-
OC B/218 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker,
dated September 13, 1902
Gives publication details of Haydn's Scottish Airs.
-
OJ 15/6, [4] Handwritten letter from Fritz Wahle to Schenker, dated August 20, 1903
Fritz Wahle thanks Schenker for receipt of Eine Beitrag zur Ornamentik; he
praises its serious intent, but there may be some things about which he would
disagree.
-
OC 52/12 Handwritten letter from E. Ascherberg to Universal Edition, dated January 20,
1904
Ascherberg reports research on ballads arranged by Haydn.
-
OJ 15/12, [8] Handwritten postcard from Weinberger to Schenker, dated December 5, 1904
Weinberger archive has no wind music by Haydn.
-
WSLB 4 Handwritten letter from Schenker to Hertzka (UE), dated April 22, 1908
Schenker promises material the next day, and extols the work's
structure.
-
OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated
[?mid-late September 1908?]
Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf.
Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is
technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than
Haydn, Brahms, and other masters.
-
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.
-
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.
-
OJ 5/15, [4] Incomplete handwritten letter draft from Schenker to Grunsky, undated [?between
September 23 and December 31, 1908]
Schenker reports progress on his Kontrapunkt. — The main problem in music is
"how length can be produced." — He recollects his love for the pious Bruckner, and his
admiration for the latter's music, but speaks of its "defects," comparing the music
favorably with that of Tchaikovsky. Bruckner's stumbling block was form.
-
OJ 11/29, [4] Handwritten postcard from Grunsky to Schenker, postmarked November 5,
1908
Grunsky hopes to meet Schenker at the Haydn festival in Vienna. He urges
Schenker to read Halm on Bruckner.
-
WSLB-Hds 94476 Handwritten letter from Schenker to Seligmann, dated July 17, 1909
Schenker thanks Seligmann for helping him to get a friend’s essay on Byron’s
Manfred published in a Viennese newspaper. He then asks whether it would be possible to make
a judgment about painters, and paintings, on purely objective grounds, as he (Schenker) has
been aiming to do with composers and musical works.
-
WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912
Schenker returns the contract for Die letzten fünf Sonaten von Beethoven
signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to
Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that
tradition, which will spawn a new generation of composers superior to the present
"cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau
der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der
Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of
Musicians project in the fall.
-
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.
-
OJ 11/36, [2] Handwritten letter from Hammer to Schenker dated September 17, [1913]
Hammer cannot afford Schenker's fee; he dislikes the modern piano and has a Stein
grand piano, a Hammerklavier copy, and a clavichord.
-
OC 52/223 Handwritten draft contract, in Jeanette Schenker's hand, between UE and Schenker for
the Kleine Bibliothek and Beethoven sonatas edition, undated [March 17,?] 1920
Handwritten draft contract jointly for the Kleine Bibliothek and Beethoven
sonatas edition.
-
OC 52/447 Draft Contract between UE and Schenker for the Beethoven Sonatas edition, dated March
23, 1920
Draft contract for the Beethoven Sonatas edition.
-
OC 52/448 Typed contract between UE and Schenker for the Beethoven sonatas edition, dated July
10, 1920
Contract between UE and Schenker for the Beethoven sonatas collected edition.
-
OC 1B/10-11 Handwritten letter from Schenker to Hertzka (UE), dated February 22‒23, 1922
Schenker returns materials for the Fifth Symphony article, reports a delay in
providing information for the facsimile edition of the "Spring" Sonata, and complains that he
has futilely lavished time on the purification of the German language for the second edition of
Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an
"Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks
how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that
his pupils might make the preparatory graphs.
-
OJ 10/1, [69] Typed letter from Dahms to Schenker, dated March 11, 1922
Dahms's book, which has earned an award, is delayed at the bindery. He blames
this on the prevailing undisciplined conditions in Germany, criticizes the current government,
and predicts war.
-
OJ 14/4, [2] Handwritten letter from Hans Guttmann to Heinrich Schenker, dated May 14,
1922
Hans Guttmann expresses concern at Heinrich's recent unwellness, admires his
adherence to a strict diet, and speaks of his own better health since coming off a diet;
offers to send provisions to Heinrich and Jeanette; inquires as to the progress of
Heinrich's work; is reading Heinrich's Harmonielehre with some difficulty; and asks Heinrich
to perform a financial transaction for him.
-
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.
-
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."
-
DLA 69.930/11 Handwritten letter from Schenker to Halm, dated November 2, 1922
Schenker acknowledges receipt of two booklets on youth and the new republic,
returns them, comments on them critically: idealistic German democrats desire maximal
remuneration with minimal work; illustrates point by difficulties with maids in Schenker
household; German democrats naively overestimate social and intellectual status of non-German
commoners (French, British, American); Schenker decries cosmopolitanism and those Germans who
advocate individuality at the expense of society; Schenker praises the fascists as countering
communism and social leveling, compares Mussolini's Italy favorably with present-day
Germany.
-
OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923
Dahms reports change of address and explains circumstances; has sent a
prospectus to UE; progress on subscriptions to his de luxe edition and a new American
contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille
3, and comments on Schenker's understanding of democracy.
-
OJ 10/1, [75] Handwritten postcard from Dahms to Schenker, dated May 7, 1923
Dahms has received Vrieslander's essay on Schenker; reports progress on
subscriptions for his de luxe edition, proofs, and his work on Haydn; political comment.
-
OJ 10/1, [77] Handwritten letter from Dahms to Schenker, dated June 15, 1923
Dahms sends best wishes on Schenker's [55th] birthday, thanks him for his
assistance, and praises vol. I of Schenker's Beethoven sonata edition. Members of the German
community in Rome reject his assertions about genius.
-
OJ 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20,
1923
Schenker describes his efforts to make Der Tonwille more widely read, through its
distribution by his pupils and its display in music shop windows. He needs more help from pupils
and friends with the dissemination of his work, but complains that Hans Weisse has let him down
on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about
whether he should accept an invitation to speak at a conference in Leipzig, or whether he should
simply stay at home and continue to write.
-
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.
-
OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21,
1923
In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving
health, and goes on to mention a number of personal successes he has lately had, including a
visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa
solemnis. He has also had some unexpected support from his publisher, who wants to expand Der
Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts
(three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are
overtaking Furtwängler as conductors in Vienna by accepting more modest fees.
-
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, [82] Handwritten letter from Dahms to Schenker, dated December 28, 1923
Dahms gratefully acknowledges receipt of a grant from Schenker, reports on his
book writing, and sends New Year greetings to Heinrich and Jeanette.
-
OJ 5/45, [5] Copy of letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated January 12,
1924
Schenker outlines his attitude to Bamberger's leaving him, and offers advice to
Weisse.
-
OJ 15/16, [51] Handwritten letter from Weisse to Schenker, dated January 14, 1924
Responding to Schenker's explanation of a recent coldness between them, Weisse
asserts that his questions arise only from his own studies, not from work with his pupils; it is
not fear, but dependency on Schenker as a "medium," that drives him to ask such
questions.
-
OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924
Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111;
he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and
its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a
passage exhibiting non-genius in his or Oppel's music and discuss it in Der
Tonwille.
-
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.
-
OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9,
1924
In the light of an exchange of letters with UE, Schenker suggests that the new
publication have a new title (Die Urlinie) but that the old typeface and format be retained.
He suggests that the new periodical should include articles on each of the Chopin etudes and
the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from
all of which book-length studies could subsequently be made.
-
OJ 9/12, [4] Handwritten letter from Carl Bamberger to Schenker, dated March 4, 1925
Bamberger seeks Schenker's advice on the choice of works for a series of
Sunday morning concerts that is included in his new contract with Danzig.
-
OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925
After expressing his sympathy for Violin, in response to his friend's depressing
postcard, Schenker gives an account of some of the summer events, including a visit from
Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail
against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to
send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is,
however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this
connection the payment has been made.
-
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.
-
FS 40/27, [2] Handwritten letter from Weisse to Schenker, dated October 17, 1925
Weisse has found Zelter's review of Haydn's Creation and has copied out the
section concerned with "The Representation of Chaos." He finds nothing of value in the
review, but says it must have pleased Haydn because it shows that the composer was entirely
conscious of how he went about writing the work.
-
OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925
The [Hammer] mezzotint has arrived; Dahms expresses a reservation about
it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE.
-
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 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11,
1926
Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg
went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in
putting together the first Meisterwerk Yearbook, on account of the numerous music examples
and separate Urlinie graphs, and summarizes the contents of the second
Yearbook.
-
OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15,
1926
A draft statement of the principles lying behind Schenker’s Meisterwerk series
of Yearbooks, together with a provisional table of contents for the second
Yearbook.
-
OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927
Deutsch thanks Schenker for his recent communications, including a copy of the
contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of
relevant extracts from the correspondence with the publishers. He reports progress in the
establishment of a Photogram Archive at the Austrian National Library, with the cooperation
of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to
photographically reproduce autograph manuscripts are underway at the Beethoven House in
Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that
proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses
his delight in being able to assist Schenker in the promotion of his work.
-
OJ 10/3, [52] Typewritten postcard from Deutsch to Schenker, dated January 15, 1927
Deutsch asks Schenker if a (recent) edition of Beethoven’s Ninth Symphony was
based on the facsimile edition. He has sent the manuscript (of Schenker’s second Meisterwerk
yearbook) to the publishers. A Haydn facsimile and a Handel print can be discussed
later.
-
OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927
Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave
the music examples for the second Meisterwerk volume in order to ensure a flawless
reproduction. He also reports that the width of the pages in the supplement will be
expanded, and notifies Schenker of the changes that he will make to the music examples
following this decision. Vrieslander states he has officially enquired with Einstein about
potential problems in the printing process, making clear that Schenker will not be able to
bear any additional costs for printing errors.
-
OC 54/137 Typed letter from Otto Erich Deutsch to Schenker, dated March 16, 1927
Deutsch returns part of the proofs of the second Meisterwerk Yearbook and
provides bibliographical details of a Haydn sketch-leaf to be reproduced for the essay on
“The Representation of Chaos.”
-
OC 54/145 Typed letter from August Demblin (DMV) to Schenker, dated April 25, 1927
Drei Masken Verlag inform Schenker that they have sent all of the material for
the second Meisterwerk volume to the printers, and that he should expect to receive three
copies of the page proofs and two copies of the music examples in due
course.
-
OC 54/148 Typed letter from Mandruck to Schenker, dated May 3, 1927
Mandruck return the original sketches of Haydn's "Representation of Chaos" to
Schenker and inform him that they have prepared the stereotype in accordance with his
wishes.
-
OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927
Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He
has made progress on his index of Haydn's works, and has purchased some Beethoven first
editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He
asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn.
-
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.
-
OJ 10/3, [68] Typewritten letter from Deutsch to Schenker, dated September 12, 1927
Deutsch has sent Vrieslander’s prospectus of the second Meisterwerk yearbook
to the publisher almost unchanged, despite overlength. — He reports 200 new acquisitions
[for Hoboken's collection], particularly in Mozart, Haydn, and Chopin.
-
OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927
Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus"
and the suitability of Vrieslander's text for that purpose. — He expresses an interest in
Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the
whereabouts of the autograph manuscript of Beethoven's Op. 106.
-
OJ 9/12, [8] Handwritten letter from Carl Bamberger to Schenker, dated December 2,
1927
Bamberger praises Schenker's initiative in the Photogrammarchiv and Anthony
van Hoboken's philanthropy; he is making progress as a conductor.
-
OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928
Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the
approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him
to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties
he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and
speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.
-
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.
-
OJ 10/3, [95] Typewritten picture postcard from Deutsch to Schenker, dated October 8,
1928
Deutsch has received information from Breitkopf & Härtel concerning the
three volumes of piano sonatas by Haydn in the collected edition; he thinks that they are
very expensive.
-
OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929
Schenker thanks Violin for his concerns, describes how they survived the cold
weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished
and that he has written an article about the Photogram Archive, which has acquired over
seven thousand pages of manuscripts. He looks forward to seeing his friend in the
summer.
-
OJ 89/3, [2] Handwritten letter from Schenker to Hoboken, dated July 6, 1929
Schenker encloses a newspaper clipping regarding a Haydn manuscript find, and the
statement from Vrieslander.
-
PhA/Ar 56, [3] Handwritten letter from Schenker to Haas, dated July 6, 1929
Schenker draws Haas's attention to an article in the Neue Freie Presse
regarding Haydn manuscripts.
-
OJ 10/3, [109] Typewritten picture postcard from Deutsch to Schenker, dated October 14,
1929
Deutsch agrees that there should be momentum associated with the Photogram
Archive, but Haas can probably not be persuaded [to approve of Hoboken’s taking the
editorial duties]. --- He reports that work on Haydn (with Hoboken) has
resumed.
-
OJ 10/3, [115] Typewritten picture postcard from Deutsch to Schenker, dated January 27,
1930
Deutsch clarifies one or two misunderstandings in Schenker’s previous
postcard: Vrieslander has been contracted by the publisher Strache to bring out some
unpublished sonatas by C. P. E. Bach.
-
OJ 10/3, [120] Handwritten postcard from Deutsch to Schenker, dated March 2, 1930
Deutsch has come across information suggesting that there may be parts, even a
score, of the "Eroica" Symphony with corrections in Beethoven’s hand from the music library
of Archduke Rudolph and still located in Olmütz [Olomouc].
-
OJ 89/4, [3] Handwritten letter from Schenker to Hoboken, undated [March 23, 1930]
Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano
technique, and defines Hoboken's character as a pianist.
-
OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930
Deutsch suggests that Schenker should get Breitkopf & Härtel to publish
his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will
continue to study theory with Schenker while he improves his piano technique in Berlin. --
He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which
predates its publication in Op. 75 by about three years, and asks Schenker to compare the
two version with a sketch from 1798 that was published by Nottebohm.
-
OJ 10/3, [126] Handwritten letter from Deutsch to Schenker, dated May 11, 1930
Deutsch asks for Schenker’s advice on the programming of an evening “Serenade”
of orchestral and choral music, to be conducted by Robert Heger.
-
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.
-
OJ 10/3, [128] Handwritten picture postcard from Deutsch to Schenker, dated May 25, 1930
Deutsch is delighted that Schenker is happy with Drei Masken Verlag’s
willingness to publish the Eroica monograph as a third Meisterwerk yearbook. He has
encountered difficulties with the Vienna Philharmonic Orchestra regarding the program for
the first of two Serenades in the Leopoldsplatz in June.
-
WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930
In this 16-page response to a letter from Deutsch, Schenker thanks his
correspondent for his unstinting assistance (in relation to the third Meisterwerk
yearbook) and underlines the importance of a collected edition of the works of C. P.
E. Bach. — He then launches a long and detailed denunciation of Anthony van
Hoboken’s character, referring in particular to his treatment of Otto Vrieslander,
his ambivalence towards projects associated with the Photogram Archive, and his
absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is
thoroughly undeserving of a high honor conferred by the Austrian
state.
-
OJ 11/54, [34] Handwritten letter from Hoboken to Schenker, dated April 29, 1931
Hoboken may stay at the Semmering spa for a few more days, and discusses his
next appearance for a lesson. — He discusses Specht's Bildnis Beethovens.
-
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.
-
OJ 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931
Deutsch reports illness in his family over the summer. -- He is glad to see
Schenker’s article on the lost Mozart letter in print, and mentions other places in which it
was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which
have, however, been misrepresented in the press.
-
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.
-
OJ 12/6, [11] Typewritten letter from Jonas to Schenker, dated March 24, 1932
Furtwängler liked his essay; Jonas describes his lectures at the Conservatory;
the situation with Einstein over publishing his review of Meisterwerk 3; asks about
permission to consult Brahms's arrangement of Saul.
-
OJ 10/3, [166] Handwritten letter from Deutsch to Schenker, dated April 6, 1932
Deutsch announces that Hoboken will receive the Silver Order of Merit from the
Austrian state on Thursday, April 7. He reports Hoboken’s bad behavior and ill humor since
returning to Vienna with his new bride. He gives the opening times of the Haydn exhibition
in the Vienna City Hall.
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OC 54/364 Typewritten letter from Deutsch to Schenker, dated April 20, 1932
Deutsch is happy to learn of progress on Schenker’s forthcoming publication of
Urlinie-Tafeln. He would like to see something from Schenker on Anton Bruckner, whose
greatness he cannot understand. Rereading an old article by Ludwig Karpath, he notes
Schenker’s earlier enthusiasm for Haydn’s Welsh and Scottish folk song settings. He suggests
meeting Schenker at the Café Aspang on Tuesday, April 26, at 5 o’clock.
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OC 54/368 Typewritten postcard from Deutsch to Schenker, dated June 27, 1932
Deutsch has been in touch with Hofmeister, the distributor for Universal
Edition which has a close relationship with the publishing house; he suggests that Schenker
could deal directly with U. E. [over the distribution of the Fünf Urlinie-Tafeln]. He does
not yet have any idea of the production cost or the proposed selling price.
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OC 54/370 Typewritten letter from Deutsch to Schenker, dated July 5, 1932
Deutsch has taken upon himself all the business arrangements with Universal
Edition for the publication of the Fünf Urlinie-Tafeln. He finds the pagination inconsistent
and confusing, and makes recommendations about it. He says that things seem to have eased at
U. E. since Alfred Kalmus took over the directorship from Hertzka. His own short book on
Mozart’s Masonic music will be published.
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OJ 89/5, [3] Handwritten letter from Schenker to Hoboken, dated July 31, 1932
Schenker welcomes a visit from Hoboken and Miss Boy, and encloses a clipping of
an article.
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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.
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OJ 10/3, [194] Typewritten letter from Deutsch to Schenker, dated June 5, 1933
Deutsch comments on Brahms’s notation of musical canons. Then, in a wide
ranging response to Schenker’s recent communications, he dwells on Hoboken’s decision to
live in Germany for the time being, in spite of the implications for Schenker’s teaching and
his own bibliographical work.
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OJ 10/18, [5] Handwritten letter from Elias to Schenker, dated June 17, 1933
Miss Elias sends best wishes for Schenker's birthday, and reports a visit from
Robert Brünauer. — She encloses an "assessment" by Paul Stephan of a concert conducted by
Carl Bamberger.
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OJ 10/3, [195] Typewritten letter from Deutsch to Schenker, dated July 12, 1933
Deutsch gives his impression of Ernst Fritz Schmid and his relationship with
Hoboken. Hoboken has stopped buying editions of music. Deutsch will not take a holiday but
will be in Salzburg to cover the festival.
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OJ 5/18, 47 Handwritten letter from Schenker to Jonas, dated July 22, 1934
Schenker praises Jonas's book highly; gives Hoboken's current address; —
Furtwängler has written a recommendation for Moriz Violin, who would like go to Jerusalem;
asks whether Vrieslander and Oppel are subscribers. — Comments on Bayreuth and
Wagner.
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OJ 5/18, 52 Handwritten picture postcard from Schenker to Jonas, dated August 28,
1934
Schenker lists the pieces he has worked through with Hoboken with a view to
publication; puzzles over Furtwangler's lack of contact; outlines homeward
travel.
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OJ 9/10, [4] Printed invitation from the Photogrammarchiv to Jeanette Schenker, dated February
14, 1936
Invitation to celebrate the enlargement of the
Photogrammarchiv
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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.