-
OC 52/846 Typed letter from Kalmus (UE) to Schenker, dated December 1, 1928
Hertzka is away until mid-December.
-
OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928
Hertzka welcomes Schenker's intention now to produce [his elucidatory edition
of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the
"Eroica" study and Der freie Satz but cannot schedule them until after
1929.
-
OJ 52/899 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated
January 16, 1928
Receipt for sum of 148.02 shillings [from UE].
-
OJ 52/900 Receipt for bank transaction from Post Office Savings Bank, dated July 16,
1928
Receipt for sum of 162.26 shillings [from UE].
-
OC 52/911 Typed letter from Hugo Winter (UE) to Schenker, dated April 27, 1928
Encloses invoice for sending Der Tonwille to San Francisco.
-
OC 52/913 Typed letter from Hugo Winter (UE) to Schenker, dated August 7, 1928
UE has written to the Postal Savings Bank about the royalty
payment.
-
OC 52/914 Typed letter from Ernst Roth (UE) to Schenker, dated August 20, 1928
UE understands that the royalty payment has now been made.
-
OC 52/915 Typed letter from Hugo Winter (UE) to Schenker, dated December 27, 1928
Announces that Schenker's 1928 royalty has been transferred.
-
OC B/300 Typewritten letter from V. A. Heck to Schenker, dated November 24, 1928
Heck consults Schenker on another Beethoven sketchleaf.
-
OC B/301 Typewritten letter from V. A. Heck to Schenker, dated November 29, 1928
Heck thanks Schenker for information regarding a Beethoven
sketchleaf.
-
OJ 10/18, [3] Handwritten letter from Elias to Schenker, dated July 11, 1928
Miss Elias is glad that Schenker is "not dissatisfied" with her graphings of
his piano piece Op. 4, No. 1 and looks forward to her October lessons for a detailed
discussion. — She inquires about Vrieslander's "monograph." — She was interested to see the
autograph and first edition of "Erlkönig" juxtaposed in a Schubert
exhibition.
-
OJ 10/1, [103] Typewritten letter from Dahms to Schenker, dated November 23, 1928
Dahms is unable to attend the Schubert conference in Vienna. — His latest
appeals on marital situation have been rejected.
-
OJ 10/3, [76] Typewritten picture postcard from Deutsch to Schenker, dated January 27,
1928
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, [77] Handwritten letter from Hanna and Otto Erich Deutsch to Schenker, dated March 1,
1928
The Deutsches accept the Schenkers’ invitation for the afternoon of Wednesday,
March 7.
-
OJ 10/3, [78] Handwritten letter from Hanna Deutsch to Schenker, dated March 2, 1928
Hanna asks Schenker to accept her apologies for not being able to visit them
on March 7, as Otto Erich has been invited to tea with the President of the
Republic..
-
OJ 10/3, [79] Handwritten letter from Hanna Deutsch to Schenker, dated March 4, 1928
The Deutsches will visit the Schenkers on Wednesday, March 14. Hanna reports
that Hoboken has been unwell.
-
OJ 10/3, [80] Typewritten postcard from Deutsch to Schenker, dated March 19, 1928
Deutsch reports that Eusebius Mandyczewski, the Archivist at the Gesellschaft
der Musikfreunde, would like to prepare a revised edition of Schubert’s “Unfinished”
Symphony, and asks Schenker if he would be prepared to make his textual notes on the
symphony available to him.
-
OJ 10/3, [81] Typewritten postcard from Deutsch to Schenker, dated March 25, 1928
Deutsch’s plans to give a pre-concert talk on the radio have been messed up by
Max Ast at Austrian Radio. -- He asks Schenker to tell him about the authentic copies of
Beethoven’s works made for Archduke Rudolph. -- He has been on the track of a German mass
for the dead by Schubert (the Deutsche Trauermesse) and would like to show Schenker his work
on it.
-
OJ 10/3, [82] Typewritten postcard from Deutsch to Schenker, dated March 26, 1928
Deutsch writes about the sketches for a symphony in E major by Schubert, in
the possession of the Royal College of Music in London. He would like to have a copy made so
that the work can be published – possibly by Oxford University Press. The costs should be
borne by the publisher, not the Photogram Archive, which would nonetheless get a copy of the
reproduction.
-
OJ 10/3, [83] Typewritten picture postcard from Deutsch to Schenker, dated April 16,
1928
Deutsch has had sharp words with Max Ast at Austrian Radio. He wants to give a
talk on Schubert’s lost “Gastein” (or “Gmunden”) Symphony and hopes that publicity from the
broadcasting company will eventually lead to the rediscovery of the manuscript. Eusebius
Mandyczewski is preparing a new edition of the “Unfinished” Symphony for Breitkopf &
Härtel; the Philharmonia pocket score, with Schenker’s and Deutsch’s revisions, is now in
print. Deutsch has discovered that the first edition of Beethoven’s Piano Sonata Op. 90
exists in two versions.
-
OJ 10/3, [84] Typewritten picture postcard from Deutsch to Schenker, dated May 1, 1928
Deutsch has picked up a copy of his and Schenker’s recent edition of the
“Unfinished” Symphony; he has made a complaint to Universal Edition and let the publisher
know of Schenker’s displeasure with the-- He is going away for a few days, but returning to
give a radio broadcast on Schubert’s settings of Walter Scott.
-
OJ 10/3, [85] Typewritten picture postcard from Deutsch to Schenker, dated May 15, 1928
Deutsch thanks Schenker for his kind words (about his recent radio broadcast)
and describes the difficulties in preparing things for publication in Radio Wien. He informs
Schenker that Brahms’s arrangement of a Schubert song has already been published. He has
discovered that the Guitar Quartet believed to be by Schubert is an arrangement, and that an
early cantata, Die Advokaten, is also based on the work of another
composer.
-
OJ 10/3, [86] Typewritten picture postcard from Deutsch to Schenker, dated May 22, 1928
Deutsch thanks Schenker for his most recent letter, and is sending him in
return the original version of the finale of Schubert’s Divertissement à
l’hongroise.
-
OJ 10/3, [87] Handwrittenwritten picture postcard from Hanna and Otto Erich Deutsch to Schenker,
dated June 10, 1928
The Deutsches hope to see the Schenkers once before both couples go away for
the summer, and they invite them for tea on Tuesday, June 12.
-
OJ 10/3, [88] Typewritten picture postcard from Deutsch to Schenker, dated June 14,
1928
Deutsch can show Schenker the reissue (Titelauflage) of Beethoven’s Sonata Op.
6 if he is interested. -- On the 27th, he is giving a radio broadcast on Schubert’s lost
symphony; he has obtained funding ($1,000) for the person who finds it. -- He is giving
another radio talk on July 3, on Schubert’s incidental music to Rosamunde.
-
OJ 10/3, [89] Typewritten letter from Deutsch to Schenker, dated June 17, 1928
Deutsch sends Schenker birthday greetings; he hopes that the last volume of
his “great work” [i.e. Der freie Satz] will bring satisfaction to him and comfort to the
world.
-
OJ 10/3, [90] Typewritten letter from Deutsch to Schenker, dated June 27, 1928
Touched by Schenker’s response to his birthday greetings, Deutsch quotes a
passage from Johann Mayrhofer’s recollections of Schubert. He notes that the Columbia
Phonograph Company has sponsored a competition that could be viewed as a kind of Nobel Prize
for music.
-
OJ 10/3, [91] Typewritten letter from Deutsch to Schenker, dated September 16, 1928
Deutsch belatedly answers Schenker’s postcard greeting from the summer and
invites him to tea on Wednesday, September 19.
-
OJ 10/3, [92] Typewritten postcard from Deutsch to Schenker, dated September 27, 1928
Deutsch gives Schenker information about Brahms’s arrangement of a Schubert
song ("Ellens zweiter Gesang") and the guitar quartet attributed to
Schubert.
-
OJ 10/3, [93] Typewritten letter from Deutsch to Schenker, dated September 29, 1928
Deutsch arranges to meet Schenker in [Hoboken’s] library on October
2.
-
OJ 10/3, [94] Typewritten postcard from Deutsch to Schenker, dated October 3, 1928
Deutsch apologies for being late to his meeting with Schenker, because his
clock was running 10 minutes slow.
-
OJ 10/3, [95] Typewritten picture postcard from Deutsch to Schenker, dated October 8,
1928
Deutsch has received information from Breitkopf & Härtel concerning the
three volumes of piano sonatas by Haydn in the collected edition; he thinks that they are
very expensive.
-
OJ 10/3, [96] Typewritten letter from Deutsch to Schenker, dated December 11, 1928
Deutsch outlines plans for the publication of catalogues of music manuscripts
worldwide and, in particular, new thematic catalogues of the music of Schubert, Mozart and
Beethoven. With the intervention of Leopold Richtera, he has been assured of a good working
relationship with the director of music at Radio Wien (RAVAG).
-
OJ 11/32, [3] Typed letter from Robert Haas to Schenker, dated March 1, 1928
The Photogrammarchiv has a source that Schenker is at liberty to
consult.
-
OJ 11/54, [22] Handwritten letter from Hoboken to Schenker, dated March 11, 1928
Hoboken recounts the difficulties he is having in getting 2,500 photographs of
autograph manuscripts made at the Paris Conservatory.
-
OJ 11/54, [23] Handwritten letter from Hoboken to Schenker, dated March 21, 1928
Hoboken has still made no progress on photographic work at the Paris
Conservatory. — He will go to Rotterdam and Münster. — Speaks of the importance of his Archive
work and contacts he has made. Will probably go to a concert featuring music of Alban Berg. — He
asks Schenker to intervene with O. E. Deutsch.
-
OJ 11/54, [24] Typed letter from Hoboken to Schenker, dated August 27, 1928
Hoboken recounts his and his wife's travels through Germany, including encounters
with Thomas Mann and others. He expects to return to Vienna in mid-October.
-
OJ 12/38, [2] Handwritten picture postcard from Hans Liebstoeckl to Schenker, dated January 11,
1928
Without naming the composer or title, Liebstöckl expresses himself in disparaging
terms about Ernst Krenek and the latter's opera, Jonny spielt auf.
-
OJ 12/6, [1] Handwritten letter from Jonas to Schenker, dated February 1, 1928
Jonas asks to meet with Schenker to discuss the "matter of the
periodical."
-
OJ 12/6, [2] Handwritten postcard from Jonas to Schenker, dated February 9, 1928
Jonas asks for address of John Petrie Dunn.
-
OJ 12/6, [3] Handwritten letter from Jonas to Schenker, dated March 3, 1928
Discusses the proposal to create a "journal," raised in previous correspondence,
and airs Schenker's misgivings. Plans to send an invitation to 2,000 people.
-
OJ 13/25, [3] Typewritten letter from Rinn to Schenker, dated December 7, 1928
Rinn enthusiastically thanks Schenker for his intention to write an article,
and for arranging to have the necessary photographic reproductions
prepared.
-
OJ 14/45, [70] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1928
Violin sends 60th birthday greetings to Schenker, adding that he is unlikely
to leave Hamburg this summer.
-
OJ 14/45, [71] Handwritten letter from Moriz Violin to Schenker, dated July 18, 1928
Owing to a "complete breakdown," Violin is recovering at a sanatorium in
Schierke, from where he writes. In response to Schenker's previous postcard, Violin had
written more than once to Prof. [Fritz?] Stein for the return of the manuscript of a Handel
arrangement by Schenker, and he will chase him up in August. A pupil of his, Harry Hahn, has
taken upon himself to lecture on Schenker's theories at the local society of composers; for
this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude
and a Schubert waltz, and has proved a surprisingly competent and persuasive
speaker.
-
OJ 14/45, [72] Handwritten letter from Moriz Violin to Schenker, dated September 21,
1928
Violin apologizes for not writing sooner; he has suffered a further health
setback. His pupil Harry Hahn will send Schenker the illustrations and a copy of his lecture
(on the Schubert waltz and Bach prelude). He enquires about Der freie Satz.
-
OJ 14/45, [73] Handwritten letter from Moriz Violin to Schenker, dated October 26, 1928
Violin queries Schenker's suggestion for displaying graphic work by
light-projection. He has recently made the acquaintance of a Hamburg organist name
Hahnemann, who teaches only according to Schenker's theory. Finally he asks whether the
"last volume" (Der freie Satz) has been published.
-
OJ 14/45, [74] Handwritten letter from Moriz Violin to Schenker, dated December 24, 1928
On his first teaching-free day, Violin writes to say that his health is good,
and to wish the Schenkers a happy holiday. His organist friend Hahnemann will probably write
to Schenker soon about performing some of his arrangements. Schnabel, too, wants to obtain
the score, parts and cadenzas for the keyboard concertos of C. P. E. Bach that Schenker has
prepared.
-
OJ 15/15, [26] Handwritten postcard from Weisse to Schenker, dated January 2, 1928
Weisse gives Schenker Bruno Walter's address in Vienna, and informs his
teacher that invitations to contribute to Die Tonkunst have been sent out.
-
OJ 15/15, [27] Handwritten postcard from Weisse to Schenker, dated Januray 21, 1928
Weisse is trying to arrange a time to see Schenker. He has not heard from
Reinhard Oppel (presumably about his projected periodical, Die Tonkunst, but has received a
letter from Moriz Violin.
-
OJ 15/15, [28] Handwritten postcard from Weisse to Schenker, dated January 25, 1928
Weisse accepts a social invitation from Schenker, asks whether Viktor Hammer
might also join them.
-
OJ 15/15, [29] Handwritten postcard from Weisse to Schenker, dated April 13, 1928
Recovering from illness, Weisse is unable to join the Schenkers for lunch,
suggests instead seeing Schenker on Sunday morning.
-
OJ 15/15, [30] Handwritten postcard from Weisse to Schenker, dated May 25, 1928
About to leave Vienna, Weisse asks if he can see Schenker to say
good-bye.
-
OJ 15/15, [31] Handwritten postcard from Weisse to Schenker, dated May 31, 1928
Weisse will bid up to twice the estimated price at auction for a copy of C. P.
E. Bach's Essay on the True Art of Playing Keyboard Instruments.
-
OJ 15/15, [32] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated September 28,
1928
In reply to a postcard from Jeanette Schenker, Hertha Weisse recommends
linoleum as a covering for the flat surfaces of a sideboard and bench.
-
OJ 15/15, [33] Handwritten postcard from Weisse to Schenker, dated October 23, 1928
Weisse points out a part-writing error in Schenker's Counterpoint, vol. 2. He
suggests that his teacher looks at Alois Haba's recently published Neue Harmonielehre, and
commends Oppel's recent article on Bach's fugal technique.
-
OJ 15/16, [59] Handwritten letter from Weisse to Schenker, dated July 26, 1928
Writing while on holiday (in Bad Aussee), Weisse apologizes for not having
replied to Schenker's previous letter. He is enjoying reading C. P. E. Bach's Versuch, and
reports the illness and recovery of Viktor Hammer, who was staying in Grundlsee near the Weisses
during the month of June.
-
OJ 15/16, [60] Handwritten letter from Weisse to Schenker, dated December 16, 1928
Weisse reports the birth of his (first) child, a girl. In a postscript, he
informs Schenker that C. P. E. Bach's "Prussian" and "Württemberg" sets of keyboard sonatas
have been published in a modern edition.
-
OJ 5/18, [F] Handwritten postcard from Schenker to Jonas, dated February 5, 1928
Sets meeting for February 8.
-
OJ 5/18, [G] Handwritten letter from Schenker to Jonas, dated February 14, 1928
Discusses plans to create of "journal," and conditions under which this might be
done.
-
OJ 5/7a, [13] (formerly vC 13) Handwritten letter from Schenker to Cube, dated February 12, 1928
Schenker expresses joy at Cube's report of his class and private teaching; refers
to Hoboken's "Aufruf" and Vrieslander's prospectus; reports Weisse's plan for a monthly
periodical; thanks Cube for his efforts with book dealers in Duisburg and
Essen.
-
OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928
Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the
approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him
to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties
he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and
speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.
-
OJ 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928
Schenker sends Cube an article written for the Beethoven centenary festival and suggests a
"connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA;
outlines summer plans.
-
OJ 5/7a, [16] (formerly vC 16) Handwritten picture postcard from Schenker to Cube, dated July 3, 1928
Schenker inquires whether Cube has encounted obstacles to his
plans.
-
OJ 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928
Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises
recent article by Cube, but corrects overstated connection between himself and Brahms and
Joachim.
-
OJ 5/7a, [18] (formerly vC 18) Handwritten postcard from Schenker to Cube, dated September 6, 1928
Freier Satz will be prepared for publication this year; gives news of former pupils and
supporters.
-
OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928
Schenker has received large-format Urlinie charts from Harry Hahn and recommends
format to Cube.
-
OJ 5/7a, [20] (formerly vC 20) Handwritten postcard from Schenker to Cube, dated October 8, 1928
Schenker acknowledges receipt of Hammer portrait; urges Cube when in Cologne to
visit Gerhard Albersheim's parents and Felix Hupka.
-
OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928
Sends best wishes for Cologne lecture-series; is planning to issue a folder of
Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv,
which will be officially opened on November [25]. The "counter-examples" should be taken
slowly.
-
OJ 6/7, [38] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated June 23,
1928
Schenker thanks Violin for his kind birthday greetings, explaining the
discrepant birth dates assigned to him. He reaffirms his spiritual solidarity with his
friend. He has read some articles and reviews mentioning his work, at all of which he
laughs.
-
OJ 6/7, [39] Handwritten envelope from Schenker to Moriz Violin, postmarked July 22, 1928
Schenker asks about Violin's breakdown, and comments on Halm's avoidance of
fearful situations and on Cube's shop window exhibition.
-
OJ 8/4, [54] Handwritten postcard from Schenker to Moriz Violin, dated April 2, 1928
The Schenkers invite Violin to an evening meal at their
apartment.
-
OJ 8/4, [55] Handwritten picture postcard from Schenker to Moriz Violin, dated July 3,
1928
Schenker asks Violin to write to Fritz Stein, to ask him to return one of his
arrangements of a musical work.
-
OJ 8/4, [56] Handwritten picture postcard from Schenker to Moriz Violin, dated July 25,
1928
Writing to the sanatorium in the Harz mountains, Schenker ask Violin how
things are with him.
-
OJ 8/4, [57] Handwritten postcard from Schenker to Moriz Violin, postmarked September 5,
1928
Having just returned from the Tyrol, Schenker asks how Violin and his family.
He would also like to see the voice-leading diagrams that Violin's pupil Harry Hahn has
prepared for his lectures.
-
OJ 8/4, [58] Handwritten postcard from Schenker to Moriz Violin, dated October 9, 1928
Schenker is glad to hear that his friend's setback was only a minor one. He
has received a nice letter from Harry Hahn, together with a copy of his lecture and the
splendid voice-leading diagrams.
-
OJ 8/4, [59] Handwritten postcard from Schenker to Moriz Violin, dated October 22,
1928
The large-format graphs prepared by Harry Hahn have been greeted
enthusiastically by Schenker's pupils and friends; Schenker suggests that a "light
projection apparatus" (i.e. an overhead projector), which is now often available in schools
and hospitals, might be more practical.
-
OJ 8/4, [60] Handwritten poscard from Schenker to Moriz Violin, dated December 22,
1928
The Schenkers send the Violins their best wishes.
-
OJ 89/2, [1] Handwritten letter from Schenker to Hoboken, dated January 4, 1928
Schenker sends a feuilleton by Hans Liebstöckl regarding the premiere of Krenek's
opera "Jonny spielt auf."
-
OJ 89/2, [2] Carbon copy of typed letter from attorney Hundt to counsellor Dr. Seidenberger, dated
March 12, 1928
Concerns guardianship of a Fräulein Müschenborn.
-
OJ 89/2, [3] Typed letter from Counsellor of Justice Seidenberger to Hoboken, dated March 13, 1928
Concerns guardianship of a Fräulein Müschenborn.
-
OJ 89/2, [4] Handwritten letter from Schenker to Hoboken, dated March 16, 1928
Schenker speaks of Hoboken's Photogrammarchiv as a "grand contribution," and of
the work to be done there; reports on a copy of Beethoven Sonata, Op. 90, by Archduke Rudolph. —
He will show Hoboken recent articles by Dahms and Vrieslander, and inquires about Hoboken's
birthday.— Furtwängler may come to Vienna permanently.
-
OJ 89/2, [5] Handwritten letter from Schenker to Hoboken, dated March 26, 1928
Schenker conveys Deutsch's response to van Hoboken's questioning of a planned
facsimile of Schubert sketches. — Schenker discusses strategy for persuading Paris to supply
photographs for the Photogrammarchiv.
-
OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928
With thanks for birthday greetings, Schenker expresses how highly he values the
Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. —
Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the
success of the Urlinie through Der Tonwille, he no longer considers himself isolated.
-
OJ 89/2, [7] Handwritten letter from Schenker to Hoboken, dated September 5, 1928
The Schenkers have just returned to Vienna. — The "fantastic nature" of the
Hobokens' travels by auto. — The exceptional heat in Galtür. —Salzburg as magnificent but
too small to hold Mozart.
-
OJ 9/10, [1] Telegram from the Photogrammarchiv to Schenker, dated June 19, 1928
Best wishes [on Schenker's 60th birthday]
-
OJ 9/34, [10] Handwritten letter from Cube to Schenker, dated January 30, 1928
Cube reports progress in his class and private teaching, performance of his
compositions, his forthcoming lecture; outlines plan for an exhibition in Duisburg to celebrate
Schenker's 60th birthday; has heard nothing of Hoboken's "Aufruf."
-
OJ 9/34, [11] Handwritten letter from Cube to Schenker, dated April 24, 1928
Cube describes difficulties with his colleagues, loss of pupils, and reactions to
his lecture; Scheuermann and Schmemann will put Schenker exhibits in their shop windows, items
requested; inquires after Weisse journal plan.
-
OJ 9/34, [12] Handwritten letter from Cube to Schenker, dated May 24, 1928
Cube acknowledges receipt of the Hammer engravings and reports on the planned
Scheuermann exhibition; reports on a forthcoming lecture and seminar, and the growth of his
student numbers.
-
OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928
Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses
associated newspaper article; also on recent lecturing and composition activity. He is unlikely
to visit Schenker this year; recalls people at Galtür.
-
OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928
Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and
plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to
return the Hammer etching.
-
OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928
Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a
"connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next
time.
-
OJ 9/5, [3] Handwritten letter from Gerhard Albersheim to Schenker, dated September 5,
1928
Josef Albersheim has approved the continuation of his son's three lessons a
week; Gerhard looks forward to resumption.
-
PhA/Ar 56, [6] Handwritten postcard from Schenker to Kromer, dated February 1, 1928
Schenker asks Kromer to send the Appeal to Hans Weisse.
-
PhA/Ar 56, [7] Handwritten postcard from Schenker to Kromer, dated February 2, 1928
Schenker asks Kromer to send copies of the Appeal to Felix-Eberhard von
Cube.
-
PhA/Ar 56, [8] Handwritten letter from Schenker to Kromer, dated June 22, 1928
Schenker expresses thanks for the greetings telegram, and extolls the work of
the Photogrammarchiv.
-
PhA/Ar 56, [9] Typewritten letter of confirmation from Schenker to Kromer, dated December 12,
1928
Schenker acknowledges receipt of Beethoven photograms.
-
WSLB 394 Handwritten postcard from Schenker to Winter (UE), dated January 11, 1928
Schenker asks for settlement of royalties.
-
WSLB 395 Handwritten postcard from Schenker to UE, dated April 25, 1928
Schenkers asks for the Tonwille volumes to be sent to Julius
Gold.
-
WSLB 397 Handwritten postcard from Schenker to UE, dated August 5, 1928
Schenker asks why he has not received his royalty.
-
WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated
November 27, 1928
Schenker reports the impact of his Urlinie concept on the educational world
within Germany and in the USA. — He seeks to re-establish a working relationship with UE,
raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical
study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of
NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his
existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the
"Eroica."
-
WSLB 403 Handwritten letter from Schenker to Hertzka (UE), dated December 23, 1928
Schenker reports on the autograph manuscript of Beethoven Op. 79. — He is
"convinced" that the autograph of Op. 106 is in England.
-
WSLB-Hds 191.519 Handwritten letter from Frimmel to Schenker, dated beginning of December 1929 [recte
1928]
Frimmel thanks Schenker for his good wishes. He is unable to visit Schenker to
give him certain information and regarding a supposed Beethoven portrait.
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WSLB-Hds 191.560 Handwritten letter from Schenker to Deutsch, dated January 25, 1928
Schenker comments on the text of Deutsch’s forthcoming radio broadcast
about the Photogram Archive, noting in particular that the word “scientific”
(wissenschaftlich) has no place in the study of music, which is a unique art
form.
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WSLB-Hds 191.561 Handwritten picture postcard from Schenker to Deutsch, postmarked February 6,
1928
Schenker congratulates Deutsch on his two most recent radio broadcasts, and on
his impending appointment as editor of a monthly music journal.
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WSLB-Hds 191.562 Handwritten letter from Schenker to Deutsch, dated May 17, 1928
Responding to Deutsch’s previous message, Schenker confirms that the
Deutsche Trauermesse must, on musical grounds, be a work by Franz Schubert. He also
agrees with Deutsch that the Quartet for guitar, flute, violin, and cello must be an
arrangement of a work by a fashionable composer of the time.
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WSLB-Hds 191.563 Handwritten letter from Schenker to Deutsch, dated June 22, 1928
Schenker thanks Deutsch for his birthday greetings, explaining that,
although he feels alienated from the musical world of the present day, he is
convinced that his work will have a lasting effect on future
generations.
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WSLB-Hds 191.564 Handwritten picture postcard from Schenker to Deutsch, dated and postmarked June 30,
1928
Schenker congratulates Deutsch on being granted the title of “Professor”; he
makes an ironic comment on a hypothetical Nobel Prize for music.