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OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923
Dahms reports change of address and explains circumstances; has sent a
prospectus to UE; progress on subscriptions to his de luxe edition and a new American
contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille
3, and comments on Schenker's understanding of democracy.
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OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923
Baroness Fischer responds to Schenker's plan for distribution of issues of Der
Tonwille by suggesting contacts in the Vienna music schools and professional
association.
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OJ 11/2, [2] Handwritten letter from Emma Fischer to Schenker, dated February 23, 1923
Baroness Fischer gives names and addresses of five of her pupils to whom Der
Tonwille should be sent; she regrets that Schenker will not spread his theory further by
means of lectures.
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OJ 14/23, [21] Handwritten postcard from Seligmann to Schenker, postmarked February 24,
1923
Seligmann accepts an invitation to the Schenkers’ place for the following
Wednesday (February 28, 1923).
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OJ 14/23, [22] Handwritten postcard from Seligmann to Schenker, postmarked September 30,
1924
Seligmann thanks Schenker for sending him a copy of Tonwille 7; he would like
to accept the Schenker’s invitation, but must wait for the neuralgia in his leg to
subside.
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OJ 14/45, [20] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 6, 1923
Violin thanks Schenker for Tonwille 3 and reports on growing social unrest and
anti-French feeling in Germany.