OJ 11/42, [1] Handwritten letter from Maximilian Harden to Schenker, dated October 11, 1892

Since there has been no response to an earlier letter requesting major revisions in a submitted article, Harden has made the changes himself; he asks Schenker to write a second article on the omitted material; and he begs Schenker's pardon for having to act unilaterally.

OJ 9/6, [1] Handwritten letter from Eugen d'Albert to Schenker, dated February 19, 1894

Eugen d'Albert has instructed his publishers to send Schenker all his compositions, and asks Schenker to write about them in Die Zukunft.

OJ 9/6, [7] Handwritten letter with inclosure from Eugen d'Albert to Schenker, dated September 2, 1894

Eugen d'Albert incloses his autobiographical contribution to Schenker's forthcoming feature article in Die Zukunft. He apologizes for the non-arrival of the MS piano reduction of his new opera, Ghismonda, which he describes as a "psychological character sketch," and thanks Schenker for his interest.

OJ 9/6, [12] Handwritten letter from Eugen d'Albert to Schenker, dated April 5, 1896

Eugen d'Albert apologizes for not having yet performed Schenker's Zwei Clavierstücke, Op. 1. He discusses arrangements for pupil Paula Szalit, and incloses the piano reduction of his opera "Ghismonda," and reports on its Dresden reception.

Sbb B II 4414 Handwritten letter from Schenker to Busoni, dated May 19, 1897

Schenker reports interest in his music on the part of publisher Robert Lienau, involving also Max Kalbeck.

OJ 9/27, [3] Handwritten letter from Busoni to Schenker, dated June 2, 1897

Busoni warns Schenker that acceptance of his music may be slow on account of its "intense subjectivity." He will play some of his compositions in public, and accepts the dedication of what became the Fantasie, Op. 2.

OJ 9/6, [23] Handwritten letter from Eugen d'Albert to Schenker, dated October 21, 1897

Eugen d'Albert gives his travel plans for the late Fall. He describes the difficult situation with Paula Szalit and her family.

Sbb B II 4419 Handwritten letter with envelope from Schenker to Busoni, dated February 15, 1898

Schenker sends Busoni what he considers to be the final version of his Fantasie. He inquires whether Busoni has yet made an approach on his behalf to Breitkopf & Härtel. He reports an incomplete performance of his Fünf Klavierstücke by Eugen d'Albert, and the fact that the Neue freie Presse did not review the concert.

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.

Sbb B II 4422 Handwritten letter with envelope from Schenker to Busoni, dated May 5, 1898

Breitkopf & Härtel have accepted his Fantasie; Schenker hopes now to get the piece well known. — He asks for a second time whether Busoni will permit him to dedicate the piece to him. — He hopes to attend Busoni's series of historical concerts in Berlin.

Sbb B II 4426 Handwritten letter from Schenker to Busoni, undated [September/October 1898]

Schenker reports that he has had two sets of proofs for his Fantasie from B & H; he announces that Simrock has accepted his Ländler for piano; he encloses some choruses and asks Busoni to send a recommendation to Siegfried Ochs.

Sbb B II 4423 Handwritten letter from Schenker to Busoni, dated October 24, 1898

Schenker sends Busoni a newly printed copy of his Fantasie, and reports that he is unable to attend the latter's "historical" concerts series because it takes place over more than a week.

OJ 5/19, 7 Handwritten letter from Schenker to Kalbeck, dated October 28, 1898

Schenker sends Kalbeck his composition Op. 2, and news of his Op. 10.

Sbb B II 4427 Handwritten letter with envelope from Schenker to Busoni, dated January 2, 1899

Schenker thanks Busoni for his latest letter and announces his concert tour with Johannes Meschaert January 7 to February 3, 1899.— He writes the valediction and signature in the form of a IV-V-I cadence.

Sbb B II 4429 Handwritten letter with envelope from Schenker to Busoni, dated November 6, 1899

Schenker reports having received his first honorarium [on publication of his Syrische Tänze]; he expresses horror at the picture chosen for the title-page. He speaks of a "stipend" that has not yet been received.

OJ 9/27, [9] Handwritten letter from Busoni to Schenker, undated [?November 7, 1899]

Busoni describes Schenker's Syrian Dances as "Secessionist." He advises Schenker to think in the present, not in the future.

Sbb B II 4430 Handwritten letter with envelope from Schenker to Busoni, dated January 7, 1900

Schenker has played his Syrische Tänze to Eduard Hanslick and reports the favorable remarks Hanslick made about Busoni. The first public performance of the Dances has been postponed because of illness.

Sbb B II 4431 Handwritten letter from Schenker to Busoni, undated [c. February 5, 1900]

Schenker congratulates Busoni on the birth of a son. The Neue freie Presse does not support Schenker's music because he does not belong to the Heuberger "clique." He [and Moriz Violin] are playing the Syrische Tänze again on the 20th. He hopes to come to Berlin, and encloses a "portrait."

OJ 6/3, [13] Handwritten letter with envelope from Schenker to Moriz Violin, dated February 8, 1900

When Violin returns from Berlin, Schenker will send him his Zweistimmige Inventionen, Op. 5: he inquires whether Busoni has said anything about them. -- He raises the substitute lessons he is giving to the Wiener and Leiner families: Violin has failed to instruct him on the fee to be charged. Can he ask 10 Florins? -- He disagrees with Mahler's performance of the "Eroica."

OJ 6/3, [15] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 27, 1900

Schenker reprimands Violin for not writing to him from Berlin, and asks to see him [now he is in Vienna]. -- He sends a message to Eduard Violin.

OJ 14/45, [5] Handwritten lettercard from Moriz Violin to Schenker, postmarked December 29, 1900

Violin sends Schenker New Year's greetings. -- He explains why he will be remaining in Berlin until at least January 15, 1901. -- He apologizes over Mrs. Mayerhofer and sends New Year's greetings to her.

OJ 6/4, [23] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked February 16, 1903

Schenker sends condolences to Violin on the death of his elder sister, Nina Violin. — He reports on recent activities with Eduard Gärtner and card playing, on the current Seligmann exhibition, and a recent experience at the Mayerhofer residence.

OJ 6/4, [28] Handwritten letter with envelope from Schenker to Violin, postmarked August 27, 1903

Having prepared his Mädchen Lieder for printing, Schenker, in Gmunden, is about to work on his Trio. Busoni will be performing his Syrische Tänze in Berlin. He asks Violin to check with Eduard Gärtner about financial support for Aron Mittelmann.

Sbb B II 3549 Handwritten letter from Schenker to Busoni, undated [c. September 1, 1903?]

Schenker explains that Arnold Schoenberg asked to orchestrate the piano duet Syrian Dances years earlier, therefore that an orchestral version should be available. He says, however, that he had from the beginning conceived the pieces in orchestral colors, but that the orchestration would now take time, so he asks Busoni's preference. He reports that other music societies have asked to perform works by him.

Sbb B II 4432 Handwritten letter with envelope from Schenker to Busoni, dated September 9, 1903

Schenker informs Busoni that the Schoenberg orchestrations will reach him by October 9. He has taken soundings over the suggested title change and now permits Busoni to go ahead with the change, though with a reservation. He hopes to bring Alphons Rothschild to the performance.

OJ 14/45, [6] Handwritten letter from Moriz Violin to Schenker[?], dated September 14, 1903

In a bleak and formal message, Violin declares that withdrawal of friendship by the recipient of this letter would carry "great danger" for his (Violin's) way of life. He hopes for a peaceable solution.

Sbb B II 4424 Handwritten letter from Schenker to Busoni, dated October 8, 1903

The orchestral parts of Schoenberg's orchestration of Schenker's Syrische Tänze have been dispatched to Busoni: Schenker comments on their degree of clarity and correctness, and offers advice on performance. He will be attending rehearsals in Berlin. Weinberger have asked that the existing title be retained. -- Schenker reports on prospective performances of his works. He also reports on good chances of receiving a theory professorship at the Vienna Conservatory, and doesn't want Jewishness associated with his compositions lest this should impair those chances.

OJ 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903

Rosenthal inquires about Schenker's being performed in Berlin.

OJ 9/6, [36] Handwritten postcard from Eugen d'Albert to Schenker, dated November 22, 1903

Eugen d'Albert reports a position vacant in Frankfurt.

OJ 9/6, [41] Handwritten letter from Eugen d'Albert to Schenker, dated June 15, 1905

Eugen d'Albert gives reasons why he cannot use "Amor und Psyche" as a basis for a composition. He asks whether Schenker will be in Prague for the première of his opera "Flauto Solo."

CA 41-42 Handwritten letter from Schenker to Cotta, dated October 1, 1906

Schenker goes back on his earlier agreement with Cotta, and makes an impassioned case for including the "Nachwort" as Section 3 of Part II of Harmonielehre.

CA 61 Handwritten letter from Schenker to Cotta, dated December 27, 1906

Schenker asks for a copy to be sent to Eugen d'Albert.

OJ 12/27, [3] Stenographically handwritten letter from Cotta to Schenker, dated December 29, 1906

Cotta has sent a complimentary copy of Harmonielehre to Eugen d'Albert.

OJ 5/35, [1] Handwritten draft letter from Schenker to Ernst Rudorff, dated January 21, 1908

Schenker makes a first approach to Rudorff; it concerns interpretation of a passage in Chopin's Ballade No. 2, Op. 38; — He asserts his belief in consulting -- and teaching students to consult -- only original sources, and in the Urtext principle.

OJ 11/10, [12] Handwritten picture postcard from Frimmel to Schenker, dated February 20, 1908

Frimmel thanks Schenker for his complimentary copy of the latter's Harmonielehre.

OJ 11/10, [13] Handwritten postcard from Frimmel to Schenker, dated April 25, 1908

Frimmel draws Schenker's attention to an article in the Musikalisches Wochenblatt.

OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12, 1908

Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in agreement.

OJ 5/35, [3] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, dated September 28, 1908

Schenker comments on Wagner's alterations to Beethoven's Ninth Symphony, and outlines his own plans, wishing to see Wagner reduced to the same subordinate place as Gluck [unaware of the provocation this will be to Rudorff!]. — He takes issue with Beyschlag's interpretation of the turn in Haydn's music.

WSLB 21 Handwritten letter from Schenker to Hertzka (UE), dated September 30, 1908

Schenker asks for a copy of his C. P. E. Bach Klavierwerke to be sent to Julius Röntgen, and of the Beitrag zur Ornamentik, 2nd edition, to Daniel de Lange, since the work is a rival to the newly-published Beyschlag Die Ornamentik der Musik. — He reports encountering Willem Andriessen.

OJ 13/37, 4 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated October 1, 1908

Grunsky expresses his opinions on the turn in Haydn's music and the status of Gluck in relation to Mozart and Wagner.

OC 52/402 Typewritten letter from Hertzka (UE) to Schenker, dated March 21, 1909

Hertzka raises several possibilities for amplifying the Instrumentations-Tabelle, and calls for a meeting.

CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909

Schenker raises again the splitting of Kontrapunkt into two half-volumes, or even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the Academy of Music, despite his being in a constant state of feud with all officialdom. — The Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading work" on the subject; he argues the case for splitting the work on "psychological" and "technical" grounds.

WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909

Schenker resists attending a meeting with Hertzka and von Wöß regarding the printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an author to control over his own material; and makes claims for the introduction to his Instrumentations-Tabelle, which was not accepted for inclusion in 1908 reprinting.

WSLB 53 Handwritten letter from Schenker to Hertzka (UE), dated February 15, 1910

Schenker advocates Moriz Violin's pamphlet "Über das sogenannte 'Continuo'" for publication and explains its connection with a planned "historical concert."

CA 121-122 Handwritten letter from Schenker to Cotta, dated September 10, 1910

Schenker explains the basis for his "Handbibliothek," suggests an overarching title and a separate title for the proposed first booklet, on Beethoven's Ninth Symphony. He promises to return the manuscript of vol. II/1.

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.

WSLB 66/67 Handwritten letter from Schenker to Hertzka (UE) + list of names, dated October 19, 1910

Schenker cancels their Thursday meeting. — He argues for sweeping changes to the draft contract for Beethovens neunte Sinfonie. — He defends his own free speech in the face of Universal Edition's commercial interests. As with his Chromatic Fantasy & Fugue edition, UE will never regret publishing the Ninth Symphony monograph. — He also lauds the prospective editions of the last five Beethoven piano sonatas and volume of J. S. Bach toccatas in a lofty vision for future publications. — He appends a list of recipients of complimentary copies of the Chromatic Fantasy & Fugue.

OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910

Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice. — He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a grant from the Ministry of Education.

OC 52/60 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1910

Hertzka is pleased that Schenker's conversation with Wilhelm Bopp has gone promisingly, and that Schenker is agreeable to the alternating publication of Beethoven and Bach. — He is sending a new draft contract for Beethovens neunte Sinfonie.

OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16, 1910

Rudorff approves of the [highly controversial] Introduction to Schenker's Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and Fugue, raising some technical matters.

WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911

Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie in time to take on vacation, and inquires as to his proposal for UE to publish the score of the Ninth Symphony with original markings. — No summons to interview with Academy President von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade against von Wiener and the Academy's teachers.

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.

WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912

Schenker responds combatively to Hertzka's warning about correction costs.

WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912

Schenker reports improved agreement among the supporters of the planned Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for the fee for correcting proofs of Beethovens neunte Sinfonie.

WSLB 124 Handwritter letter from Schenker to Hertzka (UE), dated June 27, 1912

Schenker asks for copies of his Beethovens neunte Sinfonie to be sent to himself and others. -- He reports that the Gesellschaft der Musikfreunde has invited him to teach.

OJ 15/16, [6] Handwritten letter from Weisse to Schenker, dated July 7, 1912

Weisse asks Schenker a technical question about musical form; reports that Julia Culp is considering singing his Mädchen-Lieder.

WSLB 126 Handwritten letter from Schenker to Hertzka (UE), dated July 11, 1912

Schenker has referred a textual anomaly in Beethoven Op. 109 to Ernst Rudorff, and asks for the contract for Die letzten fünf Sonaten to be sent to him.

WSLB 127 Handwritten postcard from Schenker to Hertzka (UE), dated July 12, 1912

Schenker asks for a copy of his edition of the Chromatic Fantasy and Fugue, to forward to a "colleague."

OJ 13/37, 14 Handwritten letter from Rudorff to Schenker, dated July 18, 1912

Rudorff writes admiringly of Schenker's new book, Beethovens Neunte Sinfonie; — He responds to Schenker's question about the whereabouts of the autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109, speaking also of his own former editorial work.

WSLB 128 Handwritten letter from Schenker to Hertzka (UE), dated July 21, 1912

Beethovens neunte Sinfonie: Schenker justifies the higher number of proof corrections and reiterates his demand for a supplementary honorarium. -- Die letzten fünf Sonaten: he objects to a clause in the draft contract concerning correction costs, and emphasizes the expenses that he himself is incurring in preparing the edition.

WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26, 1912]

Recounting the backstory of the move to found an [Austrian] organization of musicians, and painting it as a rearguard action by performers against the dominance of Neue freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he complains at the timid tone of Universal Edition's advertising of his own works.

OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der Musikfreunde), dated September 27, 1912

Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he lodges his complaint at the way in which he has been treated, which he considers impolite and publicly demeaning, and withdraws his offer of lectures.

WSLB 143 Handwritten letter from Schenker to Hertzka (UE), dated November 27[–28], 1912

Schenker requests another copy of Beethoven Op. 109, and lists the sources he has now consulted, the communications with scholars, the cost and time involved, proclaims the "spectacular" findings made, and the incompetence of all previous editors unmasked.

WSLB-Hds 191.579 Handwritten letter from Otto Erich Deutsch to Schenker, dated June 25, 1913

Schenker informs Otto Erich Deutsch of the whereabouts of the collector Meinert.

OJ 10/3, [1] Part of handwritten letter from Ludwig Scheibler to Otto Erich Deutsch, dated September 6, 1913

Scheibler states that the pieces contained in Schenker's C. P. E. Bach: Klavierwerke are late works and inferior to the early and middle-period works.

OC B/275 Handwritten letter from Louis Koch to Schenker, dated November 22, 1913

Koch gives the provenance of the Op. 110 manuscript in his possession, and other information.

OC B/175 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated December 20, 1913

Kopfermann inquires after Schenker's photographic requirements.

OJ 10/1, [2] Handwritten letter from Dahms to Schenker, dated March 27, 1914

Dahms wishes to start his musical studies afresh in Schenker's "shool," asks whether there is anyone in Berlin who can teach him, also explores the possibility of coming to Vienna.

OJ 10/1, [3] Handwritten letter from Dahms to Schenker, dated April 13, 1914

Schenker outlines his financial situation and rehearses alternative plans for study with Schenker.

OJ 10/1, [4] Handwritten letter from Dahms to Schenker, dated June 2, 1914

Dahms says he is not well liked in some Berlin quarters for opposing "fashionable music." — He plans to study Schenker's theory autodidactically in Berlin, then come to Vienna in the winter.

OJ 10/1, [8] Handwritten field postcard from Dahms to Schenker, dated April 25, 1915

Dahms writes of the "fatherland" and of Hindenburg's "voice-leading."

OJ 10/1, [19] Handwritten letter from Dahms to Schenker, undated but presumably May 1, 1916

Dahms laments the state of music and criticism in Berlin. — When the war is over he plans to draw a line under his life so far and start again.

OJ 10/1, [20] Handwritten letter from Dahms to Schenker, dated June 15, 1916

Dahms may be transferred to Wilna. — Has reviewed Op. 111 for the Kreuz-Zeitung.

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.

OJ 10/1, [23] Handwritten letter from Dahms to Schenker, dated August 27, 1916

Dahms may be posted to Wilna, or may be discharged. He asks about the position of music critic at the Vienna Der Abend.

OJ 10/1, [24] Handwritten letter from Dahms to Schenker, dated October 13, 1916

Dahms reacts to the news that the music-critic position at Der Abend is taken; laments continued lack of opportunity to work.

OJ 10/1, [25] Handwritten letter from Dahms to Schenker, dated November 26, 1916

Dahms reports on his situation, and seeks Schenker's interest in a forthcoming lecture in Vienna by Willi von Möllendorf.

OJ 10/1, [27] Handwritten letter from Dahms to Schenker, dated March 18, 1917

Dahms reacts to Schenker's suggestion of a stipendium for study in Vienna.

OJ 10/1, [28] Handwritten letter from Dahms to Schenker, dated April 20, 1917

Dahms comments on the political situation and decries widespread corruption.

OJ 10/1, [29] Handwritten letter from Dahms to Schenker, dated June 8, 1917

Dahms hopes for a posting to Berlin; he is gaining strength from reading Kierkegaard.

OJ 10/1, [30] Handwritten letter from Dahms to Schenker, dated July 10, 1917

Dahms decries democracy's reliance on the "common man" and deplores its disregard of intellectuals and artists.

OJ 10/1, [31] Handwritten letter from Dahms to Schenker, dated November 9, 1917

Dahms is now with the War Ministry in Berlin. He comments on Korngold and Bruckner.

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 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 14/5, [8] Handwritten letter from Moriz Schenker to Sophie and Salo Guttmann, dated August 28, 1918

Moriz Schenker promises Sophie and Salo Guttmann that he will help them by writing to a senior official and guaranteeing their war loan, and asks for details. — He will be traveling on business and hopes to see Hans Guttmann and Heinrich Schenker.

OJ 12/62, [2] Stenographically handwritten letter from Cotta to Schenker, dated September 1, 1919

[NMTP I and II/1:] Cotta encloses sales report for 1918 and a check for M. 346.92.

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 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.

OC 52/212-213 Typed letter from Hertzka (UE) to Schenker, dated December 1, 1919

Hertzka is pleased to hear that the availability of the autograph manuscript of Op. 101 means that the series Die letzten fünf Sonaten von Beethoven can go forward, and is in agreement with Schenker's proposal to edit the remaining twenty-seven Beethoven sonatas. He asks for a meeting to discuss the honorarium.

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 10/3, [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.

OJ 8/3, [82] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated February 13, 1920

Amount of divorce settlement and its investment. — Op. 101/3 sketches arrived.

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

Dahms sends greetings from Berlin.

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, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920

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 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 8/4, [1] Handwritten postcard from Schenker to Moriz Violin, dated January 10, 1921

Schenker asks Violin to arrange for payments and currency conversion.

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 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 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 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 10/1, [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 10/3, [26] Typewritten postcard from Otto Erich Deutsch to Schenker, dated December 28, 1921

A payment of 1,200 marks from Seidel's Book Dealership, on behalf of Deutsch, has been made to Schenker's Deutsche Bank account.

OJ 10/3, [27] Typewritten postcard from Österreichisches Credit-Institut to Schenker, dated December 30, 1921

The Österreichisches Credit-Institut informs Schenker that 1,200 marks has been paid into his account from Seidel's Book Dealership, O. E. Deutsch & Co, Vienna.

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.

OJ 14/45, [13] Handwritten letter from Moriz Violin to Schenker, dated February 2, 1922

In this direct reply to Schenker's previous letter, OJ 6/7, [2], Violin expresses his dismay that some of the performing material for keyboard concertos by C. P. E. Bach, including original cadenzas by Schenker, appear to have gone missing. — He reports on his growing number of pupils, on the acquisition of a piano for his apartment, and on Hamburg's extremely conservative musical tastes.

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 10/3, [32] Typewritten postcard from Deutsch to Schenker, dated April 20, 1922

Deutsch thanks Schenker for his suggestions [for further facsimile editions] and has passed them on to Universal Edition.

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.

DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922

Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him; speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker, Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development" and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to become brain); Schenker deplores "artifice" (French) as against nature (German). — Things French: praises German superiority over French in its joy of work. — Higher Plane: the German should not abase himself before the Frenchman.

OC B/142 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked October 16, 1922

Postal receipt for return of early edition of Beethoven Op. 22.

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."

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 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, [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.

OC 12/7-9 Handwritten letter from Halm to Schenker dated November 6‒10, 1923

Halm has sent the published score of a string quartet to Schenker. —Patronage has enabled him to publish three volumes of compositions; reports on current and past composition activities and publications. —Discusses what he has learned from Schenker's theories, and questions whether it would be a fault were Bruckner's symphonies not to contain the Urlinie; Halm's book on Bruckner's symphonies has gone into its second edition. —Halm suspects that Schenker may not "agree with" his compositions, and asks whether Schenker wishes to receives further scores. —Halm considers socialism a "historical necessity."

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 5/38, [7] Handwritten letter from Heinrich to Wilhelm Schenker, dated December 18, 1923

Heinrich Schenker has unexpected visitors and will not be able to visit Wilhelm at Christmas; he and Jeanette hope that Wilhelm will be able to spend some time with them in the Tyrol next summer.

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 5/24, [1] Handwritten draft letter from Schenker to Ernst Lamberg, dated July 8, 1924

Draft letter in which Schenker contends that Sofie Deutsch's intentions for the administration of the stipends for composers that she created through her will are being disregarded with the passing of the capital sum to the Academy for Music and Performing Arts, and instructs Dr. Lamberg to write to Josef Marx, Director of the Academy, in these terms.

DLA 69.930/13 Handwritten letter from Schenker to Halm, dated October 6, 1924

Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of performance of the A major string quartet. —Deplores current situation over Sofie Deutsch stipends. —Reports difficulties with UE and intention to change publisher.

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

OJ 14/45, [39] Handwritten letter from Moriz Violin to Schenker, dated December 10, 1924

This somewhat cryptic letter, possibly relating to a subscription order for Der Tonwille, was sent with an enclosure that required some interpretation or action on the part of Schenker. Violin also reports that the music department at the University of Berlin has received, with gratitude, the copies of Der Tonwille.

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 14/8, [1] Handwritten letter from Anna Schiff to Jeanette Schenker, dated March 19–21, 1925

Anna Schiff reports at length on the political activities and imprisonment of her husband Paul and provides an account of the activities of Jeanette’s other siblings and her two sons.

OC 52/644 Handwritten letter from Moriz Violin to Schenker, dated April 21, 1925

Violin has had the order for nine copies of Tonwille 1 placed in Berlin, and has collected the receipts. He has not heard from Weisse, but attended a performance of his String Sextet and, like Schenker, found the variations and the trio section of the scherzo the most successful.

OC B/199 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked June 12, 1925

Postal receipt for letter and packet containing Schenker medallion.

OC B/197 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked June 20, 1925

Postal receipt for package to Altmann [containing Bach autograph material]

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.

FS 40/27, [1] Handwritten letter from Weisse to Schenker, dated October 12, 1925

Weisse has come across a letter from Haydn to Carl Friedrich Zelter expressing gratitude and admiration for Zelter's analysis of "The Representation of Chaos" from The Creation, and thinks that it might be worth looking up Zelter's work in connection with Schenker's forthcoming study of the same work.

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.

UMdK Z 641 D/1925, [1] Handwritten letter from Schenker to Franz Schmidt (Akademie für Musik), dated October 30, 1925

Schenker determines how the Sofie Deutsch stipend should be adjudicated after his death.

OC B/198 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked November 13, 1925

Postal receipt for package to Altmann [containing portrait]

OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925

Violin gives Schenker the program of his concerts with van den Berg and Buxbaum.

OJ 14/14, [1] Handwritten letter from Artur Schnabel to Schenker, dated December 6, 1925

Schnabel divulges only some details of his publisher's contract.

OJ 14/45, [50] Handwritten letter from Moriz Violin to Schenker, dated January 12, 1926

Violin asks Schenker if he would consider taking one of his pupils, Miss Agnes Becker, as a pupil for the remainder of the teaching year.

OJ 5/9a, [1] Handwritten letter from Schenker to Georg Dohrn, dated April 5, 1926

Schenker answers Dohrn's inquiry as to the performance of the opening of the second movement of Beethoven's Ninth Symphony.

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 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.

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

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

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.

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, [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 14/45, [61] Handwritten letter from Moriz Violin to Schenker, dated February 23, 1927

Following a brief description of a recent illness, Violin replies to Schenker's question about accepting the Order of Merit from the Viennese Academy of Art and Science and advises him to accept it. He realizes that staying in Hamburg would be bad for his son's long-term health and has spoken to Artur Schnabel about the possibility of moving to Berlin or Frankfurt. An influential man in Frankfurt is the father-in-law of Paul Klenau; Violin knows of Klenau's respect for Schenker, and asks his friend to write to Klenau in support of his application for a post there.

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 14/45, [113] Handwritten postcard from Violin to Schenker, dated April 6, 1927

In a reply to a recent letter, Violin thanks Schenker for the news concerning the position he is hoping to obtain in Frankfurt and asks him whether Klenau might discover what the people in Frankfurt think of him as a candidate.

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 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 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 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 11/54, [16] Handwritten letter from van Hoboken to Schenker, dated August 30, 1927

Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early sources. -- Gives addresses for forthcoming travels.

OJ 10/3, [74] Typewritten postcard from Deutsch to Schenker, dated November 22, 1927

Deutsch suspects that with the typesetters' "messing up" of Schenker’s revised copy of Schubert’s “Unfinished” Symphony the material has been made illegible. — He has been in contact with people regarding a possible radio talk by Schenker, and one by himself on the redesigning of the Mozarteum. — He reports that the pianist Heinz Jolles would like Schenker to prepare an edition of one of Beethoven’s variation sets (WoO 80 or the “Diabelli”), and that Josef Braunstein is gratified to hear of Schenker’s interest in his recent book on the "Leonore" overtures.

OJ 89/2, [4] Handwritten letter from Schenker to Hoboken, dated March 16, 1928

Schenker speaks of Hoboken's Photogrammarchiv as a "grand contribution," and of the work to be done there; reports on a copy of Beethoven Sonata, Op. 90, by Archduke Rudolph. — He will show Hoboken recent articles by Dahms and Vrieslander, and inquires about Hoboken's birthday.— Furtwängler may come to Vienna permanently.

OJ 10/3, [80] Typewritten postcard from Deutsch to Schenker, dated March 19, 1928

Deutsch reports that Eusebius Mandyczewski, the Archivist at the Gesellschaft der Musikfreunde, would like to prepare a revised edition of Schubert’s “Unfinished” Symphony, and asks Schenker if he would be prepared to make his textual notes on the symphony available to him.

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 89/2, [5] Handwritten letter from Schenker to Hoboken, dated March 26, 1928

Schenker conveys Deutsch's response to van Hoboken's questioning of a planned facsimile of Schubert sketches. — Schenker discusses strategy for persuading Paris to supply photographs for the Photogrammarchiv.

OJ 5/38, [43] Handwritten picture postcard from Heinrich to Wilhelm Schenker, dated and postmarked March 28, 1928

Heinrich incloses copies of two journal articles about him which have appeared in the past two months.

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 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."

OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928

Hertzka welcomes Schenker's intention now to produce [his elucidatory edition of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the "Eroica" study and Der freie Satz but cannot schedule them until after 1929.

OC 52/849 Typed letter from Hertzka (UE) to Schenker, dated January 15, 1929

Hertzka asks for Schenker's deadline for the "Eroica" monograph decision to be put off to the end of 1929.

OJ 12/50, [1] Handwritten letter from Bernhard Martin to Schenker, dated March 27, 1929

Bernhard Martin sends Schenker an analytical sketch and a composition study, for comment. He expresses his gratitude for all that he has learned from his lessons with Schenker.

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 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 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 89/3, [11] Typewritten letter (typed copy) from Vrieslander to Schenker, dated October 23, 1929

Vrieslander reports that Hoboken has given him notice to vacate, and rehearses the course of events leading up to this situation, events that intertwine with Vrieslander's obligations to the Photogrammarchiv.

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 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 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 14/5, [28] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated December 26, 1929

Moriz Schenker reports that his divorce proceedings will begin in five days' time. -- He is negotiating over the Arzberg property with a view to returning to Heinrich his investment in the property.

OJ 10/3, [113] Handwritten picture postcard from Deutsch to Schenker, dated December 30, 1929

Deutsch advises Schenker to send the manuscript [of an essay by Gerd Albersheim] to Dr. Alfred Einstein, the editor of the Zeitschrift für Musikwissenschaft.

OJ 14/5, [29] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated January 14, 1930

Obtaining a mortgage on the Arzberg [investment property] is delayed; Moriz Schenker is exploring alternative possibilities of selling. -- He inquires as to the whereabouts of Hoboken. -- He reports that the [economic] situation in Germany is even worse than in Austria, because of the war reparations.

OJ 10/3, [114] Typewritten letter from Deutsch to Schenker, dated January 21, 1930

Deutsch explains that, without a fixed annual budget, the Board of Trustees [of the Photogram Archive] is unable to function properly. Hoboken didn’t always deal efficiently with the foreign contributors to the collection; a catalogue has still not been prepared. And Deutsch has made himself ill by overwork. Hedwig Kraus has taken over the directorship of the Archive of the Gesellschaft der Musikfreunde, with [Karl] Geiringer as her assistant – to whom Deutsch would have greatly preferred Luithlen. He has been exchanging letters with Vrieslander.

OJ 14/45, [83] Handwritten letter from Violin to Schenker, dated January 24, 1930

Violin has learned that the proprietor of Rather-Verlag is unwell, and that there would be no chance of Schenker's having his "Eroica" Symphony monograph published there. He also reports on declining cultural and human values, of which the recent success of jazz-based works, staged in German opera houses, is emblematic. He is going to Berlin to investigate possible employment there.

OJ 89/4, [1] Handwritten letter from Schenker to Hoboken, dated February 22, 1930

Schenker advises that an analysis of the score of Beethoven's Missa solemnis should be taken at a slow pace.

OJ 10/3, [119] Typewritten letter from Deutsch to Schenker, dated February 26, 1930

In contrast to the uprightness of Schenker’s other pupils, Hans Weisse and Felix Salzer, Hoboken is described by Deutsch as an unsteady, unfocussed person who may yet be able to do some good but whose restlessness gives him grounds to fear for the future of his library, and his own future.

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.

OJ 10/3, [121] Typewritten picture postcard from Deutsch to Schenker, dated March 5, 1930

Deutsch tells Schenker that Hoboken may stay in Berlin, at least temporarily. His friend Otto Stoessl works for Der Kunstwart but has not invited him to contribute to that periodical. He has found a review in a Stuttgart music journal which contains words of high praise for Schenker’s Erläuterungsausgaben of the late Beethoven sonatas.

OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19, 1930

Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of his own, and that for Schenker.

OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930

Deutsch suggests that Schenker should get Breitkopf & Härtel to publish his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will continue to study theory with Schenker while he improves his piano technique in Berlin. -- He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which predates its publication in Op. 75 by about three years, and asks Schenker to compare the two version with a sketch from 1798 that was published by Nottebohm.

OJ 6/7, [48] Handwritten letter from Schenker to Moriz Violin, dated May 19, [1930]

After congratulating Violin on moving house, Schenker reports that an article that is critical of the "Urlinie", by Walter Riezler, has apparently offended Furtwängler, a childhood friend of the author. Furtwängler hoped that Hans Weisse might write a response; in the end, Brünauer wrote one, and Weisse has sent it to Furtwängler. Schenker has himself replied to an article by Eduard Beninger in the February 1930 issue of the Zeitschrift für Musik. Owing to overwork, he was required to rest during the day between lessons; now he is better. Oppel is again coming to Galtür and Schenker hopes that Violin will join him there, too.

OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930

Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie Satz.

WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930

In this 16-page response to a letter from Deutsch, Schenker thanks his correspondent for his unstinting assistance (in relation to the third Meisterwerk yearbook) and underlines the importance of a collected edition of the works of C. P. E. Bach. — He then launches a long and detailed denunciation of Anthony van Hoboken’s character, referring in particular to his treatment of Otto Vrieslander, his ambivalence towards projects associated with the Photogram Archive, and his absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is thoroughly undeserving of a high honor conferred by the Austrian state.

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 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930

Schenker is sending Deutsch copies of letters written by Leo Kestenberg praising his theories for their practical application to composition and performance, noting that Furtwängler is championing his cause everywhere. -- He then launches into a tirade against the city of Vienna for snubbing him and his work.

OJ 5/38, [67] Handwritten postcard from Heinrich to Wilhelm Schenker, dated August 31, 1930

Heinrich tells his brother Wilhelm that many things will prevent him and Jeanette from visiting him at the end of the summer. — He reports Hans Weisse’s invitation to lecture on Schenkerian theory in Berlin.

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 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 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 5/38, [69] Handwritten letter from Heinrich to Wilhelm Schenker, dated October 23, 1930

Heinrich reports to Wilhelm on his health, and in particular the financial losses he will sustain when he stops giving Anthony van Hoboken lessons lasting two hours.

OJ 5/7a, [31] (formerly vC 31) Handwritten letter from Schenker to Cube, dated November 1, 1930

Dr. Leo Kestenberg of the Prussian Ministry of Art and Education has, at Furtwangler's recommendation, asked Hans Weisse to deliver three lectures on Schenker's theory in Berlin, to be repeated elsewhere. Cube should take heart from this turn of events.

OJ 10/3, [131] Handwritten letter from Deutsch to Schenker, dated November 5, 1930

Deutsch advises Schenker to send a sample of proofs of the third Meisterwerk yearbook to the editor of Der Kunstwart. He thanks him for copies of the letters written by Leo Kestenberg.

OJ 5/7a, [32] (formerly vC 32) Handwritten postcard from Schenker to Cube, dated November 7, 1930

Schenker denies knowing a pupil-imposter; advises Cube to wait until after Weisse's lectures in Berlin.

OJ 15/15, [47] Handwritten postcard from Weisse to Schenker, dated November 9, 1930

Weisse asks Schenker for the address of Reinhard Oppel, who may be able to provide names of people in Berlin whom Weisse could invite to his forthcoming lecture there.

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 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 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 15/16, [65] Handwritten letter from Weisse to Schenker, dated November 27, 1930

Weisse thanks Schenker for the essay "Rameau oder Beethoven?". He is surprised to hear that Jonas has sought Schenker's help in finding employment, and urges Schenker not to write a letter of recommendation until a concrete piece of work materializes. He is about to go to Berlin to deliver two lectures on Schenker's theories, and has heard that Moriz Violin and Reinhard Oppel will be there; he would like to give one of these lectures at Schenker's home before a small audience of his most dedicated pupils, and suggests a date and time for this.

OC 54/251 Typewritten postcard from August Demblin (DMV) to Schenker, dated November 28, 1930

The printers C. G. Röder have still not received the approved copy of the musical illustrations, and the publishers ask Schenker to provide the exact Berlin address at which Hans Weisse will deliver his forthcoming lecture.

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 15/15, [50] Handwritten postcard from Weisse to Schenker, dated November 30, 1930

Weisse gives Schenker the address of the Central Institute for Education and Teaching in Berlin, where he is about to deliver lectures on his teachers theory.

OJ 8/5, [1] Handwritten postcard from Schenker to Moriz Violin, dated December 2, 1930

Schenker suspects that Weisse, with Leo Kestenberg's support and Furtwängler's help, is hoping for an appointment in Berlin.

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 5/7a, [34] (formerly vC 34) Handwritten postcard from Schenker to Cube, dated December 5, 1930

Gives dates and place of Weisse's lectures in Vienna.

OC 54/256 Typewritten postcard from August Demblin (DMV) to Schenker, dated December 17, 1930

Drei Masken Verlag inform Schenker that distribution of the third Meisterwerk yearbook began several days ago, and that copies were supplied to Berlin in time for Hans Weisse's lecture.

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

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

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

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

OJ 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.

WSLB-Hds 94479 Handwritten letter from Schenker to Seligmann, dated February 26, 1931

Schenker asks Seligmann to read the opening essay in the third volume of Das Meisterwerk in der Musik. He quotes from a letter to his pupil Hans Weisse which demonstrates the attention his theories have been gaining in Germany, especially Berlin, and expresses his regret that no one in Vienna shows similar respect for him.

OJ 8/5, [2] Handwritten picture postcard from Schenker to Violin, dated February 28, 1931

Schenker has heard about Violin’s letter to Weisse [concerning the founding of a Schenker Institute in Hamburg] and expresses his interest in it, noting that it will be possible to teach composition only after Free Composition has been published.

OJ 15/16, [69] Handwritten letter from Weisse to Schenker, dated March 19, 1931

Weisse asks Schenker’s approval to approach Furtwängler about Der freie Satz, presumably to seek financial assistance for its publication. He has been given a copy of a letter from Mozart to Baron van Swieten, but expresses his doubts about the tone of one of Mozart’s phrases; he hopes to meet Schenker soon, to talk about Bruckner.

OJ 15/16, [70] Handwritten letter from Weisse to Schenker, dated March 21, 1931

Weisse reports to Schenker Furtwängler's confidence about obtaining money from two wealthy people in Berlin to defray the publication costs of Der freie Satz and the analysis of Beethoven’s "Eroica" Symphony, i.e. third volume of Das Meisterwerk in der Musik. Weisse has suggested a sum of 4,000 marks for the former, as a conservative estimate.

OJ 15/16, [71] Handwritten letter from Weisse to Schenker, dated March 25, 1931

Weisse, remaining confident that Furtwängler will provide financial assistance with Schenker’s publications, thinks it is best to ask for help with the “Eroica” analysis (Meisterwerk III) and Der freie Satz together; he will emphasize that the subvention for the “Eroica” is the more urgent, and the cost of publishing the latter could be met by subscription. From what Furtwängler has hinted, the prospects for Weisse lecturing, and eventually teaching, in Berlin are not good; but Weisse may have other plans.

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 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 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 15/16, [81] Handwritten letter from Weisse to Schenker, dated September 5, 1931

Weisse outlines his travel plans before leaving for America. He has accepted an invitation from Moriz Violin to give a lecture in Hamburg on September 16, the day before he sets sail.

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 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 8/5, [7] Handwritten picture postcard from Schenker to Violin, dated November 27, 1931

Inquiring about Violin’s difficulties at the Schenker Institute in Hamburg, Schenker observes that there are many fewer conservatory students in Vienna, and also in Berlin, because music teachers earn so little.

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 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 5/18, 10 Handwritten picture postcard from Schenker to Frieda Jonas, dated June 28, 1932

Schenker asks Mrs. Jonas to thank Oswald Jonas for an article he has sent.

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 10/3, [176] Typewritten letter from Deutsch to Schenker, dated August 26, 1932

Deutsch replies to two letters from Schenker; he has returned from an oppressively hot Salzburg but must now make a business trip to Yugoslavia. He advises against asking Hoboken to increase the tuition fee, in spite of the threat of inflation. He is surprised to hear that the new Oxford edition of Chopin is poor, as it was based on good source material.

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 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, [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 89/5, [13] Handwritten letter from Schenker to Hoboken, dated December 17, 1932

Schenker thanks Hoboken for the lesson fee, and reports that as he worked through Brahms's file of Oktaven und Quinten, he found a piece of work in his own hand! — He reports progress on Der freie Satz.

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.

OJ 14/10, [4] Handwritten letter from Rosa Weil to Heinrich & Jeanette Schenker, dated January 9, 1933

Rosa Weil reports that Klara approached Arnold to declare herself insane and ask to be placed in an institution, since when she has become delusional and asks for poison to end her life. — Rosa reports on her daughter Lene's training in medicine.

OC 18/50 Typewritten letter from Furtwängler to Schenker, dated January 30, 1933

Furtwängler encloses copies of two letters he has sent to Ludwig Karpath.

OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933

Schenker returns four essays with praise. Salzer is informed that the price for Jonas's Einführung has been set too high; Schenker advises caution with Hoboken.

OJ 89/6, [4] Handwritten letter from Schenker to Hoboken, dated March 22, 1933

Schenker thanks Hoboken for money transferred, for contact with Dlabač, and for information about Jonas. — Oktaven u. Quinten may be published within three weeks. — Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled for his course [at Mannes School]; and Furtwängler deems Schenker the "great music theorist."

OJ 14/10, [5] Handwritten letter from Rosa Weil to Jeanette Schenker, dated April 19, 1933

Rosa Weill reports that she has heard nothing of her brother Victor, assuming that he will move to Palestine. —She comments sadly on the death of her sister, Frieda (Glässner), for whose cremation she, Arnold, and Trude travelled to Berlin, and describes in detail Frieda’s deteriorating condition and death. — Lene has moved from Berlin to Prague to continue her medical training — Klara is somewhat improved.

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.

OC 18/59 Typewritten letter from Furtwängler to Schenker, dated May 17, 1933

Furtwängler asks to call on Schenker on May 20.

OJ 10/3, [195] Typewritten letter from Deutsch to Schenker, dated July 12, 1933

Deutsch gives his impression of Ernst Fritz Schmid and his relationship with Hoboken. Hoboken has stopped buying editions of music. Deutsch will not take a holiday but will be in Salzburg to cover the festival.

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 5/38, [85] Handwritten picture postcard from Heinrich to Wilhelm Schenker, postmarked September 18, 1933

Heinrich thanks his elder brother for his amusing letter and announces the publication of two articles about him and the forthcoming appearance of a book about his theory.

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 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 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 12/6, [28] Handwritten postcard from Jonas to Schenker, dated January 19, 1934

Jonas provides requested address; no further headway with van Hoboken.

OJ 89/7, [6] Handwritten letter from Schenker to Hoboken, dated February 27, 1934

Schenker speaks of an invitation received from the Reichsmusikkammer in Berlin.

OJ 5/18, 38 Handwritten letter from Schenker to Jonas, dated April 7, 1934

Further to OJ 5/18, 37, Schenker reports his conversation with Hoboken, who praised Jonas's book, then asked Schenker's opinion on how best to display the music examples. Schenker attempts diplomatically to explain Hoboken's pettiness. — Furtwängler is in Vienna. — Schenker praises Jonas's activities.

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 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 5/38, [90] Handwritten letter from Heinrich to Wilhelm Schenker, dated July 12, 1934

Heinrich expresses some optimism about political affairs in Germany, then reports the arrival of Oswald Jonas’s book about his theories. — He has had a positive health assessment from the local doctor but feels that he needs extra personal assistance.

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.

FS 40/1, [26] Handwritten postcard from Schenker to Salzer, dated September 13, 1934

Schenker asks Salzer to send [biographical] information to Wilhelm Altmann; mentions visit from Otto Klemperer.

OJ 5/18, 55 Handwritten picture postcard from Schenker to Jonas, dated September 13, 1934

Wilhelm Altmann asks that Jonas send biographical notes on himself for the Tonkünstler-Lexikon; Schenker refers to Hoboken and Salzer.

OC 44/21 Handwritten postcard from Jonas to Schenker, dated September 18, [1934]

Jonas is back in Berlin; reports on elucidatory editions, and seeks advice; — he refers to Klemperer and Furtwängler, — he has received letter from Landshoff; — forthcoming lectures in Vienna.

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.

OJ 5/18, 57 Handwritten postcard from Schenker to Jonas, dated September 28, 1934

Schenker has written to Furtwängler but doubts whether the latter will be able to help. — He passes on advice from Robert Haas regarding Hans Wolf's situation.

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.

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.

LC ASC 27/45, [24] Handwritten letter from Moriz Violin to Schoenberg, dated January 16, 1941

Violin reports on his "Music workshop" at the Jewish Center; is reading about New York; is looking through his letters from Schoenberg from c.1902; reflects on knowledge versus ignorance; wants to talk with Schoenberg about possibilities for playing in New York.

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OC 3/1-2: Oct 1912-Jun 1913 Angi Elias: lesson: Wednesday October 30, 1912