Schenker Documents Online: Munich

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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Munich München Documents associated with this entity: Correspondence Diaries Other material Capital city of Bavaria, and a major cultural center in Germany; located on the River Isar, north of the Bavarian Alps. Munich and Schenker For many years, Schenker's contact with Munich came through his pupil Otto Vrieslander who, having studied there 1904–11, lived in nearby Ebersberg from 1912 to 1924. Another important contact was Herman Roth, who lived in Munich from 1910 to 1920 and again 1932 to 1935. Anthony van Hoboken also lived there during World War I and spent time there in the mid-1920s. Felix-Eberhard von Cube also grew up in Munich, and studied for a time with Vrieslander before going to Vienna to work directly under Schenker's supervision. Vrieslander was apparently trying to engineer an appointment for Schenker in Munich in 1919, for Schenker wrote to Hertzka (UE) on December 17, 1919: By the time I am finished with that [Op. 101] I hope to know for certain whether I am going to Munich, in what capacity, whether I shall be giving lectures there at the Akademie [der Tonkunst] or elsewhere. (WSLB 310) The music historian Alfred Einstein was also based in Munich, and it was through him, with Otto Vrieslander acting as intermediary, that Schenker's most lasting link with the city – which had long been a leading center of publishing in Germany – came about, namely the publication of Das Meisterwerk in der Musik (1925, 1926, 1930) by Drei Masken Verlag of Munich, the extensive correspondence with which, comprising some 330 items and spanning 1924–32, is preserved as OC 54. Contributors: Marko Deisinger and Ian Bent Downloads temporarily removed for testing purposes Correspondence OJ 9/6, [30] Handwritten letter from Eugen d'Albert to Schenker, dated May 4, 1898 Eugen d'Albert asks for return of the orchestral score of his opera Die Abreise, and seeks recent compositions by Schenker. OJ 9/6, [32] Handwritten postcard from Eugen d'Albert to Schenker, dated September 2, 1900 Eugen d'Albert gives the schedule of forthcoming performances of his opera. OJ 9/6, [33] Handwritten letter from Eugen d'Albert to Schenker, dated October 17, 1900 Eugen d'Albert reports the success of his operas "Kain" and "Die Abreise" in Prague and Dresden, and points out that Vienna is the only sizeable German[sic] stage not to have staged "Die Abreise." OJ 12/27, [4] Stenographically handwritten letter from Cotta to Schenker, dated January 7, 1907 Cotta inquires whether Schenker's name may be divulged. CA 76 Handwritten letter from Schenker to Cotta, dated April 24, 1908 Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch, explaining the delay on Kontrapunkt I. CA 94 Handwritten postcard from Schenker to Cotta, dated April 8, 1909 Schenker inquires whether a batch of proofs has gone astray, and draws attention to a review. OC 52/37 Typewritten postcard from UE (unidentified signatory) to Schenker, dated September 20, 1909 Hertzka is currently away. OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10, 1909 Schenker, on receipt of the score of a Rudorff choral work, praises its textural clarity and melodic articulation, comparing them favorably to the writing of the current generation. — He reports the success of his own recent theory works, and inroads made into the Vienna Academy for Music and Performance Art. CA 106-107 Handwritten letter from Schenker to Cotta, dated December 2, 1909 Schenker explains the necessity for some late interpolations into Kontrapunkt I. — He may be able to include the title "Professor of Composition and Theory" against his name on the title-pages of his works, and debates the advantages of such an appointment at the Vienna Academy against the loss of independence. — Only anonymity has prevented Harmonielehre from success so far. OC 52/390 Handwritten note by Schenker, undated [probably 1909] Schenker records the refusal of his request for increased honorarium for vol. II of Handel Organ Concertos, maintaining that his work comstituted more that mere "arrangements." OC 52/56 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 9, 1910 Wöß invites Schenker to call on him to discuss aspects of the Chromatic Fantasy & Fugue edition. WSLB 73 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1910 Schenker has received gratitude from abroad for his edition of the Chromatic Fantasy & Fugue, and asks for a copy to be sent to Otto Vrieslander. — He accuses the Viennese of hostility and intellectual theft. WSLB 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911 Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies his editorial stance with reference to Rodin and architecture, and suggests it might be published in Germany as retribution against Bopp and Wiener. —He is working now on Counterpoint II for Cotta. 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]. OC 1 B/15 Handwritten draft letter from Schenker to Carl Colbert, dated September 15, 1912 Schenker explains why he deprecates strongly giving a student only one lesson a week and positively recommends two or three; he leaves the matter to Colbert, but gives him a difficult choice. OJ 9/30, [4] Handwritten letter from Tony Colbert to Schenker, dated September 27, 1912 Mrs. Colbert suggests works she might study. -- She is enjoying Schenker's (newly published) monograph on Beethoven's Ninth Symphony. OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913 Hammer approaches Schenker regarding piano lessons for his wife. WSLB-Hds 95654 Handwritten letter from Schenker to Seligmann, dated July 24, 1916 Schenker tells Seligmann that he has arranged for copies of his critical editions of Beethoven’s Op. 110 and Op. 111 to be sent to him. He speaks of the positive interest his works have received in Germany, and about Hugo Riemann asking him to provide autobiographical material for an entry in the next edition of his music lexicon. DLA 69.930/2 Handwritten letter from Schenker to Halm, dated January 17, 1918 Schenker has received Halm's article about him, and expresses his appreciation. Schenker's mother died in December 1917; he looked after her and his siblings from the time his father died [1887]. Addresses a reservation on Halm's part—speaking to him as "leader to leader"—and confirms his concept of the Volk. Schenker has a plan to put to Halm. 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 11/35, 8 Handwritten letter from Halm to Schenker, dated February 12, 1918 Halm acknowledges receipt of item from Schenker's publisher, and plans to reciprocate, but has little time in which to order items. Copies of his essay about Schenker have been misdirected. OC 1 B/34r Handwritten draft letter from Schenker to Türkel, dated February 24, 1918 Schenker addresses legal obstructions regarding Sofie Deutsch's will, and threatens to go back on an earlier disclaimer if he continues to be deprived of the inheritance due to him; notifies Türkel that he has already paid out the first stipend, to Otto Vrieslander, and has promised the second and third to two composers (unnamed). OJ 10/1, [34] Handwritten letter from Dahms to Schenker, dated July 29, 1918 Dahms thanks Schenker for his long letter; reports on his vacation in Munich and visit with Vrieslander; he is looking forward to studying with Schenker in Vienna. 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. 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 8/3, [80] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 12, 1920 Schenker comments acerbically on the settlement with Emil Kornfeld. — Reports on a contract Halm has shown him. — Inquires about the children's health and reports that Wilhelm has been taken ill. OC 52/221 Typed letter from Hertzka (UE) to Schenker, dated March 26, 1920 Hertzka seeks a meeting to discuss the letter of agreement about the Beethoven sonatas edition, and laments their difficulty in meeting. 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 10/1, [56] Handwritten letter from Dahms to Schenker, dated August 19, 1920 Dahms is having difficulty obtaining a passport, but still hopes to see Schenker this summer, perhaps in Munich. — He sends his three biographical books to Schenker, but is apprehensive of the latter's reaction to their hemeneutic elements; he hopes to writes something more fitting. 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 10/1, [60] Handwritten letter from Dahms to Schenker, dated December 29, 1920 Dahms thanks Schenker for his assessment of the three of his books that he has sent him; gives a chapter synopsis of his next book, concerning Nietzsche and music; reports on his movement in the coming months. 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 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 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, [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 10/3, [31] Typewritten letter from Deutsch to Schenker, dated April 18, 1922 Deutsch informs Schenker that Drei Masken is publishing a facsimile of Beethoven's Piano Sonata in C minor, Op. 111. OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923 Violin has met an industrialist by the name of Max Temming who would be willing to help make Schenker’s work more widely accessible. Violin will probably not visit the Schenkers in Galtür this summer, as prices have gone up in Germany. 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 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. JOB 94-3, [7] Handwritten letter from Schenker to Hammer dated January 13, 1924 Schenker responds to a long letter from Hammer by, first, agreeing to his proposal to sittings for a portrait, and, second, saying that there is no one in music now capable of judging the artistry of musicians. Schenker feels he has uniquely this ability, but others in music do not understand him. OJ 15/31, [1] Handwritten letter from Hermann Wunsch to Schenker, dated January 31, 1924 Hermann Wunsch thanks Schenker for the award of 2M Kronen as a stipend from the Sofie Deutsch bequest, and reports on his recent compositional activity. OJ 15/31, [3] Handwritten letter from Hermann Wunsch to Schenker, dated March 29, 1924 Hermann Wunsch encloses a review of his second symphony, and asks for Schenker's help in securing a performance in Vienna. DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924 In response to matters raised by Halm in two previous letters, Schenker discusses figuration, distinguishing between that which works only on the surface and that which arises out of the middle and background, drawing on primal intervals. He also concedes that he heard Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for forthcoming volumes of Der Tonwille. 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 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 OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9, 1924 In the light of an exchange of letters with UE, Schenker suggests that the new publication have a new title (Die Urlinie) but that the old typeface and format be retained. He suggests that the new periodical should include articles on each of the Chopin etudes and the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from all of which book-length studies could subsequently be made. 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. 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 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. JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925 Wherever Hammer may travel, Schenker declares, he will never lose his Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an account of the dispute with Universal Edition and the outcome of negotiations with Drei Masken Verlag. 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 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. OC 54/29 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated June 10, 1925 Drei Masken Verlag requests that Schenker send the manuscript of the first Meisterwerk Yearbook directly to their Munich office. 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. 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 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. OC 54/37 Copy of letter from Schenker to Drei Masken Verlag, dated October 16, 1925 Expressing his distress at the delays, Schenker expresses his hope that the first Meisterwerk Yearbook might nonetheless be published by December and, if not, that it should still bear the date of 1925. OJ 10/3, [43] Typewritten postcard from Deutsch to Schenker, dated November 7, 1925 Deutsch thanks Schenker for agreeing to the cuts to his article, and asks to come to the Schenkers on November 22 for the planned snack. OC 54/48 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated December 9, 1925 Drei Masken Verlag acknowledge receipt of the Foreword to Meisterwerk I. They note that he has made a large number of corrections to the proofs, and warn him that, though they can be incorporated in the final text, he will have to bear the expense if they exceed 10% of the overall printing costs. 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. OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926 Drei Masken Verlag in Munich have now transferred all matters of production concerning the first Meisterwerk Yearbook to their office in Vienna. OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15, 1926 A draft statement of the principles lying behind Schenker’s Meisterwerk series of Yearbooks, together with a provisional table of contents for the second Yearbook. OC 52/545 Typed postcard from Hugo Winter (UE) to Schenker, dated April 9, 1926 Winter acknowledges order from Otto Bauer. OC 54/74 Typed letter from Alfred Böhme (DMV) to Schenker, dated April 15, 1926 Drei Masken Verlag inform Schenker that the proof-copy of Meisterwerk 1 has been sent to Dr. Einstein in Munich for final checking. They confirm that the majority of the music examples will appear as an unbound supplement at the end of the book, agree to correct two errors in the typesetting, and confirm the appearance of the cover. 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. 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 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 6/7, [29] Handwritten letter from Schenker to Moriz Violin, dated September 7, 1926 Schenker conveys his personal grief over the serious illness of Violin's son Karl. He philosophizes about the ills of the world, noting financial difficulties recently faced by Vrieslander, Dahms, and van der Berg. He reports Robert Pollak's imminent departure for San Francisco. OC 54/101 Typed letter from Drei Masken Verlag (Vienna) to Schenker, dated October 12, 1926 Drei Masken Verlag in Vienna will forward Schenker’s query about the lack of publicity for the first Meisterwerk Yearbook to their Munich office. OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926] In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable with material property; the music of today is quite different from that of the past, the rules of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to speak his own mind. OJ 10/3, [52] Typewritten postcard from Deutsch to Schenker, dated January 15, 1927 Deutsch asks Schenker if a (recent) edition of Beethoven’s Ninth Symphony was based on the facsimile edition. He has sent the manuscript (of Schenker’s second Meisterwerk yearbook) to the publishers. A Haydn facsimile and a Handel print can be discussed later. OJ 11/54, [10] Handwritten letter from van Hoboken to Schenker, dated January 16, 1927 Van Hoboken acknowledges [non-extant] missive; has been unable to look up Gerald Warburg; asks for John Petrie Dunn's address; has seen Otto Vrieslander. 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. 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 13/25, [1] Handwritten letter from Albert Trentini (on behalf of Hermann Rinn) to Schenker, dated February 23, 1927 Trentini invites Schenker to contribute to Der Kunstwart. 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 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 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, [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. WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated November 27, 1928 Schenker reports the impact of his Urlinie concept on the educational world within Germany and in the USA. — He seeks to re-establish a working relationship with UE, raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the "Eroica." 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 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 10/3, [102] Typewritten picture postcard from Deutsch to Schenker, dated May 13, 1929 Deutsch informs Schenker that Anthony van Hoboken is still abroad, but is expected towards the end of the week (Friday, May 17). OJ 10/3, [103] Typewritten letter from Deutsch to Schenker, dated June 11, 1929 Deutsch gives Schenker a detailed, comprehensive account of how his royalties on the sale of the third Meisterwerk yearbook are based. OJ 89/3, [6] Handwritten letter from Schenker to Hoboken, dated August 2, 1929 Schenker has passed the [fee] verdict on to Vrieslander; alludes to Reinhard Oppel, and advises on the analysis of Brahms Op. 117, No. 1. OJ 10/3, [105] Handwritten letter from Deutsch to Schenker, dated August 21, 1929 In this long letter, Deutsch seeks to explain Vrieslander’s behavior with regard to the purchase of materials from an unscrupulous antiquarian dealer, and also to account for Hoboken’s treatment of Vrieslander as a consequence. --- He accepts that funds to set up a journal linked to the Photogram Archive are not unlimited, but understands why Schenker cannot devote as much of his own time to the project as Hoboken might expect. --- He describes Hoboken as a childish character, with little understanding of the world of ordinary people, who might nevertheless ultimately produce a good piece of scholarship. 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, [A] Handwritten letter from Schenker to Hoboken, undated [between November 14, 1928 and January 1, 1929] Schenker asks Hoboken to send a copy of a Schubert minuet to Munich, and draws his attention to a Landshoff article and notice about the Andreas Bach book. OJ 5/32, [1] Postal receipt from Schenker to Rinn, dated January 23, 1930 Schenker sends the Hammer portrait to Rinn. OJ 5/32, [2] Postal receipt from Schenker to Rinn, dated April 8, 1930 Schenker returns the galley-proofs of Vrieslander's article about him. OJ 10/3, [127] Handwritten picture postcard from Deutsch to Schenker, dated May 23, 1930 Deutsch thanks Schenker for his musical illustration relating to Beethoven’s "Neue Liebe, neues Leben" and gives details of the second of two outdoor music events [Leopoldsplatz], scheduled for June 12. OJ 10/3, [129] Handwritten letter from Deutsch to Schenker, dated June 6, 1930 Deutsch has discussed the printing of the music illustrations for Schenker’s "Eroica" monograph with the lithographers Elbemühl. He hopes that Georg Tomay will complete his calligraphic work before Schenker leaves for Galtür. 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]. 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. OC 54/311 Handwritten letter from Deutsch to Schenker, dated July 14, 1930 Deutsch sends Schenker the contract from Drei Masken Verlag for the third Meisterwerk yearbook, and asks him to sign it and return it to the publishers. He thinks that an edition of the [collected] works of C. P. E. Bach is a worthy cause. He hopes that Hoboken will soon receive the new honor from the Austrian government, for services to scholarship. OC 54/312 Handwritten picture postcard from Deutsch to Schenker, dated July 21, 1930 Deutsch is sending the text manuscript of Schenker’s third Meisterwerk yearbook to Drei Masken Verlag. OC 54/235 Typewritten postcard from Drei Masken Verlag to Deutsch, dated August 30, 1930, forwarded to Schenker September 2, 1930 Drei Masken Verlag asks for clarification about what to do with the corrected galley-proofs they have recently received from Schenker; Deutsch forwards it to Schenker asking him to reply direct to the publisher. PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker, dated September 15, 1930 Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to check in connection with a planned new collected edition of the works of that composer. OJ 89/4, [5] Handwritten letter from Schenker to Hoboken, dated September 29, 1930 Schenker invites Hoboken to tea to discuss attribution in the collected edition, and congratulates Hoboken on his endeavor. OJ 5/18, 1 Handwritten letter from Schenker to Jonas, dated October 7, 1930 In a letter dictated to Jeanette because of eye trouble, but signed and dated by Heinrich, Schenker tells Jonas that Vrieslander, Roth, and von Cube were unable to support themselves in Munich and have moved elsewhere. OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21, 1930 Writing after a long and serious illness, Schenker assures his friend that he is alive and well. The doctors have pronounced him generally fit, but he suffers from a painful tightening of the thorax, and also a flickering that causes him to "lose" letters and notes. He has had to give many double-lessons of late, in theory, which he finds tiring. To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons without having prepared anything, he would rather play than give over-long lectures. He is concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that Violin is going to Berlin, and will give him instructions about what to do there. His Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers – and his brother still has half of his inheritance. But he is still alive – with Der freie Satz. OJ 12/6, [4] Handwritten letter from Jonas to Schenker, dated November 17, 1930 Jonas reports from Berlin on a lecture given shortly before in Munich to introduce Schenker's teaching. Requests a letter of recommendation for use in Berlin. OJ 5/32, [3] Postal receipt from Schenker to Rinn, dated November 20, 1930 Schenker sends Rinn Meisterwerk II and the page-proofs of Meisterwerk III. OJ 5/18, 2 Handwritten letter from Schenker to Jonas, dated November 26, 1930 Having misread Jonas in OJ 12/6, [4] as requesting a letter of recommendation to Furtwängler, Schenker declines to provide such a letter. Letters of thanks to Schenker from other Berlin musicians have not led to more solid connections. Most musicians have not dared to take a position publicly on Schenker's teaching. 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. WSLB 424 Handwritten letter from Schenker to UE, dated December 8, 1930 Schenker requests that a full set of Tonwille issues be sent to Hermann Rinn. 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 6/8, [6] Handwritten letter from Schenker to Violin, dated September 28, 1931 Schenker is heartened that Herman Roth, once again, seems to be supporting his cause. Schenker recommends a series of possible “guest speakers” at the Schenker Institute and asks if there is some sort of monument or commemorative space devoted to C. P. E. Bach in Hamburg. 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 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette Schenker’s hand, dated November 11‒16, 1931 OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and Heinrich Schenker’s hand, dated November 11‒16, 1931 OJ 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 5/18, 13 Handwritten letter from Schenker to Jonas, dated September 7, 1932 Der freie Satz is complete, and Anthony van Hoboken has volunteered [financial] assistance. Schenker wonders whether van Hoboken might not provide support for Jonas, too. 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. OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20, 1932] In this unsent letter, Schenker tells Einstein about his works and the difficulties he has encountered in promoting them, and calls upon the physicist for help in gaining financial support for the publication of Free Composition. 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 89/6, [5] Handwritten letter from Schenker to Hoboken, dated April 24, 1933 Schenker is sending his Oktaven und Quinten, comments on it, and thanks Hoboken for support; — comments on his "Erinnerungen an Brahms"; — hopes Hoboken will visit in May. 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. FS 40/1, [17] Handwritten letter from Schenker to Salzer, dated September 24, 1933 Schenker sets [seminar] meeting date and reports on publications by Jonas, Vrieslander, and von Cube. OJ 5/18, 28 Handwritten postcard from Schenker to Jonas, dated October 5, 1933 Schenker is circulating Jonas's article to draw attention to his [forthcoming] book. — He does not have van Hoboken's current address. 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 89/9, [2] Handwritten letter from Schenker to Hoboken, undated [October 7, 1933] Schenker acknowledges receipt of money transfer; — alludes to Jonas's forthcoming book and two other books now in progress about his work; — refers to a review of his Oktaven u. Quinten that misunderstands the nature of Brahms's collection. OJ 89/7, [14] Handwritten letter from Schenker to Hoboken, dated August 4, 1934 Schenker asks about Hoboken's address. — An article has appeared belatedly in the Deutsche Zeitschrift. 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. Diaries Diary entry by Schenker for 30 September 1910 Diary entry by Schenker for 2 August 1912 Diary entry by Schenker for 11 September 1912 Diary entry by Schenker for 25 November 1912 Diary entry by Schenker for 6 May 1913 Diary entry by Schenker for 26 August 1913 Diary entry by Schenker for 20 October 1913 Diary entry by Schenker for 22 October 1913 Diary entry by Schenker for 26 January 1914 Diary entry by Schenker for 10 March 1914 Diary entry by Schenker for 15 July 1914 Diary entry by Schenker for 5 September 1914 Diary entry by Schenker for 16 September 1914 Diary entry by Schenker for 4 January 1915 Diary entry by Schenker for 30 April 1915 Diary entry by Schenker for 16 June 1915 Diary entry by Schenker for 14 June 1916 Diary entry by Schenker for 26 July 1916 Diary entry by Schenker for 10 September 1916 Diary entry by Schenker for 14 February 1917 Diary entry by Schenker for 12 April 1917 Diary entry by Schenker for 3 November 1917 Diary entry by Schenker for 6 December 1917 Diary entry by Schenker for 25 July 1918 Diary entry by Schenker for 28 July 1918 Diary entry by Schenker for 11 January 1919 Diary entry by Schenker for 20 February 1919 Diary entry by Schenker for 22 February 1919 Diary entry by Schenker for 23 February 1919 Diary entry by Schenker for 26 February 1919 Diary entry by Schenker for 2 March 1919 Diary entry by Schenker for 6 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 29 April 1919 Diary entry by Schenker for 2 May 1919 Diary entry by Schenker for 3 May 1919 Diary entry by Schenker for 4 May 1919 Diary entry by Schenker for 6 May 1919 Diary entry by Schenker for 7 May 1919 Diary entry by Schenker for 3 December 1919 Diary entry by Schenker for 17 December 1919 Diary entry by Schenker for 6 January 1920 Diary entry by Schenker for 30 January 1920 Diary entry by Schenker for 6 February 1920 Diary entry by Schenker for 5 March 1920 Diary entry by Schenker for 9 March 1920 Diary entry by Schenker for 11 March 1920 Diary entry by Schenker for 9 August 1920 Diary entry by Schenker for 18 September 1920 Diary entry by Schenker for 2 March 1921 Diary entry by Schenker for 5 March 1921 Diary entry by Schenker for 24 August 1921 Diary entry by Schenker for 22 November 1921 Diary entry by Schenker for 19 December 1921 Diary entry by Schenker for 22 April 1922 Diary entry by Schenker for 15 September 1922 Diary entry by Schenker for 16 September 1922 Diary entry by Schenker for 14 September 1923 Diary entry by Schenker for 12 February 1924 Diary entry by Schenker for 19 March 1924 Diary entry by Schenker for 24 March 1924 Diary entry by Schenker for 15 May 1924 Diary entry by Schenker for 28 August 1924 Diary entry by Schenker for 1 September 1924 Diary entry by Schenker for 15 September 1924 Diary entry by Schenker for 6 October 1924 Diary entry by Schenker for 12 December 1924 Diary entry by Schenker for 17 December 1924 Diary entry by Schenker for 30 December 1924 Diary entry by Schenker for 4 March 1925 Diary entry by Schenker for 12 June 1925 Diary entry by Schenker for 20 June 1925 Diary entry by Schenker for 9 July 1925 Diary entry by Schenker for 14 October 1925 Diary entry by Schenker for 7 November 1925 Diary entry by Schenker for 15 January 1926 Diary entry by Schenker for 18 January 1926 Diary entry by Schenker for 14 February 1926 Diary entry by Schenker for 6 March 1926 Diary entry by Schenker for 7 April 1926 Diary entry by Schenker for 7 June 1926 Diary entry by Schenker for 15 June 1926 Diary entry by Schenker for 17 June 1926 Diary entry by Schenker for 23 June 1926 Diary entry by Schenker for 12 July 1926 Diary entry by Schenker for 16 July 1926 Diary entry by Schenker for 20 August 1926 Diary entry by Schenker for 24 September 1926 Diary entry by Schenker for 13 October 1926 Diary entry by Schenker for 14 October 1926 Diary entry by Schenker for 18 October 1926 Diary entry by Schenker for 22 December 1926 Diary entry by Schenker for 7 January 1927 Diary entry by Schenker for 14 January 1927 Diary entry by Schenker for 19 January 1927 Diary entry by Schenker for 29 January 1927 Diary entry by Schenker for 9 May 1927 Diary entry by Schenker for 27 August 1927 Diary entry by Schenker for 21 March 1928 Diary entry by Schenker for 30 March 1928 Diary entry by Schenker for 27 April 1928 Diary entry by Schenker for 28 July 1928 Diary entry by Schenker for 13 November 1928 Diary entry by Schenker for 26 November 1928 Diary entry by Schenker for 23 January 1929 Diary entry by Schenker for 1 February 1929 Diary entry by Schenker for 10 April 1929 Diary entry by Schenker for 13 May 1929 Diary entry by Schenker for 15 August 1929 Diary entry by Schenker for 29 October 1929 Diary entry by Schenker for 19 March 1930 Diary entry by Schenker for 27 May 1930 Diary entry by Schenker for 1 October 1930 Diary entry by Schenker for 7 October 1930 Diary entry by Schenker for 24 October 1930 Diary entry by Schenker for 22 November 1930 Diary entry by Schenker for 12 December 1930 Diary entry by Schenker for 29 December 1930 Diary entry by Schenker for 15 February 1931 Diary entry by Schenker for 15 May 1931 Diary entry by Schenker for 30 May 1931 Diary entry by Schenker for 29 September 1931 Diary entry by Schenker for 1 October 1931 Diary entry by Schenker for 3 May 1932 Diary entry by Schenker for 25 August 1932 Diary entry by Schenker for 24 September 1932 Diary entry by Schenker for 12 January 1933 Diary entry by Schenker for 27 March 1933 Diary entry by Schenker for 5 October 1933 Diary entry by Schenker for 7 October 1933 Diary entry by Schenker for 6 November 1933 Other material OC 2/p. 60, [3] Review: Bekker, "Musiker-Faksimiles"