-
FS 40/1, [3] Handwritten letter from Schenker to Salzer, dated September 14, 1931
Schenker asks for a meetings to discuss lesson schedule.
-
FS 40/1, [4] Handwritten letter from Schenker to Salzer, dated November 6, 1931
Salzer has overpaid and Schenker will return the excess.
-
FS 40/1, [5] Handwritten letter from Schenker to Salzer, dated December 28, 1931
Schenker replies that there will not be a seminar meeting on January 1. — Draws
attention to a feuilleton.
-
FS 40/1, [6] Handwritten letter from Schenker to Salzer, dated December 31, 1931
The Schenkers reciprocate New Year's greetings.
-
OC 18/40 Handwritten picture postcard from Karpath to Schenker, undated, postmarked October 13,
1931
Karpath asks Schenker for a telephone call or visit.
-
OC 18/41 Handwritten picture postcard from Karpath to Schenker, dated October 21,
1931
Karpath offers to draft a document according to Schenker's
suggestions.
-
OC 20/402 Handwritten letter from Weisse to Schenker, dated February 20, 1931
Weisse describes the extraordinary success of his second lecture (at the
Society for Music Pedagogy in Vienna). He asks his teacher's opinion about his rhythmic
interpretation of the Bach's Prelude in D minor, BWV 926, and of the third movement of
Brahms's String Quartet in C minor, Op. 51, No. 2.
-
OC 38/155v Handwritten letter (fragment) from Violin to Schenker, dated July 18,
1931
Violin’s son collapsed while away on a school holiday, but is now recovering.
The family are about to move to a new apartment in Hamburg, and Violin is sending Schenker a
copy of the prospectus for the Schenker Institute.
-
OC 50/14 Typewritten letter from Elsa Bienenfeld to Schenker, dated July 15, 1931
Bienenfeld explains her disagreement with Schenker’s acceptance in an article
of a Mozart letter of questionable authenticity, and inquires whether in the event of a
negative judgment he still wishes there to be a review.
-
OJ 10/1, [104] Typewritten letter from Dahms to Schenker, dated February 7, 1931
Dahms is looking forward to reading Meisterwerk III and inquires after Der
freie Satz. — He has cut himself off from Berlin and Germany; his marital situation has
finally been resolved, and he and his wife and child have settled in Paris.
-
OJ 10/1, [105] Handwritten picture postcard from Dahms to Schenker, dated February 23,
1931
Dahms acknowleges receipt of Meisterwerk 3.
-
OJ 10/3, [137] Typewritten letter from Deutsch to Schenker, dated January 24, 1931
Deutsch is sorry not to be able to meet with Schenker and Felix Salzer. — He
is concerned that others may think that he had a part to play in Hoboken’s withdrawing his
financial support for a collected edition of C. P. E. Bach’s works.
-
OJ 10/3, [138] Typewritten picture postcard from Deutsch to Schenker, dated February 4,
1931
Deutsch accepts an invitation to visit the Schenkers on Sunday, February
15.
-
OJ 10/3, [139] Typewritten letter from Deutsch to Schenker, dated February 24, 1931
Deutsch has found the source of a letter, of interest to Schenker, which was
cited in a recent newspaper article by Richard Benz.
-
OJ 10/3, [140] Handwritten picture postcard from Hannah Deutsch to Schenker, dated March 2,
1931
Deutsch will meet Schenker at the Café Aspang on Thursday, March
5.
-
OJ 10/3, [141] Handwritten picture postcard from Deutsch to Schenker, dated March 3,
1931
Deutsch corrects his wife’s previous message, saying that he will meet
Schenker at the Café Aspang on Thursday, March 5, around 5 p.m., not in the
evening.
-
OJ 10/3, [142] Typewritten letter from Deutsch to Schenker, dated March 6, 1931
Having spoken with a friend in confidence, he advises Schenker to apply to the
Ministry of Education for help with the printing costs of the “Eroica book” [i.e. the third
Meisterwerk yearbook], and to get Furtwängler and Hoboken to write in support of his
receiving an civic honor.
-
OJ 10/3, [143] Typewritten letter from Deutsch to Schenker, dated March 8, 1931
Distraught by the response to his letter of March 6, Deutsch explains the
efforts he has made on Schenker’s behalf and asks for further clarification about his
friend’s wishes.
-
OJ 10/3, [144] Handwritten picture postcard from Deutsch to Schenker, dated March 13,
1931
In this cryptic message, Deutsch creates a relationship among Beethoven,
Schenker, the music critic Julius Korngold, and the writer on music Richard
Specht.
-
OJ 10/3, [145] Handwritten picture postcard from Deutsch to Schenker, dated April 2,
1931
Deutsch comments on Schenker’s essay on a “lost Mozart letter,” to be
published in Der Kunstwart. He does not himself question its authenticity but advises
Schenker to get in touch with Richard Benz in Heidelberg about it.
-
OJ 10/3, [146] Typewritten letter from Deutsch to Schenker, dated April 21, 1931
Deutsch thanks Schenker for his completion of an untexted Schubert song. He
asks Schenker to help him to compare two versions of a set of variations. A deputation from
the Ministry of Education will pay a visit to Hoboken’s private library.
-
OJ 10/3, [147] Typewritten letter from Deutsch to Schenker, dated May 2, 1931
Deutsch asks Schenker to return the edition of the first version of
Beethoven’s Variations WoO 74. Needing a few weeks’ peace and quiet in the summer holidays,
he is looking for a place in the Tyrol that is more than 1,500 meters above sea level, and
asks Schenker’s advice about accommodation, possibly in Galtür.
-
OJ 10/3, [148] Typewritten picture postcard from Deutsch to Schenker, dated May 6, 1931
Deutsch thanks Schenker for his advice about summer holiday accommodation; he
will make inquiries in Ischgl.
-
OJ 10/3, [149] Typewritten letter from Deutsch to Schenker, dated June 11, 1931
Deutsch will not be spending the summer holiday in Ischgl, but with a family
in Nauders. He hopes to see Schenker before the Schenkers go on holiday.
-
OJ 10/3, [150] Handwritten picture postcard from Deutsch to Schenker, dated July 1, 1931
Deutsch expresses concern that his last letter may have been misunderstood.
The question of textual corruption of musical masterworks may be raised at the Department of
International Intellectual Collaboration in Geneva. The Mozart letter on which Schenker
elaborated was mentioned in the first edition of Jahn but now survives only in poetic and
philosophical biographies of the composer.
-
OJ 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931
Deutsch reports illness in his family over the summer. -- He is glad to see
Schenker’s article on the lost Mozart letter in print, and mentions other places in which it
was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which
have, however, been misrepresented in the press.
-
OJ 10/3, [152] Typewritten letter from Deutsch to Schenker, dated August 19, 1931
Replying to Schenker’s recent letter and postcard, Deutsch says that he will
be out of the country in the first half of September (travelling with a choir). He is
delighted with the recent review [of the third Meisterwerk yearbook], and is always happy to
see Schenker’s work praised. His wife and family have now recovered from illnesses. He is
still awaiting a letter from Drei Masken Verlag.
-
OJ 10/3, [153] Typewritten picture postcard from Deutsch to Schenker, dated September 25,
1931
Deutsch is back in Vienna, and hopes to see Schenker the following
week.
-
OJ 10/3, [154] Typewritten letter from Deutsch to Schenker, dated October 8, 1931
Deutsch has been in touch with Robert Haas about a civic honor being conferred
upon Hoboken in the hopes of keeping him, the Photogram Archive, and his personal library in
Vienna. He asks if Schenker might request a letter from Furtwängler recommending this
action, and be able to get Julius Korngold to write something about the importance of
Hoboken’s collections.
-
OJ 10/3, [155] Typewritten picture postcard from Deutsch to Schenker, dated October 9,
1931
Deutsch has learned, from an 1892 exhibition catalogue, that the Moscheles
family owned Beethoven sketch manuscripts and that G. B. Davy owned a number of autographs,
and a sketchbook for the Cello Sonata Op. 102, No. 2.
-
OJ 10/3, [156] Typewritten letter from Deutsch to Schenker, dated October 13, 1931
Deutsch reports that Hoboken is probably going to keep his personal library in
Vienna. He is not optimistic that “V” [Moriz Violin] will be accorded the title of
Professor, which can be conferred only by the Vienna Academy and not to people living [i.e.
working] outside it.
-
OJ 10/3, [157] Typewritten letter from Deutsch to Schenker, dated October 16, 1931
In advance of a meeting to discuss the conferral of an honor upon Anthony van
Hoboken, Deutsch asks Schenker to sound out Ludwig Karpath cautiously about enlisting his
support for this action.
-
OJ 10/3, [158] Handwritten picture postcard from Hannah Deutsch to Schenker, dated October 20,
1931
Deutsch’s meeting, first mentioned in his letter of October 16, has been
postponed by two days, until Thursday, October 22.
-
OJ 10/3, [159] Typewritten letter from Deutsch to Schenker, dated October 23, 1931
Deutsch enumerates three points arising from his meeting the previous day
(October 22, 1931) with Robert Haas and Wilhelm Weckbecker: that the minister (for
education) should be approached regarding the conferral of a civic honor upon Anthony
Hoboken by the Austrian state; that Hoboken’s character and reputation should in the
meantime be “cleaned up,” by appealing to the Vienna police authorities; that Hoboken should
invite – separately – Weckbecker and Ludwig Karpath to his home to examine his personal
library. He asks Schenker to get in touch with Karpath about this, but to do so tactfully
and with reference to these three points.
-
OJ 10/3, [160] Typewritten letter from Deutsch to Schenker, dated October 24, 1931
Deutsch is pleased that his “plotting” to obtain for Hoboken a civic honor
from the Austrian state is working so far. He has spoken on the telephone with Ludwig
Karpath and will see him next week. Hoboken’s character seems not to have been blotted by an
incident in Munich some time ago: whatever misdeed he may have for which he had been
accused, and which led to his (brief) incarceration, can never be proved.
-
OJ 10/3, [161] Typewritten letter from Deutsch to Schenker, dated December 19, 1931
Deutsch has a few things to give Schenker and much to tell him about, and
gladly accepts an invitation for December 26 or 30.
-
OJ 11/16, [9] Handwritten letter from Furtwängler to Schenker, dated November 8, 1931
Furtwängler would hear with Schenker. — He has heard good news of Weisse from
Violin.
-
OJ 11/32, [8] Typed letter from Robert Haas to Schenker, dated June 27, 1931
Haas sends summer greetings, and agrees to advise Angi Elias.
-
OJ 11/32, [9] Handwritten picture postcard from Robert Haas to Schenker, dated December 22, 1931
Seasonal greetings
-
OJ 11/54, [30] Handwritten letter from Hoboken to Schenker, dated January 5, 1931
Hoboken sends New Year's greetings and speaks of next lesson.
-
OJ 11/54, [31] Handwritten picture postcard from Hoboken to Schenker, dated February 3,
1931
Hoboken will miss today's lesson for health reasons.
-
OJ 11/54, [32] Typewritten postcard from Hoboken to Schenker, dated February 28, 1931
Hoboken will seek a wanted issue of the Allgemeine musikalische Zeitung for
Schenker.
-
OJ 11/54, [33] Handwritten picture postcard from Hoboken to Schenker, dated April 27, 1931
Hoboken reports when he will be back in Vienna.
-
OJ 11/54, [34] Handwritten letter from Hoboken to Schenker, dated April 29, 1931
Hoboken may stay at the Semmering spa for a few more days, and discusses his
next appearance for a lesson. — He discusses Specht's Bildnis Beethovens.
-
OJ 11/54, [35] Handwritten letter from Hoboken to Schenker, dated September 27, 1931
Hoboken encloses a check for 39 past lessons and reports on his work during
the summer. -- He comments on books by Hans Meyer and Cassirer.
-
OJ 11/54, [36] Handwritten postcard from Hoboken to Schenker, dated November 26, 1931
Hoboken's next lesson will be December 2: Chopin mazurkas.
-
OJ 12/24, [1] Handwritten letter from Kromer to Schenker, dated April 9, 1931
Kromer asks to meet with Schenker.
-
OJ 12/24, [2] Handwritten calling card from Kromer to the Schenkers, dated December 30,
1931
New Year's greetings
-
OJ 12/50, [7] Handwritten letter from Bernhard Martin to Schenker, undated [1931?]
Bernhard Martin sends Schenker a circular sketch diagram of the opening of the
C minor fugue from WTC, Book I, which he has used in his class teaching. He has for two
years been developing from Schenker's publications proposals for music instruction in
schools, including counterpoint with practical exercises.
-
OJ 12/6, [7] Handwritten letter from Jonas to Schenker, dated February 25, 1931
Jonas sends three essays and asks for Schenker's comments.
-
OJ 12/6, [8] Handwritten postcard from Jonas to Schenker, dated March 30, [1931]
Jonas thanks Schenker for OJ 5/18, 4; — reports that his own essay and a review
of Das Meisterwerk III will appear in the Zeitschrift für Musikwissenschaft; — asks question
about a discussion in Der Tonwille of a Bach fugue copied out by Beethoven.
-
OJ 12/6, [9] Handwritten letter from Jonas to Schenker, dated April 17, 1931
Acknowledges OJ 5/18, 6. Discusses plan for collected publication of Schenker's
essays and reviews. — Gives news of his own forthcoming publication.
-
OJ 12/9, [26] Handwritten letter from Karpath to Schenker, dated February 3, 1931
Karpath replies to a letter from Schenker showing himself to be in need of help.
— Karpath reports on contact with Robert Brünauer, who was seeking financial
support.
-
OJ 12/9, [27] Typewritten picture postcard from Karpath to Schenker, dated February 23,
1931
Karpath thanks Schenker for sending volume III of the Yearbook.
-
OJ 12/9, [28] Typewritten letter and envelope from Karpath to Schenker, dated October 23,
1931
To Schenker's inquiry regarding Moriz Violin, Karpath gives information as to
how in the era of Perger and Bopp at the Vienna Conservatory professors and teachers were
addressed.
-
OJ 14/23, [23] Handwritten picture postcard from Seligmann to Schenker, undated [February 28, 1931]
Seligmann thanks Schenker for his recent correspondence, is heartened by what
Hans Weisse has written (about the reception of Schenker’s work in Berlin); he looks forward
to reading about Rameau (in the third Meisterwerk yearbook).
-
OJ 14/23, [24] Handwritten postcard from Seligmann to Schenker, postmarked March 11,
1931
Seligmann thanks Schenker for sending him the third Meisterwerk yearbook and
says he greatly enjoyed learning about Rameau in the opening essay. But, he says, Schenker
can hardly be surprised that he is ignored by the Ministry [of Education] if he constantly
offends the people who are responsible to the Minister.
-
OJ 14/23, [25] Handwritten picture postcard from Seligmann to Schenker, postmarked July 17,
1931
Seligmann acknowledges the receipt of Schenker’s article about a lost Mozart
letter, published in Der Kunstwart. He was surprised to learn that some Mozart scholars
doubted its authenticity.
-
OJ 15/15, [54] Handwritten picture postcard from Weisse to Schenker, dated February 5,
1931
Weisse reports having given a successful talk to the Society for Music
Pedagogy on the importance of counterpoint; Schenker’s concept of line made a big impression
on the audience.
-
OJ 15/15, [55] Handwritten picture postcard from Weisse to Schenker, dated February 13,
1931
Weisse thanks Schenker for sending him a Mozart quotation, asks for a source
for it, and makes a reference to a certain "Preetorius."
-
OJ 15/15, [56] Handwritten picture postcard from Weisse to Schenker, dated February 25,
1931
Weisse thanks Schenker and clarifies a remark of his own regarding the
analysis of a Bach prelude; comments on the content of an edition of Mozart’s letters, and
expresses shock at the death of John Petrie Dunn.
-
OJ 15/15, [57] Handwritten picture postcard from Weisse to Schenker, dated March 5, 1931
Weisse describes the extraordinary success of his lecture on Bach's Prelude in
D minor, at the Society for Music Pedagogy in Vienna.
-
OJ 15/15, [58] Handwritten picture postcard from Weisse to Schenker, dated March 20,
1931
Weisse arranges to bring Furtwängler to Schenker’s apartment.
-
OJ 15/15, [59] Handwritten picture postcard from Weisse to Schenker, dated April 3, 1931
Weisse thanks Schenker for copies of the [Mozart calling] card – He has given
the one intended for Felix Salzer to another pupil, and asks if Schenker has an extra one
for Salzer.
-
OJ 15/15, [60] Handwritten picture postcard from Weisse to Schenker, dated April 21,
1931
Weisse suggests possible dates and times for a meeting between himself and
Schenker, without Furtwängler.
-
OJ 15/15, [61] Handwritten picture postcard from Weisse to Schenker, dated May 1, 1931
Weisse tries to arrange a date to meet Schenker.
-
OJ 15/15, [62] Handwritten picture postcard from Weisse to Schenker, dated May 19, 1931
Weisse arranges to meet Schenker; he has written again to
Furtwängler.
-
OJ 15/15, [63] Handwritten picture postcard from Hertha Weisse to Jeanette Schenker, dated November
16, 1931
Hertha Weisse accepts an invitation from Jeanette Schenker.
-
OJ 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931
Hearing that Schenker expects to complete Der freie Satz by early spring,
Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on
Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of
a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the
author against Schenker.
-
OJ 15/16, [68] Handwritten letter from Weisse to Schenker, dated February 17, 1931
Weisse thanks Schenker for sending him letters from Felix-Eberhard von Cube
und Walter Braunfels, and in return sends Schenker a letter from Wilhelm Furtwängler. He
repeats a request for information about the source of a Mozart letter that he has been
quoting in a lecture to the Viennese Society for Music Pedagogy.
-
OJ 15/16, [68] Handwritten letter from Weisse to Schenker, dated February 17, 1931
Weisse thanks Schenker for sending him letters from Felix-Eberhard von Cube
und Walter Braunfels, and in return sends Schenker a letter from Wilhelm Furtwängler. He
repeats a request for information about the source of a Mozart letter that he has been
quoting in a lecture to the Viennese Society for Music Pedagogy.
-
OJ 15/16, [69] Handwritten letter from Weisse to Schenker, dated March 19, 1931
Weisse asks Schenker’s approval to approach Furtwängler about Der freie Satz,
presumably to seek financial assistance for its publication. He has been given a copy of a
letter from Mozart to Baron van Swieten, but expresses his doubts about the tone of one of
Mozart’s phrases; he hopes to meet Schenker soon, to talk about Bruckner.
-
OJ 15/16, [70] Handwritten letter from Weisse to Schenker, dated March 21, 1931
Weisse reports to Schenker Furtwängler's confidence about obtaining money from
two wealthy people in Berlin to defray the publication costs of Der freie Satz and the
analysis of Beethoven’s "Eroica" Symphony, i.e. third volume of Das Meisterwerk in der
Musik. Weisse has suggested a sum of 4,000 marks for the former, as a conservative
estimate.
-
OJ 15/16, [71] Handwritten letter from Weisse to Schenker, dated March 25, 1931
Weisse, remaining confident that Furtwängler will provide financial assistance
with Schenker’s publications, thinks it is best to ask for help with the “Eroica” analysis
(Meisterwerk III) and Der freie Satz together; he will emphasize that the subvention for the
“Eroica” is the more urgent, and the cost of publishing the latter could be met by
subscription. From what Furtwängler has hinted, the prospects for Weisse lecturing, and
eventually teaching, in Berlin are not good; but Weisse may have other
plans.
-
OJ 15/16, [72] Handwritten letter from Weisse to Schenker, dated March 30, 1931
Following up a discussion with Schenker in the presence of Wilhelm
Furtwängler, Weisse draws up a list of Schenker’s early essays. Oswald Jonas and his wife
have been copying them and Jonas plans to write a Foreword to a new edition of these
writings.
-
OJ 15/16, [73] Handwritten letter from Weisse to Schenker, dated April 7, 1931
Weisse continues to urge a cautious approach to Furtwängler with regard to
financial support for recent and forthcoming publications.
-
OJ 15/16, [74] Handwritten letter from Weisse to Schenker, dated April 15, 1931
Weisse thanks Schenker for a letter of reference [for his teaching post at the
Mannes School of Music], and asks for some modifications. — He has not heard from
Furtwängler, whom he has also asked for a reference, and urges Schenker to be patient with
Furtwängler, too. — He is completing a set of three-voice piano pieces and wishes to
dedicate them to Schenker on the occasion of his leaving Vienna.
-
OJ 15/16, [75] Handwritten letter from Weisse to Schenker, dated April 21, 1931
Weisse has received from Furtwängler a letter ‒ probably one written to him by
Ludwig Karpath ‒ that suggests there is cause for optimism concerning financial support for
the publication of Schenker's writings. He copies out a glowing personal reference that
Furtwängler has written [in support of his application to teach at the Mannes School of
Music].
-
OJ 15/16, [76] Handwritten letter from Weisse to Schenker, dated April 24, 1931
Under increasing pressure from Schenker, Weisse assures his teacher that
Furtwängler will not be long in making up his mind to seek financial support for Schenker’s
publications. He asks to see Schenker.
-
OJ 15/16, [77] Handwritten letter from Weisse to Schenker, dated June 1, 1931
Weisse sends Schenker a letter written by Furtwängler, from which it can be
inferred that a major subvention for the printing costs of Meisterwerk III has been obtained
and that there is every reason to expect that a significant part of the costs of publishing
Der freie Satz will also be met.
-
OJ 15/16, [78] Handwritten letter from Weisse to Schenker, dated June 12, 1931
Weisse expresses his joy and gratitude at Schenker's approval of the
three-voice piano pieces he has dedicated to him. Having sent his teacher several copies of
them, he asks for the names of the recipients of the other copies.
-
OJ 15/16, [79] Handwritten letter from Weisse to Schenker, dated June 13, 1931
Weisse sends Schenker further corrections of printing errors [in Meisterwerk
III], and notes that the book has recently been reviewed.
-
OJ 15/16, [80] Handwritten letter from Weisse to Schenker, dated August 25, 1931
Weisse, on holiday, will not be returning to Vienna before making his way ‒
via Nuremberg and Berlin ‒ to Hamburg, where his ship to America sets sail on September 17.
He gives Schenker the address of the Mannes Music School, and reports that he has heard
nothing of late from Furtwängler.
-
OJ 15/16, [81] Handwritten letter from Weisse to Schenker, dated September 5, 1931
Weisse outlines his travel plans before leaving for America. He has accepted
an invitation from Moriz Violin to give a lecture in Hamburg on September 16, the day before
he sets sail.
-
OJ 15/16, [82] Handwritten letter from Weisse to Schenker, dated October 15, 1931
Weisse describes his new life in America; — is touched by the spirit that
pervades the Mannes Music School; — has given a lecture to the faculty on the role of a
theorist in a music school. — He reports that he has 22 pupils, and is about to meet George
A. Wedge, Dean of the Institute of Musical Art. — He asks whether Schenker has had any news
from Hamburg.
-
OJ 15/16, [83] Handwritten letter from Hertha Weisse to the Schenkers, dated November 5,
1931
Hertha Weisse thanks the Schenkers for an invitation to their place, and asks
Jeanette to suggest two possible dates.
-
OJ 15/22, [1] Handwritten letter from Willfort to Schenker, dated April 3, 1931
Willfort thanks Schenker for the card with quotation from Mozart
letter.
-
OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
-
OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and
Heinrich Schenker’s hand, dated November 11‒16, 1931
-
OJ 5/18, 3c Handwritten picture postcard from Schenker to Jonas, dated March 1, 1931
Schenker acknowledges receipt [of essays].
-
OJ 5/18, 4 Handwritten letter from Schenker to Jonas, dated March 16, 1931
Schenker comments on the essays that Jonas has sent him, and the prospects for
publication.
-
OJ 5/18, 5 Handwritten picture postcard from Schenker to Jonas, dated April 19, 1931
Schenker acknowledges OJ 12/6, [9]. — The planned collection essays is
premature: 1,000 Marks is better spent on new works. — But the collection should be a
selection.
-
OJ 5/18, 6 Handwritten letter from Schenker to Jonas, dated April 1, 1931
Schenker congratulates Jonas on his forthcoming publication; — responds to his
question about the discussion in Der Tonwille of a Bach fugue copied out by Beethoven; —
encloses calling card of Mozart.
-
OJ 5/18, 7 Handwritten picture postcard from Schenker to Jonas, undated [c.April 2,
1931(?)]
Schenker asks for reprint of essay.
-
OJ 5/30, [1a] Handwritten draft letter from Schenker to Preetorius, undated [February 12–13,
1931]
Schenker draws Preetorius's attention to part of Meisterwerk III, and
invites him to consider his (Schenker's) theory of coherence in music as a basis for
that in other arts, hence unity among the arts. -- He envisions a "club" of artists
to discuss these matters.
-
OJ 5/45, [6] Handwritten draft letter of recommendation by Schenker for Hans Weisse, dated April 13,
1931
In a letter of recommendation Schenker praises Weisse's creativity and
pedagogical skill, and declares him the best representative of his own theory.
-
OJ 5/45, [7] Handwritten draft letter of recommendation by Schenker for Hans Weisse, dated April 15,
1931
In the second draft of a letter of recommendation Schenker praises Weisse's
creativity and pedagogical skill, his qualifications as a teacher of composition, and declares
him the best representative of his own theory.
-
OJ 5/7a, [35] (formerly vC 35) Handwritten letter from Schenker to Cube, dated March 28, 1931
Schenker put Cube's Cologne Highschool proposal to van Hoboken, and now reports on the reaction,
discussing the latter's character in so doing.
-
OJ 5/7a, [36] (formerly vC 36) Handwritten postcard from Schenker to Cube, dated June 6, 1931
Schenker will write to Cube from Galtür, with Mozart calling
card.
-
OJ 5/7a, [37] (formerly vC 37) Handwritten postcard from Schenker to Cube, dated June 12, 1931
Schenker sends pieces by Hans Weisse; promises letter from Galtür.
-
OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931
Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he
emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice;
comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of
C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be
available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete
rest.
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OJ 5/7a, [39] (formerly vC 39) Handwritten postcard from Schenker to Cube, undated [August 22, 1931]
Acknowledges OJ 9/34, [26] and asks for further copies of the prospectus of the Schenker
Institute, Hamburg.
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OJ 5/7a, [40] (formerly vC 40) Handwritten letter from Schenker to Cube, undated [c. October 29, 1931]
Angi Elias has made a fair copy of Cube's latest graph of the C major Prelude
(Wohltemperirtes Clavier, Book I), which Schenker may use in his seminar; Cube to write thanking
Elias; Schenker comments on changes to Cube's graph.
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OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931
In this long and wide-ranging two-part letter, which includes a graphic
analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of
Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post
there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald
Warburg), or even found an institute that would give employment to Felix Salzer and other
Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the
morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg.
For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and
Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes
with a tirade against those who have caused him financial misery (including his brother
Mozio), culminating in a cynical passage in which Schenker advises his friend to look after
himself and engage some dull pedagog to teach conventional theory. In the end, he wishes
Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s
clutches.
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OJ 6/8, [2] Handwritten letter from Schenker to Violin, dated April 14, 1931
Having heard that Weisse is leaving for America, Schenker asks if Violin has
had a response from Cube. He has had a postcard from a pupil of Cube’s, Erich Voss, who
would like to know the content of Der freie Satz.
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OJ 6/8, [3] Handwritten letter from Schenker to Violin, dated May 24, 1931
Schenker sends Violin clippings of a positive anonymous review of Das
Meisterwerk 3, and an article by Bruno Walter from the Neue freie Presse mentioning
him.
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OJ 6/8, [4] Handwritten letter from Schenker to Violin, dated June 11, 1931
Schenker expresses his feelings about the establishment of a music school in
Hamburg named after him, believing it to represent a spiritual union of Violin with himself.
He is sending him some recent compositions by Weisse, which he finds well
composed.
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OJ 6/8, [5] Handwritten letter from Schenker to Violin, dated September 6, 1931
In this long, sentimental letter, Schenker thanks Violin for founding a
Schenker Institute in Hamburg and reflects on the intertwining of their fates through their
connection with C. P. E. Bach. He also advises on the wording of the Institute’s
prospectus.
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OJ 6/8, [6] Handwritten letter from Schenker to Violin, dated September 28, 1931
Schenker is heartened that Herman Roth, once again, seems to be supporting his
cause. Schenker recommends a series of possible “guest speakers” at the Schenker Institute
and asks if there is some sort of monument or commemorative space devoted to C. P. E. Bach
in Hamburg.
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OJ 6/8, [7] Handwritten letter from Schenker to Violin, dated October 17, 1931
Schenker offers Violin words of comfort in the light of a misappropriation of
the title “Professor.” He also describes progress on Chopin’s Op. 10, No. 12, and the Bach
Prelude in C major for the Five Analyses in Sketchform, and his work on a document of Anton
Schindler purporting to convey Beethoven’s instructions on the performance of the Op. 14
sonatas.
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OJ 6/8, [8] Handwritten letter from Schenker to Violin, dated October 23, 1931
Schenker has written to Ludwig Karpath concerning the matter of Violin’s
appropriation of the title of “Professor” (as discussed in Schenker’s letter of October 17).
He hopes that his friend's difficulties are now entirely behind him.
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OJ 6/8, [9] Handwritten letter from Schenker to Violin, dated December 24, 1931
Thanking Violin for his recent letter, Schenker bemoans the present condition
of the world, and expresses the hope that his health will enable to see him through the
worst of the days to come.
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OJ 8/5, [2] Handwritten picture postcard from Schenker to Violin, dated February 28,
1931
Schenker has heard about Violin’s letter to Weisse [concerning the founding of
a Schenker Institute in Hamburg] and expresses his interest in it, noting that it will be
possible to teach composition only after Free Composition has been
published.
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OJ 8/5, [3] Handwritten picture postcard from Schenker to Violin, dated March 14,
1931
Schenker expresses his delight that Violin will soon be coming to
Vienna.
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OJ 8/5, [4] Handwritten picture postcard from Schenker to Violin, postmarked June 6,
1931
Furtwängler has sent 3,000 Marks via Hans Weisse for the costs of Das
Meisterwerk 3, and Weisse will continue to seek the funds for Der freie
Satz.
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OJ 8/5, [5] Handwritten picture postcard from Schenker to Violin, dated July 13,
[1931]
Schenker asks Violin if he has yet seen the review of Meisterwerk 3 in the
current issue of Die Musik, which has raised his standing in the world.
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OJ 8/5, [6] Handwritten picture postcard from Schenker to Violin, dated July 24, 1931
Schenker expresses his astonishment at what the Violin family has had to
endure, and thanks him for the Schenker Institute prospectus.
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OJ 8/5, [7] Handwritten picture postcard from Schenker to Violin, dated November 27,
1931
Inquiring about Violin’s difficulties at the Schenker Institute in Hamburg,
Schenker observes that there are many fewer conservatory students in Vienna, and also in
Berlin, because music teachers earn so little.
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OJ 89/5, [1] Handwritten letter from Schenker to Hoboken, dated September 29, 1931
Schenker tells Hoboken not to concern himself too much with the Urlinie: it is
the linear progressions that really matter.
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OJ 9/34, [23] Handwritten letter from Cube to Schenker, dated February 10, 1931
Cube acknowledges issue of Der Kunstwart; encloses a letter from Walter Braunfels responding to his
plans to establish a Rhineland base for Schenkerian teaching at the Cologne Hochschule für Musik; wonders whether
Anthony van Hoboken might be approached for financial assistance on this, and if so how the approach should be
made.
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OJ 9/34, [24] Handwritten letter from Cube to Schenker, dated April 25, 1931
Cube is busy disposing of his house and dealing with his father's estate; he is
moving to Hamburg to work with Moriz Violin after a short holiday.
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OJ 9/34, [25] Handwritten letter from Cube to Schenker, dated May 9, 1931
Cube describes his feelings and final dealings with the Conservatory in Duisburg,
and preparations for work with Violin in Hamburg; he reports on his two best pupils, Erich Voss
and Lieselotte Müller.
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OJ 9/34, [26] Handwritten letter from Cube to Schenker, dated August 19, 1931
Cube informs Schenker that Moriz Violin's son has been taken ill; Cube sends
Schenker a copy of the Schenker Institute prospectus.
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OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931
Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his
relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at
a lecture given by Hans Weisse.
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OJ 9/34, [28] Handwritten letter from Cube to Schenker, dated October 16, 1931
Cube reports enrollment and quality of students at the Schenker Institute,
Hamburg; his own teaching is increasingly small-group-tuition based, drawing on Tonwille and
Meisterwerk. Karl Violin is recovering.
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OJ 9/34, [29] Handwritten letter from Cube to Schenker, dated October 20, 1931
Encloses graph of J. S. Bach, Wohltemperirtes Clavier, Book I, Prelude in C major and asks Schenker's
opinion of several aspects of his graphing.
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OeNB Mus.Hs. 36390/1 [1] Handwritten letter from Violin to Schenker, dated March 12, 1931
Violin says that things are in order [with the planned Schenker Institute in
Hamburg], but that Hans Weisse will not take part. He will visit Vienna at the end of the
month to consult his friend, whom he asks to say nothing about the matter to
Weisse.
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OeNB Mus.Hs. 36390/1 [2] Handwritten letter from Violin to Schenker, dated November 4, 1931
Violin thanks Schenker for his package. He has been swamped by administrative
business concerning the Schenker Institute, but is sometimes able to argue about musical
matters with Felix-Eberhard von Cube. He thanks Schenker for correcting a mistake on Cube’s
part concerning the analysis of the end of the C major Prelude from the first book of Bach’s
Well-tempered Clavier.
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WSLB-Hds 191.572 Handwritten letter from Schenker to Deutsch, dated April 13, 1931
Schenker explains some of the details of the conclusion he has written
for an unfinished, untexted Schubert song, D. 555.
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WSLB-Hds 191.573 Handwritten postcard from Schenker to Deutsch, dated April 23, 1931
Schenker explains to Deutsch how the text (as yet unwritten) of the Schubert
song fragment, D. 555, should fit into his completion. He has heard that Ludwig Karpath has
referred to him as Austria’s best music theorist.
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WSLB-Hds 94479 Handwritten letter from Schenker to Seligmann, dated February 26, 1931
Schenker asks Seligmann to read the opening essay in the third volume of Das
Meisterwerk in der Musik. He quotes from a letter to his pupil Hans Weisse which
demonstrates the attention his theories have been gaining in Germany, especially Berlin, and
expresses his regret that no one in Vienna shows similar respect for him.