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JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922
Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an
instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to
read Fiedler and Hildebrand.
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OJ 8/4, [12] Handwritten postcard from Schenker to Moriz Violin, undated [June 17, 1922]
Schenker explains why the "Miscellanea" is missing from Tonwille 2; he likens
Hertzka's heavy-handedness to Prince Metternich's police-state tactics.
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OJ 12/31, [3] Typewritten letter from Ernst Lamberg to Schenker, dated July 11, 1924
Ernst Lamberg declines to write, as requested, to Josef Marx.
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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 8/4, [56] Handwritten picture postcard from Schenker to Moriz Violin, dated July 25,
1928
Writing to the sanatorium in the Harz mountains, Schenker ask Violin how
things are with him.
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OJ 5/38, [58a] Handwritten letter from Heinrich to Wilhelm Schenker, dated August 11,
[1929]
Heinrich asks for his brother’s medical opinion about the pains in his chest
and throat.
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OJ 5/7a, [29] (formerly vC 29) Handwritten postcard from Schenker to Cube, undated [June 8, 1930]
Schenker sends copy of Vrieslander's article and comments on it, comparing it
unfavorably with Meisterwerk III; inquires about Cube's "article," asks whether Erich Voß is
with him; reports departure date for Galtür.
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OJ 8/5, [4] Handwritten picture postcard from Schenker to Violin, postmarked June 6,
1931
Furtwängler has sent 3,000 Marks via Hans Weisse for the costs of Das
Meisterwerk 3, and Weisse will continue to seek the funds for Der freie
Satz.
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OJ 6/8, [5] Handwritten letter from Schenker to Violin, dated September 6, 1931
In this long, sentimental letter, Schenker thanks Violin for founding a
Schenker Institute in Hamburg and reflects on the intertwining of their fates through their
connection with C. P. E. Bach. He also advises on the wording of the Institute’s
prospectus.