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OC 52/636 Handwritten letter from Robert Brünauer to Schenker, dated February 19,
1925
Robert Brünauer reports on the subscriptions to Der Tonwille that he has taken
out.
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OC 52/639 Handwritten letter from Siegfried Fritz Müller to Schenker, dated February 13,
1925
Siegfried Fritz Müller reports his subscriptions to Tonwille and asks for
clarity regarding dealings with Drei Masken-Verlag.
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OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925
Violin explains why, and how, the number of free copies of Der Tonwille
distributed to German university music departments was reduced from 10 per university to 7.
He has seen Paul Bekker's recent book, which includes a survey of recent trends in music
theory.
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OC 54/19 Typewritten letter from August Demblin (DMV) to Schenker, dated February 3,
1925
Replying to Schenker's earlier queries, Drei Masken Verlag explain that Schenker
will receive a royalty of 15% of the selling price of a paperback copy for each Yearbook sold,
whether hardback or paperback. They offer an advance of 500 marks against expected sales at the
time of publication (early November), and can give him half that sum upon receipt of his
manuscript at the end of June.
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OC 54/20-22 Draft of a letter from Schenker to Drei Masken Verlag, dated February 7,
1925
Schenker agrees to the terms of a contract outlined by Drei Masken Verlag. He
requests that Fraktur typeface be used in the printing of his Yearbook, and he also needs to
know the likely dimensions of the book (in words per page) so that he can plan its contents
accordingly. He ends with a diatribe against Emil Hertzka at Universal
Edition.
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OC 54/23 Typed letter from August Demblin (DMV) to Schenker, dated February 11, 1925
A copy of the Mozart-Jahrbuch II will be sent to Schenker as a model for
Meisterwerk.
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OC 54/25 Typed letter from August Demblin (DMV) to Schenker, dated February 21, 1925
Drei Masken Verlag acknowledge Schenker's acceptance of their terms and issue a
contract for the Meisterwerk Yearbooks.
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OC 54/26 Postal receipt for a document sent by Schenker to Drei Masken Verlag, dated February
25, 1925
Postal receipt for unknown item
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OC 54/27 Postal receipt for a document sent by Schenker to Drei Masken Verlag, dated February
28, 1925
Postal receipt for express letter
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OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925
Dahms reports on the Vrieslanders' Italian travels; compares Hertzka
unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold.
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OJ 14/45, [109] Handwritten postcard from Moriz Violin to Schenker, undated, postmarked February 24,
1925
Visiting his dying brother Eduard in the Sophienspital in Vienna, Violin hopes
to see Schenker if at all possible.
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OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925
Schenker, repeating some of the points made in earlier letters, continues to give an account of
Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the
subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music
departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent
concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists;
the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the
canonic composers.
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OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925
Schenker thanks Violin for his recent letter (and enclosure), which contains
evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark
contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the
publication of Weisse's recently published vocal quartets than to his writings. Leaving Der
Tonwille behind, which has earned him little money and caused him much misery, he has written a
lengthy study of Bach's solo violin works, which will be published in the first volume of Das
Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen
Kontrapunkts.
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OJ 8/4, [35] Handwritten postcard from Schenker to Moriz Violin, dated February 14,
1925
Schenker asks Violin urgently to send him the receipt for payment made to
Universal Edition (for the copies of Der Tonwille paid for by Max Temming).
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OJ 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18,
1925
Bamberger reports that after six months of repetiteur work he has been granted
some conducting. -- He laments the lack of musical education of the Danzig citizens, and its
impact on the theater's repertory. Talent is not appreciated by the theater's
administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his
reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks
Schenker a question about Schubert's song "Wohin?"
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OJ 9/12, [3] Handwritten letter from Carl Bamberger to Schenker, dated February 23,
1925
As a follow-up to his previous letter, Bamberger gives a full account of the
number of subscriptions to Der Tonwille that he has either instigated himself or encouraged
others to take on.
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UMdK Z 163 D/1925, [1] Typewritten letter from Kallina (Bundesministerium) to the Akademie für Musik, dated
February 23, 1925
The Akademie is instructed to draw up an endowment letter concerning the
Sophie Deutsch stipends, and to avoid inclusion of slates of candidates; Schenker must
determine how adjudication should be conducted after his death.