-
OJ 8/3, [57] Handwritten postcard from Schenker to Moriz Violin, dated April 7, 1918
Schenker has implemented the increase in fee, for his pupils, and describes how
intolerable life is in Vienna; -- is trying with dificulty to book summer lodgings; -- reports
Weisse's declining of the invitation to contribute to the Schenker Festschrift; -- he is working
hard on his library.
-
DLA 69.930/9 Handwritten letter from Schenker to Halm, dated January 18, 1920
Schenker acknowledges receipt of OJ 11/35, 14 and 15, thanking Halm for the
opportunity to see the two contracts, now enclosed. Schenker has been exploited by UE regarding
EA 101 and the "Little Library," and must now protect himself and extract better working
conditions. —Kontrapunkt 2 will show the world that his "Semper idem" motto applies at every
level from strict counterpoint through to free composition. In a musical garden of Eden of
genius, the rest of the world behaves like Adam and Eve. — Schenker congratulates Halm on his
successes and thanks him for his support.
-
OC 52/244 Typed letter from Hertzka (UE) to Schenker, dated January 12, 1921
Hertzka sends contracts for NMTP and Kontrapunkt 2, and discusses the take-over
from Cotta, requesting Schenker's estimate of remaining stocks, and asking whether changes would
be required in a second edition of Kontrapunkt I.
-
OJ 8/4, [2] Handwritten postcard from Schenker to Moriz Violin, dated February 6, 1921
Schenker congratulates Violin on obtaining a teaching post in Hamburg and reports
on progress on his written work and publications.
-
OJ 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921
Schenker gives an account of the move into Keilgasse 8 and describes his study in
the apartment. He outlines his holiday plans, and explains how he is raising the fees for
lessons in the autumn.
-
OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922
Schenker reports the imminent publication of Tonwille 3, and some new publishing
ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the
Short Preludes by J. S. Bach.
-
OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923
Weisse summarizes his recent travels in northern Italy and Switzerland, and
inquires about progress on Der freie Satz, a work which he thinks will be an indispensable
foundation for the analyses in Der Tonwille.
-
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 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September
12, 1923
Schenker explains his behavior a few days before, in reply to Weisse’s letter of
September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer.
-
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 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924
Schenker reports continuing trouble with Hertzka, especially over delays to the
publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is
beginning to think about legal action. Hertzka has made his position so difficult that he feels
obliged to turn down Max Temming's offer of direct financial support for his work. He asks
Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he
neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if
Violin received any of the four volumes of the Beethoven piano sonata edition.
-
DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924
In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.
-
OJ 10/13, [1] Handwritten letter from Dunn to Schenker, dated April 18, 1926
Having [mistakenly] been informed that Der freie Satz is out of print, Dunn
asks Schenker for help in obtaining a copy.
-
OJ 10/13, [2] Handwritten lettercard from Dunn to Schenker, dated May 13, 1926
Dunn acknowledges a message from Schenker, regrets that Der freie Satz is not
yet published, tells of plans for an abbreviated English translation of Kontrapunkt for his
pupils at the University of Edinburgh.
-
OJ 10/13, [3] Handwritten lettercard from Dunn to Schenker, dated June 27, 1926
Dunn thanks Schenker for the copy of Meisterwerk 1, reports that an adaptation of
the first volume of Schenker’s Counterpoint is complete, and explains how it will be made
available in multiple copies.
-
OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926
The composition of a clarinet quintet has kept Weisse from writing to Schenker.
Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to
meet with him in Vienna to discuss its content.
-
OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926
Schenker has received indication of part-payment from Cube's father [for Cube's
lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has
completed a clarinet quintet.
-
OJ 5/7a, [4] (formerly vC 4) Handwritten postcard from Schenker to Cube, dated September 4, 1926
Schenker acknowledges Cube's note, sends best wishes, and refers to Der freie Satz.
-
OJ 6/7, [30] Handwritten letter from Schenker to Moriz Violin, dated December 19, 1926
Schenker expresses his delight that his friend received sufficient financial
help to be able to move into a new apartment for the sake of his son Karl's health. He
reports having shown Agnes Becker some straightforward examples of the Urlinie, out of
desperation (she shows little aptitude for piano playing), and then explains that a great
deal of time, patience and faith are needed to understand such things. Of his current
pupils, only Elias, Brünauer, Hoboken and (to some extent) Albersheim are capable of
following the ramifications of the new theory, which he sees as his unique gift to the
world. At present, he is working on his "crowning work," Free Composition.
-
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.
-
DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927
Thanking Halm for his Beethoven book, he believes that their misunderstandings
could be removed and hopes Der freie Satz will help bring that about; gives order of publication
for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work
of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his
correspondence with Hindemith.
-
OJ 5/38, [30] Handwritten letter from Heinrich to Wilhelm Schenker, dated July 24, 1927
Heinrich reports his reaction to the recent events in Vienna [the July Revolt]
and transmits some news from Galtür, including the resumption of work on Der freie
Satz.
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OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927
In a wide-ranging letter, Schenker underscores the importance of his friend's
taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by
Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where
he will teach from Schenker's texts. He comments at length on the decline of society, as
exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders;
until it is published, he will be working on Der freier Satz.
-
OJ 10/3, [75] Typewritten letter from Deutsch to Schenker, dated December 2, 1927
Deutsch encloses Schenker’s score of the “Unfinished” Symphony that was used
used for the new edition and Alfred Kalmus’s apologetic letter. He mentions the pianist
Heinz Jolles’ interest in Schenker’s editorial work, in the hope that Schenker might at some
point tackle Beethoven’s “Diabelli” Variations.
-
OJ 5/7a, [13] (formerly vC 13) Handwritten letter from Schenker to Cube, dated February 12, 1928
Schenker expresses joy at Cube's report of his class and private teaching; refers
to Hoboken's "Aufruf" and Vrieslander's prospectus; reports Weisse's plan for a monthly
periodical; thanks Cube for his efforts with book dealers in Duisburg and
Essen.
-
OJ 9/34, [11] Handwritten letter from Cube to Schenker, dated April 24, 1928
Cube describes difficulties with his colleagues, loss of pupils, and reactions to
his lecture; Scheuermann and Schmemann will put Schenker exhibits in their shop windows, items
requested; inquires after Weisse journal plan.
-
OJ 5/38, [44] Handwritten letter from Heinrich to Wilhelm Schenker, dated May 2, 1928
Heinrich, amplifying on the diet prescribed to him, tells his brother not to
eat fruit with high sugar concentrations (e.g. oranges). His doctor advises him to take an
extra holiday in midwinter, which he cannot afford. He is utterly at a loss to understand
the domestic circumstances of their brother Mozio.
-
OJ 10/3, [89] Typewritten letter from Deutsch to Schenker, dated June 17, 1928
Deutsch sends Schenker birthday greetings; he hopes that the last volume of
his “great work” [i.e. Der freie Satz] will bring satisfaction to him and comfort to the
world.
-
OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928
With thanks for birthday greetings, Schenker expresses how highly he values the
Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. —
Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the
success of the Urlinie through Der Tonwille, he no longer considers himself isolated.
-
WSLB-Hds 191.563 Handwritten letter from Schenker to Deutsch, dated June 22, 1928
Schenker thanks Deutsch for his birthday greetings, explaining that,
although he feels alienated from the musical world of the present day, he is
convinced that his work will have a lasting effect on future
generations.
-
OC 30/122-124 Handwritten copy or draft of letter from Schenker to Dunn, in Jeanette Schenker’s
hand, dated July 8, 1928
Schenker thanks Dunn for birthday greetings; welcomes him as a fighter for his
cause; discusses the relationship of strict counterpoint to free composition; and declares
enthusiasm for Dunn’s forthcoming book on orchestration.
-
OJ 15/16, [59] Handwritten letter from Weisse to Schenker, dated July 26, 1928
Writing while on holiday (in Bad Aussee), Weisse apologizes for not having
replied to Schenker's previous letter. He is enjoying reading C. P. E. Bach's Versuch, and
reports the illness and recovery of Viktor Hammer, who was staying in Grundlsee near the Weisses
during the month of June.
-
OJ 89/2, [7] Handwritten letter from Schenker to Hoboken, dated September 5, 1928
The Schenkers have just returned to Vienna. — The "fantastic nature" of the
Hobokens' travels by auto. — The exceptional heat in Galtür. —Salzburg as magnificent but
too small to hold Mozart.
-
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.
-
OJ 14/45, [72] Handwritten letter from Moriz Violin to Schenker, dated September 21,
1928
Violin apologizes for not writing sooner; he has suffered a further health
setback. His pupil Harry Hahn will send Schenker the illustrations and a copy of his lecture
(on the Schubert waltz and Bach prelude). He enquires about Der freie Satz.
-
OJ 5/38, [51] Handwritten picture postcard from Heinrich to Wilhelm Schenker, dated September 22,
1928
Heinrich reports to his brother that his sugar level has increased; he is
trying out the new denture that was made for him. — He wishes he did not have to teach and
instead could devote himself to Der freie Satz, which will be the most difficult book to
write.
-
OJ 14/45, [73] Handwritten letter from Moriz Violin to Schenker, dated October 26, 1928
Violin queries Schenker's suggestion for displaying graphic work by
light-projection. He has recently made the acquaintance of a Hamburg organist name
Hahnemann, who teaches only according to Schenker's theory. Finally he asks whether the
"last volume" (Der freie Satz) has been published.
-
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.
-
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."
-
OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928
Hertzka welcomes Schenker's intention now to produce [his elucidatory edition
of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the
"Eroica" study and Der freie Satz but cannot schedule them until after
1929.
-
WSLB 405 Handwritten letter from Schenker to Hertzka (UE), dated January 9, 1929
Schenker sets deadline for decision on publishing "Eroica" monograph; stresses
urgency.
-
OC 52/849 Typed letter from Hertzka (UE) to Schenker, dated January 15, 1929
Hertzka asks for Schenker's deadline for the "Eroica" monograph decision to be
put off to the end of 1929.
-
OJ 5/38, [53] Handwritten letter from Heinrich to Wilhelm Schenker, dated January 27,
1929
Schenker explains that his involvement with a Schubert festival and conference
has prevented him from writing sooner. He speaks about his blood-sugar level, about
listening to the radio, and about visits from their brother Mozio before finishing with two
Jewish jokes.
-
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 6/7, [42] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated March 7,
1929
In reply to Violin's previous letter, Schenker writes out a graphic analysis
of Bach's Two-Part Invention in C major, and wishes him an enjoyable holiday on the French
Riviera.
-
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.
-
OJ 5/7a, [24] (formerly vC 24) Handwritten postcard from Schenker to Cube, dated July 6, 1929
Schenker has heard again from Erich Voß about lessons and shows signs of
annoyance. Has completed his "Eroica" study, and Der freie Satz looms.
-
OJ 15/16, [62] Handwritten letter from Weisse to Schenker, dated August 5, 1929
Weisse, absorbed by Schenker's ideas (especially the concept of "tonal space")
tells of his plans to write about his teacher's significance as a contemporary theorist. He
describes his progress in composition, which includes the completion of a set of six bagatelles
for piano and a Clarinet Quintet, and much work on an Octet. He asks about progress on Der freie
Satz and about the publication of Schenker's analysis of the "Eroica" Symphony, and reports his
and Hertha's joy in parenthood.
-
OJ 89/3, [7] Handwritten letter from Schenker to Hoboken, dated August 5, 1929
Further communications between Hoboken and Vrieslander should now go via
Kromer, not Schenker; Oppel leaves tomorrow; how is house-construction
going?
-
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.
-
OJ 5/44, [1] Handwritten letter from Schenker to Arthur Waldeck, dated September 23, 1929
Schenker encourages Waldeck to spread his (Schenker's) ideas in America, and
apprises him of Dunn's translation of Kontrapunkt and his own recent and forthcoming
publications.
-
OJ 6/7, [43] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1929
Urging his friend to write only when he feels up to it, Schenker gives Violin
some news of his own: that the Eroica Symphony monograph is finished but a publisher who is
capable of dealing with the numerous music examples must be found; that Schenker will work
unceasingly on Der freie Satz once the Eroica is out of the way; that the Photogram Archive
has grown in size in two years, and that so many requests for information have been received
that a yearbook is planned, with critical reports, new editions, and the like; that Hoboken
and Vrieslander have fallen out (over money matters); that Schenker's brother Mozio (Moses)
has separated from his wife after 25 years of marriage and that he his has been giving music
lessons to Mozio’s son, a cellist in the Baden city orchestra.
-
OJ 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929
After reply to some of the more personal points in Violin's previous letter,
Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony
monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books
are still in print and his status as a theorist has been acknowledged by the the fact that
the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A
recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when
approaching a publisher. That same issue also contains an article by Schoenberg touching on
various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1;
Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet).
He feels that it is beneath his dignity to make a formal reply; but to illustrate what he
means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs
and other music examples concerning these works.
-
OC B/136-138 Handwritten letter from Gerhard Albersheim to Schenker, dated March 20–21,
1930
After correction by Schenker, Albersheim has finalized an article on
Schenker's work, which he will submit to a journal. He will now prepare himself for the
state examinations.
-
Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19,
1930
Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to
Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with
other publishers and plans for future publications.
-
OJ 13/25, [11] Typewritten letter from Rinn to Schenker, dated June 13, 1930
Rinn hopes Schenker will soon finish his great work (i.e. Free Composition)
soon and devote himself to writing for Der Kunstwart.
-
OC 54/310 Typewritten letter from Deutsch to Schenker, dated July 4, 1930
Deutsch gives further details of the production costs for the third
Meisterwerk yearbook and makes some recommendations, including the printing of the
Urlinie-Tafeln of the "Eroica" as a booklet, not as loose pages.
-
OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10,
1930]
Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major
piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working
on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." --
Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. --
He asks about Furtwängler's studies with Schenker.
-
OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930
Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed
Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie
Satz.
-
OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930
Acknowledging his recent letter to Jeanette, Schenker expresses his regret
that Violin and his son Karl are still troubled by health problems and reports some recent
news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was
in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but
this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many
visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife,
and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected
edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but
Schenker is cautious about this because his paid involvement in the project might result in
work that would jeopardize progress on Der freie Satz. He has been included in the latest
edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain
Rolland's latest Beethoven book.
-
OJ 6/7, [50] Handwritten letter from Schenker to Moriz Violin, dated July 31, 1930
Schenker assures his friend that he understands his difficulties, and that he
can be proud of holding his head high above those who do not understand music, or are
incapable of interpreting it beautifully. His own problems are focussed around money,
especially as his brother (Moses) has not given him the second part of his inheritance. He
has sought to find cheaper ways of producing the music examples for his latest writings: he
is more satisfied with the Eroica examples than the engraved illustrations from previous
volumes of Das Meisterwerk in der Musik, and is planning to issue Der freie Satz with a
volume of examples that is separate from the text. He repeats the news, from an earlier
letter, of his being mentioned in Romain Rolland's most recent Beethoven book, and of his
entry in Meyers Konversations-Lexicon, and also reports on an item about him in the Deutsche
Tonkünstler-Lexikon.
-
OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21,
1930
Writing after a long and serious illness, Schenker assures his friend that he
is alive and well. The doctors have pronounced him generally fit, but he suffers from a
painful tightening of the thorax, and also a flickering that causes him to "lose" letters
and notes. He has had to give many double-lessons of late, in theory, which he finds tiring.
To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons
without having prepared anything, he would rather play than give over-long lectures. He is
concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that
Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that
Violin is going to Berlin, and will give him instructions about what to do there. His
Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers
– and his brother still has half of his inheritance. But he is still alive – with Der freie
Satz.
-
OJ 5/7a, [31] (formerly vC 31) Handwritten letter from Schenker to Cube, dated November 1, 1930
Dr. Leo Kestenberg of the Prussian Ministry of Art and Education has, at
Furtwangler's recommendation, asked Hans Weisse to deliver three lectures on Schenker's theory
in Berlin, to be repeated elsewhere. Cube should take heart from this turn of
events.
-
OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November
26, 1930
Schenker summarizes the achievements and ambitions of several of his pupils
and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse
is the most ambitious of all of these though he is not completely at home in the new theory.
He fears that something might go wrong at Weisse's forthcoming lecture at the Central
Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse
will give a trial run of the lecture at the Schenkers' apartment.
-
OJ 15/15, [53] Handwritten postcard from Weisse to Schenker, dated December 27, 1930
Weisse thanks Schenker for his support; he has sent off the manuscripts (of
his lectures) to Drei Masken Verlag. He commends his teacher for the clarity of the
analytical graphing of the "Eroica" Symphony.
-
OJ 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931
Hearing that Schenker expects to complete Der freie Satz by early spring,
Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on
Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of
a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the
author against Schenker.
-
OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931
In this long and wide-ranging two-part letter, which includes a graphic
analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of
Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post
there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald
Warburg), or even found an institute that would give employment to Felix Salzer and other
Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the
morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg.
For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and
Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes
with a tirade against those who have caused him financial misery (including his brother
Mozio), culminating in a cynical passage in which Schenker advises his friend to look after
himself and engage some dull pedagog to teach conventional theory. In the end, he wishes
Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s
clutches.
-
OJ 10/1, [104] Typewritten letter from Dahms to Schenker, dated February 7, 1931
Dahms is looking forward to reading Meisterwerk III and inquires after Der
freie Satz. — He has cut himself off from Berlin and Germany; his marital situation has
finally been resolved, and he and his wife and child have settled in Paris.
-
OJ 8/5, [2] Handwritten picture postcard from Schenker to Violin, dated February 28,
1931
Schenker has heard about Violin’s letter to Weisse [concerning the founding of
a Schenker Institute in Hamburg] and expresses his interest in it, noting that it will be
possible to teach composition only after Free Composition has been
published.
-
OJ 10/3, [142] Typewritten letter from Deutsch to Schenker, dated March 6, 1931
Having spoken with a friend in confidence, he advises Schenker to apply to the
Ministry of Education for help with the printing costs of the “Eroica book” [i.e. the third
Meisterwerk yearbook], and to get Furtwängler and Hoboken to write in support of his
receiving an civic honor.
-
OeNB Mus.Hs. 36390/1 [1] Handwritten letter from Violin to Schenker, dated March 12, 1931
Violin says that things are in order [with the planned Schenker Institute in
Hamburg], but that Hans Weisse will not take part. He will visit Vienna at the end of the
month to consult his friend, whom he asks to say nothing about the matter to
Weisse.
-
OJ 15/16, [69] Handwritten letter from Weisse to Schenker, dated March 19, 1931
Weisse asks Schenker’s approval to approach Furtwängler about Der freie Satz,
presumably to seek financial assistance for its publication. He has been given a copy of a
letter from Mozart to Baron van Swieten, but expresses his doubts about the tone of one of
Mozart’s phrases; he hopes to meet Schenker soon, to talk about Bruckner.
-
OJ 15/16, [70] Handwritten letter from Weisse to Schenker, dated March 21, 1931
Weisse reports to Schenker Furtwängler's confidence about obtaining money from
two wealthy people in Berlin to defray the publication costs of Der freie Satz and the
analysis of Beethoven’s "Eroica" Symphony, i.e. third volume of Das Meisterwerk in der
Musik. Weisse has suggested a sum of 4,000 marks for the former, as a conservative
estimate.
-
OJ 15/16, [71] Handwritten letter from Weisse to Schenker, dated March 25, 1931
Weisse, remaining confident that Furtwängler will provide financial assistance
with Schenker’s publications, thinks it is best to ask for help with the “Eroica” analysis
(Meisterwerk III) and Der freie Satz together; he will emphasize that the subvention for the
“Eroica” is the more urgent, and the cost of publishing the latter could be met by
subscription. From what Furtwängler has hinted, the prospects for Weisse lecturing, and
eventually teaching, in Berlin are not good; but Weisse may have other
plans.
-
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.
-
OJ 15/16, [75] Handwritten letter from Weisse to Schenker, dated April 21, 1931
Weisse has received from Furtwängler a letter ‒ probably one written to him by
Ludwig Karpath ‒ that suggests there is cause for optimism concerning financial support for
the publication of Schenker's writings. He copies out a glowing personal reference that
Furtwängler has written [in support of his application to teach at the Mannes School of
Music].
-
OJ 15/16, [76] Handwritten letter from Weisse to Schenker, dated April 24, 1931
Under increasing pressure from Schenker, Weisse assures his teacher that
Furtwängler will not be long in making up his mind to seek financial support for Schenker’s
publications. He asks to see Schenker.
-
OJ 15/16, [77] Handwritten letter from Weisse to Schenker, dated June 1, 1931
Weisse sends Schenker a letter written by Furtwängler, from which it can be
inferred that a major subvention for the printing costs of Meisterwerk III has been obtained
and that there is every reason to expect that a significant part of the costs of publishing
Der freie Satz will also be met.
-
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.
-
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 15/16, [80] Handwritten letter from Weisse to Schenker, dated August 25, 1931
Weisse, on holiday, will not be returning to Vienna before making his way ‒
via Nuremberg and Berlin ‒ to Hamburg, where his ship to America sets sail on September 17.
He gives Schenker the address of the Mannes Music School, and reports that he has heard
nothing of late from Furtwängler.
-
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.
-
OeNB Mus.Hs. 36390/1 [2] Handwritten letter from Violin to Schenker, dated November 4, 1931
Violin thanks Schenker for his package. He has been swamped by administrative
business concerning the Schenker Institute, but is sometimes able to argue about musical
matters with Felix-Eberhard von Cube. He thanks Schenker for correcting a mistake on Cube’s
part concerning the analysis of the end of the C major Prelude from the first book of Bach’s
Well-tempered Clavier.
-
OJ 11/54, [37] Handwritten letter from Hoboken to Schenker, dated January 1, 1932
Hoboken sends New Year's greetings, refers to an article about the Photogram
Archive, and outlines his travel plans.
-
OJ 89/5, [2] Handwritten letter from Schenker to Hoboken, dated February 27, 1932
Schenker thanks Hoboken effusively for the letter of guarantee [for Der freie
Satz publication costs].
-
OJ 9/34, [31] Handwritten letter from Cube to Schenker, dated May 8, 1932
Cube sends Schenker an Urlinie graph of Schubert's song "Der Dopplegänger," and offers an
extended commentary. Describes his work and state of mind, and comments on working with Moriz Violin; he
expresses fears for the Hamburg Schenker Institut. He has just got married.
-
OeNB Mus.Hs. 36390/1 [3] Handwritten fragmentary letter from Violin to Schenker, late June 1932
Violin will continue to fight for Schenker’s cause, but is not sure he will be
able to do it from Hamburg much longer; he will decide in October. He hopes that the
Schenkers are enjoying their summer holiday in Igls.
-
OJ 8/5, [11] Handwritten postcard from Schenker to Violin, dated September 1, 1932
Schenker reports that Der freie Satz is finished, apart from the final draft
of the manuscript.
-
OJ 10/3, [177] Typewritten postcard from Deutsch to Schenker, dated September 4, 1932
Having returned from Yugoslavia, Deutsch congratulates Schenker on his
progress on Der freie Satz and offers his help in matters relating to
production.
-
OJ 89/5, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 5,
1932
Hoboken sets out his plans to leave Vienna, pack his furniture and put his
music collection in store, and how he sees the continuation of his lessons with and work
under Schenker.
-
OJ 5/18, 13 Handwritten letter from Schenker to Jonas, dated September 7, 1932
Der freie Satz is complete, and Anthony van Hoboken has volunteered
[financial] assistance. Schenker wonders whether van Hoboken might not provide support for
Jonas, too.
-
FS 40/1, [12] Handwritten postcard from Schenker to Salzer, dated September 14, 1932
Schenker asks if Salzer could visit him Friday or Saturday.
-
OJ 15/16, [87] Handwritten letter from Hans Weisse to Schenker, dated September 14, 1932
After a long silence, for which he apologizes, Weisse congratulates Schenker
on the completion of Der freie Satz and reports that he has composed a violin sonata, which
retains the neo-Bachian style of his three-voiced piano pieces of 1931. He gives Schenker
the dates of his sailing to America and his address in New York.
-
WSLB-Hds 191.574 Handwritten notecard from Schenker to Deutsch, dated September 16, 1932
Replying to Deutsch’s letter of September 15 and his draft letter to Anthony
van Hoboken, Schenker makes further disparaging remarks about Hoboken, to whom he himself
will also write a letter.
-
OJ 89/5, [6] Handwritten letter from Schenker to Hoboken, dated September 17, 1932
Schenker announces the completion of Der freie Satz, and discusses the timing of
Hoboken's disbursement to cover its printing costs.
-
OJ 10/3, [181] Typewritten letter from Deutsch to Schenker, dated September 19, 1932
Deutsch expresses his regret, and surprise, concerning Hoboken’s decision to
leave Vienna. He has also been in touch with Kurt Thomasberger at the Ministry of Education,
who would be willing to discuss the matter in private.
-
OJ 89/5, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 22,
1932
Hoboken is pleased at completion of Der freie Satz and reaffirms his financial
assistance for its printing. — Encloses a letter from Robert Haas and proposes a three-way
meeting. — Refers to the impact of his divorce has on his financial affairs. — May be able
to assist Jonas's publication.
-
OJ 5/18, 15 Handwritten letter from Schenker to Jonas, dated September 24, 1932
Schenker quotes from a letter received from Hoboken re: financial
support.
-
OJ 89/5, [8] Handwritten letter from Schenker to Hoboken, dated October 17, 1932
Schenker asks Hoboken to honor his testamentary instructions as to the
"fragmentary" publication of Der freie Satz in the event of his early death.
-
OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20,
1932]
In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.
-
OJ 89/5, [11] Handwritten postcard from Schenker to Hoboken, dated November 24, 1932
Schenker asks about Hoboken's health.
-
OC 18/32-33 Handwritten letter from Weisse to Schenker, dated November 28, 1932
Weisse is uneasy about disparity among translations of Schenker's writings
into English, and suggests that he work with potential translators to arrive at an agreed
set of technical terms. He has renewed contact with Vrieslander, who has sent him a copy of
his recently published songs and Ländler. His work in New York is going well and his family
is thriving, but he sees and hears about a great deal of suffering, on account of the
economic collapse in America.
-
OJ 9/34, [35] Handwritten letter from Cube to Schenker, dated December 7, 1932
Cube reports on his current state of mind, his work on a Bach graph (commenting
on a graph by Angi Elias), promises to send an article on Schenker that has appeared in the
Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl
Violin.
-
OJ 89/5, [13] Handwritten letter from Schenker to Hoboken, dated December 17, 1932
Schenker thanks Hoboken for the lesson fee, and reports that as he worked through
Brahms's file of Oktaven und Quinten, he found a piece of work in his own hand! — He reports
progress on Der freie Satz.
-
OJ 6/8, [14] Handwritten letter, with envelope, from Schenker to Violin, dated December 19,
1932
In this characteristically long end-of-year letter to his friend, Schenker
mentions his forthcoming edition of Brahms’s study of consecutive octaves and fifths,
Jonas’s book on his achievements as a theorist, Zuckerkandl’s book on opera, and the
possibility of an English translation of his Theory of Harmony.
-
OJ 6/8, [15] Handwritten letter from Schenker to Violin, dated December 25, 1932
In this letter, much of it written in a bitter and sarcastic tone, Schenker
urges Violin not to appeal to Anthony van Hoboken for financial help. He has sought
assistance for his friend from Ludwig Karpath and Josef Marx.
-
OC 38/340v Handwritten letter from Moriz Violin to Fanny Violin, dated January 15,
1933
Moriz Violin reports to his sister Fanny on the use of money for Karl; adjures
her to be steadfast; says the doctor holds out possibility for recovery; asks for any news
on discussions between Schenker and Josef Marx; and wishes he could be in Vienna and with
little Karl. [This letter was passed to Heinrich Schenker.]
-
Sbb 55 Nachl. 13, [8] Handwritten letter from Schenker to Furtwängler, dated January 24, 1933
Schenker has received a letter from Karpath, and alerts Furtwängler that he will
be hearing from him about the proposed letter to the newspaper; Schenker reports on recent visit
by Joseph Marx re the adaptation of Harmonielehre; Schenker would now be willing to associate
with the Akademie, but appointments there come about only by intrigue.
-
OJ 89/6, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated February 15,
1933
Miss Boy has had an angina attack — they are to be married; — The number of
subscriptions for Jonas's book is disappointing; — Hoboken is weighing up his financial
support for it with that for Schenker's Freier Satz.
-
OJ 89/6, [3] Handwritten letter from Schenker to Hoboken, dated February 17, 1933
Congratulating Hoboken on his forthcoming marriage to Frl. Boy, Schenker
reports that Kalmus is playing a devious financial game over Oktaven u. Quinten (which is in
press) and Der freie Satz (which he thinks will take two years to publish) that may yet see
the latter revert to Cotta. — He speaks of Marx's naiveté over the proposed school version
of Harmonielehre. — He reports on the remaining stocks of Das Meisterwerk in der
Musik.
-
OJ 89/6, [4] Handwritten letter from Schenker to Hoboken, dated March 22, 1933
Schenker thanks Hoboken for money transferred, for contact with Dlabač, and
for information about Jonas. — Oktaven u. Quinten may be published within three weeks. —
Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations
about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled
for his course [at Mannes School]; and Furtwängler deems Schenker the "great music
theorist."
-
OJ 89/6, [5] Handwritten letter from Schenker to Hoboken, dated April 24, 1933
Schenker is sending his Oktaven und Quinten, comments on it, and thanks
Hoboken for support; — comments on his "Erinnerungen an Brahms"; — hopes Hoboken will visit
in May.
-
OJ 9/34, [36] Handwritten letter from Cube to Schenker, dated May 1, 1933
Thanks Schenker for sending Brahms's Octaven u. Quinten, expresses his longing for Der
freie Satz, sends an example of his work, and expresses concern over his future.
-
OJ 89/6, [7] Handwritten picture postcard from Schenker to Hoboken, undated [June 22,
1933]
Schenker rhapsodizes about the Reigersberg Palace, and invites the Hobokens
for a visit.
-
FS 40/1, [16] Handwritten letter from Schenker to Salzer, dated June 30, 1933
Schenker expresses pleasure that the seminar is grasping the "truth of the
genius's art," and comments that it is a Jew who has been called upon to reveal this truth. — He
reports Vrieslander's indignation that Furtwängler's address [to the Brahms centennial] did not
refer to Schenker. — The letter makes heavy use of Latin phrases.
-
OJ 5/7a, [48] (formerly vC 48) Handwritten postcard from Schenker to Cube, dated September 16, 1933
Schenker acknowledges OJ 9/34, [38], and reports on publications by Oswald Jonas,
and the activities of Reinhard Oppel and Otto Vrieslander.
-
OJ 5/7a, [47] (formerly vC 47) Handwritten letter from Schenker to Cube, dated July 18, 1933
Schenker reports on a newspaper article and abortive radio program about his theory, by
Theo Goos; also on Jonas's forthcoming book, on van Hoboken, Moriz Violin, and Hans Wolf; and on
progress with Der freie Satz.
-
OJ 89/9, [1] Handwritten letter from Schenker to Hoboken, undated [August 15, 1933]
In returning it, Schenker comments on book by Gottfried Benn, and reports that
Der freie Satz is nearing completion.
-
OJ 10/3, [196] Handwritten picture postcard from Deutsch to Schenker, dated August 16,
1933
Deutsch, writing from Salzburg, reports a visit from the Hobokens and
summarizes his own movements for the rest of the summer.
-
OJ 9/34, [38] Handwritten letter from Cube to Schenker, dated September 7, 1933
Cube reports on his poor health and straitened cirumstances, teaching at two
conservatories and private pupils; he eagerly awaits Der freie Satz, and reports on his
investigation of diatonic systems.
-
OJ 10/18, [6] Handwritten letter from Elias to Schenker, dated September 22, 1933
Miss Elias thanks Schenker for allowing her to continue on her
three-lessons-a-week schedule. — She rejoices at his good progress on Der freie Satz, and
the news that Jonas's book will be published.
-
OJ 8/5, [21] Handwritten postcard from Schenker to Violin, dated October 8, 1933
Schenker inquires after Violin, from whom he has not heard for some time. He
reports that Hoboken is in France but will return at the end of the month to resume
lessons.
-
OJ 12/6, [25] Handwritten letter from Jonas to Schenker, dated December 3, 1933
The majority of Jonas's Das Wesen des musikalischen Kunstwerks has gone to the
printer; — Furtwängler has promised to recommend it to the Berlin Hochschule für Musik; — no
word from van Hoboken. Jonas inquires after Free Composition.
-
OJ 5/18, 32 Handwritten letter from Schenker to Jonas, dated December 13, 1933
The music examples in Das Meisterwerk were engraved; Schenker draws attention
to and commends an article [by Israel Citkowitz].
-
FS 40/1, [20] Handwritten letter from Schenker to Salzer, undated [January 8, 1934]
Invitation to listen to Toscanini recording; Der freie Satz is finished.
-
OJ 5/18, 34 Handwritten postcard from Schenker to Jonas, dated January 9, 1934
Der freie Satz "proper" is finished, but will add chapters on meter and form.
Van Hoboken is making further difficulties for Jonas.
-
OJ 89/7, [2] Handwritten letter from Schenker to Hoboken, dated January 13, 1934
Schenker encourages Hoboken to continue to live in Vienna, praising its racial
diversity; — Der freie Satz is near completion; — sales of Beethovens Neunte Sinfonie are going
well.
-
OJ 89/7, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 15,
1934
Hoboken explains his indecision over future residence in
Vienna.
-
OJ 89/7, [4] Handwritten letter from Schenker to Hoboken, dated January 17, 1934
Hoboken will probably not need to send money [for printing costs of Der freie
Satz] until 1935.
-
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 5/18, 37 Handwritten postcard from Schenker to Jonas, dated March 29, 1934
Schenker acknowledges OJ 12/6, [30] and praises the table of contents of
Jonas's Das Wesen des musikalischen Kunstwerks; — He is finishing Der freie
Satz.
-
OJ 5/38, [87] Handwritten letter from Heinrich to Wilhelm Schenker, dated April 15,
1934
Heinrich reports the completion of his book [Der freie Satz], the improvement
to his eyes, and their younger brother Moriz’s attempt to avoid paying the final installment
of his debt.
-
OJ 5/18, 41 Handwritten letter from Schenker to Jonas, dated April 23, 1934
Free Composition is completed. Schenker is pleased that Hoboken has come
round; — he gives Weisse's address; — Schenker has ordered five copies of Jonas's book; — he
reports that Salzer has completed a new book; — questions Jonas about his new plan, but
welcomes it; — Goos may not realize that Schenker is a Jew.
-
OJ 5/7a, [49] (formerly vC 49) Handwritten postcard from Schenker to Cube, dated May 8, 1934
Schenker congratulates Cube on the graph he has sent, and reports on Der freie
Satz and the continuation of the Urlinie-Tafeln.
-
OC 44/41 Handwritten letter from Hans Weisse to Schenker, dated June 2, 1934
Weisse will send Schenker his Variations and Fugue for 2 pianos when copies
are ready; he is glad to learn that Oswald Jonas's book will soon be published. He describes
the beauty of Tenants Harbor, Maine, where his family is spending the summer
vacation.
-
OC 18/36 Typewritten letter from Arthur Waldeck to Schenker, dated June 3, 1934
After the failure of his initiative to fund a translation of Harmonielehre,
Waldeck tells Schenker of his plan to coauthor with Nathan Broder an article introducing
Schenker's theory [to English-speaking readers].
-
OJ 5/38, [88] Handwritten letter from Heinrich to Wilhelm Schenker, dated June 23, 1934
Heinrich reports that he and Jeanette are holidaying near Bad Gastein this
year, having been advised to spend the summer months at a high elevation.
-
OJ 5/18, 43 Handwritten letter from Schenker to Jonas, dated June 24, 1934
Schenker reports on visit from Furtwängler and future visit; — reacts to news
in Jonas's letter; — Brahms on Beethoven's notation; — printing of Der freie Satz begins
soon.
-
OJ 10/3, [213] Typewritten letter from Deutsch to Schenker, dated June 29, 1934
Deutsch responds to queries about the forthcoming publication of Der freie
Satz, making recommendations about the contract, and the way in which Anthony van Hoboken is
to be invoiced for his financial support; he offers to proofread the text when the time
comes. -- His difficulties with Hoboken continue, this time over the purchase of some
inexpensive editions of music which could be replaced with better ones. -- He is to give a
course at the Vienna Academy; Hoboken needs to be informed about this, and he would like to
be able to tell Hoboken that he is offering this course at Schenker’s
prompting.
-
OJ 89/7, [14] Handwritten letter from Schenker to Hoboken, dated August 4, 1934
Schenker asks about Hoboken's address. — An article has appeared belatedly in
the Deutsche Zeitschrift.
-
FS 40/1, [25] Handwritten letter from Schenker to Salzer, dated July 18, 1934
Schenker congratulates Salzer on his contract, and advises him to select a larger
size of music engraving than in Jonas's book.
-
OJ 89/7, [12] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 31,
1934
Hoboken assures Schenker that he will support him in his work. — He outlines
the restrictions that he has placed on Otto Erich Deutsch, and expresses irritation that
Deutsch has been offered a course at the Vienna Academy. — He is annoyed at the political
views expressed by E. F. Schmid, who has been appointed at the University of
Graz.
-
OJ 5/18, 49 Handwritten letter from Schenker to Jonas, dated August 2, 1934
Schenker expresses heartfelt thanks to Jonas for his book; their project is
fundamentally one of "present-day Jewry." — An excerpt from Der freie Satz is to appear in
Der Kunstwart. —Schenker has had to give up Willfort and Kraus because of their negligence
regarding the planned Urlinie-Tafeln vol. II.
-
OJ 10/3, [215] Typewritten letter from Deutsch to Schenker, dated August 6, 1934
Deutsch has decided not to give his planned course at the Vienna Academy,
citing Hoboken’s insistence that his collection of first editions is off-limits and the fact
that remuneration will not be great. -- He will be in Salzburg in the second half of August;
Hoboken will probably return to Vienna in mid-September, without visiting Salzburg this
year.
-
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 5/44, [4] Handwritten letter from Schenker to Arthur Waldeck, dated August 9, 1934
Schenker implies that Der freie Satz is not yet at proof stage, and recommends
Jonas's Das Wesen des musikalischen Kunstwerks for the explanations that Waldeck
needs.
-
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 9/34, [42] Handwritten letter from Cube to Schenker, dated October 4, 1934
Quotes letter from Furtwängler in extenso touching on reasons for dismissal and
articulating the importance of Schenker's theory; Cube describes the impact of this letter on his
Director. The names of Schenker, Halm, and Kurth were deleted from a recent text of his, and
censorship has been imposed. Describes his own recent activities. Outlines his geometric theory of the
diatonic components of tonality. Encloses photograph of his wife and son; describes hardships. Denies
rumors that he has cheated Moriz Violin, and refers to the resulting backlash on him: Violin has a
"complex", feels downtrodden by everyone.
-
OJ 5/18, 59 Handwritten letter from Schenker to Jonas, dated October 16, 1934
Schenker cautions Jonas that he detects "something afoot" with Hoboken and his
wife. — Mentions Hans Wolf's reentry problems and reports on German students coming to him.
—An article on Schenker has been included in Spanish Enciclopedia universale. —Reports on
Zuckerkandl, Breisach, von Cube, and Weisse.
-
OJ 5/7a, [51] (formerly vC 51) Handwritten letter from Schenker to Cube, dated October 26, 1934
Acknowledges OC 9/34, [42], and its contents; comments on the "youth of today" – organic
connection is the best thing for them; asks publisher of Schäfke book. Once Der freie Satz is in
print, he will give his mind to the continuation of the Urlinie-Tafeln. Schenker's name is included in
the Spanish Enciclicopedia universale.
-
OJ 12/6, [39] Typewritten letter (carbon copy) from Jonas to Schenker, dated November 28,
1934
Jonas has agreed to let his publisher proceed with a lawsuit against Willi
Reich; he has written up the documentary evidence of the case and asks Schenker to circulate
it among his circle. — He reports his activities in Berlin. — He reports his dispute with
the Jüdischer Verlag.
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OC A/297 Handwritten letter from Carl Bamberger to Schenker, dated December 24,
1934
Bamberger sends best wishes for the New Year, and inquires about a
visit.
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OJ 89/7, [15] Handwritten letter from Schenker to Hoboken, dated December 25, 1934
Schenker and Jeanette thank Hoboken for their Christmas gifts; Shenker alludes to
the forthcoming publication of Der freie Satz as the "summit" of his career, and reports that he
has been invited to inspect the new accommodation for the Photogramarchiv.
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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.
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OJ 12/6, [41] Handwritten letter from Jonas to Schenker, dated January 13, 1935
Jonas hopes Schenker is well; ‒ he plans to be in Vienna from 22 to about 28
January; — he is reading the Hildebrand-Fiedler correspondence.
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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.
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OJ 12/6, [43] Handwritten letter from Jonas to Jeanette Schenker, dated March 9, 1935
Jonas thanks Jeanette for the opportunity to look at work of Schenker's
[unspecified]; Jonas, Salzer, and Saturn Verlag wish to bring out a music journal in
Schenker's memory: Jonas requests access to unpublished materials; he inquires whether
Jeanette has reached an understanding with Saturn Verlag over aphorisms.
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OJ 15/16, [98] Handwritten letter from Hans Weisse to Jeanette Schenker, dated May 26,
1935
Weisse outlines a plan to give Jeanette financial support in the form of a
collection from his most dedicated pupils, equivalent to 200 Austrian shillings per month,
for a year, and encloses the first of three planned annual payments. — He inquires whether
Schenker's notes on C. P. E. Bach’s Essay on the True Art of Playing Keyboard Instruments
might be included in an Afterword to a projected English translation. — He plans an
exposition of Schenkerian theory for use in schools, for which he needs to receive a copy of
Der freie Satz. — He thanks Jeanette for mementos of her husband, and says a few words about
his family and their summer plans.
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OJ 10/18, [12] Handwritten letter from Elias to Jeanette Schenker dated June 28, 1935
Miss Elias thanks Mrs. Schenker for photographs, and regrets having missed her
phone calls. — She hopes Mrs. Schenker will recuperate in the spa house. — She reports that
Mrs. Schenker's wishes have been carried out with regard to Heinrich's gravestone and
remarks on the beauty of the inscription. — She comments on an article by Victor
Zuckerkandl, and reports her own activity in graphing a piano piece by Schenker and
re-graphing Beethoven's "Appassionata" Sonata.
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OJ 89/8, [2] Handwritten letter from Jeanette Schenker to Anthony van Hoboken, dated June 29,
1935
Jeanette informs Hoboken that she has received from Ernst Oster an errata list
for Der freie Satz, and asks Hoboken whom he thinks would be a qualified person to check
this.
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OJ 15/22, [10] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 5,
1935
Willfort lays out his plans for an abbreviated edition of Schenker's
Harmonielehre, and explains his negotiations with Alfred Kalmus of UE.
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OJ 10/3, [219] Typewritten letter from Deutsch to Jeanette Schenker, dated July 7, 1935
In this first of two surviving letters written after Schenker’s death in
January 1935, Deutsch thanks Jeanette Schenker for the portrait – presumably Viktor Hammer’s
1925 mezzotint – of her husband, and for an inscribed copy of Free
Composition.
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OJ 11/54, [43] Typewritten letter from Hoboken to Jeanette Schenker, dated July 12, 1935
Hoboken regrets the printing errors in Der freie Satz and suggests that Ernst
Oster prepare a list.
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OJ 15/16, [99] Handwritten letter from Hans Weisse to Jeanette Schenker, dated July 14,
1935
Weisse thanks Jeanette Schenker for her letter and copy of Der freie Satz
which he has read through and is about to study carefully. His initial impressions are that
its conception and content are impressive, but that there are a lot of misprints; and he
regrets that the foreword does not mention the financial help Schenker received from [Paul]
Khuner. He approves Jeanette's idea of depositing Schenker's Nachlass in the
Photogramm-Archiv in the Austrian National Library.
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OJ 10/18, [13] Handwritten letter from Elias to Jeanette Schenker dated August 1, 1935
Jeanette Schenker, currently in Hofgastein, has decided where to live in the
future; that involves leaving Keilgasse. — Elias supports Jeanette in her view of a new
edition of Harmonielehre. — Elias is surprised to hear the plan for a Schenker Institute in
Vienna. — She regrets that Schenker's aphorisms will not be published by Ungar. — She has
been unable to meet with Moriz Violin regarding the "Appassionata" Sonata. — She is reading
Der freie Satz.
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OJ 15/16, [100] Handwritten letter from Hans Weisse to Jeanette Schenker, dated September 18,
1935
Weisse thanks Jeanette for sending a photograph of her late husband’s
death-mask, and other photographs. — He offers her advice about what to do with Heinrich's
library of books, and with his sketches and other unpublished analyses. The bulk of the
letter is a critique of Der freie Satz, about which he has serious misgivings, partly
concerning the title and subtitle, partly concerning its status as a textbook
(Lehrbuch).
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OJ 15/16, [101] Handwritten letter from Hans Weisse to Jeanette Schenker, dated October 22,
1935
Weisse thanks Jeanette for the photographs of her husband, and will distribute
them to his pupils soon, when he sends the next payment of financial support that he has
collected from them on her behalf. — He is actively engaged in bringing Schenker's ideas to
an English-speaking audience, and urges her to consider agreeing to a suitably shortened
version of Harmonielehre, rather than a word-for-word translation. — For Der freie Satz, an
English translation would do more harm to Schenker's cause than not to have it translated at
all, and it would be necessary to reconceive the presentation of the theory entirely,
especially with respect to terminology. — He suggests that there may be a market for
Schenker's library in American universities and libraries.
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OJ 11/16, [17] Typewritten letter from Furtwängler to Jeanette Schenker, dated January 15,
1936
Furtwängler thanks Jeanette Schenker for the gift of Der freie
Satz.
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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.