-
BerkAE 7/898, [4] Handwritten postcard from Schenker to Deutsch, dated January 16, 1927
Schenker responds to Deutsch’s request for information about the recent
facsimile edition of Beethoven’s Ninth Symphony, and the new edition of the symphony
published by the Philharmonischer Verlag. He had made changes to the text of the first
movement, but subsequently withdrew from the editing.
-
DLA 69.930/14 Handwritten postcard from Schenker to Halm, dated January 22, 1927
Schenker thanks Halm for sending his book, and hopes to read it
soon.
-
DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927
Thanking Halm for his Beethoven book, he believes that their misunderstandings
could be removed and hopes Der freie Satz will help bring that about; gives order of publication
for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work
of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his
correspondence with Hindemith.
-
DLA 69.930/16 Handwritten postcard from Schenker to Halm, dated November 21, 1927
Schenker asks for confirmation of receipt of Meisterwerk II, and thanks Halm for
the parcel of sheet music.
-
OC 52/833 Postal receipt for item from Schenker to UE, dated April 25, 1927
Postal receipt for corrections to "Appassionata" Sonata
-
OC 52/834 Typed letter from Barbara Rothe (UE), dated April 26, 1927
Rothe acknowledges corrections to the "Appassionata" Sonata and promises
proofs.
-
OC 52/835 Typed letter from Kalmus (UE) to Schenker, dated May 13, 1927
Kalmus notifies Schenker that proofs of the newly-revised "Appassionata"
Sonata are on their way.
-
OC 52/836 Postal receipt for item from Schenker to UE, dated May 18, 1927
Postal receipt for proofs of "Appassionata" Sonata
-
OC 52/837 Typed postcard from Kalmus (UE) to Schenker, dated May 20, 1927
Kalmus acknowledges the "Appassionata" proofs.
-
OC 52/838 Typed postcard from Kalmus (UE) to Schenker, dated May 27, 1927
Proofs of the defective pages of the revised "Appassionata" Symphony have been
dispatched to Schenker.
-
OC 52/839 Postal receipt for item from Schenker to UE, dated May 31, 1927
Postal receipt for final proofs of "Appassionata" Sonata
-
OC 52/840 Typed postcard from Barbara Rothe (UE) to Schenker, dated May 31, 1927
A copy of Schenker's Fifth Symphony monograph has been dispatched to
Vrieslander as requested.
-
OC 52/841 Typed postcard from Kalmus and unknown signatory (UE) to Schenker, dated June 9,
1927
Acknowledges second proofs of "Appassionata" Sonata.
-
OC 52/842 Typed postcard from Barbara Rothe to Schenker, dated July 6, 1927
The revised edition of Schenker's "Appassonata" Sonata edition has not yet
appeared.
-
OC 52/843 Typed postcard from Barbara Rothe to Schenker, dated September 7, 1927
A copy of Schenker's new edition of the "Appassionata" Sonata is on its
way.
-
OC 52/844 Typed letter from Ernst Roth (UE) to Schenker, dated December 19, 1927
Roth announces that UE has stitched stocks of Der Tonwille issues together to
form three year-volumes.
-
OJ 52/898 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July
14, 1927
Receipt for sum of 221.48 shillings [from UE].
-
OC 52/909 Typed letter from Hugo Winter (UE) to Schenker, dated January 4, 1927
Encloses Schenker's royalty statement for the second half of 1926.
-
OC 52/910 Typed letter from Hugo Winter (UE) to Schenker, dated December 29, 1927
Announces that Schenker's 1927 royalty has been transferred.
-
OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927
Deutsch thanks Schenker for his recent communications, including a copy of the
contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of
relevant extracts from the correspondence with the publishers. He reports progress in the
establishment of a Photogram Archive at the Austrian National Library, with the cooperation
of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to
photographically reproduce autograph manuscripts are underway at the Beethoven House in
Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that
proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses
his delight in being able to assist Schenker in the promotion of his work.
-
OC 54/112 Postal Receipt for a letter from Schenker to Otto Erich Deutsch, dated January 8,
1927
Postal receipt for an express letter to Otto Erich Deutsch.
-
OC 54/113-115 Handwritten notes by Schenker for material sent to Otto Erich Deutsch in January
1927.
These notes form the basis of a letter from Schenker to Otto Erich Deutsch
that gives details of his difficulties with his present publisher (Drei Masken Verlag), and
provides a list of the extracts from the correspondence with DMV, which Jeanette Schenker
has copied out to assist Deutsch in renegotiating a contract to publish Schenker’s second
Meisterwerk Yearbook.
-
OC 54/116 Typewritten draft of two letters to Drei Masken Verlag, dated January 8 and 10,
1927
This document contains drafts of two alternative letters to Drei Masken
Verlag, one asking them to return the manuscript of the second Meisterwerk Yearbook and
threatening legal action for financial damage, the other authorizing Otto Erich Deutsch as
representative of a group of students who will offer financial support to make it
financially easier for the publishers to bring out the Yearbook.
-
OC 54/117 Postal receipt for an express letter to Otto Erich Deutsch, dated
January 10, 1927
Postal receipt for an express letter to Otto Erich Deutsch.
-
OC 54/118 Handwritten message on visiting card, from Otto Erich Deutsch to Schenker, dated
January 14, 1927
Deutsch has secured an agreement with Drei Masken Verlag to publish the second
Meisterwerk Yearbook, and asks Schenker to get in touch.
-
OC 54/119 Typed letter from August Demblin (DMV) to Schenker, dated January 17,
1927
Drei Masken Verlag agree to publish the second Meisterwerk Yearbook, under
terms suggested by Otto Erich Deutsch, and will send Schenker an advance of 250
marks.
-
OC 54/120 Typed letter from August Demblin (DMV) to Schenker, dated January 18,
1927
Drei Masken Verlag inform Schenker that they have sent the manuscript of his
second Meisterwerk Yearbook to the typesetter, Mandruck (Munich), from whom he will receive
the galley-proofs.
-
OC 54/121 Typed letter from Waldheim Eberle A. G. to Schenker, dated January 18,
1927
Waldheim-Eberle report – with regret – that they did not get the contract to
engrave the second volume of Das Meisterwerk in der Musik.
-
OC 54/122 Handwritten postcard from Alfred Einstein (DMV) to Schenker, dated January 19,
1927
Einstein thanks Schenker for the information provided (via Otto Erich Deutsch)
about the manuscripts of Beethoven’s Ninth Symphony, and uses the opportunity to express his
happiness that production of the second Meisterwerk Yearbook is now
underway.
-
OC 54/123 Receipt for a bank transaction, undated
Receipt for the advance paid to Schenker for the second Meisterwerk Yearbook.
-
OC 54/124 Typed letter from Otto Vrieslander to Schenker, dated January 20, 1927
Vrieslander has received the Urlinie graphs for two essays in the second
Meisterwerk Yearbook, and explains to Schenker that he will exercise the utmost care in
preparing them for publication.
-
OC 54/125 Typed postcard from August Demblin (DMV) to Schenker, dated January 21,
1927
Drei Masken Verlag agree to send Schenker proofs of the text and the music
examples at the same time.
-
OC 54/126 Typed letter from August Demblin (DMV) to Schenker, dated January 27,
1927
Drei Masken Verlag have enclosed a page of music examples and a letter from
the printers. They request a response as soon as possible.
-
OC 54/127 Postal receipts for letters to Otto Vrieslander and Drei Masken Verlag
(Munich), dated January 31, 1927
Postal receipts for letters concerning the second Meisterwerk
Yearbook.
-
OC 54/128 Postal receipt for a letter to Otto Vrieslander, dated February 3, 1927
Postal receipt for corrections to the second Meisterwerk volume.
-
OC 54/129 Typed letter from Otto Vrieslander to Schenker, dated February 10, 1927
Vrieslander assures Schenker that he has prepared the graphs for Mozart’s
Symphony in G minor with the utmost care, with due regard to his
instructions.
-
OC 54/130 Typed postcard from August Demblin (DMV) to Schenker, dated February 12,
1927
Drei Masken Verlag inform Schenker that the proofs will be sent in the manner
that he has requested.
-
OC 54/131 Typed postcard from Otto Vrieslander to Schenker, postmarked February 14,
1927
Vrieslander explains the way he has dealt with Schenker’s detailed comments on
the graph of Mozart’s Symphony in G minor.
-
OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927
Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave
the music examples for the second Meisterwerk volume in order to ensure a flawless
reproduction. He also reports that the width of the pages in the supplement will be
expanded, and notifies Schenker of the changes that he will make to the music examples
following this decision. Vrieslander states he has officially enquired with Einstein about
potential problems in the printing process, making clear that Schenker will not be able to
bear any additional costs for printing errors.
-
OC 54/133 Copy of a letter from Otto Vrieslander to Alfred Einstein (DMV), dated February 15,
1927
Following Einstein’s determination to have the Urlinie graphs engraved, not
hand-drawn, Vrieslander asks that the engraver pays particular attention to the shape of the
large slurs, and suggests a meeting with the engraver to go over further problems. If the
graphs were relegated to an appendix, they could be as wide as necessary, for sake of
clarity.
-
OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927
Vrieslander, at pains to ensure that the music illustrations in the second
Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are
having difficulty interpreting Schenker’s music examples. He is putting his own work to one
side in order to work exclusively on creating clear and elegant graphs; he proposes to come
to Vienna in mid-March to go through all his work with Schenker.
-
OC 54/135 Typed letter from DMV to Schenker, dated February 24, 1927
Drei Masken Verlag inform Schenker that there is a delay with the production
of the music examples for the second Meisterwerk yearbook. They anticipate that he will
receive the proofs soon.
-
OC 54/136 Typed letter from August Demblin (DMV) to Schenker, dated March 4, 1927
Drei Masken Verlag send Schenker a proof of the Urlinie graph for Chopin’s Op.
15, No. 2, and ask him to correct and return it.
-
OC 54/137 Typed letter from Otto Erich Deutsch to Schenker, dated March 16, 1927
Deutsch returns part of the proofs of the second Meisterwerk Yearbook and
provides bibliographical details of a Haydn sketch-leaf to be reproduced for the essay on
“The Representation of Chaos.”
-
OC 54/138 Postal receipt for a letter to Otto Erich Deutsch, dated March 17, 1927
Postal receipt for returned Haydn sketches.
-
OC 54/139 Typed letter from August Demblin (DMV) to Schenker, dated March 18, 1927
In response to queries about the typography in the second Meisterwerk
Yearbook, Drei Masken Verlag ask Schenker to return the proof-sheets with the corrections
indicated, so that they can investigate the specific problems.
-
OC 54/140 Typed postcard from Otto Vrieslander to Schenker, dated March 24, 1927
Vrieslander, in Vienna, makes arrangements to meet Schenker on March 25 to go
over the music illustrations for the second Meisterwerk Yearbook, leaving the following day
available if necessary.
-
OC 54/141 Typed postcard from August Demblin (DMV) to Schenker, dated March 24,
1927
Drei Masken Verlag confirm that the facsimile sketch for Haydn’s “Chaos” will
be stereotyped.
-
OC 54/142 Postal receipt for a package to Drei Masken Verlag (München), dated March 28,
1927
Postal receipt for a package containing materials for Meisterwerk 2 (corrected
engravings, new copies of music examples and the "Chaos" sketch).
-
OC 54/143 Typed postcard from August Demblin (DMV) to Schenker, dated April 5, 1927
Drei Masken Verlag confirm receipt of the corrected graphs and freshly copied
music examples for Meisterwerk 2.
-
OC 54/144 Postal receipt for a package to Drei Masken Verlag (München), dated April 22,
1927
Postal receipt for the first corrected manuscript of Meisterwerk 2 and 9 leaves of stereotypes.
-
OC 54/145 Typed letter from August Demblin (DMV) to Schenker, dated April 25, 1927
Drei Masken Verlag inform Schenker that they have sent all of the material for
the second Meisterwerk volume to the printers, and that he should expect to receive three
copies of the page proofs and two copies of the music examples in due
course.
-
OC 54/146 Postal receipt for a package to Drei Masken Verlag (München), dated April 29,
1927
Postal receipt for a package containing 8 pages of engravings for the second
Meisterwerk volume.
-
OC 54/147 Typed postcard from August Demblin (DMV) to Schenker, dated April 30,
1927
Drei Masken Verlag inform Schenker that they have forwarded the imprimatur
engravings to the printers, along with his query about Fig. 33.
-
OC 54/148 Typed letter from Mandruck to Schenker, dated May 3, 1927
Mandruck return the original sketches of Haydn's "Representation of Chaos" to
Schenker and inform him that they have prepared the stereotype in accordance with his
wishes.
-
OC 54/149 Typed postcard from August Demblin (DMV) to Schenker, dated May 3, 1927
Drei Masken Verlag confirm that they have arranged for two copies of the page
proofs for the second Meisterwerk volume to be sent to him, and the third to Otto Erich
Deutsch.
-
OC 54/150 Typed postcard from Mandruck to Schenker, dated May 4, 1927
Mandruck notify Schenker that a set of galley proofs for the second
Meisterwerk volume will soon arrive.
-
OC 54/151 Postal receipt for a letter to Otto Erich Deutsch, dated May 4, 1927
Postal receipt for a package containing sketches of music examples for the second
Meisterwerk volume.
-
OC 54/152 Postal receipt for a letter to Drei Masken Verlag (München), dated May 4,
1927
Postal receipt for a package containing 3 pages of engravings for the second
Meisterwerk volume.
-
OC 54/153 Postal receipt for a letter to Drei Masken Verlag (München), dated May 6,
1927
Postal receipt for an imprimatur copy of Figure 33 for the second Meisterwerk
volume.
-
OC 54/154 Typed postcard from August Demblin (DMV) to Schenker, dated May 9, 1927
Drei Masken Verlag confirm receipt of the imprimatur copy of Figure 33 for the
second Meisterwerk volume. They request that Schenker now send the galley proofs for pages
1–30.
-
OC 54/155 Postal receipt for a letter to Drei Masken Verlag (München), dated May 11,
1927
Postal receipt for a package containing the third page proofs of the second
Meisterwerk volume, and 9 engravings.
-
OC 54/156 Postal receipt for a letter to Drei Masken Verlag (München), dated May 12,
1927
Postal receipt for a package containing an imprimatur graph of Mozart's G
minor Symphony for the second Meisterwerk volume.
-
OC 54/157 Typed postcard from August Demblin (DMV) to Schenker, dated May 13, 1927
Drei Masken Verlag inform Schenker that they have forwarded his requested
corrections to the printing house, and will be in touch soon regarding the completion of the
graphs for the second Meisterwerk volume.
-
OC 54/158 Typed letter from August Demblin (DMV) to Schenker, dated May 16, 1927
Drei Masken Verlag notify Schenker that they will send him the missing galley
proofs for the second Meisterwerk volume that day, and inform him that his requests for corrections
regarding the Mozart graph have been successfully processed.
-
OC 54/159 Typed letter from Mandruck to Schenker, dated May 16, 1927
Mandruck enclose the missing galley proofs for the second Meisterwerk volume,
and confirm that the requested changes have been successfully
executed.
-
OC 54/160 Postal receipt for a letter to Drei Masken Verlag (München), dated May 16,
1927
Postal receipt for page proofs for the second Meisterwerk
volume.
-
OC 54/161 Postal receipt for a letter to Drei Masken Verlag (München), dated May 20,
1927
Postal receipt for a package containing the second page proofs of Meisterwerk
2.
-
OC 54/162 Typed letter from Mandruck to Drei Masken Verlag, dated May 19, 1927
Mandruck notify Drei Masken Verlag that they have enclosed a new set of proofs
for the second Meisterwerk volume, amended in accordance with Schenker's
wishes.
-
OC 54/163 Typed letter from August Demblin (DMV) to Schenker, dated May 20, 1927
Drei Masken Verlag notify Schenker that they have enclosed a set of amended
proofs for the second Meisterwerk yearbook.
-
OC 54/164 Typed letter from August Demblin (DMV) to Schenker, dated May 23, 1927
Drei Masken Verlag confirm receipt of Schenker's imprimatur graphs and amended proofs for
the second Meisterwerk yearbook, assuring him that the requested correction in the Mozart
Symphony has been made.
-
OC 54/165 Postal receipt for a letter to Drei Masken Verlag (München), dated May 24, 1927
Postal receipt for a package containing the last set of galley proofs for the second Meisterwerk
volume.
-
OC 54/166 Postal receipt for a letter to Drei Masken Verlag (München), dated May 27,
1927
Postal receipt for a package containing imprimatur copies of music examples
for the second Meisterwerk volume.
-
OC 54/167 Typed letter from August Demblin (DMV) to Schenker, dated May 30, 1927
Drei Masken Verlag have enclosed the sample proofs of the first two gatherings
for Meisterwerk 2, and request that he responds to their query about the size and placement
of music examples as soon as possible.
-
OC 54/168 Postal receipt for a letter to Drei Masken Verlag (München), dated June 1,
1927
Postal receipt for a package containing the first two gatherings for Meisterwerk 2, and a letter agreeing to Mandruck's suggestions regarding the placement of music examples.
-
OC 54/169 Typed postcard from August Demblin (DMV) to Schenker, dated June 7, 1927
Drei Masken Verlag inform Schenker that the page proofs for the second
Meisterwerk volume will be completed in around two weeks time.
-
OC 54/170 Typed postcard from Mandruck to Schenker, dated June 10, 1927
Mandruck have enclosed the first two gatherings of the second Meisterwerk
volume, amended in accordance with Schenker's wishes. They anticipate that he will receive
the remaining page proofs before the end of the month.
-
OC 54/171 Typed letter from Mandruck to Schenker, dated June 11, 1927
Mandruck enclose two sets of gatherings for the second Meisterwerk yearbook,
along with the galley proofs. They request an explanation regarding Figure
75a.
-
OC 54/172 Handwritten note by the compositor at Mandruck, dated June 11, 1927
The compositor at Mandruck requests clarification about Figure 75a, which is
missing from their set of music examples for the second Meisterwerk
volume.
-
OC 54/173 Postal receipt for a letter to Mandruck, dated June 13, 1927
Postal receipt for a package containing Figures 75a and 75b for the second
Meisterwerk volume.
-
OC 54/174 Typed postcard from Mandruck to Schenker, dated June 14, 1927
Mandruck have enclosed the page proofs for the second Meisterwerk volume, along
with a printout of the galley proofs and gatherings 5–6.
-
OC 54/175 Typed postcard from August Demblin (DMV) to Schenker, dated June 15, 1927
Drei Masken Verlag enclose a paper sample intended for the second Meisterwerk Yearbook,
and request Schenker's approval.
-
OC 54/176 Typed letter from Mandruck to Schenker, dated June 17, 1927
Mandruck enclose further page proofs for the second Meisterwerk
volume, along with the corresponding galley proofs.
-
OC 54/177 Typed letter from August Demblin to Schenker, dated June 21, 1927
Drei Masken Verlag confirm that Schenker's requests regarding the music
examples for the second Meisterwerk volume have been honoured, and inform him that he will
receive a complete copy of the proofs once the pagination has been completed.
-
OC 54/178 Typed letter from Mandruck to Schenker, dated June 21, 1927
Mandruck have enclosed further page proofs for the second Meisterwerk volume,
and request that he return the previous set as soon as possible.
-
OC 54/179 Postal receipt for a package to Drei Masken Verlag, dated June 30, 1927
Postal receipt for a package containing gatherings 1–6 the second
Meisterwerk volume.
-
OC 54/180 Postal receipt for a package to Drei Masken Verlag, dated July 6, 1927
Postal receipt for a package containing corrections to gatherings 7–9 of the
second Meisterwerk volume.
-
OC 54/181 Typed letter from Mandruck to Schenker, dated July 8, 1927
Mandruck enclose the remaining page proofs for the second Meisterwerk volume,
along with copies of the relevant music examples. They request guidance on the positioning
of the music examples.
-
OC 54/182 Postal receipt for a package to Drei Masken Verlag, dated July 14, 1927
Postal receipt for a package containing gatherings 10–14 of the second
Meisterwerk yearbook, along with sheets I–XV of the appendix, 2 Urlinie graphs and an original
copy of Tonwille.
-
OC 54/183 Typed postcard from C. Alberti (DMV) to Schenker, dated August 5, 1927
Drei Masken Verlag inform Schenker that they expect to receive a complete,
corrected copy of the second Meisterwerk volume in around a week, and anticipate that it
will be released in September.
-
OC 54/184 Typed letter from Mandruck to Schenker, dated August 17, 1927
Mandruck enclose a complete proof-copy of the second Meisterwerk volume, along
with the corresponding graphs, which will be placed in an appendix. They request that
Schenker return an imprimatur copy so they can begin printing.
-
OC 54/185 Invoice from Drei Masken Verlag to Schenker, dated September 27, 1927
Invoice for the author's copies of the second Meisterwerk volume.
-
OC 54/186 Postal receipt for a letter to Drei Masken Verlag, dated August 22, 1927
Postal receipt for a package containing the imprimatur page proofs for the second
Meisterwerk yearbook.
-
OC 54/187 Receipt for the imprimatur proof of the second Meisterwerk volume, dated September 27, 1927
Receipt for the imprimatur copy of the second Meisterwerk
volume.
-
OC 54/188 Typed postcard from August Demblin (DMV) to Schenker, dated September 30,
1927
Drei Masken Verlag confirm that the complimentary hardbound copies of the
second Meisterwerk volume are on their way to Schenker, and inform him that the first set of
bound copies will be dispatched from the bindery in the next few days.
-
OC 54/189 Customs receipt for copies of the second Meisterwerk volume, dated October 5,
1927
Customs receipt for copies of the second Meisterwerk volume.
-
OC 54/191 List of customs charges, October 21, 1927
List of customs charges for receipt of the second Meisterwerk
volume.
-
OC 54/193 List of review copies for Das Meisterwerk in der Musik, vol. 1
List of review copies for the first Meisterwerk
yearbook.
-
OC B/222 Typewritten letter from V. A. Heck to Schenker, dated April 12, 1927
Heck sends a Beethoven sketchleaf and asks Schenker's opinion of
it.
-
OC B/223 Typewritten letter from V. A. Heck to Schenker, dated March 12, 1927
Heck thanks Schenker for information supplied, and will send a
photograph.
-
OC B/224 Typewritten letter from V. A. Heck to Schenker, dated March 10, 1927
Heck asks Schenker to identify a Beethoven sketchleaf.
-
OC B/225 Handwritten delivery note from V. A. Heck to Schenker, dated March 10,
1927
Delivery note for Beethoven sketchleaves.
-
OC B/226 Typewritten letter from V. A. Heck to Schenker, dated March 4, 1927
Heck asks Schenker to proof read the galleys of an article.
-
OC B/227 Typewritten letter from V. A. Heck to Schenker, dated February 25, 1927
Heck has sent the sketchleaves for photographic reproduction.
-
OC B/228 Typewritten letter from V. A. Heck to Schenker, dated February 21, 1927
Heck informs Schenker of a Beethoven manuscript in his hands.
-
OC B/229 Handwritten delivery note from V. A. Heck to Schenker, dated February 21,
1927
Delivery note for manuscript of Beethoven's Fidelio.
-
OJ 10/18, [2] Handwritten letter from Elias to Schenker, dated December 25, 1927
Miss Elias begs Schenker to accept her present of the Brahms piano
works.
-
OJ 10/1, [100] Typewritten letter from Dahms to Schenker, dated April 13, 1927
His Almanach has been a success but produced no financial return in a hostile
environment. — They are leaving Berlin for the south; he has lost faith in German spirit,
intellect, and morality.
-
OJ 10/1, [101] Handwritten postcard from Dahms to Schenker, undated [c. November 14,
1927]
Meisterwerk 2 has still not arrived; Dahms gives an address in Nice.
-
OJ 10/1, [102] Handwritten postcard from Dahms to Schenker, dated November 30, 1927
Meisterwerk 2 has arrived, and Dahms rejoices at its content and form of
expression.
-
OJ 10/3, [52] Typewritten postcard from Deutsch to Schenker, dated January 15, 1927
Deutsch asks Schenker if a (recent) edition of Beethoven’s Ninth Symphony was
based on the facsimile edition. He has sent the manuscript (of Schenker’s second Meisterwerk
yearbook) to the publishers. A Haydn facsimile and a Handel print can be discussed
later.
-
OJ 10/3, [53] Typewritten postcard from Deutsch to Schenker, dated January 16, 1927
Deutsch asks Schenker what he wrote about Domenico Scarlatti and Chopin as
non-German geniuses, for his forthcoming trip to Sweden. He has learned that Schubert was
paid for two summers’ teaching for the Esterházy family; he has valued two song manuscripts
belonging to the family at 4,000 marks.
-
OJ 10/3, [54] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January
18, 1927
Vrieslander would like to give a lecture on Schenker and Beethoven at the
centenary celebrations in Vienna; Deutsch asks Schenker to contact Vrieslander directly
about this.
-
OJ 10/3, [55] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January
18, 1927
Deutsch asks Schenker not to mention his name in connection with the
“curiosity” about Schubert mentioned in his postcard of January 15.
-
OJ 10/3, [56] Typewritten letter from Deutsch to Schenker, dated March 7, 1927
Deutsch is touched by Schenker’s letter explaining why he doesn’t wish to be
considered for an honor (from the Austrian Republic), and will send Karl Kobald a summary of
its main points.
-
OJ 10/3, [57] Typewritten postcard from Deutsch to Schenker, dated March 13, 1927
Deutsch asks Schenker to recommend Dr. Willy Kahl (Cologne) to write for the
Bonn General-Anzeiger. He reports the arrival of galley proofs (for the second Meisterwerk
yearbook).
-
OJ 10/3, [58] Typewritten postcard from Deutsch to Schenker, dated March 24, 1927
Deutsch will probably attend a lecture given by Wolfgang Graeser, and
encourages Schenker to do the same.
-
OJ 10/3, [59] Typewritten express postcard from Deutsch to Schenker, dated April 14,
1927
Deutsch invites the Schenkers for afternoon tea at the weekend; Hoboken and
Vrieslander will also be there.
-
OJ 10/3, [60] Typewritten express postcard from Deutsch to Schenker, dated April 21,
1927
Deutsch looks forwarded to seeing the Schenkers at Hoboken’s place. The
Society of the Friends of Music would like their print of a Haydn sketchleaf to be returned;
Eusebius Mandyczewki is unable to find a copy of Scarlatti’s Op. 1 (a collection of six
keyboard sonatas).
-
OJ 10/3, [61] Typewritten postcard from Deutsch to Schenker, dated May 9, 1927
Deutsch asks Schenker to lend him the April 1927 issue of Der Schriftsteller.
He is grateful for having been introduced to the artist Viktor Hammer. He recommends that
Schenker visit the Beethoven exposition in the City Hall, and also the Planetarium, where an
“optical organ” is on display.
-
OJ 10/3, [62] Typewritten postcard from Deutsch to Schenker, dated May 11, 1927
Deutsch has been invited to pose for an album of the Beethoven Committee; he
enquires whether Schenker has accepted an invitation to do so, in which case he will do the
same. He is delighted to learn that the (Photogram) Archive has been
agreed.
-
OJ 10/3, [63] Typewritten postcard from Deutsch to Schenker, dated June 4, 1927
Deutsch has found a reference to the autograph manuscript of Beethoven’s Piano
Sonata in G, Op. 79, and tells Schenker he can find out more about it from the British
Museum. The Hammers are visiting him on Wednesday (June 8), and he hopes that the Schenkers
will be able to join them.
-
OJ 10/3, [64] Typewritten letter from Deutsch to Schenker, dated June 24, 1927
Deutsch has received the second galley proofs to the second Meisterwerk
yearbook but did not read them as he did not have a source with which to compare them. He
will, however, assist Schenker correcting the page proofs, if necessary.
-
OJ 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927
Deutsch tells Schenker that the second edition of Schindler’s Beethoven
biography is available, but not the first. --- He explains at length a misunderstanding over
the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal
Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph
manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram
Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports
on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and
expresses his regret that Drei Masken Verlag have been slow to prepare the second
Meisterwerk yearbook for publication.
-
OJ 10/3, [66] Typewritten postcard from Deutsch to Schenker, dated August 2, 1927
Deutsch has obtained a copy of the first edition of Schindler’s Beethoven
biography, which he will send to Galtür.
-
OJ 10/3, [67] Typewritten letter from Deutsch to Schenker, dated September 8, 1927
Deutsch has the text of the prospectus for the second Meisterwerk yearbook
prepared by Otto Vrieslander, which the publishers say is too long and he thinks is
unnecessarily repetitious. He is forwarding it to Schenker for his opinion.
-
OJ 10/3, [68] Typewritten letter from Deutsch to Schenker, dated September 12, 1927
Deutsch has sent Vrieslander’s prospectus of the second Meisterwerk yearbook
to the publisher almost unchanged, despite overlength. — He reports 200 new acquisitions
[for Hoboken's collection], particularly in Mozart, Haydn, and Chopin.
-
OJ 10/3, [69] Typewritten picture postcard from Deutsch to Schenker, dated October 6,
1927
Deutsch regrets that Drei Masken Verlag has not yet sent Schenker his
complimentary copies [of the second Meisterwerk yearbook]; they will send an invoice for the
production costs. Hoboken ought to receive an honor from the Austrian state only after the
Photogrammarchiv is up and running. Deutsch has much to show Schenker from the first
editions of Beethoven sonatas. He wants to arrange a time to go through the corrections to
Schubert’s Symphony in B minor.
-
OJ 10/3, [70] Typewritten picture postcard from Deutsch to Schenker, dated October 11,
1927
Deutsch has seen Otto Vrieslander, who surprisingly did not mention the recent
publication of his songs. He explains how different early print-runs of Beethoven’s works
may display telling differences, and how parallel publications in different cities could
sometimes show changes attributable to the composer (as is typically found in
Chopin).
-
OJ 10/3, [71] Typewritten picture postcard from Deutsch to Schenker, dated October 15,
1927
Deutsch accepts an invitation to the Schenkers on Wednesday, October 19. –
Drei Masken Verlag have told him that they have already paid Schenker’s honorarium and sent
him complementary copies [of the second Meisterwerk yearbook] in January and that the second
payment came to him from their branch in Vienna. – He has been working on a Beethoven
catalogue but must now turn his attention to Mozart, and then to Schubert.
-
OJ 10/3, [72] Typewritten picture postcard from Deutsch to Schenker, dated October 24,
1927
Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with
Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished”
Symphony. Kalmus said that time was pressing and he was unable to show the two men the
changes before the work went to press.
-
OJ 10/3, [73] Typewritten postcard from Deutsch to Schenker, dated November 14, 1927
Deutsch has had a telephone call from Alfred Kalmus, who reported that
Schenker’s revised copy of Schubert’s “Unfinished” Symphony has been messed up, that it will
be returned to him, with a second, clean copy, and that Kalmus may visit Schenker to
apologize for this. – Deutsch will lend Schenker a copy of stories by Balzac, two of which
may be of interest from a musical point of view. He also hopes that work can be found for
the precocious Gerald Warburg.
-
OJ 10/3, [74] Typewritten postcard from Deutsch to Schenker, dated November 22, 1927
Deutsch suspects that with the typesetters' "messing up" of Schenker’s revised
copy of Schubert’s “Unfinished” Symphony the material has been made illegible. — He has been
in contact with people regarding a possible radio talk by Schenker, and one by himself on
the redesigning of the Mozarteum. — He reports that the pianist Heinz Jolles would like
Schenker to prepare an edition of one of Beethoven’s variation sets (WoO 80 or the
“Diabelli”), and that Josef Braunstein is gratified to hear of Schenker’s interest in his
recent book on the "Leonore" overtures.
-
OJ 10/3, [75] Typewritten letter from Deutsch to Schenker, dated December 2, 1927
Deutsch encloses Schenker’s score of the “Unfinished” Symphony that was used
used for the new edition and Alfred Kalmus’s apologetic letter. He mentions the pianist
Heinz Jolles’ interest in Schenker’s editorial work, in the hope that Schenker might at some
point tackle Beethoven’s “Diabelli” Variations.
-
OJ 11/10, [19] Handwritten picture postcard from Frimmel to Schenker, dated November 11,
1927
Frimmel thanks Schenker for having had Meisterwerk II sent to
him.
-
OJ 11/16, [6] Handwritten letter from Furtwängler to Schenker, dated July 18, 1927
Furtwängler mentions several mutual acquaintances, and hopes to see Schenker in
Vienna.
-
OJ 11/1, [1] Typewritten letter from Atelier Pietzner-Fayer to Schenker, dated May 10,
1927
Pietzner-Fayer extends the deadline for portrait photography to May
20.
-
OJ 11/32, [1] Typed letter from Robert Haas to Schenker, dated August 19, 1927
Acknowledges "Appeal"; looks forward to working with
Schenker.
-
OJ 11/32, [2] Typed letter from Robert Haas to Schenker, dated September 30, 1927
Haas invites Schenker to view the Photogrammarchiv.
-
OJ 11/35, 25 Handwritten postcard from Halm to Schenker, dated November 22, 1927
Halm acknowledges receipt of Meisterwerk vol. I.
-
OJ 11/54, [10] Handwritten letter from van Hoboken to Schenker, dated January 16, 1927
Van Hoboken acknowledges [non-extant] missive; has been unable to look up Gerald
Warburg; asks for John Petrie Dunn's address; has seen Otto Vrieslander.
-
OJ 11/54, [11] Handwritten note from Annamarie van Hoboken to Jeanette Schenker, dated January 20,
1927
Mrs van Hoboken thanks Jeanette for her invitation, and will come on January
27.
-
OJ 11/54, [12] Handwritten letter from van Hoboken to Schenker, dated January 28, 1927
Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. —
He reports on library visits in London and Paris, discusses manuscripts and conditions for
photography, purchases. — He plans no further trips this season.
-
OJ 11/54, [13] Handwritten postcard from van Hoboken to Schenker, dated April 22, 1927
Hoboken invites the Schenkers to a quartet concert.
-
OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927
Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He
has made progress on his index of Haydn's works, and has purchased some Beethoven first
editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He
asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn.
-
OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927
Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and
expresses the hope that it will be possible to interest Furtwängler in performance according to
the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and
discusses negotiations with the Austrian National Library and Ministry of Education. — Comments
on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. —
Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig
Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and
Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory.
-
OJ 11/54, [16] Handwritten letter from van Hoboken to Schenker, dated August 30, 1927
Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and
manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early
sources. -- Gives addresses for forthcoming travels.
-
OJ 11/54, [17] Handwritten letter from van Hoboken to Schenker, dated September 6, 1927
Van Hoboken reports from Drei Masken Verlag that Vrieslander's text for the
Meisterwerk prospectus is overlength, and seeks Schenker's opinion.
-
OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927
Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of
Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to
visit C. S. Terry.
-
OJ 11/54, [19] Handwritten letter from van Hoboken to Schenker, dated September 29, 1927
Van Hoboken reports receipt of Meisterwerk II and reports progress in
photographing manuscripts in London and Paris.
-
OJ 11/54, [20] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken inquires whether the next day is a holiday or lesson day,
provisionally suggesting a discussion with Robert Haas.
-
OJ 11/54, [21] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken confirms meeting with Robert Haas.
-
OJ 12/11, [11] Handwritten letter from Klenau to Schenker, undated [c. March 23, 1927]
Klenau agrees to approach his brother-in-law to help Moriz Violin. — He
responds to a comment by Schenker about Albert Schweizer.
-
OJ 12/17, [9] Handwritten calling card from Komorn to Heinrich Schenker, dated December 29,
1927
New Years greetings and thanks.
-
OJ 12/8, [1] Typed letter from Kalmus (UE) to Schenker, dated October 10, 1927
Kalmus explains the situation over Beethoven Sonata Op. 78.
-
OJ 13/25, [1] Handwritten letter from Albert Trentini (on behalf of Hermann Rinn) to Schenker,
dated February 23, 1927
Trentini invites Schenker to contribute to Der Kunstwart.
-
OJ 13/25, [2] Typewritten letter from Rinn to Schenker, dated April 6, 1927
Having received a letter from Schenker to Albert Trentini, Rinn welcomes the
prospect of Schenker contributing the occasional article to Der Kunstwart, and asks for a
title.
-
OJ 14/45, [113] Handwritten postcard from Violin to Schenker, dated April 6, 1927
In a reply to a recent letter, Violin thanks Schenker for the news concerning
the position he is hoping to obtain in Frankfurt and asks him whether Klenau might discover
what the people in Frankfurt think of him as a candidate.
-
OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927
Violin reports on his son Karl's continued health problems and also his
affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in
Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for
comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for
two pianos by C. P. E. Bach in an arrangement by Schenker.
-
OJ 14/45, [61] Handwritten letter from Moriz Violin to Schenker, dated February 23, 1927
Following a brief description of a recent illness, Violin replies to
Schenker's question about accepting the Order of Merit from the Viennese Academy of Art and
Science and advises him to accept it. He realizes that staying in Hamburg would be bad for
his son's long-term health and has spoken to Artur Schnabel about the possibility of moving
to Berlin or Frankfurt. An influential man in Frankfurt is the father-in-law of Paul Klenau;
Violin knows of Klenau's respect for Schenker, and asks his friend to write to Klenau in
support of his application for a post there.
-
OJ 14/45, [62] Handwritten letter from Violin to Schenker, dated March 2, 1927
Violin thanks Schenker for his willingness to intervene on his behalf with
regard to a position in Frankfurt, and asks him to get in touch with Paul von Klenau before
a possible meeting in person at Easter.
-
OJ 14/45, [63] Handwritten letter from Violin to Schenker, dated March 31, 1927
In reply to Schenker's recent postcards, Violin maintains that Klenau's
support for his appointment in Frankfurt is important, as the Ministry of Education in
Berlin can exert only a limited amount of pressure on the Frankfurt circle.
-
OJ 14/45, [64] Handwritten letter from Violin to Schenker, dated April 14, 1927
Violin thanks Schenker for his article (on Beethoven). He is still hoping for
a positive reply regarding Paul von Klenau's support for him in Frankfurt.
-
OJ 14/45, [65] Handwritten letter from Violin to Schenker, dated June 6, 1927
Violin still maintains that Paul von Klenau's petitioning on his behalf would
provide a strong measure of support for his application for a post in
Frankfurt.
-
OJ 14/45, [66] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1927
In deepest admiration and gratitude, Violin sends Schenker (59th) birthday
greetings and pictures of his children.
-
OJ 14/45, [67] Handwritten letter from Violin to Schenker, dated August 13, 1927
Violin reports that he was hoping to get away, but things came up that he had
to deal with, which made the summer the saddest of his life. His wife and son will move to
Vienna in the fall, and he will be there for Christmas.
-
OJ 14/45, [68] Handwritten letter from Violin to Schenker, dated November 13, 1927
Violin thanks Schenker for sending him the second volume of Meisterwerk, which
he regards as a milestone in offering the strongest statement of his theories. He is
accompanying a cellist in early January and will not be able to get to Vienna at Christmas
after all. His wife and son – who is now able to get up and around – are hoping to go to
Vienna at Easter.
-
OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927
Violin reports that his concert (cello recital) has been put back a week
because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his
recent written work, but he feels that Vrieslander does not truly understand Schenker's
cause, does not have the same "orientation" towards it as he, and expresses himself poorly.
(Weisse, he says, could have done things better.) However, all this pettiness is nothing
compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon
follow.
-
OJ 15/15, [21] Handwritten postcard from Weisse to Schenker, dated January 21, 1927
Weisse provides Schenker with Gerald Warburg's address in New York City. He
also asks a question about Schenker's fingerings for the trills in the second movement of
Beethoven's Op. 111.
-
OJ 15/15, [22] Handwritten postcard from Weisse to Schenker, dated April 14, 1927
Weisse calls his teacher's attention to a recent article by Edmund Schmid,
which questions the objectivity of Schenker's Beethoven research and deplores the slavish
adherence of his disciples to the concept of Urlinie.
-
OJ 15/15, [23] Handwritten postcard from Weisse to Schenker, dated December 9, 1927
Weisse asks Schenker if he could see him about a matter of mutual
interest.
-
OJ 15/15, [24] Handwritten postcard from Weisse to Schenker, dated December 10, 1927
Weisse arranges to meet with Schenker the following morning (Sunday, December
11, 1927).
-
OJ 15/15, [25] Handwritten postcard from Weisse to Schenker, dated December 17, 1927
Weisse thanks Schenker for supporting his latest project in principle, and for
informing him of Antony van Hoboken's intention to establish a publication related to the
the Photogram Archive.
-
OJ 15/16, [57] Handwritten letter from Weisse to Schenker, dated April 29, 1927
Lacking an official state teaching certificate, Weisse asks Schenker for a
testimonial that states that he studied with him from 1908 to 1915, and in 1919, and that he is
fully qualified to teach harmony, counterpoint, composition, and piano.
-
OJ 15/16, [58] Handwritten letter from Weisse to Schenker, dated October 27, 1927
Weisse congratulates Schenker on the publication of the second Meisterwerk
Yearbook, of which has expresses mainly admiration. But he is unhappy with Schenker's dismissal
of the fugue from Reger's Variations and Fugue on a theme of Bach, and with his reading of the
Urlinie in Schubert's Waltz Op. 9 (D. 365), No. 5, and Beethoven's Sonata Op. 10, No.
2.
-
OJ 5/3, [1] Handwritten draft letter from Schenker to Adler, dated February 7, 1927
Schenker declines invitation to give lecture.
-
OJ 5/4, [3] Draft letter from Schenker to the Akademie für Musik, dated February 7,
1927
Schenker repeats his intentions for the adjudication of the Sofie Deutsch
stipends after his death.
-
OJ 5/4, [4] Handwritten draft letter from Schenker to Franz Schmidt (Akademie für Musik), dated
December 13, 1927
Schenker hands the Sofie Deutsch stipendia to the Akademie für Musik on the
grounds that the interest on the capital has diminished too greatly.
-
OJ 5/5, [1] Incomplete handwritten draft letter from Schenker to Josef Albersheim, dated August 12,
1927
Schenker articulates the reasons why Gerhard Albershim should continue his
lessons at the same frequency for another year.
-
OJ 5/7a, [10] (formerly vC 10) Handwritten letter from Schenker to Cube, dated June 1, 1927
Schenker congratulates Cube on appointment to professorship; reports that Oppel
has been appointed to a professorship at the Leipzig Conservatory, and on the spread of
Schenker's theory elsewhere; looks forward to visit from Cube.
-
OJ 5/7a, [11] (formerly vC 11) Handwritten postcard from Schenker to Cube, dated September 7, 1927
Schenker acknowledges Cube's postcards; Cube will receive the appeal [for photostats of
MSS].
-
OJ 5/7a, [12] (formerly vC 12) Handwritten letter from Schenker to Cube, dated November 9, 1927
Schenker thanks Cube for the pictures enclosed with OJ 9/34, [9] and expresses
pleasure at Cube's reports of his teaching, composition, listening to the radio, Urlinie
studies, and advocacy of good editions; refers to Vrieslander's planned monograph on Schenker,
the prospectus for Meisterwerk I and II, and the call [for the
Photogrammarchiv].
-
OJ 5/7a, [8] (formerly vC 8) Handwritten postcard from Schenker to Cube, undated [January 31, 1927]
Schenker wishes Cube well in his new job, offers encouragement over his graphing
technique, and praises his writing.
-
OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927
Schenker acknowledges and returns Cube's review; reports on the progress of his
own publications.
-
OJ 5/9, [1] Handwritten draft letter from Schenker to Deutsch, dated February 28,
1927
Schenker explains to Deutsch why he does not want to be considered for
an honor from the Austrian Republic. He thanks Deutsch (and Karl Kobald) for their
kind intention to put his name forward.
-
OJ 6/7, [32] Handwritten letter from Schenker to Violin, dated February 16, 1927, with postscript
from Fanny Violin
Replying to Violin's previous letter, Schenker expresses surprise about (Egon)
Pollak's enthusiasm for C. P. E. Bach's Double Concerto. He also expresses uncertainty about
whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and
adaptation of part of his Counterpoint, vol. 2, has been prepared; and Herman Roth's book on
counterpoint has also been published. He sends little Karl a picture of himself, and leaves
space for Violin's sister Fanny to add a short greeting.
-
OJ 6/7, [33] Handwritten letter from Schenker to Violin, dated May 27, 1927
Schenker has tried to find out more about the plans for the conservatory in
Frankfurt to be upgraded to a music Hochschule (and, presumably, for Violin to be posted
there), but he is reluctant to press his contacts too far, as this may prove
counterproductive.
-
OJ 6/7, [34] Handwritten letter from Schenker to Moriz Violin, dated June 30, 1927
Schenker answers Violin's birthday greetings letter philosophically. He is
able to work on the final version Der freie Satz at leisure and in good spirits. He reports
on the establishment of an archive of photographic reproductions of autograph and gives an
account of a visit from Violin's sister Fanny: in return for a picture of Karl Violin, he is
enclosing two pictures of himself and one of Jeanette. Finally, he urges his friend to spend
part of the summer in Galtür.
-
OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927
In a wide-ranging letter, Schenker underscores the importance of his friend's
taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by
Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where
he will teach from Schenker's texts. He comments at length on the decline of society, as
exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders;
until it is published, he will be working on Der freier Satz.
-
OJ 6/7, [36] Handwritten letter from Schenker to Moriz Violin, dated December 29, 1927
Sending greetings for the New Year, Schenker expresses the hope that his
friend's fortunes will begin to improve in 1928. He agrees with Violin's pronouncements on
Vrieslander’s character and ability to convey Schenker's thoughts, and has no idea of what
to expect in Vrieslander's (supposedly) forthcoming monograph on him. Weisse, whom he
regards as a more skilled interpreter of his work, has announced plans for a monthly
journal, Die Tonkunst, to be edited with his pupils Oswald Jonas and Felix Salzer, which
will be based exclusively on Schenker's theoretical approach. But he is afraid that Weisse
might leave Vienna, to teach at Damrosch's music school.
-
OJ 71/19, [1] Typewritten letter from Alfred Kalmus (WPhV) to Otto Erich Deutsch, dated November
30, 1927
Kalmus thanks Deutsch for his recent help with a Schubert publication, then
reports that one of their editors mistakenly added changes to Schenker’s annotated copy of
the “Unfinished” Symphony which was to be used for the new edition. He apologizes for the
error, and is returning Schenker’s copy together with another copy of the score into which
Schenker’s original notations have been entered as accurately as possible.
-
OJ 8/4, [46] Handwritten postcard from Schenker to Violin, postmarked [February] 26,
1927
Responding to a request from Violin, Schenker says he will write to Paul von
Klenau on behalf of Violin, apparently in connection with a possible position in
Frankfurt.
-
OJ 8/4, [47] Handwritten postcard from Schenker to Violin, dated February 27, 1927
Schenker is about to write to Paul von Klenau on Violin's behalf, but asks
whether he should wait until Easter, as suggested in Violin's previous
letter.
-
OJ 8/4, [48] Handwritten picture postcard from Schenker to Violin, dated March 27,
1927
Schenker has written to Paul von Klenau on Violin's behalf, and received an
assurance that Klenau will write to his brother-in-law (not father-in-law, as Violin had
originally thought) but thinks that Artur Schnabel will be more influential. Klenau will
visit the Schenkers on Saturday.
-
OJ 8/4, [49] Handwritten postcard from Schenker to Violin, dated March 29, 1927
In advance of seeing Klenau, Schenker reports on a meeting with Wilhelm
Altmann and Ludwig Rottenberg, who believe that only people under 30 years old are likely to
be appointed to a post of the sort that Violin is seeking in Frankfurt – a situation that he
finds appalling.
-
OJ 8/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated April 25, 1927
Schenker explains that what he is doing behind the scene to assist Violin in
obtaining a post in Frankfurt, and hopes for some news from Wilhelm Altmann. Artur Schnabel
will be more useful to his cause than Paul von Klenau and his brother-in-law Heinrich
Simon.
-
OJ 8/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated October 5, 1927
Schenker has asked a former pupil (Felix-Eberhard von Cube), who knows Dr.
Simon in Frankfurt, about the likely opening date of a music Hochschule there, but has
received little information in return. the second volume of Meisterwerk will be published
very soon.
-
OJ 8/4, [52] Handwritten postcard from Schenker to Violin, dated November 16, 1927
Schenker congratulates Violin on obtaining many private pupils, and for his
continued activity as a performer. He expresses his joy that Violin's son Karl will be
visiting Vienna next year.
-
OJ 89/1, [1] Handwritten letter from Schenker to van Hoboken, dated July 3, 1927
Schenker gives Hoboken Furtwängler's summer address and urges him to contact the
latter, which could yield advantage, not least for the Photogrammarchiv. — Has seen Schindler's
Beethoven biography with notes on performance. — Notifies Hoboken of the normalizing of his fee
at 50 schillings per lesson.
-
OJ 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927
Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927;
encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the
Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk
in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the
Hobokens' trip to Switzerland, reporting on von Cube.
-
OJ 89/1, [3] Handwritten letter from Schenker to van Hoboken, dated August 20, 1927
Schenker has a reply from Furtwängler, saying that he is about to see Hoboken. —
Final proofs of Meisterwerk II have arrived; where should he have a copy sent to Hoboken? —
Discusses possible meeting with Furtwängler (refers to Furtwängler's attitude toward the
"moderns"). — Reports visit by von Cube.
-
OJ 89/1, [4] Handwritten letter from Schenker to van Hoboken, dated September 6, 1927
Schenker comments on Hoboken's Appeal [for the Photogrammarchiv], sets out what
is necessary for correctly reading an autograph manuscript and understanding its relationship to
the first edition, and rails against the tendency of performers, including Furtwängler, to think
such matters trivial.
-
OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927
Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus"
and the suitability of Vrieslander's text for that purpose. — He expresses an interest in
Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the
whereabouts of the autograph manuscript of Beethoven's Op. 106.
-
OJ 89/1, [6] Handwritten letter from Schenker to van Hoboken, dated October 4, 1927
Schenker thanks van Hoboken [for subventing Yearbook 2], while complaining at
Drei Masken Verlag's failure to send him his author's copies and its lack of honesty; he praises
Hoboken for his collection and service to mankind.
-
OJ 89/1, [7] Handwritten letter from Schenker to van Hoboken, dated December 5, 1927
Schenker praises a notice in the Neue freie Presse about the Photogrammarchiv,
and speaks of the task that lies ahead.
-
OJ 89/1, [8] Handwritten letter from Schenker to van Hoboken, dated December 17, 1927
Reply from Dr. Richtera has arrived, and Schenker encloses it; Otto Erich Deutsch
is invited to give a lecture about the damages. — Hoboken has had a letter from Alban Berg that
may be intentionally ironic; Schenker reflects on the spirit of the Photogrammarchiv.
-
OJ 89/1, [9] Handwritten double letter from Heinrich to Anthony van Hoboken and from Jeanette to
Annamarie van Hoboken, dated December 27, 1927
While commenting adversely on Křenek's opera "Jonny spielt auf," Heinrich sends
best wishes for the New Year and thanks for cactuses, acknowledges receipt of a check, and sends
greetings to Otto Vrieslander. — Jeanette thanks Annamarie van Hoboken for the Christmas
greetings and gift.
-
OJ 9/12, [7] Handwritten letter from Carl Bamberger to Schenker, dated May 10, 1927
Bamberger has been appointed second conductor at the Darmstadt operahouse. He
asks to visit Schenker in Vienna.
-
OJ 9/12, [8] Handwritten letter from Carl Bamberger to Schenker, dated December 2,
1927
Bamberger praises Schenker's initiative in the Photogrammarchiv and Anthony
van Hoboken's philanthropy; he is making progress as a conductor.
-
OJ 9/34, [6] Handwritten letter from Cube to Schenker, dated January 24, 1927
Acknowledges Schenker's reply and corrections. There will be no problem with his
teacher's examination in May. Reports on recent activities.
-
OJ 9/34, [7] Handwritten letter from Cube to Schenker, dated February 7 1927
Cube reports on his careers as critic and teacher.
-
OJ 9/34, [8] Handwritten letter from Cube to Schenker, dated May 28, 1927
Cube reports on the state teaching examination, on which he was graded
"satisfactory," deploring the way it was conducted.
-
OJ 9/34, [9] Handwritten letter from Cube to Schenker, dated October 29, 1927
Cube has had 'flu; reports on his [conservatory] teaching of Schenkerian theory
(though disguised from the authorities), his private teaching, his work in composition; he has
joined the Reichsverband deutscher Tonkünstler und Musiklehrer. Dunn has sent him his
translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that
of Vrieslander. He is enjoying using his radio; sends two Galtür portraits; his father has had a
son.
-
OJ 9/3, [5] Typewritten letter from Adler to Schenker, dated January 28, 1927
Invitation to give a lecture to the conference associated with the Beethoven
Centennial Celebration [March 1927].
-
OJ 9/3, [6] Typewritten letter from Guido Adler to Schenker, dated April 4, 1927
Schenker is asked to have his photograph taken as a collaborator in the
Beethoven Centennial Celebration.
-
OJ 9/4, [3] Typewritten letter from Joseph Marx and Alexander Wunderer (Akademie für Musik) to
Schenker, dated February 3, 1927
Schenker is asked to give the Federal Ministry of Education his opinion as to
how the Sofie Deutsch stipends should be adjudicated after his death.
-
OJ 9/5, [2] Handwritten letter from Josef Albersheim to Schenker, dated August 8, 1927
The costs of his son's lessons with Schenker are a burden to Josef Albersheim; he
asks Schenker for some "accommodation," asserting that with teachers of Schenker's caliber
pupils normally attend for fewer lessons a month.
-
OJ 9/8, [3] Handwritten postcard from Wilhelm Altmann to Schenker, dated May 26, 1927
Altmann reports on conversion of Hoch Conservatory to
Hochschule.
-
OJ 9/8, [4] Handwritten picture postcard from Wilhelm Altmann to Schenker, dated November 8,
1927
Altmann thanks Schenker for Masterwork 2; — Has retired but is temporarily
continuing in his position; — Reports publication of his handbook for string quartet
players.
-
PhA/Ar 56, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
-
PhA/Ar 56, [2] Handwritten letter from Schenker to Haas, dated December 7, 1927
Schenker sends Haas photographic copies of five Beethoven
works.
-
PhA/Ar, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
-
Sbb 55 Nachl. 13, [2] Handwritten letter from Schenker to Furtwängler, dated July 3, 1927
Schenker recommends Oppel's Mass, and commends Anthony van Hoboken to
Furtwängler.
-
UMdK Z 767 D/1927, [1] Typewritten letter (carbon copy) from Hans Waizmann (Akademie für Musik) to Willy
Elmayr-Vestenbrugg (with reply), dated January 3, 1927
Waizmann inquires as to the interest on the Sofie Deutsch stipend, and Elmayer
replies.
-
UMdK Z 767 D/1927, [2] Typewritten letter (carbon copy) from Hans Waizmann (Akademie für Musik) to
Schenker, dated January 11, 1927
Waizmann reports the amount of the interest on the Sophie Deutsch
stipend.
-
WSLB 375 Handwritten letter from Schenker to UE, dated April 25, 1927
Having gained access to the facsimile of the "Appassionata" Sonata, Schenker
sends revisions to his edition.
-
WSLB 378 Handwritten letter from Schenker to UE, dated May 17, 1927
Schenker returns proofs of the "Appassionata" Sonata.
-
WSLB 380 Handwritten postcard from Schenker to UE, dated May 27, 1927
Schenker asks that a complimentary copy of his Fifth Symphony monograph be sent
to Vrieslander.
-
WSLB 382 Handwritten letter from Schenker to UE, dated May 30, 1927
Schenker returns final proofs of "Appassionata" Sonata with
imprimatur.
-
WSLB 385 Handwritten postcard from Schenker to UE, dated June 30, 1927
Has UE forgotten to send him a copy of his own revised edition of the
"Appassionata" Sonata?
-
WSLB 388 Handwritten postcard from Schenker to UE, dated September 10, 1927
Acknowledges copy of revised edition of the "Appassionata"
Sonata.
-
WSLB 389 Handwritten letter from Schenker to UE, dated October 6, 1927
Schenker inquires after revised edition of Beethoven, Piano Sonata
Op.78.
-
WSLB 392 Handwritten letter from Schenker to UE, dated December 21, 1927
Schenker thanks UE for its promotion of Der Tonwille.
-
WSLB-Hds 191.559 Handwritten postcard from Schenker to Deutsch, dated June 6, 1927
Schenker asks Deutsch to make inquiries at the British Museum on his behalf,
concerning the autograph manuscript of Beethoven’s Sonata Op. 79. He is annoyed with Hertzka
for letting someone else take on the editing of Mozart’s piano sonatas for Universal
Edition.