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OC 1 B/13 Handwritten draft letter from Schenker to Carl Colbert, dated September 18,
1916
Schenker excuses the raising of the name of Walter Dahms in connection with an
inquiry by Tony Colbert.
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OC 1B/5 Letter from Schenker to Evelina Pairamall, dated April 9, 1916
Letter in shorthand, indecipherable
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OC 1B/9 Handwritten draft letter from Schenker to Halm, dated by later hand [December 29,
1916]
In his first letter to Halm, Schenker knows Halm's work and regards him as an
ally; he affirms that music has few primal laws (Urgesetze) that are immutable. — He cannot
intercede on Halm's behalf with Universal Edition.
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OJ 10/1, [14] Handwritten field postcard from Dahms to Schenker, dated January 8, 1916
Dahms is able to do some work, longs for peace, looks forward to Op.
111.
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OJ 10/1, [15] Handwritten field postcard from Dahms to Schenker, dated January 15, 1916
Dahms cannot write openly because of censorship.
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OJ 10/1, [16] Handwritten field postcard from Dahms to Schenker, dated February 21, 1916
Visit to Vienna has to be deferred.
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OJ 10/1, [17] Handwritten envelope from Dahms to Schenker, dated March 1, 1916
Dahms laments lack of idealism and underappreciation of mastery.
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OJ 10/1, [18] Handwritten letter from Dahms to Schenker, dated March 31, 1916
Dahms acknowledges Op. 111; Schenker's achievement will outlive the "moderns". —
Reports on a Brahms concert attended. — He is in a rest home and working.
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OJ 10/1, [19] Handwritten letter from Dahms to Schenker, undated but presumably May 1,
1916
Dahms laments the state of music and criticism in Berlin. — When the war is over
he plans to draw a line under his life so far and start again.
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OJ 10/1, [20] Handwritten letter from Dahms to Schenker, dated June 15, 1916
Dahms may be transferred to Wilna. — Has reviewed Op. 111 for the
Kreuz-Zeitung.
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OJ 10/1, [21] Handwritten letter from Dahms to Schenker, dated June 30, 1916
Dahms holds out hope for the position of music critic at Der Abend of Vienna,
about which Schenker has inquired.— He reviews his past work; coming to Vienna is
imperative.
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OJ 10/1, [22] Handwritten postcard from Dahms to Schenker, dated November [recte August] 9,
1916
Dahms hopes to be going to Wilna.
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OJ 10/1, [23] Handwritten letter from Dahms to Schenker, dated August 27, 1916
Dahms may be posted to Wilna, or may be discharged. He asks about the position of
music critic at the Vienna Der Abend.
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OJ 10/1, [24] Handwritten letter from Dahms to Schenker, dated October 13, 1916
Dahms reacts to the news that the music-critic position at Der Abend is taken;
laments continued lack of opportunity to work.
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OJ 10/1, [25] Handwritten letter from Dahms to Schenker, dated November 26, 1916
Dahms reports on his situation, and seeks Schenker's interest in a forthcoming
lecture in Vienna by Willi von Möllendorf.
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OJ 10/4, [1] Handwritten letter from Sophie Deutsch to Schenker, dated January 26,
1916
Sofie Deutsch informs Schenker of the bequest of a sum of money to fund his
future publications; she wishes him success in his "selfless work," and signs herself "your
grateful pupil."
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OJ 11/22, [5] Handwritten postcard from the Gesellschaft der Musikfreunde (Bella) to Schenker, dated
March 8[?], [1916]
Mandyczewski invites Schenker to the Archive for March 10.
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OJ 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December
1916]
Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to
Universal Edition.
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OJ 11/58, [1] Typewritten letter from the Israelitische Kultusgemeinde to Schenker, dated December
17, 1916
President Alfred Stern expresses his regret at Schenker's refusal to serve as
a juror alongside Guido Adler for the Rothschild Artists' Foundation.
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OJ 12/26, [2] Typewritten letter from the Rothschild Artists' Foundation to Schenker, dated
December 3, 1916
The Rothschild Artists' Foundation invites Schenker to serve on a panel of
jurors with Guido Adler and Alfred Grünfeld.
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OJ 12/9, [12] Handwritten letter from Karpath to Schenker, dated January 13, 1916
Karpath accepts an article of Schenker's [for Der Merker] and asks for a
modification.
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OJ 12/9, [13] Handwritten letter from Karpath to Schenker, dated January 26, 1916
Karpath is worried about the disappearance of Aron Mittelmann, and asks Schenker
to help him search.
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OJ 12/9, [14] Handwritten lettercard from Karpath to Schenker, dated January 28, 1916
Karpath reports a summons to appear before a military court with respect to Aron
Mittelmann.
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OJ 12/9, [15] Handwritten postcard from Karpath to Schenker, postmarked February 1, 1916
After attendance at the court [regarding Mittelmann], Karpath asks Schenker to be
in touch with him.
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OJ 12/9, [16] Handwritten letter from Karpath to Schenker, dated February 2, 1916
Following an unanounced and abortive visit by Schenker, Karpath asks Schenker to
call him by telephone.
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OJ 12/9, [17] Handwritten letter from Karpath to Schenker, dated February 6, 1916
Karpath sends an unidentified letter [from Mittelmann]. — He asks Schenker before
his attendance at court to take on jointly with himself the surety for
Mittelmann.
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OJ 12/9, [18] Handwritten letter from Karpath to Schenker, dated February 7, 1916
Karpath informs Schenker that the latter is expected by Dr. Kammerer the
following day, before Kammerer addresses the court.
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OJ 12/9, [19] Handwritten letter from Karpath to Schenker, dated February 8, 1916
Karpath reports attorney Kammerer's assessment and recommendations on the
Mittelmann case.
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OJ 12/9, [20] Handwritten postcard from Karpath to Schenker, dated March 9, 1916
Karpath reports the imminent dismissal of the case against
Mittelmann.
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OJ 13/36, [2] Printed form letter from Rudorff family to Schenker, dated December 31,
1916
Announces the death of Ernst Rudorff.
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OJ 14/23, [18] Handwritten lettercard from Seligmann to Schenker, postmarked August 1, 1916
Seligmann thanks Schenker for sending him the critical editions of Beethoven’s
Op. 110 and Op. 111. He enjoyed reading the attacks on Schenker’s rival authors, but he also
thinks that a more conciliatory language would be more appropriate for such publications. He
looks forward to the publication of Op. 106.
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OJ 15/16, [25] Handwritten letter from Weisse to Schenker, dated April 7, 1916
Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata
Op. 111, but expresses reservations about the political footnotes. He asks to bring a new
song to Schenker, since he is about to go to the battlefield.
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OJ 15/16, [26] Handwritten letter, with original poetry, from Weisse to Schenker, dated July 3,
1916
As a sign of his recovery, Weisse sends Schenker two poems while stationed in
Berezhany, “Der alte Jude” and “Die Dirne."
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OJ 15/16, [27] Handwritten letter from Weisse to Schenker, dated August 3, 1916
Weisse hopes to see Kontrapunkt II soon. — He reflects on the state of
humanity in the light of being in the midst of the war. — He incloses a cutting of an
article [about sources of Saint-Saëns's music.]
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OJ 15/16, [28] Handwritten letter from Weisse to Schenker, dated December 1, 1916
Weisse is looking forward to leave in mid-December and to seeing
Schenker.
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OJ 15/16, [31] Handwritten letter from Weisse to Schenker, dated November 9, 1917
Weisse now has a piano in his army lodgings, plays in the evenings, expects to
send Schenker an analysis of Brahms Intermezzo, Op. 119, No. 2, shortly. The Italian defeat
is near. He has sent a pamphlet by Walther Rathenau.
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OJ 5/27, [3] Handwritten letter (non-extant) from Schenker to Evenlina Pairamall, dated October
20, 1916
Schenker describes in detail how he works out Mrs. Pairamall's lesson schedule
according to her requests, and calculates her fee.
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OJ 71/19a, [1] Fragment of a typewritten letter from Emil Kammerer to Ludwig Karpath, undated;
Handwritten letter from Ludwig Karpath to Schenker, dated March 6, 1916
Karpath forwards a letter from the attorney Kammerer's office saying that the
conclusion of the case against Mittelmann is expected soon.
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OJ 9/30, [6a] Handwritten letter from Tony Colbert to Schenker, dated July 13
Mrs. Colbert thanks Schenker for flowers sent while she was in the
sanatorium.
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WSLB-Hds 95654 Handwritten letter from Schenker to Seligmann, dated July 24, 1916
Schenker tells Seligmann that he has arranged for copies of his critical
editions of Beethoven’s Op. 110 and Op. 111 to be sent to him. He speaks of the positive
interest his works have received in Germany, and about Hugo Riemann asking him to provide
autobiographical material for an entry in the next edition of his music
lexicon.
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WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916
Schenker explains why he is reluctant to produce a critical edition with
commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could
be freed from some of his teaching obligations, and also the autograph manuscript and other
sources are missing. He also defends his sharp tongue in discussions of the secondary
literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical
editions of the late Beethoven piano sonatas).