-
OC 52/545 Typed postcard from Hugo Winter (UE) to Schenker, dated April 9, 1926
Winter acknowledges order from Otto Bauer.
-
OC 52/546 Handwritten note by Schenker, dated October 10, 1926
Main points of WSLB 371.
-
OC 52/829 Printed return postcard from Harrassowitz Buchhandlung to Schenker, dated July 13,
1926
Harrassowitz's return card requests either a copy of or information about
Schenker's monograph Beethoven V. Sinfonie.
-
OC 52/831 Typed postcard from Barbara Rothe (UE) to Schenker, dated October 13, 1926
UE have written for review in Rivista musicale italiana.
-
OC 52/832 Typed letter from Barbara Rothe (UE) to Schenker, dated October 26, 1926
Rothe encloses review from Rivista musicale italiana.
-
OJ 52/897 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July
16, 1926
Receipt for sum of 232.14 shillings [from UE].
-
OC 52/907 Typed letter from Hugo Winter (UE) to Schenker, dated July 14, 1926
UE have mailed Schenker's statement of account to Galtür.
-
OC 52/908 Typed letter from Hugo Winter (UE) to Schenker, dated December 28, 1926
Payments for Beethoven sonatas and Der Tonwille have been transferred.
-
OC 54/100 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated July 14,
1926
Postal receipt for final verson of OC 54/96–99.
-
OC 54/101 Typed letter from Drei Masken Verlag (Vienna) to Schenker, dated October 12,
1926
Drei Masken Verlag in Vienna will forward Schenker’s query about the lack of
publicity for the first Meisterwerk Yearbook to their Munich office.
-
OC 54/102 Draft of a letter from Schenker to Drei Masken Verlag (Munich), dated October 14,
1926
Schenker reminds the publishers that they were expected to reach a decision –
which he is expecting to be positive – regarding the production of the second Meisterwerk
Yearbook.
-
OC 54/103 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated October 14,
1926
Postal receipt for a letter to Drei Masken Verlag in Munich requesting a
renewed statement about the publication of Meisterwerk 2.
-
OC 54/104 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
October 15, 1926
Drei Masken Verlag think that an advertisement for the first Meisterwerk
Yearbook in the December 1926 issue of Die Musik would be timely; they also report that
sales of the book have been slow.
-
OC 54/105-106 Draft of a letter from Schenker to Drei Masken Verlag in Jeanette Schenker’s hand,
dated November 18, 1926
Schenker reminds the publishers once again that they owe him a decision about
starting production of the second Meisterwerk Yearbook; although they have complained about
poor sales, they have done nothing to publicize the book, which would otherwise be unknown
to his adherents in foreign countries.
-
OC 54/107 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated November 19,
1926
Postal receipt for final version of OC 54/105-106.
-
OC 54/108 Typed letter from Alfred Böhme (DMV) to Schenker, dated November 26, 1926
Drei Masken Verlag are not at liberty to make a direct approach to a
retailer’s customers. They suggest that Schenker contact the firm of Gutmann directly, and
that the appeal to his readers is personally composed; they will offer Gutmann a reduction
in the cost of copies ordered or sold by the firm.
-
OC 54/109 Typed letter from Alfred Einstein (DMV) to Schenker, dated December 11,
1926
Although he is confident that Drei Masken Verlag is not bound to publishing
Schenker’s second Meisterwerk Yearbook, Einstein suggests that the two of them come to a new
financial agreement so that production can take place.
-
OC 54/110 Typed letter from Alfred Böhme (DMV) to Schenker, dated December 17, 1926
Drei Masken Verlag inform Schenker that a glowing review of the first
Meisterwerk volume has appeared in Der Abend, and ask that he send them details of interested individuals to whom they can forward the review.
-
OC 54/54 Postal receipt for a package from Schenker to Drei Masken Verlag, dated January 2,
1926
Postal receipt for galley-proofs and engravings
-
OC 54/55 Postal receipt for a package from Schenker to Drei Masken Verlag, dated January 7,
1926
Postal receipt for proofs
-
OC 54/56 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 14,
1926
Drei-Masken Verlag says that there are plans to publish the autograph manuscript
of Mozart’s Don Giovanni in facsimile. They are in the process of finishing the first
Meisterwerk Yearbook, note Schenker’s wish for wider Urlinie graphs in future
yearbooks.
-
OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926
Drei Masken Verlag in Munich have now transferred all matters of production
concerning the first Meisterwerk Yearbook to their office in Vienna.
-
OC 54/58 Typewritten letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
January 16, 1926
The facsimile edition of Mozart’s Don Giovanni will not be ready for some time; a
facsimile of Beethoven’s Op. 57 is planned, not by DMV but by a Paris
printing-house.
-
OC 54/59 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 21,
1926
Drei Masken Verlag announce that the second galley-proofs are on their way to Schenker and
explain that, owing to the complexity of the publication, it will take time to complete the
corrections to the text and the music examples.
-
OC 54/60 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 25,
1926
Drei Masken Verlag are sending Schenker the second galley-proofs for the first Meisterwerk
Yearbook, together with a separate printout of the music examples.
-
OC 54/61 Double Postal Receipt for packages from Schenker to Drei Masken Verlag, dated
January 29, 1926
Postal receipt for the second set of page-proof corrections for the first Meisterwerk
Yearbook.
-
OC 54/62 Typed letter from Alfred Böhme (DMV) to Schenker, dated February 3, 1926
The Vienna branch of Drei Masken Verlag are forwarding Schenker’s request for an
announcement about the Meisterwerk Yearbooks to their Munich office. They explain that
difficulties in printing the music examples have delayed the production of Yearbook
1.
-
OC 54/63 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
February 5, 1926
Drei Masken Verlag invite Schenker to write a short announcement about the
Meisterwerk Yearbook, to be sent to newspapers and music journals in advance of
publication.
-
OC 54/64 Double Postal Receipt for a package from Schenker to Drei Masken Verlag, dated February 15,
1926
Postal receipts for gatherings 1–4 of the first Meisterwerk Yearbook and for a publicity
note for the series.
-
OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15,
1926
A draft statement of the principles lying behind Schenker’s Meisterwerk series
of Yearbooks, together with a provisional table of contents for the second
Yearbook.
-
OC 54/67 Double postal receipt for packages from Schenker to Drei Masken Verlag, dated March
1, 1926
Postal receipt for page-proof corrections for the first Meisterwerk
Yearbook.
-
OC 54/68 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 4, 1926
Drei Masken Verlag reprimands Schenker for introducing so many changes to the
music examples, and ask him to consider whether he wishes to bear the additional cost of
reingraving the music example plates.
-
OC 54/69 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 10, 1926
Drei Masken Verlag report a short delay in the production of the first
Meisterwerk Yearbook.
-
OC 54/70 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 15, 1926
Drei Masken Verlag agree to print a list of corrections at the end of Meisterwerk
1, and announce that they have now completed the revision of the volume.
-
OC 54/71 Postal Receipt for a package from Schenker to Drei Masken Verlag, dated March 24,
1926
Postal receipt for gatherings 1–8 for Meisterwerk 1.
-
OC 54/72 Postal Receipt for a package from Schenker to Drei Masken Verlag, dated March 26,
1926
Postal receipt for gatherings 9–12 for Meisterwerk 1.
-
OC 54/73 Postal Receipt for a package from Schenker to Drei Masken Verlag, dated March 27,
1926
Postal receipt for the final set of gatherings and list of corrections for
Meisterwerk 1.
-
OC 54/74 Typed letter from Alfred Böhme (DMV) to Schenker, dated April 15, 1926
Drei Masken Verlag inform Schenker that the proof-copy of Meisterwerk 1 has been
sent to Dr. Einstein in Munich for final checking. They confirm that the majority of the music
examples will appear as an unbound supplement at the end of the book, agree to correct two
errors in the typesetting, and confirm the appearance of the cover.
-
OC 54/75 Typed letter from DMV to Schenker, dated April 24, 1926
Drei Masken Verlag will send Schenker new page-proofs for the first gathering, to
ensure that the title-page and the list of printing errors are correct. They also ask about the
binding of the separate pages of musical illustration, and the notice about his earlier
publications.
-
OC 54/76 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 4, 1926
Drei Masken Verlag are sending Schenker the proofs for the first gathering of
his first Meisterwerk Yearbook, with the list of printing errors. There is not enough room
for a special notice about the new series, but they will include the contents of the ten
issues of Der Tonwille.
-
OC 54/77 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 7, 1926
Drei Masken Verlag alert Schenker to the printing error in the proof of
the advertisement page, which was to be included in the first Meisterwerk volume, and ask that
he disregard the imprimatur. They send linen swatches for the cover and recommend using coloured
lettering for the title.
-
OC 54/78 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 14, 1926
A further mistake has been found in the text of the first Meisterwerk
Yearbook, and Schenker is asked to confirm the correction by return of
post.
-
OC 54/79 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 5, 1926
The binding of the first Meisterwerk Yearbook has been transferred to another
firm, mainly because the printing-house of Waldheim-Eberle would not do this work for the
agreed price. Schenker is asked not to press for an early release of the book, before the
bindings have had a chance to dry thoroughly.
-
OC 54/80 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 11, 1926
Drei Masken Verlag acknowledge receipt of the manuscript of Das Meisterwerk in
der Musik, vol. 2.
-
OC 54/81 Envelope for item 54/80, dated June 11, 1926
Envelope for a letter confirming receipt of the manuscript for Das Meisterwerk in der Musik, volume 2.
-
OC 54/82 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated June
14, 1926
The Munich office of Drei Masken Verlag acknowledges receipt of the
manuscript for Das Meisterwerk in der Musik, volume 2.
-
OC 54/83 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 15, 1926
Drei Masken Verlag are sending Schenker ten hard-bound complimentary copies of
the first Meisterwerk Yearbook, although he may contractually be entitled only to five
hard-bound and five paper-bound copies. They ask him to send the addresses to which review
copies may be sent. (Schenker has made some pencil notes about the receipients of the
complimentary copies.)
-
OC 54/84 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 16, 1926
Drei Masken Verlag ask Schenker to exchange five paper-bound copies of the
first Meisterwerk Yearbook for five of the hard-bound copies they had recently sent
him.
-
OC 54/85 Telegram from Drei Masken Verlag to Schenker, dated June 16, 1926
Drei Masken Verlag in Munich acknowledge receipt of the manuscript of the
second Meisterwerk Yearbook.
-
OC 54/86 Handwritten Note from DMV to Schenker, dated June 17, 1926
Drei Masken Verlag ask Schenker to exchange five paper-bound copies of the
first Meisterwerk Yearbook for five of the hard-bound copies he had recently received from
them.
-
OC 54/87 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 19, 1926
Drei Masken Verlag inform Schenker that the distribution of the first
Meisterwerk volume will be delayed until their Munich branch have announced the retail
price.
-
OC 54/88 Typed letter from August Demblin (DMV) to Schenker, dated June 21, 1926
Drei Masken Verlag will arrange to have the remainder of the advance for the
first Meisterwerk Yearbook paid in shillings, but they are reducing the royalties because
the corrections he made exceed 10% of the printing costs. They are also reserving judgment
on the publication of the second Yearbook until they see some sales figures for the first.
(Pencil annotations to the letter indicate Schenker’s displeasure at this
news.)
-
OC 54/89 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 22, 1926
Drei Masken Verlag in Vienna report having paid the remainder of the advance
for the first Meisterwerk Yearbook into Schenker’s account.
-
OC 54/90 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 23, 1926
In response to Schenker’s query regarding advance payments for Das Meisterwerk
in der Musik, the Vienna office of Drei Masken Verlag explain that they have instructions
only to offer the remainder of the advance on the first Yearbook, and that no decision has
yet been made with regard to the second.
-
OC 54/91-92 Draft of a letter from Schenker to DMV in Schenker’s hand, dated June 24,
1926
In response to Drei Masken Verlag’s delay in initiating production of the
second Meisterwerk Yearbook, Schenker points out that the publishers are in breach of
paragraph 8 of the contract between them for not informing him the previous summer. He
threatens them with legal action if he has not had a reply within a week, or if they insist
on delaying production.
-
OC 54/93 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated June 24,
1926
Postal receipt for the final version of OC 54/91–92.
-
OC 54/94 Typed letter from Hirsch to Schenker, dated June 26, 1926
Treuga Bank confirm that the General Director has read through the contract
and letters regarding payment for the first Meisterwerk volume. He will send a report as
soon as he has discussed the matter with the Consul General.
-
OC 54/95 Typed letter from August Demblin (DMV) to Schenker, dated July 9, 1926
Drei Masken Verlag ask Schenker to agree to a delay until October 1926 before
a decision is reached about proceeding with production of the second Meisterwerk
Yearbook.
-
OC 54/96-99 Draft of a letter from Schenker to Drei Masken Verlag in Jeanette Schenker’s hand
with corrections in Heinrich Schenker’s hand, dated July 14, 1926
Schenker agrees to a delay to the start of production of the second
Meisterwerk volume, but insists that it continue to be understood as a “Yearbook,” i.e. as
part of a series of publications and not as an individual book, and that it bear the year
1926.
-
OC 82/27-28 Handwritten letter from Georg Dohrn to Schenker, dated April 2, 1926
Dohrn inquires as to the performance of the opening of the second movement of
Beethoven's Ninth Symphony.
-
OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9,
1926
Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two
Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing
article about Schenker in Die Musik; advice for Weisse over choice of
publisher.
-
OC B/193 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked August 3,
1926
Altmann thanks Schenker for Meisterwerk I and describes his summer
travels.
-
OJ 10/1, [92] Typewritten letter from Dahms to Schenker, dated May 21, 1926
Dahms reports plans, with a young Munich publisher, to launch a popular music
"almanach," anti-modern, propagandizing for "our ideas," and later a serious periodical. —
He has to raise 10,000 Marks, and asks for Heinrich's help in doing this. — Margarete has
had surgery.
-
OJ 10/1, [93] Handwritten letter from Walter and Margarete Dahms to Schenker, dated June 17,
1926
Birthday greetings.
-
OJ 10/1, [94] Handwritten letter from Dahms to Schenker, dated June 26, 1926
Dahms thanks Schenker for his report [on the viability of the almanach
proposal]. — He plans to devote part of the almanach to Beethoven, and asks whether Schenker
might contribute something new, or grant permission to reprint some of what he has written
in Der Tonwille.
-
OJ 10/1, [95] Handwritten letter from Dahms to Schenker, undated, presumably late June or early
July, 1926
Dahms's almanach plans have failed. — Germany has shown its gratitude for his
work by denying him a divorce [from Agnes] for 15 years.
-
OJ 10/1, [96] Handwritten letter from Dahms to Schenker, dated July 14, 1926
Dahms acknowledges receipt of Das Meisterwerk 1, and will review it for the
Allgemeine Musikzeitung and his Almanach. — Is going to Berlin. — PS on acoustics of
under-dominant.
-
OJ 10/1, [97] Handwritten postcard from Dahms to Schenker, dated August 11, 1926
Dahms gives his travel plans and [temporary] Berlin address.
-
OJ 10/1, [98] Handwritten postcard from Dahms to Schenker, dated November 13, 1926
Dahms has written his review of Meisterwerk, and has dispatched a copy of his
Almanach to Schenker.
-
OJ 10/1, [99] Handwritten postcard from Dahms to Schenker, dated December 28, 1926
Dahms's review of Meisterwerk 1 is out. Christmas greetings.
-
OJ 10/3, [47] Typewritten postcard from Deutsch to Schenker, dated February 15, 1926
Deutsch has received Schenker's request for a subscription to Die literarische Welt and has
dispatched the required payment transfer form.
-
OJ 10/3, [49] Handwritten letter from Hanna Deutsch to Schenker, dated March 20, 1926
Hanna Deutsch invites the Schenkers to afternoon tea on March 28, 1926.
-
OJ 10/3, [50] Typewritten letter from Deutsch to Schenker, dated March 26, 1926
Deutsch requests that the Schenkers' planned visit for afternoon tea be postponed because their
children and nanny have contracted flu.
-
OJ 10/3, [51] Handwritten letter from Hanna Deutsch to Jeanette Schenker, dated April 8, 1926
Hanna Deutsch tries to arrange a date for the Schenkers, Hoboken and Vrieslander to visit for
afternoon tea.
-
OJ 11/35, 24 Handwritten postcard from Halm to Schenker, dated August 11, 1926
Halm acknowledges receipt of Meisterwerk vol. I.
-
OJ 11/51, [1] Typed letter from Hindemith to Schenker, dated October 25, 1926
Finding his name mentioned adversely in Meisterwerk 1, Hindemith writes that
he has always striven to fulfill in his own work the fundamental truths that are stated in
Schenker's books. He encloses two scores, and is convinced Schenker will find the Urlinie in
them.
-
OJ 11/54, [6] Handwritten letter from van Hoboken to Schenker, dated January 3, 1926
Van Hoboken sends New Year greetings; reports that he is to see in the Paris
Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which
Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson
on January 9.
-
OJ 11/54, [7] Handwritten letter from Hoboken to Schenker, dated May 22, 1926
Hoboken excuses himself from May 22 lesson, looks forward to May 25 lesson.
-
OJ 11/54, [8] Handwritten letter from Hoboken to Schenker, dated August 22, 1926
Hoboken will probably not now visit Schenker in Galtür; explains his and his
wife's departure from Munich and their subsequent travels to Bern, Naples, and Capri, and
reports that his house in Vienna should be ready for occupancy on October 1. — Vrieslander and
he are considering founding a music journal, and wish to discuss the idea with Schenker.
-
OJ 11/54, [9] Handwritten postcard from van Hoboken to Schenker, dated December 2, 1926
Hoboken cannot attend December 3 lesson.
-
OJ 14/45, [111] Handwritten postcard from Moriz Violin to Schenker, dated March 13, 1926
Violin thanks Schenker for Hammer's excellent portrait of him, which has
finally arrived.
-
OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926
Violin announces his arrival in Bad Gastein, to improve his health. The rest
of his family is in Bistrai, near Bielitz, in Silesia.
-
OJ 14/45, [50] Handwritten letter from Moriz Violin to Schenker, dated January 12, 1926
Violin asks Schenker if he would consider taking one of his pupils, Miss Agnes
Becker, as a pupil for the remainder of the teaching year.
-
OJ 14/45, [51] Handwritten letter from Moriz Violin to Schenker, dated February 18, 1926
Violin, in the aftermath of two enormously successful trio concerts with
Mauritz van den Berg and Friedrich Buxbaum, gives an account of Buxbaum's vanity and the
difficulty this causes in rehearsals and more generally for the ensemble. His doctor has
recommended that he spends three weeks in Bad Gastein this summer. He has not yet received
Hammer's portrait of Schenker.
-
OJ 14/45, [52] Handwritten letter from Moriz Violin to Schenker, dated March 6, 1926
Responding to Schenker's continuing queries, Violin gives some details of
recent illnesses, the cure for which his doctor has ordered him to spend part of the summer
in Bad Gastein. He is awaiting the arrival of the Hammer portrait, and is considering the
future of his piano trio ensemble.
-
OJ 14/45, [53] Handwritten letter from Moriz Violin to Schenker, dated June 7, 1926
Violin thanks Schenker for his recent postcard, gives a brief account of his
own illnesses, and gives a somewhat longer account of those of his son Karl, which will
complicate summer travel plans. He has learned from music shops in Hamburg that the
Erläuterungsausgabe of Op. 106 is not yet published, and has also heard that Schenker's
Beethoven sonata edition is no longer available; he asks Schenker if this is
true.
-
OJ 14/45, [54] Handwritten letter from Moriz Violin to Schenker, undated, written July 13,
1926
Replying to Schenker's postcard of July 8 and the receipt of the first
Meisterwerk Yearbook, Violin singles out the article "Weg mit dem Phrasierungsbogen" and
remarks on passages in two Chopin etudes and in Beethoven's "Pathétique" Sonata which
Schenker would find interesting. There is no news concerning his piano trio (with Mauritz
van den Berg and Friedrich Buxbaum) but he is considering playing a concerto in the 1926-27
season.
-
OJ 14/45, [55] Handwritten letter from Moriz Violin to Schenker, dated September 5, 1926
Violin reports that he had to cut short his holiday in Bad Gastein because his
son Karl was again seriously ill. The costs of treatment amounted to nearly 4000 Marks, and
this sum must be paid by the end of the year.
-
OJ 14/45, [56] Handwritten letter from Moriz Violin to Schenker, dated October 10, 1926
Violin reports that his son Karl's health has improved, but that he has to
find a new apartment because Karl cannot stay on the ground floor. He will obtain a copy of
the current issue of Die Musik, and reports that a review of (presumably) Meisterwerk 1 has
appeared in the Hamburger Fremdenblatt.
-
OJ 14/45, [57] Handwritten letter from Moriz Violin to Schenker, dated November 17, 1926
Violin reports on having moved to a new apartment, no longer on the ground
floor, which his sister and (especially) a friend in Berlin named Martha Loeb have helped to
finance. He is amused what Schenker told him about his letter from Hindemith, whose words,
he believes, ought to be taken at face value.
-
OJ 15/15, [20] Handwritten postcard from Weisse to Schenker, dated April 16, 1926
Schenker has, mistakenly, sent Weisse a copy of Reger's "Telemann" Variations
(Op. 134) instead of the "Bach" Variations (Op. 81) which he had lent him. Weisse asks what
is holding up the publication of the first Meisterwerk Yearbook, and suggests that Schenker
might write about Bruckner in the next one. A Brahms analysis would help strengthen his
position against his opponents. He also recommends that Schenker discuss a work that is less
than perfect, and cites Eduard Mörike's "Um Mitternacht" as an example of a poem whose
opening verses are beautiful but which deteriorates in meaning and poetic
quality.
-
OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926
The composition of a clarinet quintet has kept Weisse from writing to Schenker.
Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to
meet with him in Vienna to discuss its content.
-
OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926]
In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first
draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently
from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable
with material property; the music of today is quite different from that of the past, the rules
of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to
speak his own mind.
-
OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926
Schenker has received indication of part-payment from Cube's father [for Cube's
lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has
completed a clarinet quintet.
-
OJ 5/7a, [4] (formerly vC 4) Handwritten postcard from Schenker to Cube, dated September 4, 1926
Schenker acknowledges Cube's note, sends best wishes, and refers to Der freie Satz.
-
OJ 5/7a, [5] (formerly vC 5) Handwritten letter from Schenker to Cube, undated [c. October 7, 1926]
Schenker praises Cube's talent as a writer; informs Cube of forthcoming article on Schenker by
Vrieslander with portrait by Hammer; expresses his wish that Cube's father would pay all that he owes
him.
-
OJ 5/7a, [6] (formerly vC 6) Handwritten postcard from Schenker to Cube, dated November 28, 1926
Schenker acknowledges receipt OJ 9/34, [3]; has written letter of recommendation to Koblenz
authorities, and supporting letter to recipient.
-
OJ 5/7a, [7] (formerly vC 7) Handwritten postcard from Schenker to Cube, dated December 19, 1926
Schenker acknowledges receipt OJ 9/34, [4], and asks to be told
outcome.
-
OJ 5/8 [1] Handwritten letter from Schenker to Gustav von Cube, dated August 18, 1926
Schenker insists that Gustav von Cube pay the fee for his son Felix’s last three
months of lessons with him. He does not teach without being paid, explaining that this would be
self-degrading – in his case all the more so, as he lives frugally and teaches only much as is
necessary to afford to pursue his own research.
-
OJ 5/9a, [1] Handwritten letter from Schenker to Georg Dohrn, dated April 5, 1926
Schenker answers Dohrn's inquiry as to the performance of the opening of the
second movement of Beethoven's Ninth Symphony.
-
OJ 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926
Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon
as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern
music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He
is not optimistic that humanity in general will truly understand the classics, which
underscores the important of his (and Violin's) mission.
-
OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926
In a wide-ranging letter responding to Moriz Violin's previous letter,
Schenker asks his friend to confide in him his personal troubles. He offers his support in
the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to
find a way of getting the Hammer portrait to him safely, possibly by having it sent directly
from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil
Agnes Becker, recently arrived from Hamburg where Violin had been teaching
her.
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OJ 6/7, [29] Handwritten letter from Schenker to Moriz Violin, dated September 7, 1926
Schenker conveys his personal grief over the serious illness of Violin's son
Karl. He philosophizes about the ills of the world, noting financial difficulties recently
faced by Vrieslander, Dahms, and van der Berg. He reports Robert Pollak's imminent departure
for San Francisco.
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OJ 6/7, [30] Handwritten letter from Schenker to Moriz Violin, dated December 19, 1926
Schenker expresses his delight that his friend received sufficient financial
help to be able to move into a new apartment for the sake of his son Karl's health. He
reports having shown Agnes Becker some straightforward examples of the Urlinie, out of
desperation (she shows little aptitude for piano playing), and then explains that a great
deal of time, patience and faith are needed to understand such things. Of his current
pupils, only Elias, Brünauer, Hoboken and (to some extent) Albersheim are capable of
following the ramifications of the new theory, which he sees as his unique gift to the
world. At present, he is working on his "crowning work," Free Composition.
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OJ 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11,
1926
Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg
went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in
putting together the first Meisterwerk Yearbook, on account of the numerous music examples
and separate Urlinie graphs, and summarizes the contents of the second
Yearbook.
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OJ 8/4, [43] Handwritten postcard from Schenker to Moriz Violin, written July 8, 1926
Schenker expresses his pleasure that the Violins are on holiday in Badgastein;
he enquires about whether Violin has received a complimentary copy of Meisterwerk 1, which
his publishers seem slow to dispatch, and whether he has further plans to give piano trio
concerts.
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OJ 8/4, [44] Handwritten postcard from Schenker to Moriz Violin, dated November 10,
1926
Schenker enquires about the health of Violin and his son Karl. He has received
a cordial letter from Hindemith, assuring him that the fruits of his theory may be found in
his works, including the Urlinie; he has responded politely but candidly.
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OJ 9/12, [6] Handwritten letter from Carl Bamberger to Schenker, dated June 15, 1926
Bamberger has introduced pianist Stefan Askenase to Schenker's
Erläuterungsausgabe of Op. 111, to the latter's delight. He would like to visit the
Schenkers in Galtür.
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OJ 9/34, [2] Handwritten letter from Cube to Schenker, dated August 14, 1926
Cube is having difficulty getting his father to pay Schenker for lessons given over the previous
year, and asks Schenker to write firmly to the latter; speaks of his attempts to make contacts within Düsseldorf
artistic circles.
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OJ 9/34, [3] Handwritten letter from Cube to Schenker, dated November 25, 1926
Cube asks for a letter of recommendation to be sent to the Provincial School
Council.
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OJ 9/34, [4] Handwritten letter from Cube to Schenker, dated December 14, 1926
Cube was not given recognition, and has to take an examination for purposes of the appointment. Sends
Christmas greetings.
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OJ 9/34, [5] Handwritten letter from Cube to Schenker, dated December 31, 1926
Teaching situation has been resolved; asks Schenker's advice on an Urlinie graph; will hear from
Conservatory in New Year; sends New Year's greetings.
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OJ 9/35, [2] Handwritten letter from Gustav von Cube to Schenker, dated August 24, 1926
Responding to Schenker’s demand for final payment for his son’s lessons, Gustav
von Cube has arranged for 250 Marks to be paid to Schenker in Galtür; he will send the remainder
to Vienna.
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OJ 9/3, [4] Typewritten letter from Guido Adler to Schenker, dated February 10, 1926
Invitation to join the Conference Committee of the Beethoven Centennial
Celebration 1927.
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OJ 9/4, [2] Typewritten letter from the Alexander Wunderer (Akademie für Musik) to Schenker, dated
December 21, 1926
The accumulated interest is available for distribution for the Sofie Deutsch
stipend.
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OJ 9/5, [1] Handwritten letter from Gerhard Albersheim to Schenker, dated May 3, 1926
Albersheim asks Schenker to take him on as pupil.
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UMdK Z 767 D/1926, [1] Handwritten letter from Schenker to the Akademie für Musik, dated December 17,
1926
Schenker inquires whether interest on the capital will be available for him to
award the Sofie Deutsch stipend in 1927.
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UMdK Z 767 D/1926, [3] Typewritten internal memorandum of the Akademie für Musik, dated December 21,
1926
Records the interest for 1925 and 1926 for the Sophie Deutsch Stipend of
1927.
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UMdK Z 767 D/1926, [4] Handwritten letter from Schenker to the Akademie für Musik, dated December 31,
1926
Schenker asks the amount of interest that will be available for the Sofie
Deutsch stipends in 1927.
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WSLB 369 Handwritten letter from Schenker to UE, dated April 7, 1926
Schenker encloses an order from Bauer and asks for it to be fulfilled.
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WSLB 370 Handwritten postcard from Schenker to Hugo Winter (UE), dated July 12, 1926
Schenker requests final account for the series Musikalische Theorien und
Phantasien.
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WSLB 371 Handwritten letter from Schenker to UE, dated October 10, 1926
Schenker thanks UE for the advertisement in Die Musik, and asks if they can
obtain a review in Rivista musicale italiana.
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WSLB 372 Handwritten letter from Schenker to UE, dated November 2, 1926
Schenker returns the review in Rivista musicale italiana.
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WSLB 373 Handwritten letter from Schenker to Hugo Winter (UE), dated December 30,
1926
Schenker requests continuation of half-yearly statements for the Musikalische
Theorien und Phantasien.