-
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 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903
Rosenthal inquires about Schenker's being performed in
Berlin.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911
Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send
to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und
Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies
his editorial stance with reference to Rodin and architecture, and suggests it might be
published in Germany as retribution against Bopp and Wiener. —He is working now on
Counterpoint II for Cotta.
-
OJ 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.
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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.
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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-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.
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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.
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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.
-
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.
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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.
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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.
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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, [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 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 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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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."
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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.
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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.
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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.
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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 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.
-
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.
-
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]
-
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]
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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.
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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.
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OJ 10/1, [97] Handwritten postcard from Dahms to Schenker, dated August 11, 1926
Dahms gives his travel plans and [temporary] Berlin address.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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."
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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 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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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OJ 12/6, [16] Handwritten letter from Jonas to Schenker, dated October 1, 1932
Further on Hoboken and the number of subscriptions; Jonas thanks Schenker for
approving an article about the Photogrammarchiv that he hopes will be published in Die
Musik.
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OJ 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.
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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.
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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.
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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."
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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.
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OC 18/59 Typewritten letter from Furtwängler to Schenker, dated May 17, 1933
Furtwängler asks to call on Schenker on May 20.
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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.
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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.
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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.
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OJ 12/6, [28] Handwritten postcard from Jonas to Schenker, dated January 19, 1934
Jonas provides requested address; no further headway with van
Hoboken.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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OC 44/8 Handwritten postcard from Cube to Schenker, dated October 29, 1934
Cube gives the publisher of Schäfke's Geschichte der Musikästhetik, and reports the prospect of a
permanent position.
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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.