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OJ 13/29, [3] Handwritten letter from Rosenthal to Schenker, dated March 18, [1899?]
Rosenthal is eager to see Schenker's promised Fantasy, Op. 2.
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OJ 6/3, [8] Handwritten letter from Schenker to Moriz Violin, undated [?early July 1899]
Schenker tells Violin not to be troubled by their recent [unspecified] abortive
search: Weinberger is still on their side. He invites Violin to a Trischak [card]
party.
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OJ 6/3, [9] Handwritten letter from Schenker to Moriz Violin, undated [?late July 1899]
Schenker arranges with Violin to meet at the Weinberger headquarters, lunch, and
then for Violin to go on to meet Professor Jerusalem.
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Sbb B II 4429 Handwritten letter with envelope from Schenker to Busoni, dated November 6,
1899
Schenker reports having received his first honorarium [on publication of his
Syrische Tänze]; he expresses horror at the picture chosen for the title-page. He speaks of
a "stipend" that has not yet been received.
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OJ 9/27, [9] Handwritten letter from Busoni to Schenker, undated [?November 7, 1899]
Busoni describes Schenker's Syrian Dances as "Secessionist." He advises Schenker
to think in the present, not in the future.
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OJ 9/6, [31a] Handwritten postcard from Eugen d’Albert to Schenker, postmarked November 14,
[1899]
Eugen d'Albert thanks Schenker for his "Syrian Dances" for piano duet, and
sends the piano reduction of his opera "Kain."
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OJ 12/7, 5 Handwritten postcard from Kalbeck to Schenker, postmarked November 15,
1899
Kalbeck moves Schenker's morning visit to the afternoon, and warns that
his piano is out of tune.
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OJ 15/12, [4] Handwritten letter from Weinberger to Schenker, dated January 5, 1900
Requests publicity for his firm in concert program.
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Sbb B II 4430 Handwritten letter with envelope from Schenker to Busoni, dated January 7,
1900
Schenker has played his Syrische Tänze to Eduard Hanslick and reports the
favorable remarks Hanslick made about Busoni. The first public performance of the Dances has
been postponed because of illness.
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OJ 6/3, [11] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked January 27,
1900
Schenker declares to Violin that they did not play badly [at the first
performance the previous evening of Schenker's Syrian Dances]. He invites Violin to play
Trischak the next day.
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Sbb B II 4431 Handwritten letter from Schenker to Busoni, undated [c. February 5, 1900]
Schenker congratulates Busoni on the birth of a son. The Neue freie Presse
does not support Schenker's music because he does not belong to the Heuberger "clique." He
[and Moriz Violin] are playing the Syrische Tänze again on the 20th. He hopes to come to
Berlin, and encloses a "portrait."
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OJ 9/27, [11] Handwritten letter from Busoni to Schenker, dated February 11, 1900
Busoni has been playing Schenker's Syrian Dances with friends and is delighted
with them.
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OJ 6/3, [19] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked November 1?,
1900
Schenker offers Violin advice on the planning of a concert and its financing,
promising to have his Hamlet incidental music ready in time. He reports on fees at the Leiners
and Wieners.
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OJ 9/27, [12] Handwritten letter from Busoni to Schenker, dated August 25, 1903
Busoni thanks Schenker for a copy of his edition of C. P. E. Bach keyboard
pieces. Busoni would like to include an orchestrated selection of the Syrische Tänze in his
Berlin concert series next season.
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OJ 6/4, [28] Handwritten letter with envelope from Schenker to Violin, postmarked August 27,
1903
Having prepared his Mädchen Lieder for printing, Schenker, in Gmunden, is about
to work on his Trio. Busoni will be performing his Syrische Tänze in Berlin. He asks Violin to
check with Eduard Gärtner about financial support for Aron Mittelmann.
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Sbb B II 3549 Handwritten letter from Schenker to Busoni, undated [c. September 1,
1903?]
Schenker explains that Arnold Schoenberg asked to orchestrate the piano duet
Syrian Dances years earlier, therefore that an orchestral version should be available. He
says, however, that he had from the beginning conceived the pieces in orchestral colors, but
that the orchestration would now take time, so he asks Busoni's preference. He reports that
other music societies have asked to perform works by him.
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OJ 9/27, [13] Handwritten letter from Busoni to Schenker, dated September 3, 1903
Busoni offers three arguments why Schenker should adopt Schoenberg's
orchestrations of the Syrische Tänze, but leaves Schenker to decide whether to make his own
orchestrations. He sets a deadline of October 19 for receipt of orchestral materials. He
suggests a change of title to Jüdische Tanzweisen."
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OC 52/11 Typewritten letter from Steder(?) (UE) to Schenker, dated September 4,
1903
Weinberger will respond re: the Syrian Dances when back.
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Sbb B II 4432 Handwritten letter with envelope from Schenker to Busoni, dated September 9,
1903
Schenker informs Busoni that the Schoenberg orchestrations will reach him by
October 9. He has taken soundings over the suggested title change and now permits Busoni to
go ahead with the change, though with a reservation. He hopes to bring Alphons Rothschild to
the performance.
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OJ 14/15, [1] Handwritten letter from Schoenberg to Schenker, dated September 12, 1903
Schoenberg reports his progress on orchestrating Schenker's Syrische Tänze, and
raises the matter of his fee for the work. He has approached Busoni about having his own
symphonic poem performed.
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OJ 14/45, [6] Handwritten letter from Moriz Violin to Schenker[?], dated September 14,
1903
In a bleak and formal message, Violin declares that withdrawal of friendship by
the recipient of this letter would carry "great danger" for his (Violin's) way of life. He hopes
for a peaceable solution.
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OJ 15/12, [5] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Weinberger sends the newly copied orchestral parts of Syrian Dance No.
3.
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OJ 15/12, [6] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Copying of parts for Syrian Dances is delayed.
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Sbb B II 4424 Handwritten letter from Schenker to Busoni, dated October 8, 1903
The orchestral parts of Schoenberg's orchestration of Schenker's Syrische
Tänze have been dispatched to Busoni: Schenker comments on their degree of clarity and
correctness, and offers advice on performance. He will be attending rehearsals in Berlin.
Weinberger have asked that the existing title be retained. -- Schenker reports on
prospective performances of his works. He also reports on good chances of receiving a theory
professorship at the Vienna Conservatory, and doesn't want Jewishness associated with his
compositions lest this should impair those chances.
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OJ 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903
Rosenthal inquires about Schenker's being performed in
Berlin.
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OJ 15/12, [7] Handwritten letter from Weinberger to Schenker, dated November 17, 1903
Weinberger asks for a report on the performance of the Syrian Dances, and for the
return of the orchestral material.
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CA 1-2 Handwritten letter from Schenker to Cotta, dated November 8, 1905
This is Schenker's initial approach to Cotta: he asks the firm to consider
publishing volume I of his Neue Musikalische Theorien und Phantasien, explains his
anonymity, points out the book's attacks of certain composers, explains his choice of
preferred publisher.
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OJ 12/6, [27] Typewritten letter from Jonas to Schenker, dated December 18, 1933
Jonas acknowledges OJ 5/18, 32; requests copy of Schenker's Syrische Tänze;
quotes from Schenker's entry in a Jewish lexicon. — He reports on local conditions; has
heard nothing from van Hoboken.
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OJ 5/18, 33 Handwritten letter from Schenker to Jonas, dated December 21, 1933
Schenker sends article [by Citkowitz]. — In response to Jonas's quoting from a
Jewish lexikon, he refers to the sermons by Cardinal Faulhaber, and writes of his pride in
being Jewish but in having assimilated thoroughly enough to establish favorable relations
with the Catholic church, antisemites, and the news media. — Implying a parallel between
himself and Jesus, he offers his "monotheistic theory of music" as "a new message to the
world from the Jews." — He has no copy of his Syrische Tänze; — writes of the work's
history.
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OJ 5/18, 36 Handwritten postcard from Schenker to Jonas, dated February 7, 1934
Schenker has had his Syrische Tänze sent to Jonas.
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OJ 12/6, [30] Handwritten letter from Jonas to Schenker, dated March 16, 1934
Jonas has mailed off the book [to his publisher]; he hopes that Schenker will
approve of it [when eventually he sees it]. It comprises four chapters and two appendices. —
He thanks Schenker for the gift of his Syrian Dances. — The Director of the Hochschule für
Musik in Berlin, Fritz Stein, has written that he cannot arrange a position for Jonas,
whereas Jonas (with support from Furtwängler) had sought only students to whom to give
[private] lessons. — Jonas alludes to difficult conditions under which he is working, and
describes his conflict with piano teacher Georg Bertram. — Relations with van Hoboken are
strained, despite Jonas's having included an appendix about the Photogrammarchiv in his
book.