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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.
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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.
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OJ 11/54, [33] Handwritten picture postcard from Hoboken to Schenker, dated April 27, 1931
Hoboken reports when he will be back in Vienna.
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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.
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OJ 12/24, [1] Handwritten letter from Kromer to Schenker, dated April 9, 1931
Kromer asks to meet with Schenker.
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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.
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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.
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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.
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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.
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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.
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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].
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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.
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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.
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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.
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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.
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OJ 5/18, 7 Handwritten picture postcard from Schenker to Jonas, undated [c.April 2,
1931(?)]
Schenker asks for reprint of essay.
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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.
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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.
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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 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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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.