OJ 6/7, [29] Handwritten letter from Schenker to Moriz Violin, dated September 7, 1926

Schenker conveys his personal grief over the serious illness of Violin's son Karl. He philosophizes about the ills of the world, noting financial difficulties recently faced by Vrieslander, Dahms, and van der Berg. He reports Robert Pollak's imminent departure for San Francisco.

OC 52/911 Typed letter from Hugo Winter (UE) to Schenker, dated April 27, 1928

Encloses invoice for sending Der Tonwille to San Francisco.

OJ 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928

Schenker sends Cube an article written for the Beethoven centenary festival and suggests a "connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA; outlines summer plans.

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."

LC ASC 27/45, [3] Handwritten letter from Moriz Violin to Schoenberg, dated April 17, 1938

Violin tells Schoenberg he expects to obtain an affidavit to emigrate to the USA, and ask if Schoenberg could write a letter of recommendation for work in San Francisco, and advise him on possibilities there.

LC ASC 27/45, [6] Handwritten letter from Moriz Violin to Schoenberg, dated January 17, 1939

Violin informs Schoenberg that he already has his affidavit, and thanks him for his attempts. He asks Schoenberg for letters of recommendation for San Francisco.

LC ASC 7/50, [3] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated March 2, 1939

Schoenberg is pleased that Violin has his affidavit, is happy to write recommendations for him in San Francisco, and looks forward to seeing him in person soon.

LC ASC 27/45, [7] Handwritten letter from Moriz Violin to Schoenberg, dated May 17, 1939

Violin has been ill for three months, and is due to sail on May 27 arriving New York June 5. He asks about the cost of travel from Los Angeles, where he hopes to stay en route, to San Francisco, and gives a temporary address in New York.

LC ASC 27/45, [8] Handwritten letter from Moriz Violin to Schoenberg, dated June 13, 1939

Violin comments on American red tape. He has had to give the addresses of his supporters and asks Schoenberg to provide a testimonial if asked; and expresses gratitude for the Schoenbergs' offer of hospitality in Los Angeles.

LC ASC 27/45, [9] Handwritten letter from Moriz Violin to Schoenberg, dated June 20, 1939

Violin asks Schoenberg to write to the refugee committee in San Francisco. He will let him know his arrival time.

LC ASC 27/45, [11] Handwritten notecard from Moriz Violin to Schoenberg, dated July 19, 1939

Violin thanks the Schoenbergs for their hospitality, and promises his c.v. shortly.

LC ASC 7/50, [6] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated July 21, 1939

Schoenberg has written a letter of introduction and modified Violin's draft c.v., explains how he has done the latter, and advises Violin what to do with the materials. — He asks advice on how to get the best exchange rate for Mark/Dollar.

LC ASC 27/45, [17] Handwritten letter from Moriz Violin to Schoenberg, dated January 26, 1940

Violin acquiesces to applying for the job in St. Louis, despite reservations about the climate there. He laments the backwardness of San Francisco's musical world. He admits to being "kept" by his wife.

OJ 70/38, [1] Typewritten letter from R. E. Stuart to Moriz Violin, dated April 2, 1940

The St. Louis Institute of Music does not feel sure enough of Violin's being given the position in the event of being interviewed, and so wishes to spare him the expense of travel. It questions whether, as a recently arrived European, he would be able to adapt to the staff and students.

LC ASC 27/45, [21] Handwritten letter from Moriz Violin to Schoenberg, dated June 8, 1940

Violin asks Schoenberg to write to Elizabeth Sprague Coolidge recommending him to play with the Coolidge Quartet.

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.

LC ASC 27/45, [26] Handwritten letter from Moriz Violin to Schoenberg, dated March 29, 1941

Violin thanks Schoenberg for his recent stay in Los Angeles, and comments on Schoenberg's lecture "Composition with Twelve Tones," which he attended during that stay. — He reminds Schoenberg to advocate for him for an engagement with the New York New Friends of Music; and he mentions for the first time his plan to found an institute in San Francisco.

LC ASC 27/45, [27] Handwritten letter from Moriz Violin to Schoenberg, dated April 14, 1941

Violin reports encouraging news on his planned "institute," spells out some of his ideas, and seeks to discuss further with Schoenberg.

LC ASC 7/50, [14] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated April 15, 1941

Schoenberg gives his reaction to the description that Violin has given of his role in Violin's planned "institute."

OJ 70/1, [1] Handwritten draft letter from Moriz Violin to Mrs. Schwabacher, undated [c. July 10, 1941]

Violin reports – perhsps protests – to Mrs. Schwabacher on his interview with her agent, Mr. Pettis.

LC ASC 27/45, [29] Handwritten letter from Moriz Violin to Schoenberg, dated July 20, 1941

Violin recounts his experience with one of his sponsors and subsequent interview with her skeptical agent regarding an (unspecified) new project.

LC ASC 27/45, [31] Handwritten letter from Moriz Violin to Schoenbeg, undated [March? 1949?]

Violin writes of his solitude and despair. He sees that Schoenberg is coming to San Francisco, and pleads to be allowed to meet with him.

OJ 70/35, [8] Typewritten letter from Schoenberg to Moriz Violin, dated April 1, 1949

Schoenberg regrets that he is unable to visit San Francisco on account of ill-health. He suggests Violin write an article on Schenker's theories for the Musical Quarterly. He hopes to send Violin his forthcoming book "Style & Idea."

LC ASC 7/50, [18] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated May 8, 1949

Schoenberg regrets that he has had to cancel his visit to San Francisco, as he has also his trip to Germany for his 75th birthday celebrations. He hopes to be able to invite Violin soon.

OJ 70/35, [9] Handwritten open letter from Schoenberg dated September 16, 1949, with handwritten letter from Schoenberg to Moriz Violin, dated October 14, 1949

Schoenberg sends a copy of his open letter on his 75th birthday, embedded within a letter in which he expresses pleasure at Violin's report of his Carmel performance.

Diary entry by Schenker for 19 April 1906

Diary entry by Schenker for 5 January 1927

Diary entry by Schenker for 24 April 1928