-
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 16/39v-40v Typed letter from Türkel to Schenker, dated January 26, 1920
Following affirmative reaction from Fritz Mendel, Türkel asks Schenker to call on
him.
-
OC 16/41v-42v Typed letter from Türkel to Schenker, dated April 6, 1920
Türkel corrects Schenker and suggests he make inquiries with Friedmann.
-
OC 32/29v-27v Typed letter from Friedmann to Schenker, dated April 23, 1920
Friedmann asks Schenker if he might explain the situation in
person.
-
OC 52/215 Typed letter from Hertzka (UE) to Schenker, dated January 23, 1920
Hertzka is sending the publisher's copy of the contract for Die letzten fünf
Sonaten von Beethoven ... op. 101 and the first tranche of honorarium, discusses the facsimile
edition of the "Moonlight" Sonata, raises issues regarding the prospective Beethoven collected
sonatas edition and Kleine Bibliothek, and expresses pleasure that he and Schenker are again in
accord.
-
OJ 52/216 Notice of Bank Transaction from the Austrian Provincial Bank to Schenker, dated
February 3, 1920
Payment notification of 7,500 Kronen [from UE].
-
OJ 52/217 Receipt for Bank Transaction from the Austrian Provincial Bank to Schenker, undated
[February 3], 1920
Receipt for sum of 7,500 Kronen [from UE].
-
OC 52/218 Typed letter from Fischmann (UE) to Schenker, dated February 19, 1920
Acting for the Schutzverband deutscher Schriftsteller in Wien, Fischmann offers
Schenker advice on the draft contract for the Kleine Bibliothek.
-
OC 52/219 Typed postcard from Rothe (UE) to Schenker, dated March 9, 1920
Vol. II of the Beethoven sonatas is being dispatched to Schenker.
-
OC 52/220 Typed letter from Hertzka (UE) to Schenker, dated March 13, 1920
Hertzka thanks Schenker for commiserations, expresses pleasure that the
photographs [of Op. 101] have arrived, and seeks a meeting to discuss the Kleine Bibliothek.
-
OC 52/221 Typed letter from Hertzka (UE) to Schenker, dated March 26, 1920
Hertzka seeks a meeting to discuss the letter of agreement about the Beethoven
sonatas edition, and laments their difficulty in meeting.
-
OC 52/222 Typed letter from Fischmann to Schenker, dated March 26, 1920
Fischmann asks Schenker to call on him on March 31.
-
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 52/224 Typed letter from Fischmann (UE) to Schenker, dated April 3, 1920
Fischmann gives advice on Schenker's contracts for the Kleine Bibliothek and the
collected Beethoven piano sonatas.
-
OC 52/225 Typed postcard from Hertzka/Rothe (UE) to Schenker, dated April 7, 1920
Hertzka agrees to meet Schenker.
-
OC 52/226 Typed letter from Hertzka (UE) to Schenker, dated April 16, 1920
Hertzka agrees to pay extra costs for photography [of Op. 53], but sets
conditions.
-
OC 52/227 Typed letter from Fischmann (UE) to Schenker, dated April 17, 1920
Fischmann sees two points still outstanding over the contracts for the Kleine
Bibliothek and Beethoven sonatas, and advises him how to handle them.
-
OC 52/228 Typed postcard from Hertzka (UE) to Schenker, dated April 22, 1920
Hertzka regrets the difficulties that Schenker has made over the letter of
agreement, and will be away for several weeks.
-
OC 52/229 Typed letter from Hertzka (UE) to Schenker, dated June 24, 1920
Hertzka will meet with Schenker on Friday July 2 to receive the manuscript of
Schenker's Op. 101 monograph and photographs of the "Moonlight" Sonata.
-
OC 52/230 Typed postcard from UE to Schenker, dated July 5, 1920
UE is sending 7,500 Kronen via Moriz Schenker.
-
OC 52/231 Typed letter from Kalmus and Detoni (UE) to Schenker, dated September 8,
1920
Kalmus encloses print samples of type-sizes for the Kleine Bibliothek, and
promises samples of the engraving, and copies requested.
-
OC 52/232 Postal receipt for letter from Schenker to Kalmus (UE), dated September 20,
1920
Postal receipt for return of documentary evidence [regarding payment for the
Instrumentations-Tabelle]; notifies of addition to Op. 101.
-
OC 52/233 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 23,
1920
UE is sending over large and small engraving samples of the Kleine Bibliothek for
Schenker's approval, and confirms receipt of the documentary evidence and Schenker's previous
letter.
-
OC 52/234 Typed postcard from Nella Balassa (UE) to Schenker, dated October 4, 1920
Schenker is asked to send the figure back with messenger.
-
OC 52/235-236 Handwritten delivery note from UE to Schenker, dated October 27, 1920
Delivery of Beethoven sonatas for comparative study.
-
OC 52/237 Typed letter from Kalmus (UE) to Schenker, dated November 5, 1920
Kalmus confirms that the "Secondary Literature" section of Op. 101 will be set in
small type; he is writing to Paris about the "Appassionata."
-
OC 52/238 Typed letter from Rothe (UE) to Schenker, dated December 6, 1920
UE are delivering [first] proofs of Op. 111 and second proofs of figures [for
"Schubert: Ihr Bild"].
-
OC 52/239-240 Typed letter from Hertzka (UE) to Schenker, dated December 18, 1920
Hertzka and Schenker will discuss the Niloff Instrumentations-Tabelle; Hertzka
offers two alternative solutions to UE's taking over of Kontrapunkt 2.
-
OC 52/241 Typed letter from Kalmus (UE) to Schenker, dated December 21, 1920
UE acknowledges receipt of the manuscript of "Beethoven's Fifth Symphony" and
notifies Schenker that he will be receiving proofs of Die letzten fünf Sonaten von Beethoven ...
op. 101.
-
OC 52/408 Typed letter from Hertzka (UE) to Schenker, dated April 12, 1920
Accounts Department informs Schenker that the last edition of Niloff
Instrumentations-Tabelle occurred in 1917, the honorarium for that was paid, but the work is
going to press.
-
OC 52/409 Typed letter from Hertzka (UE) to Schenker, dated April 12, 1920
Hertzka encloses the contracts for the Kleine Bibliothek and collected Beethoven
sonatas, hoping that it will meet with approval. -- He explains the rise in price of the
Instrumentations-Tabelle.
-
OC 52/410 Typed letter from Hertzka (UE) to Schenker, dated July 2, 1920
The Book-keeper goes through the amounts paid to Schenker on account of the
Niloff [= Schenker] Instrumentations-Tabelle and the print-runs and publication dates of the
editions.
-
OC 52/411 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 14, 1920
Kalmus is glad Schenker approves of the type samples and gives estimates for the
extent per page, has not yet heard from Wellesz re the "Appassionata" Sonata, is contacting
Hertzka about the "Waldstein" Sonata photography, will send documentary evidence regarding a
1912 payment, and sends copies of Beethoven sonatas.
-
OC 52/413 Typed letter from Rothe (UE) to Schenker, dated December 7, 1920
500 Kronen transferred for Niloff fifth edition.
-
OC 52/446 Typed letter from Hertzka (UE) to Schenker, dated January 14, 1920
Hertzka has not yet gone to Frankfurt.—- He wants to publish the "Moonlight"
Sonata in a series edited by Otto Erich Deutsch. — Would like to do new edition of complete
Beethoven sonatas, but without wholesale reengraving. — Discusses financial arrangements for the
latter, and for the Kleine Bibliothek. — Encloses the contract for Die letzten fünf Sonaten von
Beethoven ... op. 101.
-
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 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920
Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp.
109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek
for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's
attentions.
-
OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920
Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the
publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about
the autograph manuscript for which Schenker is waiting.
-
OC 52/485 Contract between Otto Erich Deutsch and Schenker, dated December 16, 1920
Contract between Otto Erich Deutsch and Schenker for the facsimile edition of
Beethoven, "Moonlight" Sonata.
-
OC 52/509 Typed letter from Hertzka (UE) to Schenker, dated January 22, 1920
Alteration to 1912 contract for Die letzten fünf Sonaten von
Beethoven.
-
OC 52/517 Typed contract from between UE and Schenker for the Kleine Bibliothek, dated July 10,
1920
Contract between UE and Schenker for the Kleine Bibliothek.
-
OC 52/547 Typed letter from Hertzka (UE) to Schenker, dated March 22, 1920
Hertzka sends contracts for the Kleine Bibliotek and Beethoven complete sonatas,
explains the alterations that have been made to these since their recent conversation, and asks
for their signed return. Marginal calculations by Schenker.
-
OC 52/560 Draft Contract between UE and Schenker for the Kleine Bibliothek, dated March 23,
1920
Draft contract for the Kleine Bibliothek.
-
OC 52/561 Typed letter from Hertzka (UE) to Schenker, dated December 30, 1920
Hertzka wishes to discuss the transfer of Kontrapunkt 2 in person. He also wishes
urgently to discuss "The Mission of German Genius." [This crucial letter marks the beginning of
the deterioration of relations between Schenker, Hertzka, and UE between 1920 and 1925.]
-
OC B/155 Typewritten letter from Wilhelm Altmann to Schenker, dated December 28,
1920
Altmann reports extra cost of photographic work.
-
OC B/158 Handwritten postcard from Wilhelm Altmann to Schenker, dated September 25,
1920
Altmann notifies Schenker of the cost of photographic work
done.
-
OC B/159 Typewritten postcard from Wilhelm Altmann to Schenker, dated September 20,
1920
The photographs of Beethoven's Fifth Symphony, first movement, should be
dispatched next week.
-
OC B/160 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked September 30,
1920
Postal receipt for return of Lischke edition of[ Beethoven Op.
2].
-
OC B/162 Typewritten letter from Wilhelm Altmann to Schenker, dated April 19, 1920
Altmann advises Schenker on the early sources of Beethoven piano sonatas in
the Library's possession.
-
OC B/168 Typewritten letter from Wilhelm Altmann to Schenker, dated February 25,
1920
Altmann is glad Schenker hopes to visit the Library; photography of Chopin
Etudes Op. 10 is in progress.
-
OC B/168 Typewritten postcard from Wilhelm Altmann to Schenker, dated February 5,
1920
The photographs of Op. 101 are ready and will be sent.
-
OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22,
1920
-
OC B/170 Typewritten letter from Wilhelm Altmann to Schenker, dated January 5,
1920
Altmann will have photographs [of sketches of Beethoven, Op. 101] prepared
upon receipt of application form.
-
OC B/260 Handwritten letter from Gustav Rapp & Co. to Schenker, dated March 9,
1920
Rapp encloses invoice.
-
OC B/261 Handwritten invoice from Gustav Rapp & Co. to Schenker, dated March 8,
1920
Invoice for photographic copies [of Beethoven, Op. 101].
-
OC B/262 Postal receipt for a payment from Schenker to Gustav Rapp & Co., dated March 23,
1920
Postal receipt for the fourth of four payments totaling 240
Marks.
-
OC B/263 Postal receipt for a payment from Schenker to Gustav Rapp & Co., dated March 19,
1920
Postal receipt for the first of four payments totaling 240
Marks.
-
OC B/264 Postal receipt for a payment from Schenker to Gustav Rapp & Co., dated March 20,
1920
Postal receipt for the second of four payments totaling 240
Marks.
-
OC B/265 Postal receipt for a payment from Schenker to Gustav Rapp & Co., dated March 22,
1920
Postal receipt for the third of four payments totaling 240
Marks.
-
OC B/266 Typewritten postcard from Louis Koch to Schenker, dated March 9, 1920
Koch hopes photographs have arrived.
-
OC B/267 Typewritten letter from Louis Koch to Schenker, dated February 27, 1920
Koch is sending photographs separately.
-
OJ 10/1, [50] Handwritten picture postcard from Dahms to Schenker, dated March 6, 1920
Dahms sends greetings from Berlin.
-
OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920
-
OJ 10/1, [52] Handwritten letter from Dahms to Schenker, dated June 9, 1920
Reflecting on the difficulty of finding housing and provisions, and on the recent
German federal elections, Dahms asks whether mastery of chorale and fugue is to be obtained
solely by exercises in the manner of [E. F.] Richter and others. — He inquires whether Schenker
knows Kurth's Grundlagen des linearen Kontrapunkts, and whether there are any worthwhile
[musical] people in Salzburg.
-
OJ 10/1, [53] Handwritten letter from Dahms to Schenker, dated June 15, 1920
Dahms sends birthday greetings and reflects on the sorry conditions for the arts
prevailing in the current political climate.
-
OJ 10/1, [54] Handwritten postcard from Dahms to Schenker, dated July 12, 1920
Dahms is pleased that Schenker is in the mountains, and hopes for a meeting with
him in Munich on Schenker's way to Stuttgart.
-
OJ 10/1, [55] Handwritten letter from Dahms to Schenker, dated July 30, 1920
Dahms finds the Berlin musicians on vacation to be ignorant – "artistic
bolshevism." — He now understands Kurth's work better for Schenker's comments.
-
OJ 10/1, [56] Handwritten letter from Dahms to Schenker, dated August 19, 1920
Dahms is having difficulty obtaining a passport, but still hopes to see Schenker
this summer, perhaps in Munich. — He sends his three biographical books to Schenker, but is
apprehensive of the latter's reaction to their hemeneutic elements; he hopes to writes something
more fitting.
-
OJ 10/1, [57] Handwritten postcard from Dahms to Schenker, dated August 25, 1920
Dahms understands that he cannot meet with Schenker; the three books are about to
be dispatched.
-
OJ 10/1, [58] Handwritten postcard from Dahms to Schenker, dated September 2, 1920
Dahms explains the sources of the three books. — Vrieslander gave him an
enthusiastic account of his time in Seefeld.
-
OJ 10/1, [59] Handwritten letter from Dahms to Schenker, dated December 22, 1920
Dahms sends the Schenkers best wishes for Christmas and the New Year; speaks of
Schenker as "our great leader"; inquires about progress on publication of three Schenker works
and whether Schenker has sufficient fuel and other necessities.
-
OJ 10/1, [60] Handwritten letter from Dahms to Schenker, dated December 29, 1920
Dahms thanks Schenker for his assessment of the three of his books that he has
sent him; gives a chapter synopsis of his next book, concerning Nietzsche and music; reports on
his movement in the coming months.
-
OJ 10/3, [10] Handwritten postcard from Otto Erich Deutsch to Schenker, dated June 15,
1920
The Beethoven House has given permission for the reproduction of the
"Moonlight" Sonata, and have suggested a photographer. Before arranging for the
reproduction, Deutsch asks Schenker to send his existing prints to determine if they are
suitable.
-
OJ 10/3, [11] Printed birth announcement from Deutsch Family [to Schenker], dated July 11,
1920
Otto Erich and Hanna Deutsch announce the birth of their son, Franz Peter, on
July 11, 1920.
-
OJ 10/3, [12] Typewritten postcard from Otto Erich Deutsch to Schenker, dated July 12,
1920
Deutsch has written to Edward Speyer about the sketchleaf [of the "Moonlight"
Sonata], and wishes Schenker success with his contract for the Little Library and Complete
Edition.
-
OJ 10/3, [13] Typewritten postcard from Otto Erich Deutsch to Schenker, dated August 5,
1920
The photograph of Speyer's sketchleaves is still forthcoming. Deutsch has
discovered that a Dr. Wilhelm Kux possesses a further sketchleaf of the "Moonlight" Sonata,
and asks Schenker if he wants Deutsch to try secure a reproduction of it.
-
OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16,
1920
Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight"
Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he
cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside.
Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the
Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him
to write to the Museum to request a photograph of the sketchleaf.
-
OJ 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13,
1920
Deutsch asks Schenker to clarify whether bars are missing from the start of
the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal
Edition's intended format for the volume, and ask if Schenker approves of their proposals.
Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds
Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical
Times.
-
OJ 10/3, [16] Typewritten letter from Otto Erich Deutsch to Schenker, dated October 1,
1920
Deutsch encloses images of Wilhelm Kux's sketchleaf of the "Moonlight" Sonata
for Schenker to study. He is writing to the [Fitzwilliam] Museum in Cambridge about their
sketchleaf of the Sonata.
-
OJ 10/3, [17] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 6,
1920
Deutsch encloses two photographic prints of the Fitzwilliam Museum's
"Moonlight" Sonata sketchleaf. Edward Speyer has not yet had his sketchleaf photographed,
but has sent a description of its content, which Deutsch passes on.
-
OJ 10/3, [18] Typewritten postcard from Otto Erich Deutsch to Schenker, dated November 13,
1920
Deutsch has obtained a sheet with corrections for Beethoven's "Hammerklavier"
Sonata, which he would like to show Schenker. The photographic images of the "Moonlight"
Sonata will be made this week.
-
OJ 10/3, [19] Typewritten postcard from Leo Fischmann to Schenker, dated November 22,
1920
Leo Fischmann (legal attorney) invites Schenker to visit him at
home.
-
OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26,
1920
Replying to Schenker's postcard of November 20th, Deutsch writes that the
connoisseur edition is to be reproduced using photolithography, and repeats the particulars
of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his
sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from
Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111).
Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks
for sight of the draft of Schenker's Preface.
-
OJ 10/3, [21] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 11,
1920
Deutsch encloses the photographs of Edward Speyer's "Moonlight" Sonata
sketchleaves and asks Schenker to revise his Preface accordingly, before forwarding the
photographs and Preface to him. The photographic reproduction of the Sonata manuscript in
Bonn has been delayed by a chemical and glass shortage. Schenker's corrections were used for
the prospectus.
-
OJ 10/3, [22] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 23,
1920
Deutsch confirms receipt of Schenker preface for the "Moonlight" Sonata
edition and five photographs of sketchleaves. He will send a formal contract in the next few
days.
-
OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8,
1920
Deutsch reports that Hertzka wants the music connoisseur edition of the
"Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch
outlines the basis of the contract (editors will receive 8% of the retail price) and the
production timetable. He asks if Schenker would rather take on a different facsimile due to
competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in
Vienna.
-
OJ 10/3, [6] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 9,
1920
Deutsch is sorry that a customer prevented him for speaking with the Schenkers
when they visited his store. Photographic originals will be needed for the connoisseur
edition.
-
OJ 10/3, [7] Handwritten letter from Otto Erich Deutsch Deutsch to Schenker, dated January 16,
1920
Deutsch will write to the Beethoven House in Bonn to seek permission to
reproduce the manuscript of the "Moonlight" Sonata. He suggests using the first edition as
the source for the missing opening and closing bars, and asks Schenker to refrain from
polemics in his commentary. Copies of the manuscripts of Beethoven's piano sonatas Opp. 28,
109, 110 and 111 should not be difficult to obtain, and he has made inquiries regarding the
manuscripts of Beethoven's Piano Sonata Op. 106 and Mozart's A minor Rondo K.
511.
-
OJ 10/3, [8] Handwritten postcard from Otto Erich Deutsch Deutsch to Schenker, dated February 12,
1920
The Beethoven House will only allow reproduction of the manuscript of the
"Moonlight" Sonata in return for a royalty. Deutsch has offered 5% of the retail
price.
-
OJ 10/3, [9] Handwritten postcard from Otto Erich Deutsch to Schenker, dated March 1,
1920
Deutsch thanks Schenker for his suggestion of Brahms's Op. 117; Mr. Kalbeck
has suggested Brahms's "Sapphische Ode" (Op. 95, No. 4) and "Nachtwandler" (Op. 86, No.
3).
-
OJ 11/16, [3] Handwritten letter from Furtwängler to Schenker, dated November 26, 1920
Furtwängler proposes that they meet on Tuesday [November 30, 1920].
-
OJ 11/35, 14 Handwritten letter from Halm to Schenker, dated January 5, 1920
Halm offers advice on securing satisfactory contractual terms, favoring
percentages over one-time payments.
-
OJ 11/35, 15 Handwritten letter from Halm to Schenker, dated January 11, 1920
Halm expresses reservations about Kleine Bibliothek plan; wishes Schenker might
write history of music. —PS: Advises Sschenker to insure a regular income before moving to
Germany.
-
OJ 11/35, 16 Handwritten letter from Halm to Schenker, dated February 10, 1920
Halm acknowledges 69.930/9 and return of contracts. H is looking for a new
publisher for his compositions, and wonders whether Schenker would put in a good word to UE on
his behalf, or whether Schenker knows of a small press that might be suitable. Wishes
Furtwängler would perform something of his.
-
OJ 11/35, 17 Handwritten letter from Halm to Schenker, dated April 13, 1920
Halm acknowledges receipt of DLA 69.930/9; voices misgivings about publishing
with UE and discusses publishers' unscrupulous tactics and the difficulty of legal redress.
-
OJ 11/35,18a Handwritten postcard from Halm to Schenker, dated August 21, 1920
Halm advises Schenker on choice of carbon copy systems.
-
OJ 11/35, 18b Handwritten letter from Halm to Schenker, dated December 30, 1920
Halm acknowledges letter, sends one newly-published composition, and tells
Schenker of a forthcoming performance of a concerto by him, and three compositions turned down
for publication.
-
OJ 15/15, [8] Handwritten postcard from Weisse to Schenker, dated November 2, 1920
Weisse asks for help in explaining the development section of the first movement
of Brahms's Piano Trio No. 1 in B major, Op. 8; asks for the address of Fräulein Fried.
-
OJ 15/16, [41] Handwritten letter from Weisse to Schenker, dated "end of June, 1920"
Taking his leave of Schenker as a pupil, Weisse expresses his gratitude for all
that Schenker has done for his artistic and human development, and declares himself ready to
continue in the service of his teacher's highest ideals.
-
OJ 15/16, [42] Handwritten letter from Weisse to Schenker, dated July 11, 1920
Weisse wishes Schenker an enjoyable summer holiday, and looks forward to visiting
him. He inquires about the possibility of moving into Reisnerstraße 38, in the event that the
Schenkers move elsewhere, and informs his teacher about the organization of a lecture series at
the Vienna Urania. He concludes with some remarks about literary works, Wedekind's Schloß
Wetterstein and Jean Paul's Levana.
-
OJ 15/16, [43] Handwritten letter from Weisse to Schenker, dated July 19, 1920
Weisse reports his arrival for the summer in Ischl, and the grave illness that
has befallen his grandfather there. He sends Schenker three excerpts from Jean Paul's review of
Mme. de Staël's "On Germany" (1810), which he expects his teacher will find useful as cultural
and political ammunition against the French.
-
OJ 15/16, [44] Handwritten letter from Weisse to Schenker, dated August 10, 1920
Weisse explains that his grandfather's death prevents him from visiting Schenker
in Seefeld, but hopes that he might nonetheless visit him elsewhere before the end of the summer
holidays.
-
OJ 5/18, [E] Handwritten postcard from Schenker to Jonas, dated September 27, 1920
Schenker is unable to give Jonas lessons, and suggests Felix Hupka.
-
OJ 8/3, [80] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 12, 1920
Schenker comments acerbically on the settlement with Emil Kornfeld. — Reports on
a contract Halm has shown him. — Inquires about the children's health and reports that Wilhelm
has been taken ill.
-
OJ 8/3, [81] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 31, 1920
Schenker asks Violin to inquire about availability of the apartment of one of the
Rosé String Quartet members.
-
OJ 8/3, [82] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated February 13, 1920
Amount of divorce settlement and its investment. — Op. 101/3 sketches arrived.
-
OJ 8/3, [83] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 8, 1920
Tonschl's report on conversation with Moriz Schenker, and advice.
-
OJ 8/3, [84] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 16, 1920
Moriz Schenker extends invitation to meet, confirms sum of 68,080 Kronen. —
Meeting with Hertzka scheduled for next day.
-
OJ 8/3, [85] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 12, 1920
Schenker inquires about Furtwängler, and reports progress with Hertzka.
-
OJ 8/3, [86] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated May 5, 1920
Schenker writes scathingly about his brother Moriz's attitude to Schenker's
problems.
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OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14,
1920
The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit
them?
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OJ 8/3, [88] Handwritten postcard from Heinrich & Jeanette Schenker to Moriz Violin, dated July
30, 1920
Schenker reports that the attempt to procure an apartment in Reisnerstraße 17 has
failed, and complains about the corrupt circumstances.
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OJ 8/3, [89] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 23, 1920
Gives date of return to Vienna, and confirms Tuesday meeting.
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OJ 8/3, [90] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, undated,
postmarked [October] 17, 1920
The Schenkers are unable to visit Wally this Sunday, but will do so the following
Sunday.
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OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October
16, 1920
Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking
a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit
Wally next Sunday.
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OJ 9/30, [7] Handwritten letter from Carl Colbert to Schenker, dated September 6, 1920
Carl Colbert invites Schenker to submit an article to Der Abend for the 150th
anniversary of Beethoven's birth.