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WSLB 310 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1919
Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs
while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine
Bibliothek and other tasks.
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OJ 10/3, [21] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 11,
1920
Deutsch encloses the photographs of Edward Speyer's "Moonlight" Sonata
sketchleaves and asks Schenker to revise his Preface accordingly, before forwarding the
photographs and Preface to him. The photographic reproduction of the Sonata manuscript in
Bonn has been delayed by a chemical and glass shortage. Schenker's corrections were used for
the prospectus.
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OJ 10/3, [37] Typewritten postcard from Deutsch to Schenker, dated May 26, 1922
Deutsch reports that Drei Masken will not publish a facsimile edition of Beethoven's "Spring"
Sonata Op. 24, and will instead publish editions of Beethoven's Piano Sonata in F-sharp Op. 78, a string quartet
by Haydn, and Schubert's Winterreise and B minor Symphony.
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OJ 8/4, [16] Handwritten postcard from Schenker to Moriz Violin, dated September 29, 1922
Schenker reports, among other things, that Hans Weisse has returned as a paying
pupil.
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OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27,
1922
Dahms has been trying to improve his publishers' financial terms. — He is in
low-grade accommodation; housing in the "German colonies" is available only to officials. —
Reports on the concert season in Rome. — Die Musik would not accept an article from him on
Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's
"sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on
his latest book, for which he is arranging a de luxe edition by subscription. — Reports
unfavorably on an incident in which Otto Klemperer played the Italian fascist
hymn.
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OJ 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18,
1925
Bamberger reports that after six months of repetiteur work he has been granted
some conducting. -- He laments the lack of musical education of the Danzig citizens, and its
impact on the theater's repertory. Talent is not appreciated by the theater's
administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his
reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks
Schenker a question about Schubert's song "Wohin?"
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OJ 9/12, [5] Handwritten letter from Carl Bamberger to Schenker, dated September 27,
1925
Bamberger is officially a "conductor" at Danzig. -- He asks how to obtain a
Rothberger medallion of Schenker and inquires after Hammer's etching. -- He reports on
Hupka's progress in Cologne, and inquires after F.E. von Cube.
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OJ 9/5, [1] Handwritten letter from Gerhard Albersheim to Schenker, dated May 3, 1926
Albersheim asks Schenker to take him on as pupil.
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OJ 9/12, [6] Handwritten letter from Carl Bamberger to Schenker, dated June 15, 1926
Bamberger has introduced pianist Stefan Askenase to Schenker's
Erläuterungsausgabe of Op. 111, to the latter's delight. He would like to visit the
Schenkers in Galtür.
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OJ 8/4, [44] Handwritten postcard from Schenker to Moriz Violin, dated November 10,
1926
Schenker enquires about the health of Violin and his son Karl. He has received
a cordial letter from Hindemith, assuring him that the fruits of his theory may be found in
his works, including the Urlinie; he has responded politely but candidly.
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OJ 10/3, [57] Typewritten postcard from Deutsch to Schenker, dated March 13, 1927
Deutsch asks Schenker to recommend Dr. Willy Kahl (Cologne) to write for the
Bonn General-Anzeiger. He reports the arrival of galley proofs (for the second Meisterwerk
yearbook).
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OJ 9/12, [7] Handwritten letter from Carl Bamberger to Schenker, dated May 10, 1927
Bamberger has been appointed second conductor at the Darmstadt operahouse. He
asks to visit Schenker in Vienna.
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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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OJ 9/5, [2] Handwritten letter from Josef Albersheim to Schenker, dated August 8, 1927
The costs of his son's lessons with Schenker are a burden to Josef Albersheim; he
asks Schenker for some "accommodation," asserting that with teachers of Schenker's caliber
pupils normally attend for fewer lessons a month.
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OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928
Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses
associated newspaper article; also on recent lecturing and composition activity. He is unlikely
to visit Schenker this year; recalls people at Galtür.
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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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OJ 9/5, [3] Handwritten letter from Gerhard Albersheim to Schenker, dated September 5,
1928
Josef Albersheim has approved the continuation of his son's three lessons a
week; Gerhard looks forward to resumption.
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OJ 5/7a, [18] (formerly vC 18) Handwritten postcard from Schenker to Cube, dated September 6, 1928
Freier Satz will be prepared for publication this year; gives news of former pupils and
supporters.
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OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928
Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and
plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to
return the Hammer etching.
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OJ 5/7a, [20] (formerly vC 20) Handwritten postcard from Schenker to Cube, dated October 8, 1928
Schenker acknowledges receipt of Hammer portrait; urges Cube when in Cologne to
visit Gerhard Albersheim's parents and Felix Hupka.
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OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928
Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a
"connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next
time.
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OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928
Sends best wishes for Cologne lecture-series; is planning to issue a folder of
Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv,
which will be officially opened on November [25]. The "counter-examples" should be taken
slowly.
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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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OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929
Cube is listening by radio to music being performed in Vienna. The two caricatures are his
fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous
lectures, and forthcoming lecture series.
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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.
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OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)
Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17],
and offers advice and a warning: ordinary people are not interested in beauty in art, but look
for quick, easy judgments.
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OJ 9/34, [18] Handwritten letter from Cube to Schenker, dated May 14, 1929
Cube explores the possibility of a student of his, Erich Voss, studying with
Schenker.
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OJ 5/7a, [23] (formerly vC 23) Handwritten letter from Schenker to Cube, dated May 15, 1929
Gerhard Albersheim will leave a space in Schenker's calendar that Schenker offers
to Erich Voss; will teach him himself because Weisse may not be up to date with Der freie Satz;
Voss to contact him.
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OJ 89/3, [8] Handwritten letter from Schenker to Hoboken, dated September 10, 1929
Schenker increases his lesson fee by inflation. — He reports on Oppel and
Vrieslander, referring to his (Schenker's) not having been appointed to a professorship at
Heidelberg; on Albersheim's marriage, and approaches made to him by Cube and
Waldeck.
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WSLB 418/1 Handwritten letter from Schenker to Hertzka (UE), undated [December 19,
1929]
Schenker recommends an essay by Gerhard Albersheim; raises possibility of
unchanged re-issue of Harmonielehre.
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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.
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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 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 6/8, [2] Handwritten letter from Schenker to Violin, dated April 14, 1931
Having heard that Weisse is leaving for America, Schenker asks if Violin has
had a response from Cube. He has had a postcard from a pupil of Cube’s, Erich Voss, who
would like to know the content of Der freie Satz.
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OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931
Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he
emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice;
comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of
C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be
available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete
rest.
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OJ 6/8, [16] Handwritten letter from Schenker to Violin, dated December 29, 1932
Schenker advises Violin to keep up the pressure on Josef Marx regarding a
possible position at the Vienna Akademie; he will do the same. He again discourages his
friend from approaching Anthony van Hoboken with an appeal for financial
assistance.
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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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OJ 11/54, [41]-[42] Handwritten letter, with envelope, from Hoboken to Schenker, dated January 1,
1935
Hoboken wishes Schenker good health, and strength to complete Der freie Satz.
— He discusses the furniture in the new premises of the Photogram Archive, and gives his
travel plans for January.