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OC 54/47 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 4,
1925
Postal receipt for galley-proofs 7–13
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OC 54/48 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated December 9,
1925
Drei Masken Verlag acknowledge receipt of the Foreword to Meisterwerk I. They
note that he has made a large number of corrections to the proofs, and warn him that, though
they can be incorporated in the final text, he will have to bear the expense if they exceed 10%
of the overall printing costs.
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OC 54/49 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 9,
1925
Postal receipt for galley-proofs
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OC 54/50 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 15,
1925
Postal receipt for galley-proofs
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OC 54/51 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 17,
1925
Postal receipt for galley-proofs
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OC 54/52 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 21,
1925
Postal receipt for galley-proofs
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OC 54/53 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 30,
1925
Postal receipt for galley-proofs
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OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925
The [Hammer] mezzotint has arrived; Dahms expresses a reservation about
it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE.
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OJ 10/3, [45] Typewritten postcard from Deutsch to Schenker, dated December 9, 1925
Deutsch sends Schenker a dedication copy of the Schubert special issue of Moderne Welt, to which
Schenker contributed an article. Deutsch had already requested a copy to be sent to Schenker from the publisher,
but this has gone missing.
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OJ 10/3, [46] Typewritten postcard from Deutsch to Schenker, dated December 15, 1925
Deutsch thanks Schenker for his postcard [not known to survive] and hopes to speak to him soon
about the matters raised therein. Deutsch, however, could neither read nor understand a sentence from Schenker's
postcard and affixes it to this reply.
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OJ 14/14, [1] Handwritten letter from Artur Schnabel to Schenker, dated December 6, 1925
Schnabel divulges only some details of his publisher's contract.
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OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925
Violin gives Schenker the program of his concerts with van den Berg and
Buxbaum.
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OJ 14/45, [47] Handwritten letter from Moriz Violin to Schenker, dated December 25, 1925
Catching up on his correspondence on Christmas Day, Violin thanks Schenker for
his recent postcard, and hopes that 1926 will be a less troublesome year for him. He quotes
an extract from a negative review of Berg's Wozzeck, and reports on his practice and
rehearsal plans for the trios that he will perform with van der Berg and Buxbaum in a
month's time.
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OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21,
1925
Interrupting his correcting of the proofs for the first Meisterwerk Yearbook,
Schenker sends Christmas greetings to the Violins, and informs his friend that an
out-of-court settlement was made with Universal Edition. Recent concert appearances of the
cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio
concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be
sent to Hamburg.