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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.
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JOB 94-3, [15] Handwritten letter from Schenker to Hammer, continued by Weisse, dated October 5,
1925
Schenker informs Hammer that he has recommended Otto Vrieslander as the author
of a short article about him to accompany the Hammer mezzotint for publication in the
journal Die Musik. Weisse continues the letter, ordering prints of the mezzotint for
Schenker and himself, and detailing arrangements for payment.
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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.
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JOB 94-3, [16] Handwritten letter from Schenker to Hammer, dated November [recte October] 11,
1925
Schenker reports that the tube [containing a print of the mezzotint portrait
of him, for making a printing block] has been sent to the publisher [of Die Musik], and he
now waits to see whether the latter will commission an article to accompany it. He comments
on the Albertina's purchase of a print of the portrait.
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DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927
Thanking Halm for his Beethoven book, he believes that their misunderstandings
could be removed and hopes Der freie Satz will help bring that about; gives order of publication
for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work
of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his
correspondence with Hindemith.
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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.
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OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930
Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about
Schenker difficult to read. He advises him to proceed with the printing of his essay on the
"Eroica" Symphony, even if it proves possible for another publisher to take it over at a
late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for
orchestra or wind band].
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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.
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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.
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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.