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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.
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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.
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OJ 10/1, [105] Handwritten picture postcard from Dahms to Schenker, dated February 23,
1931
Dahms acknowleges receipt of Meisterwerk 3.
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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.
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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.
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OJ 11/54, [31] Handwritten picture postcard from Hoboken to Schenker, dated February 3,
1931
Hoboken will miss today's lesson for health reasons.
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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.
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OJ 12/6, [7] Handwritten letter from Jonas to Schenker, dated February 25, 1931
Jonas sends three essays and asks for Schenker's comments.
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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.
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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.
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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).
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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.
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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."
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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.
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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.
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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.
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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.
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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 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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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.