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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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 9/34, [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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WSLB 372 Handwritten letter from Schenker to UE, dated November 2, 1926
Schenker returns the review in Rivista musicale italiana.