.e. Der freie Satz] will bring satisfaction to him and comfort to the world.

OJ 14/45, [70] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1928

Violin sends 60th birthday greetings to Schenker, adding that he is unlikely to leave Hamburg this summer.

OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928

With thanks for birthday greetings, Schenker expresses how highly he values the Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. — Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the success of the Urlinie through Der Tonwille, he no longer considers himself isolated.

OJ 6/7, [38] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated June 23, 1928

Schenker thanks Violin for his kind birthday greetings, explaining the discrepant birth dates assigned to him. He reaffirms his spiritual solidarity with his friend. He has read some articles and reviews mentioning his work, at all of which he laughs.

OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928

Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses associated newspaper article; also on recent lecturing and composition activity. He is unlikely to visit Schenker this year; recalls people at Galtür.

OJ 10/18, [3] Handwritten letter from Elias to Schenker, dated July 11, 1928

Miss Elias is glad that Schenker is "not dissatisfied" with her graphings of his piano piece Op. 4, No. 1 and looks forward to her October lessons for a detailed discussion. — She inquires about Vrieslander's "monograph." — She was interested to see the autograph and first edition of "Erlkönig" juxtaposed in a Schubert exhibition.

OJ 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928

Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises recent article by Cube, but corrects overstated connection between himself and Brahms and Joachim.

OJ 8/4, [56] Handwritten picture postcard from Schenker to Moriz Violin, dated July 25, 1928

Writing to the sanatorium in the Harz mountains, Schenker ask Violin how things are with him.

OJ 11/54, [24] Typed letter from Hoboken to Schenker, dated August 27, 1928

Hoboken recounts his and his wife's travels through Germany, including encounters with Thomas Mann and others. He expects to return to Vienna in mid-October.

OJ 9/5, [3] Handwritten letter from Gerhard Albersheim to Schenker, dated September 5, 1928

Josef Albersheim has approved the continuation of his son's three lessons a week; Gerhard looks forward to resumption.

OJ 15/15, [32] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated September 28, 1928

In reply to a postcard from Jeanette Schenker, Hertha Weisse recommends linoleum as a covering for the flat surfaces of a sideboard and bench.

OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928

Schenker has received large-format Urlinie charts from Harry Hahn and recommends format to Cube.

OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928

Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to return the Hammer etching.

OJ 5/7a, [20] (formerly vC 20) Handwritten postcard from Schenker to Cube, dated October 8, 1928

Schenker acknowledges receipt of Hammer portrait; urges Cube when in Cologne to visit Gerhard Albersheim's parents and Felix Hupka.

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.

OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928

Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a "connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next time.

OJ 10/1, [103] Typewritten letter from Dahms to Schenker, dated November 23, 1928

Dahms is unable to attend the Schubert conference in Vienna. — His latest appeals on marital situation have been rejected.

OJ 15/16, [60] Handwritten letter from Weisse to Schenker, dated December 16, 1928

Weisse reports the birth of his (first) child, a girl. In a postscript, he informs Schenker that C. P. E. Bach's "Prussian" and "Württemberg" sets of keyboard sonatas have been published in a modern edition.

OJ 8/4, [60] Handwritten poscard from Schenker to Moriz Violin, dated December 22, 1928

The Schenkers send the Violins their best wishes.

OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929

Schenker thanks Violin for his concerns, describes how they survived the cold weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished and that he has written an article about the Photogram Archive, which has acquired over seven thousand pages of manuscripts. He looks forward to seeing his friend in the summer.

OJ 14/45, [77] Handwritten letter from Violin to Schenker, dated March 20, 1929

Violin thanks Schenker for his letter with the voice-leading sketch of Bach's C major Invention, and for the article from Der Kunstwart on the Photogram Archive. He is enjoying the climate of Nice, and seems to be getting on well with the French language; a lady who overheard him playing the piano praised his expressive playing.

OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929

Cube is listening by radio to music being performed in Vienna. The two caricatures are his fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous lectures, and forthcoming lecture series.

OJ 11/54, [25] Typed letter from Hoboken to Schenker, dated March 27, 1929

Hoboken has broken off his friendship with Otto Vrieslander after discovering that the latter has been cheating him.

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.

OJ 9/34, [17] Handwritten letter from Cube to Schenker, dated April 5, 1929

Miss Edith Sauerbrey may call on Schenker.

OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)

Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17], and offers advice and a warning: ordinary people are not interested in beauty in art, but look for quick, easy judgments.

OJ 8/4, [62] Handwritten postcard from Schenker to Violin, dated May 3, 1929

Schenker assures Violin that there is no friction whatever between his sister Fanny and himself; he looks forward to seeing him in the summer.

OJ 10/3, [100] Typewritten picture postcard from Deutsch to Schenker, dated May 6, 1929

Deutsch invites the Schenkers to their place on Wednesday, May 8, or the following Wednesday.

OJ 9/34, [18] Handwritten letter from Cube to Schenker, dated May 14, 1929

Cube explores the possibility of a student of his, Erich Voss, studying with Schenker.

OJ 5/7a, [23] (formerly vC 23) Handwritten letter from Schenker to Cube, dated May 15, 1929

Gerhard Albersheim will leave a space in Schenker's calendar that Schenker offers to Erich Voss; will teach him himself because Weisse may not be up to date with Der freie Satz; Voss to contact him.

OJ 15/16, [61] Handwritten letter from Weisse to Schenker, dated May 29, 1929

Weisse reports that Gerhard Albersheim is going to see him about the possibility of having lessons from him. He congratulates Schenker on completing his study of the "Eroica" Symphony, and hopes to be able to get together with his teacher sometime in the next two weeks.

OJ 12/50, [2] Handwritten letter from Bernhard Martin to Schenker, dated June 15, 1929

Bernhard Martin sends Schenker a "little treasure box" and wishes him and Jeanette a recuperative vacation.

WSLB 408 Handwritten letter from Schenker to Hertzka (UE), dated June 19, 1929

Schenker inquires after Hertzka's decision on the "Eroica" monograph; gives his vacation address.

PhA/Ar 56, [3] Handwritten letter from Schenker to Haas, dated July 6, 1929

Schenker draws Haas's attention to an article in the Neue Freie Presse regarding Haydn manuscripts.

OJ 89/3, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 7, 1929

Hoboken recounts recent travels. — Is now at Kliffende, where he is about to build a house. — Reports meetings with Hubermann and Harburger; encloses a letter and articles from the latter. — Refers to a Vrieslander problem.

OJ 5/7a, [25] (formerly vC 25) Handwritten postcard from Schenker to Cube, dated July 14, 1929

Voß is coming to Vienna.

OJ 9/34, [19] Handwritten letter from Cube to Schenker, dated July 18, 1929

Acknowledges two postcards; no word from Eric Voss; reports on teaching activities; reports on composing and sends two sonatas for Schenker's comment.

OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929

In a long letter, Deutsch thanks Schenker for encouraging him to apply for the post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of play at the Archive, above all on its insecure position. — He also expresses his regret that Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors from the Vienna Academy, and that some of the players are no longer enthusiastic about them; he hopes to start a new initiative of that sort in the autumn. — He is in good standing with Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his recent trip to Italy, and thinks that he might have become an art historian had he gotten to know the country earlier.

OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929

Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ 9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music, after which publication should ensue. Schenker gives detailed comments, with music examples, on Cube's two piano sonatas, praising them highly and making suggestions for improvement.

OJ 11/16, [7] Handwritten letter from Furtwängler to Schenker, dated August 30, 1929

Furtwängler comments retrospectively on the Heidelberg affair, and rejoices over the "Eroica" monograph.

OJ 89/3, [8] Handwritten letter from Schenker to Hoboken, dated September 10, 1929

Schenker increases his lesson fee by inflation. — He reports on Oppel and Vrieslander, referring to his (Schenker's) not having been appointed to a professorship at Heidelberg; on Albersheim's marriage, and approaches made to him by Cube and Waldeck.

OJ 89/3, [9] Typewritten letter from Hoboken to Schenker, dated September 15, 1929

Hoboken encloses his analytical study of Brahms's Intermezzo, Op. 117, No. 1, and raises several technical matters. — He reports on his building project, and responds to Schenker's refusal, in OJ 89/3, [7], to continue acting as intermediary with Vrieslander. — He encloses a check for his lesson fee.

OJ 10/18, [4] Handwritten letter from Elias to Schenker, dated September 23, 1929

Miss Elias confirms her forthcoming lesson for October 1, and plans to finish her voice-leading sketch of a fugue by Handel.

OJ 6/7, [43] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1929

Urging his friend to write only when he feels up to it, Schenker gives Violin some news of his own: that the Eroica Symphony monograph is finished but a publisher who is capable of dealing with the numerous music examples must be found; that Schenker will work unceasingly on Der freie Satz once the Eroica is out of the way; that the Photogram Archive has grown in size in two years, and that so many requests for information have been received that a yearbook is planned, with critical reports, new editions, and the like; that Hoboken and Vrieslander have fallen out (over money matters); that Schenker's brother Mozio (Moses) has separated from his wife after 25 years of marriage and that he his has been giving music lessons to Mozio’s son, a cellist in the Baden city orchestra.

OJ 14/45, [80] Handwritten letter from Violin to Schenker, dated November 19, 1929

Violin apologizes for not having written, but does not want to burden Schenker with negative thoughts. He will try to help find a publisher for the "Eroica" analysis, and also offers some thoughts of comfort on hearing the news that Schenker's brother and sister-in-law have separated. He has little energy left, but is somehow able to muster it when needed, e.g. at a sold-out orchestral concert in which he played better than ever. He promises to be in Vienna over Christmas.

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 11/16, [8] Handwritten letter from Furtwängler to Schenker, dated December 16, 1929

Furtwängler asks to visit Schenker on December 19th.

OJ 6/7, [45] Handwritten letter from Schenker to Violin, dated December 23, 1929

Schenker, expressing misgivings about the medical profession, nonetheless hopes that Karl Violin's impending operation is successful. He is still awaiting news about a publisher for the "Eroica" monograph; Furtwängler's illness has delayed some lines of enquiry, and Hertzka (at Universal Edition) has not been cooperative.

OJ 12/50, [5] Handwritten letter from Bernhard Martin to Schenker, undated [January 1 or 2, 1930]

In thanking Schenker for all that he has learned from him, Bernhard Martin sends New Year's greetings to Heinrich and Jeanette. He looks forward to the "Eroica monograph."

OJ 9/34, [20] Handwritten letter from Cube to Schenker, January 2, 1930

Offers New Year greetings; reports on his current mood, on the Conservatory, his private teaching, and publication plans. Describes Urlinie of C major Prelude from WTC I. Reports on compositional activity and reading.

OJ 10/3, [116] Handwritten postcard from Hanna Deutsch to Schenker, dated February 1, 1930

The Deutsches invite the Schenkers for dinner on Wednesday, February 5, 1930. Hoboken will also be there (without his wife).

OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930

Schenker reports on two concerts at which Hans Weisse's Octet was performed for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality of the voice-leading in general, the construction of the finale movement (a passacaglia) in particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented the cost of the rehearsals and concerts, and the provision of food and drink for the audience; this he compared with Antony van Hoboken's reluctance to help him with the publication costs of his recent work.

OC B/136-138 Handwritten letter from Gerhard Albersheim to Schenker, dated March 20–21, 1930

After correction by Schenker, Albersheim has finalized an article on Schenker's work, which he will submit to a journal. He will now prepare himself for the state examinations.

OJ 14/45, [84] Handwritten letter from Moriz Violin to Schenker, dated May 15, 1930

Violin apologizes for not having written, but his family have moved to a more affordable apartment and, around the same time, his wife was taken seriously ill with appendicitis. Things are better now.

OC 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930

Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has resigned his Vienna position.

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.

OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930

A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until September, if the "Eroica" monograph is to be published by the end of the year.

OJ 9/34, [21] Handwritten letter from Cube to Schenker, dated June 25, 1930

Acknowledges OJ 5/7a, [29] and offers mitigation for Vrieslander's non-acquaintance with the Urlinie (to which Cube has just introduced new violin teachers). Reports on Erich Voß, and on concert plans at Conservatory. Reports on his teaching. Threat of financial difficulties; he has offered his services to the Hochschule für Musik in Berlin.

OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930

Furtwängler reports on his meeting with Breitkopf & Härtel.

OC 54/307 Typewritten letter from Deutsch to Schenker, dated June 27, 1930

Deutsch has been in touch with the production team and the publishers of the third Meisterwerk yearbook and transmits to Schenker the estimated costs of producing the book, including details of text printing, lithography and paper. -- In a postscript, he offers to help with the proof corrections of the text.

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.

OC 54/199-200 Handwritten letter from Georg Tomay to Schenker, dated July 9, 1930

Tomay encloses the imprints of the music examples for the third Meisterwerk volume, along with the original manuscripts, and requests clarification on various matters. He invites Schenker to send corrections at his earliest convenience, and informs him that the printing of the appendix will be undertaken in Leipzig instead of Vienna owing to a significant reduction in production costs.

OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930

Acknowledging his recent letter to Jeanette, Schenker expresses his regret that Violin and his son Karl are still troubled by health problems and reports some recent news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife, and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but Schenker is cautious about this because his paid involvement in the project might result in work that would jeopardize progress on Der freie Satz. He has been included in the latest edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain Rolland's latest Beethoven book.

OC 54/315 Typewritten letter from Deutsch to Schenker, dated July 30, 1930

Deutsch makes further reports on the anticipated costs of the third Meisterwerk yearbook. -- He has come across an arrangement of Beethoven’s Op. 74 Quartet as a symphony and found some important early editions of the Op. 22 Sonata. -- He would like Schenker to meet his friend [Leopold] Liegler, whose theories about literature resonate with the concept of Urlinie.

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.

WSLB-Hds 191.567 Handwritten letter from Schenker to Deutsch, dated August 15, [1930]

Schenker thanks Deutsch for his careful, helpful reading of the proofs to the third Meisterwerk yearbook. -- Tomay has assigned the autography of the foreground graphs for the second movement of the "Eroica" Symphony to an apprentice; these are full of mistakes and will have to be done again. But Tomay’s own work, on the third and fourth movements, is excellent. -- In a postscript, he comments on his entry in the most recent Meyers Lexikon, and on a review of the second Meisterwerk yearbook in the Deutsche Tonkünstler-Zeitung.

OC 54/319 Typewritten picture postcard from Deutsch to Schenker, dated August 30, 1930

Deutsch asks Schenker to suggest a time when the two of them can get together in Vienna.

OJ 14/45, [87] Handwritten letter from Moriz Violin to Schenker, dated October 13, 1930

Violin has just heard that Hans Weisse will be lecturing in Berlin in December; he plans to go there to hear him. His pupil Agnes Becker, returning from a trip to London, has discovered that Schenker's Beethoven sonata edition is much in demand, especially from students at the Royal Academy of Music.

OJ 14/45, [88] Handwritten letter from Moriz Violin to Jeanette Schenker, dated October 18, 1930

Upon hearing from Furtwängler that Schenker is unwell, Violin asks Jeanette for news about him.

OC 54/328 Typewritten letter from Deutsch to Schenker, dated October 19, 1930

Deutsch suggests a way of placing the loose music illustrations and the bound graphs of the Urlinien inside the third Meisterwerk yearbook. He invites the Schenkers for a visit soon, perhaps on Friday, October 24.

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.

OC 54/330 Handwritten letter from Deutsch to Schenker, dated October 24, 1930

Deutsch recommends three modifications to the layout of the supplements for the third Meisterwerk yearbook.

OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930

The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker and Hoboken soon.

OJ 9/34, [22] Handwritten letter from Cube to Schenker, dated November 22, 1930

Cube thinks attending Weisse's lectures would enable him to make contact with "people of stature" in Berlin, where he would like to teach Schenker's theory, and asks Schenker for the time and place, referring to the difficulties of travel in these "catastrophic times." Will check up on Reichert. Has been invited to give six lectures locally, and has a concert of his compositions coming up.

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 12/6, [5] Handwritten letter from Jonas to Schenker, dated November 28, 1930

Jonas regrets any misunderstanding over his request for "a few lines of recommendation"; he had intended only to ask for "general lines," not recommendations to individuals. Jonas clarifies Schenker's confusion over his Munich lecture, and points to his devotion to Schenker's cause for fifteen years, stating what he considers to be the core of Schenker's thought as he would publicly represent it.

OJ 11/32, [5] Typed letter from Robert Haas to Schenker, dated November 29, 1930

Accepts Schenker's invitation to Hans Weisse's lecture, and gives two pieces of information.

OJ 5/18, [3a] Handwritten letter from Schenker to Jonas, dated December 2, 1930

Schenker asks Jonas to draft a recommendation for himself, and approves Jonas's formulation of the core of his teaching.

OJ 15/15, [51] Handwritten postcard from Weisse to Schenker, dated [December] 3, 1930

Carl Bamberger has just returned from Tokyo, and Weisse would like to bring him to the Schenkers on Friday (December 5).

OJ 11/54, [29] Typewritten letter from Hoboken to Schenker, dated December 5, 1930

Hoboken depicts the abundance of music in Berlin, contrasting Furtwängler, Klemperer and Kleiber. — He has decided to withdraw his planned financing of the Photogramarchiv's collected edition of C. P. E. Bach.

OJ 10/3, [135] Handwritten letter from Deutsch to Schenker, dated December 25, 1930

Deutsch’s son Peter has broken a leg ice-skating. He is devastated by the news of Hoboken’s withdrawal of support for the C. P. E. Bach collected edition). He will discuss the terms [of payment] regarding the third Meisterwerk yearbook in person, and advises that review copies be sent out in January.

OJ 10/3, [136] Handwritten picture postcard from Hannah Deutsch to Schenker, dated December 30, 1930

The Deutsches invite the Schenkers for the afternoon of January 4, 1931.

OJ 11/54, [30] Handwritten letter from Hoboken to Schenker, dated January 5, 1931

Hoboken sends New Year's greetings and speaks of next lesson.

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 12/9, [26] Handwritten letter from Karpath to Schenker, dated February 3, 1931

Karpath replies to a letter from Schenker showing himself to be in need of help. — Karpath reports on contact with Robert Brünauer, who was seeking financial support.

OJ 10/1, [104] Typewritten letter from Dahms to Schenker, dated February 7, 1931

Dahms is looking forward to reading Meisterwerk III and inquires after Der freie Satz. — He has cut himself off from Berlin and Germany; his marital situation has finally been resolved, and he and his wife and child have settled in Paris.

OJ 9/34, [23] Handwritten letter from Cube to Schenker, dated February 10, 1931

Cube acknowledges issue of Der Kunstwart; encloses a letter from Walter Braunfels responding to his plans to establish a Rhineland base for Schenkerian teaching at the Cologne Hochschule für Musik; wonders whether Anthony van Hoboken might be approached for financial assistance on this, and if so how the approach should be made.

OJ 5/30, [1a] Handwritten draft letter from Schenker to Preetorius, undated [February 12–13, 1931]

Schenker draws Preetorius's attention to part of Meisterwerk III, and invites him to consider his (Schenker's) theory of coherence in music as a basis for that in other arts, hence unity among the arts. -- He envisions a "club" of artists to discuss these matters.

OJ 12/6, [7] Handwritten letter from Jonas to Schenker, dated February 25, 1931

Jonas sends three essays and asks for Schenker's comments.

OJ 14/23, [23] Handwritten picture postcard from Seligmann to Schenker, undated [February 28, 1931]

Seligmann thanks Schenker for his recent correspondence, is heartened by what Hans Weisse has written (about the reception of Schenker’s work in Berlin); he looks forward to reading about Rameau (in the third Meisterwerk yearbook).

OJ 5/18, 3c Handwritten picture postcard from Schenker to Jonas, dated March 1, 1931

Schenker acknowledges receipt [of essays].

OJ 10/3, [140] Handwritten picture postcard from Hannah Deutsch to Schenker, dated March 2, 1931

Deutsch will meet Schenker at the Café Aspang on Thursday, March 5.

OJ 14/23, [24] Handwritten postcard from Seligmann to Schenker, postmarked March 11, 1931

Seligmann thanks Schenker for sending him the third Meisterwerk yearbook and says he greatly enjoyed learning about Rameau in the opening essay. But, he says, Schenker can hardly be surprised that he is ignored by the Ministry [of Education] if he constantly offends the people who are responsible to the Minister.

OeNB Mus.Hs. 36390/1 [1] Handwritten letter from Violin to Schenker, dated March 12, 1931

Violin says that things are in order [with the planned Schenker Institute in Hamburg], but that Hans Weisse will not take part. He will visit Vienna at the end of the month to consult his friend, whom he asks to say nothing about the matter to Weisse.

OJ 8/5, [3] Handwritten picture postcard from Schenker to Violin, dated March 14, 1931

Schenker expresses his delight that Violin will soon be coming to Vienna.

OJ 5/18, 4 Handwritten letter from Schenker to Jonas, dated March 16, 1931

Schenker comments on the essays that Jonas has sent him, and the prospects for publication.

OJ 5/7a, [35] (formerly vC 35) Handwritten letter from Schenker to Cube, dated March 28, 1931

Schenker put Cube's Cologne Highschool proposal to van Hoboken, and now reports on the reaction, discussing the latter's character in so doing.

OJ 12/6, [8] Handwritten postcard from Jonas to Schenker, dated March 30, [1931]

Jonas thanks Schenker for OJ 5/18, 4; — reports that his own essay and a review of Das Meisterwerk III will appear in the Zeitschrift für Musikwissenschaft; — asks question about a discussion in Der Tonwille of a Bach fugue copied out by Beethoven.

OJ 5/45, [6] Handwritten draft letter of recommendation by Schenker for Hans Weisse, dated April 13, 1931

In a letter of recommendation Schenker praises Weisse's creativity and pedagogical skill, and declares him the best representative of his own theory.

OJ 6/8, [2] Handwritten letter from Schenker to Violin, dated April 14, 1931

Having heard that Weisse is leaving for America, Schenker asks if Violin has had a response from Cube. He has had a postcard from a pupil of Cube’s, Erich Voss, who would like to know the content of Der freie Satz.

OJ 12/6, [9] Handwritten letter from Jonas to Schenker, dated April 17, 1931

Acknowledges OJ 5/18, 6. Discusses plan for collected publication of Schenker's essays and reviews. — Gives news of his own forthcoming publication.

OJ 10/3, [147] Typewritten letter from Deutsch to Schenker, dated May 2, 1931

Deutsch asks Schenker to return the edition of the first version of Beethoven’s Variations WoO 74. Needing a few weeks’ peace and quiet in the summer holidays, he is looking for a place in the Tyrol that is more than 1,500 meters above sea level, and asks Schenker’s advice about accommodation, possibly in Galtür.

OJ 9/34, [25] Handwritten letter from Cube to Schenker, dated May 9, 1931

Cube describes his feelings and final dealings with the Conservatory in Duisburg, and preparations for work with Violin in Hamburg; he reports on his two best pupils, Erich Voss and Lieselotte Müller.

OJ 5/7a, [36] (formerly vC 36) Handwritten postcard from Schenker to Cube, dated June 6, 1931

Schenker will write to Cube from Galtür, with Mozart calling card.

OJ 11/32, [8] Typed letter from Robert Haas to Schenker, dated June 27, 1931

Haas sends summer greetings, and agrees to advise Angi Elias.

OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931

Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice; comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete rest.

OJ 14/23, [25] Handwritten picture postcard from Seligmann to Schenker, postmarked July 17, 1931

Seligmann acknowledges the receipt of Schenker’s article about a lost Mozart letter, published in Der Kunstwart. He was surprised to learn that some Mozart scholars doubted its authenticity.

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.

OJ 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931

Deutsch reports illness in his family over the summer. -- He is glad to see Schenker’s article on the lost Mozart letter in print, and mentions other places in which it was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which have, however, been misrepresented in the press.

OJ 10/3, [152] Typewritten letter from Deutsch to Schenker, dated August 19, 1931

Replying to Schenker’s recent letter and postcard, Deutsch says that he will be out of the country in the first half of September (travelling with a choir). He is delighted with the recent review [of the third Meisterwerk yearbook], and is always happy to see Schenker’s work praised. His wife and family have now recovered from illnesses. He is still awaiting a letter from Drei Masken Verlag.

OJ 9/34, [26] Handwritten letter from Cube to Schenker, dated August 19, 1931

Cube informs Schenker that Moriz Violin's son has been taken ill; Cube sends Schenker a copy of the Schenker Institute prospectus.

OJ 15/16, [80] Handwritten letter from Weisse to Schenker, dated August 25, 1931

Weisse, on holiday, will not be returning to Vienna before making his way ‒ via Nuremberg and Berlin ‒ to Hamburg, where his ship to America sets sail on September 17. He gives Schenker the address of the Mannes Music School, and reports that he has heard nothing of late from Furtwängler.

OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931

Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at a lecture given by Hans Weisse.

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 15/16, [82] Handwritten letter from Weisse to Schenker, dated October 15, 1931

Weisse describes his new life in America; — is touched by the spirit that pervades the Mannes Music School; — has given a lecture to the faculty on the role of a theorist in a music school. — He reports that he has 22 pupils, and is about to meet George A. Wedge, Dean of the Institute of Musical Art. — He asks whether Schenker has had any news from Hamburg.

OJ 9/34, [28] Handwritten letter from Cube to Schenker, dated October 16, 1931

Cube reports enrollment and quality of students at the Schenker Institute, Hamburg; his own teaching is increasingly small-group-tuition based, drawing on Tonwille and Meisterwerk. Karl Violin is recovering.

OJ 10/3, [158] Handwritten picture postcard from Hannah Deutsch to Schenker, dated October 20, 1931

Deutsch’s meeting, first mentioned in his letter of October 16, has been postponed by two days, until Thursday, October 22.

OJ 10/3, [160] Typewritten letter from Deutsch to Schenker, dated October 24, 1931

Deutsch is pleased that his “plotting” to obtain for Hoboken a civic honor from the Austrian state is working so far. He has spoken on the telephone with Ludwig Karpath and will see him next week. Hoboken’s character seems not to have been blotted by an incident in Munich some time ago: whatever misdeed he may have for which he had been accused, and which led to his (brief) incarceration, can never be proved.

OJ 15/16, [83] Handwritten letter from Hertha Weisse to the Schenkers, dated November 5, 1931

Hertha Weisse thanks the Schenkers for an invitation to their place, and asks Jeanette to suggest two possible dates.

OJ 11/16, [9] Handwritten letter from Furtwängler to Schenker, dated November 8, 1931

Furtwängler would hear with Schenker. — He has heard good news of Weisse from Violin.

OJ 15/15, [63] Handwritten picture postcard from Hertha Weisse to Jeanette Schenker, dated November 16, 1931

Hertha Weisse accepts an invitation from Jeanette Schenker.

OJ 6/8, [9] Handwritten letter from Schenker to Violin, dated December 24, 1931

Thanking Violin for his recent letter, Schenker bemoans the present condition of the world, and expresses the hope that his health will enable to see him through the worst of the days to come.

OJ 12/24, [2] Handwritten calling card from Kromer to the Schenkers, dated December 30, 1931

New Year's greetings

OJ 11/54, [37] Handwritten letter from Hoboken to Schenker, dated January 1, 1932

Hoboken sends New Year's greetings, refers to an article about the Photogram Archive, and outlines his travel plans.

OJ 5/7a, [41] (formerly vC 41) Handwritten postcard from Schenker to Cube, dated January 14, 1932

Schenker acknowledges a [non-extant] letter, and asks for a clipping from the Frankfurter Allgemeine Zeitung.

OJ 15/16, [84] Handwritten letter from Hertha Weisse to the Schenkers, dated February 9, 1932

Hertha Weisse gratefully accepts a second invitation from the Schenkers.

OJ 89/5, [2] Handwritten letter from Schenker to Hoboken, dated February 27, 1932

Schenker thanks Hoboken effusively for the letter of guarantee [for Der freie Satz publication costs].

OJ 12/6, [10] Typewritten letter from Jonas to Schenker, dated March 3, 1932

Jonas reports on his course on Schenker's theory at the Stern Conservatorium, two forthcoming lectures, an article intended for publication, two radio talks and a radio recital; includes reference to his later textbook Das Wesen des musikalischen Kunstwerks.

OJ 12/6, [11] Typewritten letter from Jonas to Schenker, dated March 24, 1932

Furtwängler liked his essay; Jonas describes his lectures at the Conservatory; the situation with Einstein over publishing his review of Meisterwerk 3; asks about permission to consult Brahms's arrangement of Saul.

OJ 11/16, [10] Typewritten letter from Furtwängler to Schenker, dated April 5, 1932

Furtwängler thanks Schenker for a gift, and wishes to call on him.

OJ 5/18, 9 Handwritten letter from Schenker to Jonas, dated April 9, 1932

Schenker has presented Furtwängler with a copy of Brahms's arrangement of Handel's Saul, has told him of Jonas's plan for Furtwängler to perform it, and asked him to give Jonas access to the score.

OJ 9/8, [5] Printed and handwritten card from Wilhelm Altmann to Schenker, dated April, 1932

[printed:] Altmann thanks those who sent good wishes for his 70th birthday. — [handwritten:] Reports on his travel plans and his forthcoming publication.

OJ 9/34, [31] Handwritten letter from Cube to Schenker, dated May 8, 1932

Cube sends Schenker an Urlinie graph of Schubert's song "Der Dopplegänger," and offers an extended commentary. Describes his work and state of mind, and comments on working with Moriz Violin; he expresses fears for the Hamburg Schenker Institut. He has just got married.

OJ 8/5, [10] Handwritten picture postcard from Schenker to Violin, postmarked May 12, 1932

Schenker expresses his joy at Violin’s forthcoming trip to Vienna and thanks him for a clipping about C. P. E. Bach and the city of Hamburg.

OJ 11/2, [3] Handwritten letter from Emma Fischer to Schenker, dated May 26, 1932

Baroness Fischer sends her commiserations to Schenker on the death of Alfred Rothberger, and comments on the latter's(?) children. -- She will be playing movements 2 and 3 of her piano concerto on the radio, and asks Schenker to listen. -- She has broken her left ankle.

OJ 15/16, [85] Handwritten letter from Hertha Weisse to Heinrich Schenker, dated May 26, 1932

Hertha Weisse reports that her husband will be arriving in Vienna in a couple of days, but that the Mannes School needs a bit more time to consider a proposal [presumably for the joint publication of the Fünf Urlinie-Tafeln / Five Analyses in Sketchform by Universal Edition in Vienna and the David Mannes School in New York].

OJ 38/338 Incomplete handwritten letter from Elias to Schenker, undated [c. June 16, 1932]

Miss Elias sends best wishes for the Schenkers' vacation in Igls.

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 12/6, [13] Handwritten letter from Jonas to Schenker, dated July 14, 1932

Jonas reports on his visit to Berlin, where he failed to meet with Furtwängler; — discusses Brahms-Handel Saul and Beethoven Op. 109. — He has heard about the Fünf Urlinie-Tafeln from Hoboken and Salzer; — discusses plans for publishing his Das Wesen des musikalischen Kunstwerkes. — Has received books from Alfred Einstein.

OJ 5/18, 11 Handwritten letter from Schenker to Jonas, dated July 18, 1932

Schenker tries to account for Furtwängler's unavailability for a conference over the Handel Saul score. — He does not need the copy of [Beethoven] Op. 109 offered by Mr. Kromer. — An introduction to his theory would be "in order," but its marketing might be problematic and require a benefactor; he regrets that Anthony van Hoboken is not such a person.

OJ 11/32, [10] Typed letter from Robert Haas to Schenker, dated July 22, 1932

Haas sends summer greetings and urges holding a Board of Trustees' meeting in September.

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 11/16, [11] Handwritten letter from Furtwängler to Schenker, dated August 2, 1932

Furtwängler thanks Schenker for his letter and for sending Urlinie graphs; praises Schenker's "fight ... for genius"; he is unable to visit now, but hopes to later; inquires about Weisse.

OJ 15/22, [3] Handwritten letter from Willfort to Schenker, dated August 6, 1932

Willfort reports that Salzer has escaped with only minor injuries; — is thrilled by the Five Analyses in Sketch-Form, of which he has just seen a copy.

OJ 5/18, 12 Handwritten postcard from Schenker to Jonas, dated August 28, 1932

Schenker will return to Vienna in September and would like Jonas to visit him. — Questions about Stern Conservatory and songs by Vrieslander.

OJ 12/6, [14] Handwritten postcard from Jonas to Schenker, dated August 30, [1932]

Jonas is leaving today for Berlin, and will write to Schenker from there.

OJ 12/6, [15] Handwritten letter from Jonas to Schenker, dated September 5, 1932

Jonas encloses sample page-make-up by Saturn-Verlag, and asks Schenker to send addresses for recipients of invitations [to subscribe]. Reports on his professional prospects and contacts in Berlin, and on reviewing.

OJ 89/5, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 5, 1932

Hoboken sets out his plans to leave Vienna, pack his furniture and put his music collection in store, and how he sees the continuation of his lessons with and work under Schenker.

OJ 9/34, [34] Handwritten letter from Cube to Schenker, dated September 12, 1932

Cube outlines the conflict between Moriz Violin and the school authorities over inspection of the Hamburg Schenker-Institut, portrays his own differences of opinion with Violin, and asks for Schenker's opinion.

OJ 11/16, [12] Handwritten letter from Furtwängler to Schenker, dated September 22, 1932

Furtwängler was prevented from visiting Schenker in August by having to go into the Cottage Sanatorium, Vienna. He hopes to see Schenker during the winter, and asks whether he might like to do the ceremonial address for the Brahms Centenary.

OJ 5/18, 14 Handwritten letter from Schenker to Jonas, dated September 23, 1932

Schenker sends further addresses [for Jonas's subscription appeal]. —He fears Hoboken may reduce his support.

OJ 12/6, [38] Handwritten letter from Jonas to Schenker, dated September 25, [1932]

Jonas reports letter from Hoboken re subscriptions to his Einführung; also reports re publishing (Breithaupt), reviewing (for Einstein), and imminent broadcast talks, and teaching next academic year; also re Sandra Droucker lecture on Schenker in Oslo.

OJ 12/6, [16] Handwritten letter from Jonas to Schenker, dated October 1, 1932

Further on Hoboken and the number of subscriptions; Jonas thanks Schenker for approving an article about the Photogrammarchiv that he hopes will be published in Die Musik.

OJ 11/16, [13] Handwritten letter from Furtwängler to Schenker, dated November 16, 1932

Furtwängler is in Vienna and wants to visit Schenker today.

OJ 9/34, [35] Handwritten letter from Cube to Schenker, dated December 7, 1932

Cube reports on his current state of mind, his work on a Bach graph (commenting on a graph by Angi Elias), promises to send an article on Schenker that has appeared in the Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl Violin.

OC 18/37-38 Handwritten letter from Furtwängler to Schenker, dated December 10, 1932

Furtwängler shares Schenker's assessment of Ludwig Karpath, and has not written a letter for publication. — He has been exploring possibilities for Schenker in Berlin, particularly taking over a masterclass at the Akademie der Künste, with additional lectures at the Stern'sches Conservatory. — He has heard from Hans Weisse. — He encloses a review by Herman Roth, and comments on the latter's character.

OJ 12/6, [18] Handwritten letter from Jonas to Schenker, dated December 15, 1932

Jonas comments on Schenker's article in Der Kunstwart; reports conversation with Furtwängler; would like to write something on Handel-Brahms Saul; has heard nothing further from van Hoboken.

OJ 6/8, [14] Handwritten letter, with envelope, from Schenker to Violin, dated December 19, 1932

In this characteristically long end-of-year letter to his friend, Schenker mentions his forthcoming edition of Brahms’s study of consecutive octaves and fifths, Jonas’s book on his achievements as a theorist, Zuckerkandl’s book on opera, and the possibility of an English translation of his Theory of Harmony.

OC 38/346v Handwritten letter from Violin to Schenker, dated December 22, 1932

In this partly incoherent message which responds to Schenker’s recent letters, especially that of December 19, Violin urges his friend to remain optimistic. He will discuss things with Furtwängler that should be beneficial. He asks to borrow Hindemith’s letter to Schenker.

OJ 11/32, [13] Typed letter from Robert Haas to Schenker, dated December 22, 1932

Haas gives information about an early copy of a Beethoven score.

OJ 12/24, [5] Handwritten calling card from Kromer to the Schenkers, dated December 22, 1932

New Year's greetings

OJ 12/9, [29] Handwritten postcard from Karpath to Schenker, dated December 23, 1932

Karpath calls urgently for the awaited letter from Furtwängler.

OC 38/341v Handwritten letter from Moriz and Fanny Violin to Schenker, dated December 24, 1932

Violin asks Schenker’s opinion about a reply to a letter he sent to Joseph Marx, who had been in Constantinople (Istanbul) for the purpose of regenerating a music conservatory there; he encloses a copy of Marx’s reply, which mentions Schenker in particular.

OJ 6/8, [15] Handwritten letter from Schenker to Violin, dated December 25, 1932

In this letter, much of it written in a bitter and sarcastic tone, Schenker urges Violin not to appeal to Anthony van Hoboken for financial help. He has sought assistance for his friend from Ludwig Karpath and Josef Marx.

OJ 6/8, [16] Handwritten letter from Schenker to Violin, dated December 29, 1932

Schenker advises Violin to keep up the pressure on Josef Marx regarding a possible position at the Vienna Akademie; he will do the same. He again discourages his friend from approaching Anthony van Hoboken with an appeal for financial assistance.

OC 18/43 Typewritten letter from Karpath to Schenker, dated December 31, 1932

Karpath answers Schenker's accusations against Joseph Marx among others, in a placatory manner. — He encourages Schenker to ask Furtwängler for the awaited letter. — He will contact Marx and Franz Schmidt.

OeNB H Autogr.856/20-3 Handwritten letter from Schenker to Josef Marx, dated January 19, 1933

Schenker urges Marx to advocate on behalf of Moriz Violin as a candidate for a post at the Akademie für Musik, extolling his qualities as musician and colleague.

OC 18/44 Typewritten letter from Karpath to Schenker, dated January 23, 1933

Karpath reports that Joseph Marx is a candidate again for the Directorship of the Academy. — He will advocate to Marx and to Karl Kobald that Schenker be appointed as a professor at the Academy. — He says that he will write a letter to Furtwängler.

OJ 6/8, [21] Handwritten letter from Schenker to the family of Moriz Violin, postmarked January 24, 1933

Schenker sends condolences, from Jeanette and himself, to the whole Violin family on the death of Karl Violin, reassuring them that they did all they could in his lifetime.

OJ 12/6, [19] Handwritten letter from Jonas to Schenker, dated January 28, 1933

Jonas still has no response from Hoboken re: his Einführung; encloses four essays; reports on forthcoming article, his teaching and advocacy of critical editions, planned radio lectures and performance, and other work.

OJ 15/16, [88] Handwritten letter from Hertha Weisse to Schenker, dated February 15, 1933

Hertha Weisse reports that, through Hans's teaching at Columbia University and the Mannes School, Schenker's work has gained a footing in New York (where people seem more receptive to new ideas), and she expresses her gratitude to Schenker for breathing life into the spirit that has given such joy to her husband's pupils. The children are growing up speaking German, and she has begun to restudy the piano.

OJ 89/6, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated February 15, 1933

Miss Boy has had an angina attack — they are to be married; — The number of subscriptions for Jonas's book is disappointing; — Hoboken is weighing up his financial support for it with that for Schenker's Freier Satz.

OC 18/23 Typewritten letter from Josef Marx to Schenker, dated February 28, 1933

Marx thanks Schenker for hospitality on January 18. He lacks the influence at the Vienna Akademie to introduce Schenker's theoretical system, but has advocated for the inclusion of Schenker's name on the list of publications to be taken into account in its teaching. He has had Violin's name put down for a forthcoming teaching position, but cannot say how the Ministry of Education will judge that name.

OC 18/55 Handwritten letter from Furtwängler to Schenker, dated March 2, 1933

Furtwängler asks if he can visit Schenker that evening.

OJ 12/6, [20] Handwritten letter from Jonas to Schenker, dated March 20, 1933

Van Hoboken is willing to advance 600 Mk for the Einführung; Jonas inquires, in that regard, after the plan to reprint Schenker's Harmonielehre, indicating that he had previously prepared a reformulation of that work for teaching purposes; — he alludes to introductory lectures to Furtwängler concerts, and the Handel-Brahms Saul project.

OJ 14/23, [26] Handwritten postcard from Seligmann to Schenker, dated March 20, 1933

Seligmann apologizes for being unable to accept an [evening] invitation from the Schenkers on account of his health. He hopes that, when his health has recovered, something could be arranged for an earlier hour (5 o’clock).

OJ 9/8, [6] Typewritten postcard from Wilhelm Altmann to Schenker, dated March 22, 1933

Altmann did not know of the letter from Brahms to Kalbeck about which Schenker had written him. — He hopes for an economic upturn [now Hitler is in power].

OJ 9/12, [9] Handwritten picture postcard from Carl Bamberger to Schenker, dated March 29, 1933

Bamberger asks Schenker to prepare the score and parts of a Handel concerto grosso in the next five days.

OJ 6/8, [22] Handwritten letter from Schenker to Violin, dated April 21, 1933

Schenker eagerly awaits Violin’s arrival in Vienna. He will soon send his friend a copy of the Brahms study Oktaven und Quinten.

OJ 8/5, [17] Handwritten postcard from Schenker to Violin, postmarked April 28, 1933

Schenker reports that his article „Was wird aus der Musik?“ has just been published in the Deutsche Allgemeine Zeitung.

OJ 9/8, [7] Handwritten postcard from Wilhelm Altmann to Schenker, dated April 29, 1933

Altmann thanks Schenker for sending a copy of his Brahms Octaven und Quinten article.

OJ 12/6, [21] Handwritten postcard from Jonas to Schenker, dated May 2, [1933]

Jonas thanks Schenker for Brahms study; — he will be in Vienna to see Hoboken on 16th and will visit Schenker.

OJ 89/6, [6] Handwritten letter from Schenker to Hoboken, dated May 3, 1933

Schenker congratulates Hoboken and Eva Boy on their engagement, and comments on a Frankfurter Zeitung article that Hoboken has sent him, and satirizes the laws that Hitler has recently introduced. — He encloses his own article, "Was wird aus der Musik?" — He encloses an invoice from Universal Edition.

OJ 5/18, 25 Handwritten postcard from Schenker to Jonas, dated May 4, 1933

Schenker expresses doubts about Hoboken's motives for discussion, and reports two new publications.

OJ 12/6, [22] Handwritten letter from Jonas to Schenker, dated May 9, 1933

Jonas acknowledges OJ 5/18, 25. — If agreement can be reached on his Einführung, he hopes for publication in the fall; — he has read the two articles by Schenker; — he sends a recent article on Photogrammarchive; — he will be in Vienna on 16th.

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 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933

Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism; someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard from Furtwängler.

OC 18/59 Typewritten letter from Furtwängler to Schenker, dated May 17, 1933

Furtwängler asks to call on Schenker on May 20.

OJ 11/32, [14] Handwritten letter from Robert Haas and Julius von Kromer to Schenker, dated May 24, 1933

Haas is sending requested books of his, and invites borrowing over summer. Kromer adds PS.

OJ 6/8, [23] Handwritten letter from Schenker to Violin, dated May 3, 1933

Preparing for Violin’s arrival, Schenker proposes that he ask the same lesson fee that his friend would ask, 25–30 shillings per hour, for any new pupils he takes on. (He will charge Miss Weber less, Hans Wolf perhaps a bit more.) Wolf will get tuition in theory, but continue to study the piano with Violin.

OJ 11/32, [15] Typed letter from Robert Haas to Schenker, dated June 2, 1933

Haas is unable to lend Griesinger's Haydn book over the entire vacation. Sends best wishes for the summer.

OJ 9/15, [3] Handwritten notecard from Elsa Bienenfeld to Schenker, dated June 6, 1933

Bienenfeld thanks Schenker for her visit to him on June 2, 1933, and invites him to meet Felix Weingartner on June 14, 1933.

OJ 10/18, [5] Handwritten letter from Elias to Schenker, dated June 17, 1933

Miss Elias sends best wishes for Schenker's birthday, and reports a visit from Robert Brünauer. — She encloses an "assessment" by Paul Stephan of a concert conducted by Carl Bamberger.

OeNB H Autogr.856/20-5 Handwritten letter from Schenker to Josef Marx, dated July 8, 1933

Schenker asks Marx to intercede with Oswald Kabasta on behalf of Carl Bamberger for the latter to be relayed on Radio Wien.

OJ 5/7a, [47] (formerly vC 47) Handwritten letter from Schenker to Cube, dated July 18, 1933

Schenker reports on a newspaper article and abortive radio program about his theory, by Theo Goos; also on Jonas's forthcoming book, on van Hoboken, Moriz Violin, and Hans Wolf; and on progress with Der freie Satz.

OJ 89/6, [8] Typewritten letter (carbon copy), from Hoboken to Schenker, dated July 20, 1933

The Hobokens will not come to Reigersberg; — He re-sends his two songs for further comment; — He sends a booklet by Gottfried Benn; — They are isolated in Partenkirchen, and are distressed at events in Germany; — Alfred Cortot has visited the Photogram Archive and expressed an interest.

OJ 6/8, [24] Handwritten letter from Schenker to Violin, dated May 9, 1933

Schenker suggests a possible time for Wolf’s first lesson, and a schedule for him and Miss Weber. He is surprised to hear that Violin is thinking of emigrating to Palestine, and suggests that the Jews there should come to Vienna to study with himself as a “first-class Jew.” Their summer plans are not yet fixed.

OJ 89/6, [10] Typewritten letter (carbon copy), from Hoboken to Schenker, dated August 5, 1933

Hoboken is gratified by Schenker's praise of his song compositions; — He will continue his Chopin projects someday, but is preoccupied with the worsening European political situation; — He comments on Kleiber, Max Graf, on Goos's estimate of Schenker's importance, and returns newspaper clippings that Schenker has sent him with comments.

OJ 13/2, [2] Typewritten letter from Alfred Weissberger to Schenker, dated August 18, 1933

Alfred Weissberger concurs with Schenker as to the lower value now placed on ability and knowledge, though he thinks the younger generation see the arts as a means of obtaining a livelihood; he will sound out the viability of a Beethoven course for the following year, and leaves open the possibility of approaching Schenker again.

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 11/32, [16] Handwritten letter from Robert Haas to Schenker, dated September 10, 1933

Haas expresses pleasure at Schenker's comments on his performance practice book, and asks if Schenker can donate a copy of Meisterwerk I to the Archive.

OJ 12/6, [23] Handwritten postcard from Jonas to Schenker, dated September 12, [1933]

Jonas's article on Schenker is published. — He has received part of his book in proof; asks about appropriateness of an appendix.

OJ 11/32, [17] Typewritten letter from Robert Haas to Schenker, dated September 20, 1933

Haas promises to have the Griesinger Haydn book delivered, and mentions several other matters.

OJ 10/18, [6] Handwritten letter from Elias to Schenker, dated September 22, 1933

Miss Elias thanks Schenker for allowing her to continue on her three-lessons-a-week schedule. — She rejoices at his good progress on Der freie Satz, and the news that Jonas's book will be published.

OJ 8/5, [20] Handwritten postcard from Schenker to Violin, dated September 26, 1933

Schenker has just given Hans Wolf a lesson, and insists on a full program of tuition for him at a decent rate of pay. He reports that Vrieslander is writing a book about him, and says that he will give him a copy of Jonas’s recent article when he next sees him. He has written a letter to Alfred Weissberger on his friend’s behalf.

OJ 5/18, 29 Handwritten postcard from Schenker to Jonas, dated October 7, 1933

Schenker is forwarding issues [of the periodical containing Jonas's article] to Hoboken.

OJ 8/5, [21] Handwritten postcard from Schenker to Violin, dated October 8, 1933

Schenker inquires after Violin, from whom he has not heard for some time. He reports that Hoboken is in France but will return at the end of the month to resume lessons.

OJ 8/5, [22] Handwritten postcard from Schenker to Violin, dated October 25, 1933

Schenker reports that Ludwig Karpath has been lying, and that six new appointments have already been made at the Vienna Academy. His new pupil, Hans Wolf, is thirsting after Urlinie analysis, which Schenker has to resist.

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.

OJ 12/6, [46] Handwritten postcard from Jonas to Schenker, dated October 31 [1933]]

Jonas has been sick; — he has seen Furtwängler briefly; — Jonas believes that he will not have space for the planned appendix on the Photogramm Archive in his book; — he inquires about Hoboken.

OJ 5/18, 30 Handwritten postcard from Schenker to Jonas, dated November 6, 1933

Schenker reports van Hoboken's pending arrival in Vienna; — He refers to Furtwängler and Richard Strauss.

OJ 8/5, [24] Handwritten postcard from Schenker to Violin, dated November 6, 1933

A new housemaid has meant some disruption to the routine in the Schenkers’ apartment, and a visit has to be rearranged; Hoboken is returning to Vienna.

OJ 8/5, [25] Handwritten postcard from Schenker to Violin, postmarked November 27, 1933

In a message deprecating Hoboken’s character, Schenker believes that Hoboken (the “wandering Dutchman") is trying to stretch out his tuition by paying social calls with his wife outside lesson times; he likes Vienna because the cost of living is lower than in Holland.

OJ 12/6, [25] Handwritten letter from Jonas to Schenker, dated December 3, 1933

The majority of Jonas's Das Wesen des musikalischen Kunstwerks has gone to the printer; — Furtwängler has promised to recommend it to the Berlin Hochschule für Musik; — no word from van Hoboken. Jonas inquires after Free Composition.

OJ 12/6, [26] Handwritten letter from Jonas to Schenker, dated December 10, 1933

Jonas asks how the music examples in Das Meisterwerk were printed, with respect to his Das Wesen des musikalischen Kunstwerks. — In Riemann's Musiklexikon, ed. A. Einstein, Einstein's reference to Schenker appears under "Bach."

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”].

OJ 12/6, [27] Typewritten letter from Jonas to Schenker, dated December 18, 1933

Jonas acknowledges OJ 5/18, 32; requests copy of Schenker's Syrische Tänze; quotes from Schenker's entry in a Jewish lexicon. — He reports on local conditions; has heard nothing from van Hoboken.

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.

OJ 15/26, [1] Handwritten postcard from Hans Wolf to Schenker, dated January 4, 1934

Wolf sends good wishes for the New Year; he expects to be back from Hamburg for his lesson on Monday.

OJ 89/7, [1] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 5, 1934

Hoboken tells Schenker of his plans to build a house in Grinzing. — He praises an article by Citkowitz. — He reports on Jonas's book.

OJ 15/16, [94] Handwritten letter from Hans Weisse to Schenker, dated March 15, 1934

Weisse apologizes for long silence, largely on account of depression at the lack of enrollment at Mannes and of enthusiasm for his recently published Violin Sonata. — At Mannes he lectures about his own work, because it is important to show how Schenkerian theory can have a practical application for composers; his pupil Israel Citkowitz is the only cause for optimism. — At Columbia University, where he "smuggles" Schenkerian theory into his lectures, enrolment continues to be large. — He sends a copy of his Violin Sonata, and promises his Variations on a Popular American Song. — He is not coming to Europe this summer. — Universal Edition is going ahead with a schools' version of Schenker's Harmonielehre, but he is surprised that Alfred Kalmus expects him to be involved in an American edition of this.

OJ 12/6, [30] Handwritten letter from Jonas to Schenker, dated March 16, 1934

Jonas has mailed off the book [to his publisher]; he hopes that Schenker will approve of it [when eventually he sees it]. It comprises four chapters and two appendices. — He thanks Schenker for the gift of his Syrian Dances. — The Director of the Hochschule für Musik in Berlin, Fritz Stein, has written that he cannot arrange a position for Jonas, whereas Jonas (with support from Furtwängler) had sought only students to whom to give [private] lessons. — Jonas alludes to difficult conditions under which he is working, and describes his conflict with piano teacher Georg Bertram. — Relations with van Hoboken are strained, despite Jonas's having included an appendix about the Photogrammarchiv in his book.

OJ 5/18, 37 Handwritten postcard from Schenker to Jonas, dated March 29, 1934

Schenker acknowledges OJ 12/6, [30] and praises the table of contents of Jonas's Das Wesen des musikalischen Kunstwerks; — He is finishing Der freie Satz.

OJ 12/6, [29] Handwritten letter from Jonas to Schenker, dated March 30, 1934

Jonas wishes the Schenkers a happy Easter. — His book expected out April 20: Jonas wonders if it would be a good idea to ask Furtwängler for a letter for it.

OJ 12/6, [31] Handwritten letter from Jonas to Schenker, dated April 15, 1934

Jonas acknowledges three communications; Hoboken has increased his subvention for Jonas's book; Furtwängler has agreed to write a supporting letter. — Jonas proposes a series of individual critical introductions to most frequently performed piano works and concertos.

OJ 6/8, [25] Handwritten letter from Schenker to Violin, dated September 23, 1933

Schenker arranges a time for Violin and his sister to have supper with him: not too late in the evening. He does not intend to teach Hans Wolf for less than two hours a week, on account of the substance of the theoretical material, but is willing to lower his hourly rate for him.

OJ 5/18, 41 Handwritten letter from Schenker to Jonas, dated April 23, 1934

Free Composition is completed. Schenker is pleased that Hoboken has come round; — he gives Weisse's address; — Schenker has ordered five copies of Jonas's book; — he reports that Salzer has completed a new book; — questions Jonas about his new plan, but welcomes it; — Goos may not realize that Schenker is a Jew.

OJ 15/26, [2] Handwritten picture postcard from Hans Wolf to Schenker, postmarked April 24, 1934

Wolf's parents send thanks to Schenker for his congratulations on their anniversary; Wolf looks forward to his lesson on the coming Thursday.

OJ 6/8, [26] Handwritten letter from Schenker to Violin, dated September 24, 1933

The Schenkers’ maid is ill and has been taken to the hospital, so the dinner invitation to the Violins must be postponed.

OC 44/41 Handwritten letter from Hans Weisse to Schenker, dated June 2, 1934

Weisse will send Schenker his Variations and Fugue for 2 pianos when copies are ready; he is glad to learn that Oswald Jonas's book will soon be published. He describes the beauty of Tenants Harbor, Maine, where his family is spending the summer vacation.

OJ 9/34, [40] Handwritten letter from Cube to Schenker, June 2, 1934

Quotes part of a letter from the Reichsmusikkammer regarding grounds for his dismissal, and reports subsequent conversation with the Conservatory administration. Encloses review of a recent lecture. Includes revised Ursatz for Bach Prelude in body of letter. Inquires about Hans Wolf, and reports on Furtwängler.

OJ 9/34, [41] Handwritten letter from Cube to Schenker, dated June 7, 1934

Acknowledges a (non-extant) letter in which Schenker had expressed dismay at a review (enclosed with OJ 9/34, [40]) of a recent lecture by Cube, who explains the circumstances under which he had to disguise the source of some of his ideas: Schenkerian theory is regarded as "Jewish rubbish," and is no longer discussed; one has to choose one words carefully.

OJ 12/6, [32] Handwritten letter from Jonas to Schenker, dated June 11, 1934

Publication of Jonas's book has been delayed until June 22; — he may give a lecture in conjunction with Edwin Fischer; — his Beethoven sketches article is in press; — Hoboken is considering Jonas's proposed elucidatory edition plan in conjunction with a putative publication by the Photogram Archive.

OJ 15/22, [7] Handwritten letter from Willfort to Schenker, dated June 14, 1934

Willfort, writing from Berlin, has been unable to make contact with Furtwängler. — He has spent time with Jonas; — is disappointed that Schenker will not be in Vienna to hear him conduct the Brahms' "Tragic" Overture; — gives travel plans; — inquires after Schenker's reaction to his work on the "Moonlight" Sonata.

OJ 10/18, [7] Handwritten letter from Elias to Schenker, dated June 17, 1934

Miss Elias sends best wishes for Schenker's [66th] birthday. She hopes that in Böckstein he can recover after the exhausting work on Der freie Satz.

OJ 11/16, [14] Typewritten letter from Furtwängler to Schenker, dated June 25, 1934

Furtwängler sends a letter of recommendation for Moriz Violin.

OJ 12/6, [33] Handwritten letter from Jonas to Schenker, dated June 29, 1934

Jonas describes his summer travel plans, including Bayreuth; hopes to meet Schenker in Vienna in August. Reports state of play on his book, a proof copy of which Furtwängler is reading. Reports on recent lecture, and prospect of another lecture.

OJ 14/1, [2] Handwritten letter from Salzer to Schenker, dated July 16, 1934

Salzer reports that he has secured his contract with Saturn Verlag. — He and his wife have agreed to separate.

OJ 12/6, [34] Handwritten letter from Jonas to Schenker, dated July 19, 1934

Jonas acknowledges two postcards, thanks Schenker for his note [re Das Wesen des musikalischen Kunstwerks]; has heard nothing from Hoboken; Furtwängler is too busy to read the book now; Jonas is going to Bayreuth. An errata list will have to be produced for the book.

OJ 12/6, [35] Handwritten letter from Jonas to Schenker, dated July 25, 1934

Jonas has changed his travel plans; describes Bayreuth; sends corrigenda list for his Das Wesen; Roth is working on continuo realizations of Handel.

OJ 15/22, [8] Handwritten letter from Willfort to Schenker, dated July 30, 1934

Willfort reports progress in his conducting career; he will be in Vienna next academic year; has the prospect of a radio concert with RAVAG in September.

OJ 89/7, [12] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 31, 1934

Hoboken assures Schenker that he will support him in his work. — He outlines the restrictions that he has placed on Otto Erich Deutsch, and expresses irritation that Deutsch has been offered a course at the Vienna Academy. — He is annoyed at the political views expressed by E. F. Schmid, who has been appointed at the University of Graz.

OJ 5/18, 49 Handwritten letter from Schenker to Jonas, dated August 2, 1934

Schenker expresses heartfelt thanks to Jonas for his book; their project is fundamentally one of "present-day Jewry." — An excerpt from Der freie Satz is to appear in Der Kunstwart. —Schenker has had to give up Willfort and Kraus because of their negligence regarding the planned Urlinie-Tafeln vol. II.

OJ 12/6, [36] Handwritten letter from Jonas to Schenker, dated August 6, [1934]

Jonas alludes to the Dolfuss assassination; gives his reactions to Bayreuth (which he has just visited) and the Wagner cult. — He is seeing his publisher about the proposed commentary editions.

OC 44/16 Handwritten letter from Robert Brünauer to Schenker, dated August 8, 1934

Brünauer reacts favorably to Oswald Jonas's newly published book.

OJ 10/18, [8] Handwritten letter from Elias to Schenker dated August 16, 1934

Miss Elias reports that her mother has died.

OJ 5/7a, [50] (formerly vC 50) Handwritten picture postcard from Schenker to Cube, dated August 18, 1934

Best wishes for birth.

OJ 10/18, [9] Handwritten letter from Elias to Schenker dated August 23, 1934

Miss Elias thanks Schenker for his words of condolence. She has decided to remain in Vienna to be with her brother.

OJ 10/19, [1] Handwritten notecard from Manolo Elias to Schenker, dated August 23, 1934

Dr. Manolo Elias thanks Schenker for his letter of condolence.

OJ 12/6, [37] Handwritten letter from Jonas to Schenker, dated August 23, 1934

Jonas seeks advice on what to include in the first issue of the planned elucidatory editions; — distribution of his book is delayed until September; — Jonas is correcting proofs of two articles.

OC 44/45 Handwritten picture postcard from Hans Wolf to Schenker, dated August 28, 1934

Wolf has read to the end of the C. P. E. Bach chapter on thoroughbass, and is going to reread it now: it is "magnificent."

OC 44/42 Handwritten letter from Willfort to Schenker, dated September 1, 1934

Willfort gives particulars of his radio concert, implicitly hoping Schenker will listen to it.

OC 44/20 Handwritten postcard from Jonas to Schenker, dated [September 3, 1934]

Jonas would like to pay a visit to Schenker; — he has heard nothing from Hoboken; — he is remaining in Vienna.

OC 44/18 Handwritten notecard from Elias to Schenker, dated September 5, 1934

Miss Elias inquires how Heinrich and Jeanette are, following their return home.

OC 44/12 Handwritten postcard from Wilhelm Altmann to Schenker, dated September 10, 1934

Altmann thanks Schenker for sending Oswald Jonas's book, and will cite it in his Tonkünstler-Lexikon, with entries on Jonas and Salzer. — He reminisces on his Galtür visit and recounts his publication plans.

OC 44/13 Handwritten picture postcard from Carl Bamberger to Schenker, dated September 12, 1934

Bamberger aks Schenker to listen to a recital on the radio and give his opinion, and inquires whether he may visit Schenker during the week.

OC 44/37 Handwritten postcard from Salzer to Schenker, dated September 15, 1934

Salzer asks to visit Schenker on Tuesday or Wednesday, and gives his new address.

FS 40/1, [27] Handwritten postcard from Schenker to Salzer, dated September 16, 1934

Schenker suggests Thursday for a visit.

OC 44/15 Handwritten letter from Robert Brünauer to Schenker, dated September 20, 1934

Brünauer asks Schenker to put Moriz Violin in touch with Adalbert Franz Seligmann.

OC 44/19 Handwritten notecard from Elias to Schenker, dated September 20, 1934

Miss Elias thanks Schenker for the constant concern he shows for her troubles.

OJ 15/16, [95] Handwritten letter from Hans Weisse to Schenker, dated September 23, 1934

Weisse reports a visit from Victor Vaughn Lytle, to whom Schenker had recently written, and the receipt of Oswald Jonas's recent book, on which he comments. The Weisses have spent a lovely summer by the sea, in the midst of unspoiled nature, and he has completed a set of five six-voice madrigals on Goethe texts and a string quartet. He reports and laments his mother’s death.

OC 44/44 Handwritten letter from Hans Wolf to Schenker, dated September 25, 1934

Wolf is prevented from returning to Vienna from Hamburg by new conditions of entry to Austria. He comments on a recently published article by Schenker.

OJ 11/16, [15] Handwritten letter from Furtwängler to Schenker, dated September 26, 1934

Furtwängler apologies for not visiting Galtür in the summer; he spent the vacation on his own work; he will be in Vienna and hopes to see Schenker; he intends to write publicly about Schenker's work; comments on current political situation. — Finds Jonas's book excellent.

OC 44/23 Handwritten letter from Marianne Kahn to Schenker, dated September 29, 1934

Miss Kahn commits to her 1934/35 lesson schedule with Schenker. She reports on her own pupil cohort.

OC 44/46 Handwritten postcard from Jonas and three others to Schenker, dated October 2, 1934

Jonas has spoken to Furtwängler, who will proceed on the matter of Hans Wolf.

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.

OC 44/47 Handwritten letter from Hans Wolf to Schenker, dated October 19, 1934

Wolf has receive authorization to enter Austria.

OC 44/9 Handwritten letter from Jonas to Schenker dated October 27, 1934

Jonas acknowledges OJ 5/18, 59 and 60; Hoboken has no reason to complain about his behaviour. — As a result of Hoboken's distribution of complimentary copies, Jonas has received letters of appreciation. —Reacts critically to Willi Reich and his magazine 23. — Describes plans for forthcoming events in Hamburg.

OC 44/8 Handwritten postcard from Cube to Schenker, dated October 29, 1934

Cube gives the publisher of Schäfke's Geschichte der Musikästhetik, and reports the prospect of a permanent position.

OC 44/2 Handwritten letter from Salzer to Schenker, undated [November 5, 1934]

Salzer asks to see Schenker in order to set up a lesson time.

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.

OC A/287 Handwritten letter from Carl Bamberger to Schenker, dated December 11, 1934

Bamberger wishes to visit Schenker to report on his time in Russia.

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.

OC A/291 Handwritten picture postcard from Komorn to Schenker, dated December 22, 1934

Mrs. Komorn send Christmas and New Year's best wishes.

OC A/297 Handwritten letter from Carl Bamberger to Schenker, dated December 24, 1934

Bamberger sends best wishes for the New Year, and inquires about a visit.

OJ 89/7, [15] Handwritten letter from Schenker to Hoboken, dated December 25, 1934

Schenker and Jeanette thank Hoboken for their Christmas gifts; Shenker alludes to the forthcoming publication of Der freie Satz as the "summit" of his career, and reports that he has been invited to inspect the new accommodation for the Photogramarchiv.

OJ 11/54, [41]-[42] Handwritten letter, with envelope, from Hoboken to Schenker, dated January 1, 1935

Hoboken wishes Schenker good health, and strength to complete Der freie Satz. — He discusses the furniture in the new premises of the Photogram Archive, and gives his travel plans for January.

OJ 15/22, [9] Handwritten note from Willfort to Schenker, dated January 1, 1935

New Year greetings and thanks.

OJ 12/6, [41] Handwritten letter from Jonas to Schenker, dated January 13, 1935

Jonas hopes Schenker is well; ‒ he plans to be in Vienna from 22 to about 28 January; — he is reading the Hildebrand-Fiedler correspondence.

OJ 11/32, [18] Handwritten letter from Robert Haas to Jeanette Schenker, dated January 14, 1935

Haas sends commiserations to Jeanette on the death of Heinrich.

OJ 12/24, [9] Handwritten letter, with envelope, from Kromer to Jeanette Schenker, dated January 14, 1935

Kromer sends condolences to Jeanette at Heinrich's death.

OJ 12/20, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Dlabač, Kraus) to Jeanette Schenker, dated January 15, 1935

The Society send commiserations to Jeanette on the death of her husband.

OJ 12/17, [10] Handwritten note from Komorn to Jeanette Schenker, dated January 18, 1935

Mrs. Komorn sends condolences to Jeanette, and pays tribute to Heinrich.

OJ 14/23, [28] Handwritten postcard from Seligmann to Jeanette Schenker, postmarked February ?3, 1935

Seligmann agrees to pay a visit to the Schenkers the following Wednesday.

OJ 10/18, [10] Handwritten notecard from Elias to Jeanette Schenker, dated February 17, 1935

Miss Elias sends Jeanette Schenker a clipping of Moriz Violin's obituary for Heinrich, together with publication details of Otto Vrieslander's edition of C. P. E. Bach's Kurze und Leichte Klavierstücke.

OJ 15/16, [96] Handwritten letter from Hertha Weisse to Jeanette Schenker, dated February 21, 1935

In this letter of condolence, sent together with one by Hans, Hertha Weisse explains that the obituary of Schenker in the New York Times by Olin Downes, though based partly on information supplied by Hans, was hastily written and contains many errors. A pupil of Hans [Adele Katz] has prepared an article on Schenker's theory, which will soon be published in an American music journal.

OJ 15/16, [97] Handwritten letter from Hans Weisse to Jeanette Schenker, dated February 21, 1935

In a letter of condolence to Schenker's widow, Weisse expresses his distress at having, within the space of two years, lost his parents and now his spiritual father. He offers to help Jeanette and Oswald Jonas read the proofs for Der freie Satz; but he cannot afford to come to Europe in the summer, as the Mannes College can guarantee only half his salary for next year. He asks her to send him a memento of her husband, and to consider entrusting to him the care of some of Schenker's unpublished work.

OJ 12/6, [43] Handwritten letter from Jonas to Jeanette Schenker, dated March 9, 1935

Jonas thanks Jeanette for the opportunity to look at work of Schenker's [unspecified]; Jonas, Salzer, and Saturn Verlag wish to bring out a music journal in Schenker's memory: Jonas requests access to unpublished materials; he inquires whether Jeanette has reached an understanding with Saturn Verlag over aphorisms.

OJ 15/26, [3] Handwritten picture postcard from Hans Wolf to Jeanette Schenker, postmarked May 18, 1935

Wolf sends greetings to Jeanette Schenker.

OJ 15/16, [98] Handwritten letter from Hans Weisse to Jeanette Schenker, dated May 26, 1935

Weisse outlines a plan to give Jeanette financial support in the form of a collection from his most dedicated pupils, equivalent to 200 Austrian shillings per month, for a year, and encloses the first of three planned annual payments. — He inquires whether Schenker's notes on C. P. E. Bach’s Essay on the True Art of Playing Keyboard Instruments might be included in an Afterword to a projected English translation. — He plans an exposition of Schenkerian theory for use in schools, for which he needs to receive a copy of Der freie Satz. — He thanks Jeanette for mementos of her husband, and says a few words about his family and their summer plans.

OJ 10/18, [11] Handwritten notecard from Elias to Jeanette Schenker, dated June 19, 1935

Miss Elias sends Jeanette Schenker a photograph of Heinrich and will visit his grave with Marianne Kahn.

OJ 12/6, [45] Handwritten letter from Jonas and Salzer to Jeanette Schenker, dated June 27, 1935

Jonas and Salzer raise the founding of a new journal dedicated to Schenker's teaching and ideas, and also the possible publication of Schenker's Nachlass.

OJ 10/18, [12] Handwritten letter from Elias to Jeanette Schenker dated June 28, 1935

Miss Elias thanks Mrs. Schenker for photographs, and regrets having missed her phone calls. — She hopes Mrs. Schenker will recuperate in the spa house. — She reports that Mrs. Schenker's wishes have been carried out with regard to Heinrich's gravestone and remarks on the beauty of the inscription. — She comments on an article by Victor Zuckerkandl, and reports her own activity in graphing a piano piece by Schenker and re-graphing Beethoven's "Appassionata" Sonata.

OJ 89/8, [2] Handwritten letter from Jeanette Schenker to Anthony van Hoboken, dated June 29, 1935

Jeanette informs Hoboken that she has received from Ernst Oster an errata list for Der freie Satz, and asks Hoboken whom he thinks would be a qualified person to check this.

OJ 15/22, [10] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 5, 1935

Willfort lays out his plans for an abbreviated edition of Schenker's Harmonielehre, and explains his negotiations with Alfred Kalmus of UE.

OJ 11/54, [43] Typewritten letter from Hoboken to Jeanette Schenker, dated July 12, 1935

Hoboken regrets the printing errors in Der freie Satz and suggests that Ernst Oster prepare a list.

OJ 15/16, [99] Handwritten letter from Hans Weisse to Jeanette Schenker, dated July 14, 1935

Weisse thanks Jeanette Schenker for her letter and copy of Der freie Satz which he has read through and is about to study carefully. His initial impressions are that its conception and content are impressive, but that there are a lot of misprints; and he regrets that the foreword does not mention the financial help Schenker received from [Paul] Khuner. He approves Jeanette's idea of depositing Schenker's Nachlass in the Photogramm-Archiv in the Austrian National Library.

OJ 15/22, [11] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 18, 1935

Willfort explains his involvement in plans for a re-edition of the Harmonielehre, and thanks Jeanette for two photographs.

OJ 10/18, [13] Handwritten letter from Elias to Jeanette Schenker dated August 1, 1935

Jeanette Schenker, currently in Hofgastein, has decided where to live in the future; that involves leaving Keilgasse. — Elias supports Jeanette in her view of a new edition of Harmonielehre. — Elias is surprised to hear the plan for a Schenker Institute in Vienna. — She regrets that Schenker's aphorisms will not be published by Ungar. — She has been unable to meet with Moriz Violin regarding the "Appassionata" Sonata. — She is reading Der freie Satz.

OJ 15/16, [100] Handwritten letter from Hans Weisse to Jeanette Schenker, dated September 18, 1935

Weisse thanks Jeanette for sending a photograph of her late husband’s death-mask, and other photographs. — He offers her advice about what to do with Heinrich's library of books, and with his sketches and other unpublished analyses. The bulk of the letter is a critique of Der freie Satz, about which he has serious misgivings, partly concerning the title and subtitle, partly concerning its status as a textbook (Lehrbuch).

OJ 15/16, [101] Handwritten letter from Hans Weisse to Jeanette Schenker, dated October 22, 1935

Weisse thanks Jeanette for the photographs of her husband, and will distribute them to his pupils soon, when he sends the next payment of financial support that he has collected from them on her behalf. — He is actively engaged in bringing Schenker's ideas to an English-speaking audience, and urges her to consider agreeing to a suitably shortened version of Harmonielehre, rather than a word-for-word translation. — For Der freie Satz, an English translation would do more harm to Schenker's cause than not to have it translated at all, and it would be necessary to reconceive the presentation of the theory entirely, especially with respect to terminology. — He suggests that there may be a market for Schenker's library in American universities and libraries.

OJ 15/26, [4] Handwritten letter from Hans Wolf to Jeanette Schenker, dated November 16, 1935

Wolf thanks Jeanette Schenker for sending him a portrait of Brahms. He has been busy with doctorate work and private teaching.

OJ 11/54, [45]-[46] Handwritten letter, with envelope, from Eva van Hoboken to Jeanette Schenker, dated December 15, 1935

Eva van Hoboken sends 200 shillings for a copy of "Brahms Erinnerungen."

OJ 11/16, [17] Typewritten letter from Furtwängler to Jeanette Schenker, dated January 15, 1936

Furtwängler thanks Jeanette Schenker for the gift of Der freie Satz.

NYnscl MP.0008.01/1/1, 4 Handwritten letter from Jeanette Schenker to Arthur Waldeck and Nathan Broder, dated March 9, 1936

Jeanette has received an article about Schenker written by Waldeck and Broder and thanks the authors for the article and accompanying message. — She informs them that the Wiener Schenker-Institut has successfully started up.

OJ 12/6, [47] Handwritten postcard from Jonas to Jeanette Schenker, undated November [9], 1936]

Jonas proposes date and time to visit Jeanette.

OJ 11/16, [18] Typewritten letter from Furtwängler to Jeanette Schenker, dated April 20, 1937

Furtwängler thanks Jeanette Schenker as a gift the score of the St. Matthew Passion with Heinrich Schenker's annotations.

OJ 12/6, [48] Handwritten postcard from Jonas to Jeanette Schenker, dated February 17, 1938

Jonas reports on a meeting at UE re: the prospects for a proposed Schenker edition series and an English translation, and for prospects in the USA.

OJ 10/18, [15] Handwritten letter from Elias to Jeanette Schenker dated February 27, 1938

Mis Elias remarks that theory teachers tend to revert to the teaching of Ludwig Thuille for fear of Schenker. — She is eagerly awaiting issues 8/9 of Der Dreiklang, and recommends a radio relay of the St. Matthew Passion.

OJ 10/18, [16] Handwritten postcard from Marianne Kahn and Angi Elias to Jeanette Schenker, dated April ?3, 1938

Kahn and Elias are well and hope to see Jeanette in Vienna soon.

OJ 12/17, [11] Handwritten postcard from Komorn to Jeanette Schenker, dated May 10, 1938

Mrs. Komorn is delighted to receive a postcard from Jeanette, she tells her of her current difficulties, and encourages her to come and visit.

OJ 10/18, [17] Handwritten postcard from Angi Elias to Jeanette Schenker, dated October 21, 1938

Elias inquires how Jeanette is, and invites her to visit her in Vienna or meet in the city center.

OJ 14/1, [3] Handwritten postcard from Felix Salzer to Jeanette Schenker, undated [November 5, 1938]

Salzer asks if he can visit Jeanette Schenker on Monday or Tuesday.

OJ 10/18, [19] Handwritten calling card from Elias to Jeanette Schenker, undated [?1939]

Miss Elias has missed a phone call from Jeanette and asks her to call again.

OJ 10/18, [20] Handwritten letter from Elias to Jeanette Schenker dated May 21, 1939

Mis Elias rejects a suggestion made in Jeanette's previous letter. She inquires about the health of Jeanette's sister.

OJ 12/24, [10] Handwritten picture postcard from Kromer to Jeanette Schenker, dated May 24, 1939

Kromer is away, and will let Jeanette know when he returns.

OJ 12/24, [11] Typewritten postcard from Kromer to Jeanette Schenker, dated July 22, 1939

Kromer apologizes for not having been in touch; Kromer's wife appends a note.

OJ 14/7, [1] Handwritten letter from Felix Kornfeld to Jeanette Schenker, dated August 23, 1939

In probably the first such communication since 1910, Felix Kornfeld describes to his mother, Jeanette Schenker, his current difficult situation, his deportation to a concentration camp and release, his joblessness and divorce, his son (with photograph), and his urgent need to emigrate, and asks whether his mother has contacts abroad that could facilitate this.

OJ 12/24, [12] Handwritten postcard from Kromer to Jeanette Schenker, dated September 18, 1939

Kromer thanks Jeanette for her call and card, reports that Ratz is not in Vienna.

OJ 71/10a, [1] Typewritten letter (carbon copy) from Heribert Esser to Tomáš Kornfeld, dated April 20, 1988

Esser enquires whether the recipient is related to Jenny Kornfeld.

OJ 71/21a, [1] Handwritten picture postcard from Tomáš Kornfeld to Heribert Esser, dated May 5, 1988

Tomáš Kornfeld confirms that he is a descendant of the Kornfeld family.

OJ 71/21a, [2] Typewritten letter from Tomáš Kornfeld to Heribert Esser, dated June 7, 1988

Tomáš Kornfeld gives information about his grandmother Jenny Kornfeld (= Schenker), his grandfather (Emil), father (Felix) and uncle (Erich), in particular contacts between his grandmother and father.

Diary entry by Schenker for 10 April 1908

Diary entry by Schenker for 30 June 1908

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Diary entry by Schenker for 6 January 1915

Diary entry by Schenker for 7 January 1915

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Diary entry by Schenker for 28 January 1915

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Diary entry by Schenker for 6 February 1915

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Diary entry by Schenker for 14 February 1915

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Diary entry by Schenker for 18 February 1915

Diary entry by Schenker for 19 February 1915

Diary entry by Schenker for 20 February 1915

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Diary entry by Schenker for 27 February 1915

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Diary entry by Schenker for 14 March 1915

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Diary entry by Schenker for 4 April 1915

Diary entry by Schenker for 8 April 1915

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Diary entry by Schenker for 31 May 1915

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Diary entry by Schenker for 18 June 1915

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Diary entry by Schenker for 27 June 1915

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Diary entry by Schenker for 6 July 1915

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Diary entry by Schenker for 30 September 1915

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Diary entry by Schenker for 30 October 1915

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Diary entry by Schenker for 10 November 1915

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Diary entry by Schenker for 18 November 1915

Diary entry by Schenker for 19 November 1915

Diary entry by Schenker for 20 November 1915

Diary entry by Schenker for 21 November 1915

Diary entry by Schenker for 24 November 1915

Diary entry by Schenker for 27 November 1915

Diary entry by Schenker for 29 November 1915

Diary entry by Schenker for 30 November 1915

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Diary entry by Schenker for 2 December 1915

Diary entry by Schenker for 3 December 1915

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Diary entry by Schenker for 6 December 1915

Diary entry by Schenker for 8 December 1915

Diary entry by Schenker for 13 December 1915

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Diary entry by Schenker for 16 December 1915

Diary entry by Schenker for 18 December 1915

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Diary entry by Schenker for 24 December 1915

Diary entry by Schenker for 25 December 1915

Diary entry by Schenker for 26 December 1915

Diary entry by Schenker for 27 December 1915

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Diary entry by Schenker for 10 January 1916

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Diary entry by Schenker for 26 January 1916

Diary entry by Schenker for 28 January 1916

Diary entry by Schenker for 6 February 1916

Diary entry by Schenker for 7 February 1916

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Diary entry by Schenker for 26 February 1916

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Diary entry by Schenker for 5 March 1916

Diary entry by Schenker for 8 March 1916

Diary entry by Schenker for 9 March 1916

Diary entry by Schenker for 10 March 1916

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Diary entry by Schenker for 18 March 1916

Diary entry by Schenker for 21 March 1916

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Diary entry by Schenker for 27 March 1916

Diary entry by Schenker for 2 April 1916

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Diary entry by Schenker for 6 April 1916

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Diary entry by Schenker for 28 April 1916

Diary entry by Schenker for 4 May 1916

Diary entry by Schenker for 4 May 1916

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Diary entry by Schenker for 10 May 1916

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Diary entry by Schenker for 25 May 1916

Diary entry by Schenker for 27 May 1916

Diary entry by Schenker for 31 May 1916

Diary entry by Schenker for 1 June 1916

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Diary entry by Schenker for 6 June 1916

Diary entry by Schenker for 9 June 1916

Diary entry by Schenker for 10 June 1916

Diary entry by Schenker for 17 June 1916

Diary entry by Schenker for 18 June 1916

Diary entry by Schenker for 19 June 1916

Diary entry by Schenker for 26 June 1916

Diary entry by Schenker for 27 June 1916

Diary entry by Schenker for 28 June 1916

Diary entry by Schenker for 29 June 1916

Diary entry by Schenker for 30 June 1916

Diary entry by Schenker for 4 July 1916

Diary entry by Schenker for 6 July 1916

Diary entry by Schenker for 8 July 1916

Diary entry by Schenker for 11 July 1916

Diary entry by Schenker for 12 July 1916

Diary entry by Schenker for 13 July 1916

Diary entry by Schenker for 14 July 1916

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Diary entry by Schenker for 26 July 1916

Diary entry by Schenker for 27 July 1916

Diary entry by Schenker for 28 July 1916

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Diary entry by Schenker for 6 September 1916

Diary entry by Schenker for 7 September 1916

Diary entry by Schenker for 8 September 1916

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Diary entry by Schenker for 10 September 1916

Diary entry by Schenker for 12 September 1916

Diary entry by Schenker for 14 September 1916

Diary entry by Schenker for 18 September 1916

Diary entry by Schenker for 19 September 1916

Diary entry by Schenker for 20 September 1916

Diary entry by Schenker for 21 September 1916

Diary entry by Schenker for 22 September 1916

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Diary entry by Schenker for 27 September 1916

Diary entry by Schenker for 28 September 1916

Diary entry by Schenker for 30 September 1916

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Diary entry by Schenker for 27 October 1916

Diary entry by Schenker for 28 October 1916

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Diary entry by Schenker for 6 November 1916

Diary entry by Schenker for 7 November 1916

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Diary entry by Schenker for 28 November 1916

Diary entry by Schenker for 29 November 1916

Diary entry by Schenker for 30 November 1916

Diary entry by Schenker for 5 December 1916

Diary entry by Schenker for 6 December 1916

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Diary entry by Schenker for 12 December 1916

Diary entry by Schenker for 13 December 1916

Diary entry by Schenker for 15 December 1916

Diary entry by Schenker for 18 December 1916

Diary entry by Schenker for 19 December 1916

Diary entry by Schenker for 21 December 1916

Diary entry by Schenker for 22 December 1916

Diary entry by Schenker for 24 December 1916

Diary entry by Schenker for 25 December 1916

Diary entry by Schenker for 26 December 1916

Diary entry by Schenker for 27 December 1916

Diary entry by Schenker for 28 December 1916

Diary entry by Schenker for 29 December 1916

Diary entry by Schenker for 30 December 1916

Diary entry by Schenker for 30 December 1916

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Diary entry by Schenker for 4 January 1917

Diary entry by Schenker for 5 January 1917

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Diary entry by Schenker for 11 January 1917

Diary entry by Schenker for 12 January 1917

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Diary entry by Schenker for 29 January 1917

Diary entry by Schenker for 30 January 1917

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Diary entry by Schenker for 3 February 1917

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Diary entry by Schenker for 11 February 1917

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Diary entry by Schenker for 18 February 1917

Diary entry by Schenker for 21 February 1917

Diary entry by Schenker for 28 February 1917

Diary entry by Schenker for 2 March 1917

Diary entry by Schenker for 3 March 1917

Diary entry by Schenker for 12 March 1917

Diary entry by Schenker for 15 March 1917

Diary entry by Schenker for 17 March 1917

Diary entry by Schenker for 24 March 1917

Diary entry by Schenker for 26 March 1917

Diary entry by Schenker for 27 March 1917

Diary entry by Schenker for 28 March 1917

Diary entry by Schenker for 4 April 1917

Diary entry by Schenker for 6 April 1917

Diary entry by Schenker for 7 April 1917

Diary entry by Schenker for 13 April 1917

Diary entry by Schenker for 15 April 1917

Diary entry by Schenker for 16 April 1917

Diary entry by Schenker for 18 April 1917

Diary entry by Schenker for 19 April 1917

Diary entry by Schenker for 24 April 1917

Diary entry by Schenker for 25 April 1917

Diary entry by Schenker for 26 April 1917

Diary entry by Schenker for 2 May 1917

Diary entry by Schenker for 17 May 1917

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Diary entry by Schenker for 29 May 1917

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Diary entry by Schenker for 17 June 1917

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Diary entry by Schenker for 25 June 1917

Diary entry by Schenker for 26 June 1917

Diary entry by Schenker for 27 June 1917

Diary entry by Schenker for 28 June 1917

Diary entry by Schenker for 29 June 1917

Diary entry by Schenker for 30 June 1917

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Diary entry by Schenker for 3 July 1917

Diary entry by Schenker for 4 July 1917

Diary entry by Schenker for 6 July 1917

Diary entry by Schenker for 7 July 1917

Diary entry by Schenker for 9 July 1917

Diary entry by Schenker for 11 July 1917

Diary entry by Schenker for 15 July 1917

Diary entry by Schenker for 17 July 1917

Diary entry by Schenker for 19 July 1917

Diary entry by Schenker for 21 July 1917

Diary entry by Schenker for 23 July 1917

Diary entry by Schenker for 25 July 1917

Diary entry by Schenker for 26 July 1917

Diary entry by Schenker for 27 July 1917

Diary entry by Schenker for 28 July 1917

Diary entry by Schenker for 29 July 1917

Diary entry by Schenker for 30 July 1917

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Diary entry by Schenker for 13 August 1917

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Diary entry by Schenker for 17 August 1917

Diary entry by Schenker for 18 August 1917

Diary entry by Schenker for 19 August 1917

Diary entry by Schenker for 20 August 1917

Diary entry by Schenker for 27 August 1917

Diary entry by Schenker for 28 August 1917

Diary entry by Schenker for 29 August 1917

Diary entry by Schenker for 30 August 1917

Diary entry by Schenker for 31 August 1917

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Diary entry by Schenker for 5 September 1917

Diary entry by Schenker for 6 September 1917

Diary entry by Schenker for 7 September 1917

Diary entry by Schenker for 8 September 1917

Diary entry by Schenker for 11 September 1917

Diary entry by Schenker for 12 September 1917

Diary entry by Schenker for 13 September 1917

Diary entry by Schenker for 14 September 1917

Diary entry by Schenker for 15 September 1917

Diary entry by Schenker for 16 September 1917

Diary entry by Schenker for 17 September 1917

Diary entry by Schenker for 18 September 1917

Diary entry by Schenker for 20 September 1917

Diary entry by Schenker for 21 September 1917

Diary entry by Schenker for 24 September 1917

Diary entry by Schenker for 25 September 1917

Diary entry by Schenker for 29 September 1917

Diary entry by Schenker for 6 October 1917

Diary entry by Schenker for 8 October 1917

Diary entry by Schenker for 9 October 1917

Diary entry by Schenker for 10 October 1917

Diary entry by Schenker for 12 October 1917

Diary entry by Schenker for 13 October 1917

Diary entry by Schenker for 15 October 1917

Diary entry by Schenker for 16 October 1917

Diary entry by Schenker for 18 October 1917

Diary entry by Schenker for 25 October 1917

Diary entry by Schenker for 26 October 1917

Diary entry by Schenker for 27 October 1917

Diary entry by Schenker for 28 October 1917

Diary entry by Schenker for 29 October 1917

Diary entry by Schenker for 30 October 1917

Diary entry by Schenker for 1 November 1917

Diary entry by Schenker for 2 November 1917

Diary entry by Schenker for 5 November 1917

Diary entry by Schenker for 8 November 1917

Diary entry by Schenker for 9 November 1917

Diary entry by Schenker for 10 November 1917

Diary entry by Schenker for 11 November 1917

Diary entry by Schenker for 16 November 1917

Diary entry by Schenker for 19 November 1917

Diary entry by Schenker for 20 November 1917

Diary entry by Schenker for 21 November 1917

Diary entry by Schenker for 22 November 1917

Diary entry by Schenker for 24 November 1917

Diary entry by Schenker for 25 November 1917

Diary entry by Schenker for 29 November 1917

Diary entry by Schenker for 30 November 1917

Diary entry by Schenker for 2 December 1917

Diary entry by Schenker for 3 December 1917

Diary entry by Schenker for 7 December 1917

Diary entry by Schenker for 8 December 1917

Diary entry by Schenker for 10 December 1917

Diary entry by Schenker for 12 December 1917

Diary entry by Schenker for 13 December 1917

Diary entry by Schenker for 15 December 1917

Diary entry by Schenker for 16 December 1917

Diary entry by Schenker for 17 December 1917

Diary entry by Schenker for 19 December 1917

Diary entry by Schenker for 23 December 1917

Diary entry by Schenker for 25 December 1917

Diary entry by Schenker for 30 December 1917

Diary entry by Schenker for 1 January 1918

Diary entry by Schenker for 2 January 1918

Diary entry by Schenker for 8 January 1918

Diary entry by Schenker for 20 January 1918

Diary entry by Schenker for 23 January 1918

Diary entry by Schenker for 29 January 1918

Diary entry by Schenker for 30 January 1918

Diary entry by Schenker for 31 January 1918

Diary entry by Schenker for 1 February 1918

Diary entry by Schenker for 3 February 1918

Diary entry by Schenker for 4 February 1918

Diary entry by Schenker for 5 February 1918

Diary entry by Schenker for 9 February 1918

Diary entry by Schenker for 10 February 1918

Diary entry by Schenker for 11 February 1918

Diary entry by Schenker for 12 February 1918

Diary entry by Schenker for 19 February 1918

Diary entry by Schenker for 23 February 1918

Diary entry by Schenker for 27 February 1918

Diary entry by Schenker for 28 February 1918

Diary entry by Schenker for 3 March 1918

Diary entry by Schenker for 5 March 1918

Diary entry by Schenker for 8 March 1918

Diary entry by Schenker for 10 March 1918

Diary entry by Schenker for 12 March 1918

Diary entry by Schenker for 13 March 1918

Diary entry by Schenker for 15 March 1918

Diary entry by Schenker for 16 March 1918

Diary entry by Schenker for 20 March 1918

Diary entry by Schenker for 22 March 1918

Diary entry by Schenker for 24 March 1918

Diary entry by Schenker for 27 March 1918

Diary entry by Schenker for 30 March 1918

Diary entry by Schenker for 31 March 1918

Diary entry by Schenker for 2 April 1918

Diary entry by Schenker for 9 April 1918

Diary entry by Schenker for 10 April 1918

Diary entry by Schenker for 12 April 1918

Diary entry by Schenker for 21 April 1918

Diary entry by Schenker for 22 April 1918

Diary entry by Schenker for 24 April 1918

Diary entry by Schenker for 27 April 1918

Diary entry by Schenker for 1 May 1918

Diary entry by Schenker for 2 May 1918

Diary entry by Schenker for 3 May 1918

Diary entry by Schenker for 4 May 1918

Diary entry by Schenker for 5 May 1918

Diary entry by Schenker for 7 May 1918

Diary entry by Schenker for 8 May 1918

Diary entry by Schenker for 9 May 1918

Diary entry by Schenker for 10 May 1918

Diary entry by Schenker for 13 May 1918

Diary entry by Schenker for 16 May 1918

Diary entry by Schenker for 18 May 1918

Diary entry by Schenker for 19 May 1918

Diary entry by Schenker for 30 May 1918

Diary entry by Schenker for 5 June 1918

Diary entry by Schenker for 8 June 1918

Diary entry by Schenker for 14 June 1918

Diary entry by Schenker for 15 June 1918

Diary entry by Schenker for 15 June 1918

Diary entry by Schenker for 16 June 1918

Diary entry by Schenker for 17 June 1918

Diary entry by Schenker for 19 June 1918

Diary entry by Schenker for 20 June 1918

Diary entry by Schenker for 21 June 1918

Diary entry by Schenker for 22 June 1918

Diary entry by Schenker for 25 June 1918

Diary entry by Schenker for 27 June 1918

Diary entry by Schenker for 28 June 1918

Diary entry by Schenker for 29 June 1918

Diary entry by Schenker for 1 July 1918

Diary entry by Schenker for 4 July 1918

Diary entry by Schenker for 5 July 1918

Diary entry by Schenker for 7 July 1918

Diary entry by Schenker for 8 July 1918

Diary entry by Schenker for 9 July 1918

Diary entry by Schenker for 12 July 1918

Diary entry by Schenker for 14 July 1918

Diary entry by Schenker for 15 July 1918

Diary entry by Schenker for 16 July 1918

Diary entry by Schenker for 17 July 1918

Diary entry by Schenker for 19 July 1918

Diary entry by Schenker for 22 July 1918

Diary entry by Schenker for 26 July 1918

Diary entry by Schenker for 27 July 1918

Diary entry by Schenker for 29 July 1918

Diary entry by Schenker for 30 July 1918

Diary entry by Schenker for 31 July 1918

Diary entry by Schenker for 1 August 1918

Diary entry by Schenker for 2 August 1918

Diary entry by Schenker for 3 August 1918

Diary entry by Schenker for 9 August 1918

Diary entry by Schenker for 13 August 1918

Diary entry by Schenker for 15 August 1918

Diary entry by Schenker for 17 August 1918

Diary entry by Schenker for 18 August 1918

Diary entry by Schenker for 20 August 1918

Diary entry by Schenker for 21 August 1918

Diary entry by Schenker for 22 August 1918

Diary entry by Schenker for 23 August 1918

Diary entry by Schenker for 26 August 1918

Diary entry by Schenker for 29 August 1918

Diary entry by Schenker for 3 September 1918

Diary entry by Schenker for 4 September 1918

Diary entry by Schenker for 5 September 1918

Diary entry by Schenker for 7 September 1918

Diary entry by Schenker for 8 September 1918

Diary entry by Schenker for 9 September 1918

Diary entry by Schenker for 10 September 1918

Diary entry by Schenker for 11 September 1918

Diary entry by Schenker for 13 September 1918

Diary entry by Schenker for 14 September 1918

Diary entry by Schenker for 15 September 1918

Diary entry by Schenker for 16 September 1918

Diary entry by Schenker for 18 September 1918

Diary entry by Schenker for 19 September 1918

Diary entry by Schenker for 20 September 1918

Diary entry by Schenker for 23 September 1918

Diary entry by Schenker for 24 September 1918

Diary entry by Schenker for 25 September 1918

Diary entry by Schenker for 26 September 1918

Diary entry by Schenker for 29 September 1918

Diary entry by Schenker for 1 October 1918

Diary entry by Schenker for 2 October 1918

Diary entry by Schenker for 3 October 1918

Diary entry by Schenker for 4 October 1918

Diary entry by Schenker for 6 October 1918

Diary entry by Schenker for 8 October 1918

Diary entry by Schenker for 9 October 1918

Diary entry by Schenker for 14 October 1918

Diary entry by Schenker for 15 October 1918

Diary entry by Schenker for 16 October 1918

Diary entry by Schenker for 17 October 1918

Diary entry by Schenker for 18 October 1918

Diary entry by Schenker for 20 October 1918

Diary entry by Schenker for 21 October 1918

Diary entry by Schenker for 22 October 1918

Diary entry by Schenker for 23 October 1918

Diary entry by Schenker for 24 October 1918

Diary entry by Schenker for 26 October 1918

Diary entry by Schenker for 28 October 1918

Diary entry by Schenker for 31 October 1918

Diary entry by Schenker for 1 November 1918

Diary entry by Schenker for 2 November 1918

Diary entry by Schenker for 6 November 1918

Diary entry by Schenker for 11 November 1918

Diary entry by Schenker for 15 November 1918

Diary entry by Schenker for 17 November 1918

Diary entry by Schenker for 19 November 1918

Diary entry by Schenker for 20 November 1918

Diary entry by Schenker for 22 November 1918

Diary entry by Schenker for 27 November 1918

Diary entry by Schenker for 28 November 1918

Diary entry by Schenker for 29 November 1918

Diary entry by Schenker for 1 December 1918

Diary entry by Schenker for 2 December 1918

Diary entry by Schenker for 5 December 1918

Diary entry by Schenker for 7 December 1918

Diary entry by Schenker for 8 December 1918

Diary entry by Schenker for 9 December 1918

Diary entry by Schenker for 10 December 1918

Diary entry by Schenker for 11 December 1918

Diary entry by Schenker for 12 December 1918

Diary entry by Schenker for 13 December 1918

Diary entry by Schenker for 20 December 1918

Diary entry by Schenker for 22 December 1918

Diary entry by Schenker for 23 December 1918

Diary entry by Schenker for 24 December 1918

Diary entry by Schenker for 26 December 1918

Diary entry by Schenker for 27 December 1918

Diary entry by Schenker for 30 December 1918

Diary entry by Schenker for 2 January 1919

Diary entry by Schenker for 3 January 1919

Diary entry by Schenker for 4 January 1919

Diary entry by Schenker for 6 January 1919

Diary entry by Schenker for 14 January 1919

Diary entry by Schenker for 16 January 1919

Diary entry by Schenker for 18 January 1919

Diary entry by Schenker for 21 January 1919

Diary entry by Schenker for 23 January 1919

Diary entry by Schenker for 24 January 1919

Diary entry by Schenker for 28 January 1919

Diary entry by Schenker for 1 February 1919

Diary entry by Schenker for 8 February 1919

Diary entry by Schenker for 15 February 1919

Diary entry by Schenker for 16 February 1919

Diary entry by Schenker for 18 February 1919

Diary entry by Schenker for 22 February 1919

Diary entry by Schenker for 27 February 1919

Diary entry by Schenker for 5 March 1919

Diary entry by Schenker for 6 March 1919

Diary entry by Schenker for 7 March 1919

Diary entry by Schenker for 10 March 1919

Diary entry by Schenker for 11 March 1919

Diary entry by Schenker for 13 March 1919

Diary entry by Schenker for 18 March 1919

Diary entry by Schenker for 18 March 1919

Diary entry by Schenker for 22 March 1919

Diary entry by Schenker for 27 March 1919

Diary entry by Schenker for 28 March 1919

Diary entry by Schenker for 29 March 1919

Diary entry by Schenker for 30 March 1919

Diary entry by Schenker for 31 March 1919

Diary entry by Schenker for 4 April 1919

Diary entry by Schenker for 6 April 1919

Diary entry by Schenker for 8 April 1919

Diary entry by Schenker for 10 April 1919

Diary entry by Schenker for 11 April 1919

Diary entry by Schenker for 12 April 1919

Diary entry by Schenker for 13 April 1919

Diary entry by Schenker for 14 April 1919

Diary entry by Schenker for 16 April 1919

Diary entry by Schenker for 17 April 1919

Diary entry by Schenker for 18 April 1919

Diary entry by Schenker for 21 April 1919

Diary entry by Schenker for 22 April 1919

Diary entry by Schenker for 23 April 1919

Diary entry by Schenker for 24 April 1919

Diary entry by Schenker for 26 April 1919

Diary entry by Schenker for 27 April 1919

Diary entry by Schenker for 29 April 1919

Diary entry by Schenker for 30 April 1919

Diary entry by Schenker for 3 May 1919

Diary entry by Schenker for 5 May 1919

Diary entry by Schenker for 7 May 1919

Diary entry by Schenker for 11 May 1919

Diary entry by Schenker for 12 May 1919

Diary entry by Schenker for 15 May 1919

Diary entry by Schenker for 16 May 1919

Diary entry by Schenker for 17 May 1919

Diary entry by Schenker for 18 May 1919

Diary entry by Schenker for 25 May 1919

Diary entry by Schenker for 26 May 1919

Diary entry by Schenker for 27 May 1919

Diary entry by Schenker for 31 May 1919

Diary entry by Schenker for 7 June 1919

Diary entry by Schenker for 9 June 1919

Diary entry by Schenker for 11 June 1919

Diary entry by Schenker for 12 June 1919

Diary entry by Schenker for 14 June 1919

Diary entry by Schenker for 18 June 1919

Diary entry by Schenker for 19 June 1919

Diary entry by Schenker for 21 June 1919

Diary entry by Schenker for 22 June 1919

Diary entry by Schenker for 25 June 1919

Diary entry by Schenker for 26 June 1919

Diary entry by Schenker for 28 June 1919

Diary entry by Schenker for 30 June 1919

Diary entry by Schenker for 1 July 1919

Diary entry by Schenker for 3 July 1919

Diary entry by Schenker for 4 July 1919

Diary entry by Schenker for 5 July 1919

Diary entry by Schenker for 6 July 1919

Diary entry by Schenker for 7 July 1919

Diary entry by Schenker for 8 July 1919

Diary entry by Schenker for 9 July 1919

Diary entry by Schenker for 14 July 1919

Diary entry by Schenker for 15 July 1919

Diary entry by Schenker for 17 July 1919

Diary entry by Schenker for 23 July 1919

Diary entry by Schenker for 27 July 1919

Diary entry by Schenker for 28 July 1919

Diary entry by Schenker for 1 August 1919

Diary entry by Schenker for 2 August 1919

Diary entry by Schenker for 3 August 1919

Diary entry by Schenker for 4 August 1919

Diary entry by Schenker for 8 August 1919

Diary entry by Schenker for 9 August 1919

Diary entry by Schenker for 10 August 1919

Diary entry by Schenker for 11 August 1919

Diary entry by Schenker for 12 August 1919

Diary entry by Schenker for 13 August 1919

Diary entry by Schenker for 14 August 1919

Diary entry by Schenker for 16 August 1919

Diary entry by Schenker for 17 August 1919

Diary entry by Schenker for 19 August 1919

Diary entry by Schenker for 20 August 1919

Diary entry by Schenker for 23 August 1919

Diary entry by Schenker for 24 August 1919

Diary entry by Schenker for 25 August 1919

Diary entry by Schenker for 27 August 1919

Diary entry by Schenker for 29 August 1919

Diary entry by Schenker for 30 August 1919

Diary entry by Schenker for 2 September 1919

Diary entry by Schenker for 3 September 1919

Diary entry by Schenker for 6 September 1919

Diary entry by Schenker for 8 September 1919

Diary entry by Schenker for 9 September 1919

Diary entry by Schenker for 10 September 1919

Diary entry by Schenker for 11 September 1919

Diary entry by Schenker for 12 September 1919

Diary entry by Schenker for 13 September 1919

Diary entry by Schenker for 14 September 1919

Diary entry by Schenker for 15 September 1919

Diary entry by Schenker for 16 September 1919

Diary entry by Schenker for 17 September 1919

Diary entry by Schenker for 18 September 1919

Diary entry by Schenker for 19 September 1919

Diary entry by Schenker for 21 September 1919

Diary entry by Schenker for 24 September 1919

Diary entry by Schenker for 25 September 1919

Diary entry by Schenker for 26 September 1919

Diary entry by Schenker for 27 September 1919

Diary entry by Schenker for 30 September 1919

Diary entry by Schenker for 1 October 1919

Diary entry by Schenker for 2 October 1919

Diary entry by Schenker for 3 October 1919

Diary entry by Schenker for 6 October 1919

Diary entry by Schenker for 8 October 1919

Diary entry by Schenker for 11 October 1919

Diary entry by Schenker for 12 October 1919

Diary entry by Schenker for 13 October 1919

Diary entry by Schenker for 15 October 1919

Diary entry by Schenker for 17 October 1919

Diary entry by Schenker for 21 October 1919

Diary entry by Schenker for 25 October 1919

Diary entry by Schenker for 26 October 1919

Diary entry by Schenker for 27 October 1919

Diary entry by Schenker for 28 October 1919

Diary entry by Schenker for 29 October 1919

Diary entry by Schenker for 30 October 1919

Diary entry by Schenker for 31 October 1919

Diary entry by Schenker for 1 November 1919

Diary entry by Schenker for 2 November 1919

Diary entry by Schenker for 3 November 1919

Diary entry by Schenker for 4 November 1919

Diary entry by Schenker for 5 November 1919

Diary entry by Schenker for 8 November 1919

Diary entry by Schenker for 9 November 1919

Diary entry by Schenker for 10 November 1919

Diary entry by Schenker for 11 November 1919

Diary entry by Schenker for 12 November 1919

Diary entry by Schenker for 13 November 1919

Diary entry by Schenker for 14 November 1919

Diary entry by Schenker for 15 November 1919

Diary entry by Schenker for 16 November 1919

Diary entry by Schenker for 17 November 1919

Diary entry by Schenker for 18 November 1919

Diary entry by Schenker for 19 November 1919

Diary entry by Schenker for 23 November 1919

Diary entry by Schenker for 25 November 1919

Diary entry by Schenker for 26 November 1919

Diary entry by Schenker for 27 November 1919

Diary entry by Schenker for 28 November 1919

Diary entry by Schenker for 29 November 1919

Diary entry by Schenker for 30 November 1919

Diary entry by Schenker for 1 December 1919

Diary entry by Schenker for 3 December 1919

Diary entry by Schenker for 4 December 1919

Diary entry by Schenker for 5 December 1919

Diary entry by Schenker for 7 December 1919

Diary entry by Schenker for 10 December 1919

Diary entry by Schenker for 11 December 1919

Diary entry by Schenker for 12 December 1919

Diary entry by Schenker for 13 December 1919

Diary entry by Schenker for 16 December 1919

Diary entry by Schenker for 19 December 1919

Diary entry by Schenker for 23 December 1919

Diary entry by Schenker for 24 December 1919

Diary entry by Schenker for 28 December 1919

Diary entry by Schenker for 29 December 1919

Diary entry by Schenker for 29 December 1919

Diary entry by Schenker for 7 January 1920

Diary entry by Schenker for 10 January 1920

Diary entry by Schenker for 14 January 1920

Diary entry by Schenker for 18 January 1920

Diary entry by Schenker for 27 January 1920

Diary entry by Schenker for 28 January 1920

Diary entry by Schenker for 29 January 1920

Diary entry by Schenker for 31 January 1920

Diary entry by Schenker for 1 February 1920

Diary entry by Schenker for 4 February 1920

Diary entry by Schenker for 5 February 1920

Diary entry by Schenker for 17 February 1920

Diary entry by Schenker for 19 February 1920

Diary entry by Schenker for 23 February 1920

Diary entry by Schenker for 24 February 1920

Diary entry by Schenker for 28 February 1920

Diary entry by Schenker for 29 February 1920

Diary entry by Schenker for 2 March 1920

Diary entry by Schenker for 3 March 1920

Diary entry by Schenker for 4 March 1920

Diary entry by Schenker for 8 March 1920

Diary entry by Schenker for 9 March 1920

Diary entry by Schenker for 11 March 1920

Diary entry by Schenker for 14 March 1920

Diary entry by Schenker for 16 March 1920

Diary entry by Schenker for 17 March 1920

Diary entry by Schenker for 19 March 1920

Diary entry by Schenker for 21 March 1920

Diary entry by Schenker for 23 March 1920

Diary entry by Schenker for 30 March 1920

Diary entry by Schenker for 3 April 1920

Diary entry by Schenker for 7 April 1920

Diary entry by Schenker for 8 April 1920

Diary entry by Schenker for 10 April 1920

Diary entry by Schenker for 13 April 1920

Diary entry by Schenker for 15 April 1920

Diary entry by Schenker for 16 April 1920

Diary entry by Schenker for 17 April 1920

Diary entry by Schenker for 19 April 1920

Diary entry by Schenker for 21 April 1920

Diary entry by Schenker for 23 April 1920

Diary entry by Schenker for 24 April 1920

Diary entry by Schenker for 25 April 1920

Diary entry by Schenker for 28 April 1920

Diary entry by Schenker for 30 April 1920

Diary entry by Schenker for 4 May 1920

Diary entry by Schenker for 7 May 1920

Diary entry by Schenker for 12 May 1920

Diary entry by Schenker for 13 May 1920

Diary entry by Schenker for 14 May 1920

Diary entry by Schenker for 18 May 1920

Diary entry by Schenker for 20 May 1920

Diary entry by Schenker for 21 May 1920

Diary entry by Schenker for 25 May 1920

Diary entry by Schenker for 26 May 1920

Diary entry by Schenker for 28 May 1920

Diary entry by Schenker for 30 May 1920

Diary entry by Schenker for 1 June 1920

Diary entry by Schenker for 2 June 1920

Diary entry by Schenker for 3 June 1920