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OC 54/223 Typed letter from Waldheim Eberle to Schenker, dated March 22, 1930
Waldheim Eberle gratefully acknowledge receipt of Schenker's letter, and are
delighted to have been chosen as the printing house for the third Meisterwerk
volume.
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OC B/136-138 Handwritten letter from Gerhard Albersheim to Schenker, dated March 20–21,
1930
After correction by Schenker, Albersheim has finalized an article on
Schenker's work, which he will submit to a journal. He will now prepare himself for the
state examinations.
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OC B/139 Typewritten letter from Alfred Einstein (ZfMw) to Schenker, dated March 28,
1930
Einstein returns to Schenker an article submitted by Gerhard Albersheim. -- He
acknowledges receipt of a correction from Schenker.
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OJ 10/3, [120] Handwritten postcard from Deutsch to Schenker, dated March 2, 1930
Deutsch has come across information suggesting that there may be parts, even a
score, of the "Eroica" Symphony with corrections in Beethoven’s hand from the music library
of Archduke Rudolph and still located in Olmütz [Olomouc].
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OJ 10/3, [121] Typewritten picture postcard from Deutsch to Schenker, dated March 5,
1930
Deutsch tells Schenker that Hoboken may stay in Berlin, at least temporarily.
His friend Otto Stoessl works for Der Kunstwart but has not invited him to contribute to
that periodical. He has found a review in a Stuttgart music journal which contains words of
high praise for Schenker’s Erläuterungsausgaben of the late Beethoven
sonatas.
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OJ 10/3, [122] Typewritten picture postcard from Deutsch to Schenker, dated March 17,
1930
Deutsch was unable to hear Weisse’s new composition; he has sympathy for the
work of Eduard Beninger.
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OJ 13/25, [9] Typewritten letter from Rinn to Schenker, dated March 8, 1930
Vrieslander's article about Schenker for Der Kunstwart is too technical and
too long for a journal with amateur readership; he has asked Vrieslander to shorten it. — He
expresses enthusiasm for Schenker's idea of writing about the relationship of the great
German poets to music.
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OJ 15/16, [63] Handwritten letter from Weisse to Schenker, dated March 3, 1930
Weisse has delayed in replying to Schenker's recent letter because he has been
corrected copies of his Clarinet Quintet and Octet, which he will submit to the City of Vienna
Prize competition. He asks Schenker to help publicize the first performance of the Octet, at the
small auditorium of the Musikverein, and asks for the addresses of Angi Elias and Marianne Kahn
so that he can send them personal invitations. His wife is about to give birth to a second
child, and he hopes that Schenker's personal doctor Julius Halberstam might also be interested
in hearing the Octet.
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OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930
Weisse has seen Furtwängler, who will write a letter of recommendation to
Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want
to consult Schenker about it, and asks his teacher not to be overly modest about the work of
one of his pupils, and to stress the need for an arrangement of the work for piano four
hands.
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OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930
Schenker reports on two concerts at which Hans Weisse's Octet was performed
for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality
of the voice-leading in general, the construction of the finale movement (a passacaglia) in
particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented
the cost of the rehearsals and concerts, and the provision of food and drink for the
audience; this he compared with Antony van Hoboken's reluctance to help him with the
publication costs of his recent work.
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OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19,
1930
Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and
Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from
Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of
his own, and that for Schenker.
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OJ 89/4, [3] Handwritten letter from Schenker to Hoboken, undated [March 23, 1930]
Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano
technique, and defines Hoboken's character as a pianist.
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OJ 89/4, [4] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 29,
1930
Hoboken questions Schenker's separation of "artist" from "person," and says
that he does not want to become an eternal student.