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  • Europa
  • Europe


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  • 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, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925]

    Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers to visit. — Hindenburg's election as German President has given a "jolt" to Europe and pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will be able to lift Germany out of mediocrity.

  • OJ 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926

    Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He is not optimistic that humanity in general will truly understand the classics, which underscores the important of his (and Violin's) mission.

  • OJ 15/16, [88] Handwritten letter from Hertha Weisse to Schenker, dated February 15, 1933

    Hertha Weisse reports that, through Hans's teaching at Columbia University and the Mannes School, Schenker's work has gained a footing in New York (where people seem more receptive to new ideas), and she expresses her gratitude to Schenker for breathing life into the spirit that has given such joy to her husband's pupils. The children are growing up speaking German, and she has begun to restudy the piano.

  • OJ 15/16, [90] Handwritten letter from Hans Weisse to Schenker, dated March 17, 1933

    Weisse reports the success of his lecture on the C minor prelude from the Well-Tempered Clavier, Book 1. — He is currently giving two lectures on a Haydn's sonata. — He inquires about the possibility of having Schenker's foreground graphs for the "Eroica" Symphony printed separately and sold to his pupils, for a series of lectures planned for the following year; the profits entirely to Schenker. — He sees little prospect visiting Europe in the summer, as his financial situation has worsened: the Mannes School has been forced to reduce his teaching for the next season. — He expresses his doubts about Vrieslander's ability to reshape Schenker's Harmonielehre as a school textbook, and about the value of Harmonielehre itself in the light of his teacher's most advanced theoretical ideas.

  • OJ 15/16, [94] Handwritten letter from Hans Weisse to Schenker, dated March 15, 1934

    Weisse apologizes for long silence, largely on account of depression at the lack of enrollment at Mannes and of enthusiasm for his recently published Violin Sonata. — At Mannes he lectures about his own work, because it is important to show how Schenkerian theory can have a practical application for composers; his pupil Israel Citkowitz is the only cause for optimism. — At Columbia University, where he "smuggles" Schenkerian theory into his lectures, enrolment continues to be large. — He sends a copy of his Violin Sonata, and promises his Variations on a Popular American Song. — He is not coming to Europe this summer. — Universal Edition is going ahead with a schools' version of Schenker's Harmonielehre, but he is surprised that Alfred Kalmus expects him to be involved in an American edition of this.

  • OJ 5/34, [2] Handwritten revised draft letter from Schenker to Alphons Rothschild, in Jeanette Schenker's hand, undated [August 3‒6, 1934]

    Draft accompanying letter for a copy of Oswald Jonas's Das Wesen ... — Schenker reiterates his gratitude for previous financial support, and reports that he now has 11 published works, many articles, and entries on him in several general encyclopedias. — Only in Vienna is he unrecognized. — He describes Wilhelm Furtwängler's faith in his theories and the support he has given him. — He mentions his earlier proposal for a Rothschild orchestra.

  • OJ 15/16, [95] Handwritten letter from Hans Weisse to Schenker, dated September 23, 1934

    Weisse reports a visit from Victor Vaughn Lytle, to whom Schenker had recently written, and the receipt of Oswald Jonas's recent book, on which he comments. The Weisses have spent a lovely summer by the sea, in the midst of unspoiled nature, and he has completed a set of five six-voice madrigals on Goethe texts and a string quartet. He reports and laments his mother’s death.

  • OJ 15/16, [97] Handwritten letter from Hans Weisse to Jeanette Schenker, dated February 21, 1935

    In a letter of condolence to Schenker's widow, Weisse expresses his distress at having, within the space of two years, lost his parents and now his spiritual father. He offers to help Jeanette and Oswald Jonas read the proofs for Der freie Satz; but he cannot afford to come to Europe in the summer, as the Mannes College can guarantee only half his salary for next year. He asks her to send him a memento of her husband, and to consider entrusting to him the care of some of Schenker's unpublished work.

  • 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.

  • LC ASC 7/50, [10] Typewritten letter (carbon copy) from Schoenberg to Moriz Violin, dated January 27, 1940

    Schoenberg reports a letter that he has received from R. E. Stuart. He detects that Gottfried Galston will see him as a rival, so advises Violin to write stressing his primary area as composition. He regrets that he can no longer avoid recommending some of his own students.

  • 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 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.