-
OJ 6/4, [27] Handwritten letter from Schenker to Moriz Violin, undated [summer 1903]
Schenker (apparently writing from Gmunden) tries to get Violin to influence
affairs at the Vienna Conservatory. — Schenker is sure the number of professors at the
Conservatory will increase, so considers his own [chance of procuring a professorship] to "have
improved." He is sure transfer to state control (Verstaatlichung) is bound to
happen.
-
WSLB-Hds 95664 Handwritten letter from Schenker to Seligmann, dated July 22, 1903
Schenker is sending Seligmann a copy of his Beitrag zur Ornamentik, which he
hopes will be grounds for receiving a letter of recommendation from Gustav Mahler (for a
post at the Vienna Conservatory). The writing of it has caused him great anguish, and there
are even more things he wants to say, which would require writing another book, but without
a professorship no one will pay attention to him. He also expresses his desire for female
companionship, to help with his work.
-
OJ 14/23, [6] Handwritten postcard from Seligmann to Schenker, postmarked July 25, 1903
Seligmann congratulates Schenker on his Beitrag zur Ornamentik, which he finds
excellent. He hopes that Mahler will write him a letter of reference, and believes that
Guido Adler would also assist him in obtaining a teaching post at the Vienna
Conservatory.
-
OJ 14/23, [7] Handwritten letter from Seligmann to Schenker, undated [probably late summer or
early autumn 1903]
In this long letter, Seligmann advises Schenker on how to prepare an
application for a teaching post at the Vienna Conservatory: what to include and whom to get
in touch with at the Conservatory and the Gesellschaft der Muikfreunde. He thinks that a
position at the projected Lyceum in Vienna offers a better prospect and advises enlisting
the help of his patron Baron Rothschild.
-
Sbb B II 4424 Handwritten letter from Schenker to Busoni, dated October 8, 1903
The orchestral parts of Schoenberg's orchestration of Schenker's Syrische
Tänze have been dispatched to Busoni: Schenker comments on their degree of clarity and
correctness, and offers advice on performance. He will be attending rehearsals in Berlin.
Weinberger have asked that the existing title be retained. -- Schenker reports on
prospective performances of his works. He also reports on good chances of receiving a theory
professorship at the Vienna Conservatory, and doesn't want Jewishness associated with his
compositions lest this should impair those chances.
-
WSLB 14 Handwritten letter from Schenker to Hertzka (UE), dated August 19, 1908
Schenker gives list of those to receive a copy of Beitrag zur
Ornamentik.
-
OJ 5/35, [2] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, undated [September
17, 1908]
Schenker is pleased at Rudorff's agreement with his ideas in the Beitrag zur
Ornamentik, and speaks of his difficulties with the Viennese music profession. — He takes
leave to have a copy of his Harmonielehre dispatched to Rudorff.
-
OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated
[?mid-late September 1908?]
Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf.
Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is
technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than
Haydn, Brahms, and other masters.
-
OJ 5/15, [4] Incomplete handwritten letter draft from Schenker to Grunsky, undated [?between
September 23 and December 31, 1908]
Schenker reports progress on his Kontrapunkt. — The main problem in music is
"how length can be produced." — He recollects his love for the pious Bruckner, and his
admiration for the latter's music, but speaks of its "defects," comparing the music
favorably with that of Tchaikovsky. Bruckner's stumbling block was form.
-
OC 52/444 Typewritten letter from Hertzka (UE) to Schenker, dated November 7, 1908
Hertzka details the distribution of first copies of the
Instrumentations-Tabelle. — He makes a bid to publish Kontrapunkt.
-
OC 52/399-401 Typewritten letter from Hertzka (UE) to Schenker, dated December 18, 1908
Hertzka complains at the embarrassment that Schenker has caused him over the
Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes
that Schenker edit Book II of the Well-tempered Clavier in the manner of
Busoni.
-
WSLB 31 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1908
Schenker agrees to the Instrumentations-Tabelle being published without his newly
written Introduction. — He declines the proposal to edit the Well-tempered Clavier Book II for
the new Akademie, offerin alternative suggestions and observations on Busoni's
editing.
-
CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909
Schenker raises again the splitting of Kontrapunkt into two half-volumes, or
even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the
Academy of Music, despite his being in a constant state of feud with all officialdom. — The
Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of
his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading
work" on the subject; he argues the case for splitting the work on "psychological" and
"technical" grounds.
-
OJ 9/31, [23] Stenographically handwritten letter from Cotta to Schenker, dated June 1,
1909
Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a
publication schedule for the first half-volume.
-
WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July
1909]
Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks
it worthy of publication, to send a letter of reference to one or other Viennese newspaper.
He also expresses his satisfaction at how his career is shaping: he has requested and
received generous fees for the editions he has prepared for Universal Edition, and his
theoretical writings for Cotta are also moving along.
-
OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10,
1909
Schenker, on receipt of the score of a Rudorff choral work, praises its
textural clarity and melodic articulation, comparing them favorably to the writing of the
current generation. — He reports the success of his own recent theory works, and inroads
made into the Vienna Academy for Music and Performance Art.
-
WSLB 44 Handwritten letter from Schenker to Hertzka (UE), dated October 18, 1909
Schenker tells Hertzka of the Academy's plans to present a "historical"
concert of works edited by himself.
-
OJ 6/4, [48] Handwritten letter from Schenker to Moriz Violin, dated November 22, 1909
Schenker proposes program order for forthcoming concert.
-
CA 106-107 Handwritten letter from Schenker to Cotta, dated December 2, 1909
Schenker explains the necessity for some late interpolations into Kontrapunkt
I. — He may be able to include the title "Professor of Composition and Theory" against his
name on the title-pages of his works, and debates the advantages of such an appointment at
the Vienna Academy against the loss of independence. — Only anonymity has prevented
Harmonielehre from success so far.
-
OJ 7/4, [56] Handwritten postcard from Schenker to Moriz Violin, dated December 3, 1909
Schenker reports a conversation with "G." re conducting the "Kreuzstab"
Cantata.
-
OJ 6/4, [52] Handwritten letter from Schenker to Violin, dated September 23, 1910
Schenker gives Violin his reactions to Wilhelm Bopp's cancelation of a planned
"historical" concert of music by C.P.E. and J.S. Bach and Handel at the Akademie, and urges that
they adhere to their original plan.
-
CA 139 Handwritten postcard from Schenker to Cotta, dated October 25, 1910
Schenker asks for a copy of his Harmonielehre to be sent to Prof. Robert Fuchs
at the Vienna Academy.
-
OC 52/61 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1910
Hertzka will speak to Wilhelm Bopp to explore the position over the parallel
publication of Beethoven and Bach works, but admits there remains the thorny issue of the
need for a subsidy.
-
OJ 9/18, [2] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated January
14, 1911
Bopp regrets that he was unable to attend Schenker's chamber music
concert.
-
OC 52/62 Typewritten letter from Hertzka (UE) to Moriz Violin, dated January 19,
1911
Hertzka regrets having missed Moriz Violin's concert, and asks for a
list of recipients for his booklet Ueber das Continuo.
-
OJ 9/18, [5] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated May 16,
1911
Bopp sends Schenker an invitation to a concert.
-
OJ 9/4, [4] Handwritten invitation, with typewritten envelope, from the Akademie für Musik to
Schenker, undated [May 16?, 1911]
Invitation to a student concert at the Akademie.
-
WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911
Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie
in time to take on vacation, and inquires as to his proposal for UE to publish the score of
the Ninth Symphony with original markings. — No summons to interview with Academy President
von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade
against von Wiener and the Academy's teachers.
-
OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 18, 1911
Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes
about his planned refutation of the theories of Hugo Riemann and the need to establish his own
theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes
more somberly about the coming autumn and its difficulties.
-
WSLB-Hds 94477 Handwritten letter from Schenker to Seligmann, dated May 22, 1912
Schenker congratulates Seligmann on the recent exhibition of his paintings. He
is about to send him a copy of his Beethoven’s Ninth Symphony and asks him to read the
section on the secondary literature and consider whether the same might be applied to the
literature on painting.
-
WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912
Schenker inquires about the print-run and retail cost of his
Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for
clarity on a payment he has just received, stressing his probity.
-
WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912
Schenker reports improved agreement among the supporters of the planned
Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for
the fee for correcting proofs of Beethovens neunte Sinfonie.
-
OJ 11/17, [2] Handwritten letter from Eduard Gärtner to Schenker, dated July 14, 1912
Eduard Gärtner regrets that he is unable to help.
-
OJ 12/29, [6] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 18, 1912
The Gesellschaft der Musikfreunde can accommodate a series of only three
lectures for Schenker; Lafite proposes days and times, asks Schenker for a revised topic,
and proposes a fee.
-
WSLB 136 Handwritten letter from Schenker to Hertzka (UE), dated September 21,
1912
Schenker reports the stormy end to the prospect of his teaching in the
Gesellschaft der Musikfreunde's "Hochschule."
-
WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916
Schenker explains why he is reluctant to produce a critical edition with
commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could
be freed from some of his teaching obligations, and also the autograph manuscript and other
sources are missing. He also defends his sharp tongue in discussions of the secondary
literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical
editions of the late Beethoven piano sonatas).
-
LC ASC 27/45, [2a] Handwritten letter from Moriz Violin to Schoenberg, dated January 13,
1919
Violin urgently asks to meet.
-
OJ 8/3, [67] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 24,
1919
Notification of the restaurant at which the Schenkers now eat; Paul de Conne is
hoping to return to the Vienna Conservatory, too.
-
OJ 6/6, [9] Handwritten triple-letter from Jeanette Kornfeld and Heinrich Schenker to Valerie and
Moriz Violin, dated July 15, 1919
(1) Jeanette to Valerie: offers sympathy and reassurance about her illness;
describes the Tantalier Castle and its romantic associations; (2) Heinrich to Valerie:
recommends eating large quantities; (3) Heinrich to Moriz: supports food theory by reference to
his own proneness to nervous depression; suggests that Valerie recuperate in Zell am
See.
-
Sbb 55 Nachl. 13, [1] Handwritten letter from Schenker to Furtwängler, dated November 5, 1919
Having attended for the first time a concert conducted by Furtwängler, Schenker
congratulates him on his achievement then, proclaiming him a "counterweight" to the present [in
his opinion inadequate] generation of conductors, and heir to the Mahler mantle. Schenker
comments on Viennese concert-goers and their fickleness. — He commends Moriz Violin to
Furtwängler, in case the latter can provide an introduction to Hausegger.
-
OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923
Baroness Fischer responds to Schenker's plan for distribution of issues of Der
Tonwille by suggesting contacts in the Vienna music schools and professional
association.
-
OJ 12/31, [1] Typewritten letter from Ernst Lamberg to Schenker, dated December 7, 1923
Concerning the Sofie Deutsch estate, Lamberg now has 2M Kronen to remit to
Schenker, and also 1.5M Kronen for the January 1924 disbursement of the Deutsch stipends. He
also sets out the arrangement that has been made for the event that the Verein zur Speisung
is dissolved.
-
UMdK Z 312 D/1924, [1] Typewritten letter from the Verein zur Speisung to the Akademie für Musik, dated May
21, 1924
The letter quotes the will of Mrs Sofie Deutsch, then announces that the
Verein is in process of dissolution, and decrees that the capital in question be devolved
upon the Akademie für Musik und darstellende Kunst, and refers the Akademie to its
attorney.
-
UMdK Z 312 D/1924, [2] Typewritten internal memorandum of the Akademie für Musik, dated June 27,
1924
Records receipt of UMdK Z 312 D/1924, [1] and includes the texts of letters to
be sent to attorney Ernst Lambert and the Ministry of Education.
-
UMdK Z 312 D/1924, [3] Typewritten letter from Lamberg to Julius Zappert (Verein zur Speisung), dated June
30, 1924
The letter quotes that of the Akademie für Musik to the Verein zur Speisung,
and requests transfer of sum of money tothe Akademie.
-
OJ 12/31, [2] Typewritten letter from Ernst Lamberg to Schenker, dated July 1, 1924
Ernst Lamberg informs Schenker that the Association for Feeding ... has
resolved to dissolve itself, and to make over a proportion of its capital to the Academy for
Music and Performing Arts.
-
OJ 5/24, [1] Handwritten draft letter from Schenker to Ernst Lamberg, dated July 8,
1924
Draft letter in which Schenker contends that Sofie Deutsch's intentions for
the administration of the stipends for composers that she created through her will are being
disregarded with the passing of the capital sum to the Academy for Music and Performing
Arts, and instructs Dr. Lamberg to write to Josef Marx, Director of the Academy, in these
terms.
-
OJ 12/31, [3] Typewritten letter from Ernst Lamberg to Schenker, dated July 11, 1924
Ernst Lamberg declines to write, as requested, to Josef Marx.
-
DLA 69.930/13 Handwritten letter from Schenker to Halm, dated October 6, 1924
Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of
performance of the A major string quartet. —Deplores current situation over Sofie Deutsch
stipends. —Reports difficulties with UE and intention to change publisher.
-
UMdK Z 641 D/1924, [1] Handwritten letter from Schenker to Joseph Marx (Akademie für Musik) to Schenker,
dated December 3, 1924
Schenker appeals to Marx that the full conditions laid down by Sofie Deutsch
for the stipends be honored.
-
UMdK Z 641 D/1924, [2] Handwritten internal memorandum of the Akademie für Musik, dated December 13,
1924
Drafts of letters to (1) the Federal Ministry of Education, (2) Schenker, both
regarding Schenker's appeal to Marx of December 3.
-
UMdK Z 163 D/1925, [1] Typewritten letter from Kallina (Bundesministerium) to the Akademie für Musik, dated
February 23, 1925
The Akademie is instructed to draw up an endowment letter concerning the
Sophie Deutsch stipends, and to avoid inclusion of slates of candidates; Schenker must
determine how adjudication should be conducted after his death.
-
OJ 9/4, [1] Typewritten letter from Franz Schmidt (Akademie für Musik) to Schenker, dated October
21, 1925
Schmidt reports the response from the Federal Ministry of
Education.
-
UMdK Z 641 D/1925, [1] Handwritten letter from Schenker to Franz Schmidt (Akademie für Musik), dated
October 30, 1925
Schenker determines how the Sofie Deutsch stipend should be adjudicated after
his death.
-
OC 54/110 Typed letter from Alfred Böhme (DMV) to Schenker, dated December 17, 1926
Drei Masken Verlag inform Schenker that a glowing review of the first
Meisterwerk volume has appeared in Der Abend, and ask that he send them details of interested individuals to whom they can forward the review.
-
UMdK Z 767 D/1926, [1] Handwritten letter from Schenker to the Akademie für Musik, dated December 17,
1926
Schenker inquires whether interest on the capital will be available for him to
award the Sofie Deutsch stipend in 1927.
-
UMdK Z 767 D/1926, [3] Typewritten internal memorandum of the Akademie für Musik, dated December 21,
1926
Records the interest for 1925 and 1926 for the Sophie Deutsch Stipend of
1927.
-
UMdK Z 767 D/1926, [4] Handwritten letter from Schenker to the Akademie für Musik, dated December 31,
1926
Schenker asks the amount of interest that will be available for the Sofie
Deutsch stipends in 1927.
-
OJ 9/4, [3] Typewritten letter from Joseph Marx and Alexander Wunderer (Akademie für Musik) to
Schenker, dated February 3, 1927
Schenker is asked to give the Federal Ministry of Education his opinion as to
how the Sofie Deutsch stipends should be adjudicated after his death.
-
OJ 5/4, [3] Draft letter from Schenker to the Akademie für Musik, dated February 7,
1927
Schenker repeats his intentions for the adjudication of the Sofie Deutsch
stipends after his death.
-
OJ 6/7, [32] Handwritten letter from Schenker to Violin, dated February 16, 1927, with postscript
from Fanny Violin
Replying to Violin's previous letter, Schenker expresses surprise about (Egon)
Pollak's enthusiasm for C. P. E. Bach's Double Concerto. He also expresses uncertainty about
whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and
adaptation of part of his Counterpoint, vol. 2, has been prepared; and Herman Roth's book on
counterpoint has also been published. He sends little Karl a picture of himself, and leaves
space for Violin's sister Fanny to add a short greeting.
-
OJ 5/7a, [10] (formerly vC 10) Handwritten letter from Schenker to Cube, dated June 1, 1927
Schenker congratulates Cube on appointment to professorship; reports that Oppel
has been appointed to a professorship at the Leipzig Conservatory, and on the spread of
Schenker's theory elsewhere; looks forward to visit from Cube.
-
OJ 5/4, [4] Handwritten draft letter from Schenker to Franz Schmidt (Akademie für Musik), dated
December 13, 1927
Schenker hands the Sofie Deutsch stipendia to the Akademie für Musik on the
grounds that the interest on the capital has diminished too greatly.
-
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.
-
OJ 10/3, [97] Typewritten picture postcard from Deutsch to Schenker, dated February 12,
1929
Deutsch thanks Schenker for his recent postcard, then describes the
circumstances of his recent and forthcoming radio programs, which include a series of
concerts given by a “Kammerensemble” (chamber group) which includes professors from the
Vienna Academy. He has been to a man named Villers, who has been reconstructing orchestral
scores from piano reductions.
-
OJ 15/15, [40] Handwritten postcard from Weisse to Schenker, dated April 16, 1929
In response to a query from Schenker concerning a pupil (Gerhard Albersheim),
Weisse explains the requirements of the state examination for prospective music teachers who
have not had a formal training at the Academy.
-
OJ 10/3, [101] Typewritten letter from Deutsch to Schenker, dated May 8, 1929
Deutsch reports that his series of radio concerts with professors from the
Vienna Academy is in jeopardy, because of Max Ast’s lack of enthusiasm for them, and that
Leopold Richtera has also let him down.
-
OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929
In a long letter, Deutsch thanks Schenker for encouraging him to apply for the
post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the
previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of
play at the Archive, above all on its insecure position. — He also expresses his regret that
Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors
from the Vienna Academy, and that some of the players are no longer enthusiastic about them;
he hopes to start a new initiative of that sort in the autumn. — He is in good standing with
Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his
recent trip to Italy, and thinks that he might have become an art historian had he gotten to
know the country earlier.
-
OJ 11/54, [26] Typewritten letter from Hoboken to [Reinhard Oppel], dated August 30, 1929
Hoboken advises Oppel on ordering materials from the Photogrammarchiv for study
purposes. — He hopes to see him in Kiel in late September.
-
WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930
Schenker is sending Deutsch copies of letters written by Leo Kestenberg
praising his theories for their practical application to composition and
performance, noting that Furtwängler is championing his cause everywhere. -- He then
launches into a tirade against the city of Vienna for snubbing him and his
work.
-
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 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 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 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 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 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.
-
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.
-
OJ 8/5, [12] Handwritten postcard from Schenker to Violin, dated November 7, 1932
Schenker reports that Joseph Marx wants to adopt a revised version of his
Harmonielehre for the students at the Akademie für Musik und darstellende Kunst in
Vienna.
-
OJ 89/5, [9] Handwritten letter from Schenker to Hoboken, dated November 7, 1932
Schenker reports that the [Vienna] Akademie wishes to introduce his Harmonielehre
into its curriculum in an abridged version. — The Gesellschaft der Musikfreunde has granted
consent.
-
NYnscl MP.0008.01/1/1, 2 Handwritten letter from Schenker to Arthur Waldeck, dated November 8,
1932
Schenker stipulates the conditions for granting publication rights for a
translation of his Harmonielehre, and asks which other Schenkerians in the U.S. Waldeck is
acquainted with.
-
OC 44/22 Typewritten letter from Jonas to Schenker, dated November 10, 1932
Jonas acknowledges letter from Schenker and gives initial list of subscribers
with number of copies; he reports on two of his latest publications.
-
OJ 89/5, [10] Typewritten letter (carbon copy) from Hoboken to Schenker, dated November 11,
1932
Hoboken welcomes the Akademie's acceptance of Schenker's Harmonielehre,
abridged, for teaching purposes; — He has started his cure at the spa.
-
OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20,
1932]
In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.
-
OeNB H Autogr.856/20-1 Handwritten letter from Schenker to Josef Marx, dated December 25, 1932
Schenker has read articles by Marx in a newspaper expressing disatisfaction at
musical life in Vienna; Schenker asks urgently to have a face-to-face meeting with Marx to
discuss these matters and probably others concerning Moriz Violin.
-
OC 18/43 Typewritten letter from Karpath to Schenker, dated December 31, 1932
Karpath answers Schenker's accusations against Joseph Marx among others, in a
placatory manner. — He encourages Schenker to ask Furtwängler for the awaited letter. — He
will contact Marx and Franz Schmidt.
-
OJ 6/8, [20] Handwritten letter from Schenker to Violin, dated January 19, 1933
Schenker gives Violin an account of a three-hour meeting he had with Joseph
Marx, who expressed his highest regard for Schenker's theories; he expects that his writings
will be adopted by the Vienna Akademie and that Violin will also profit from Marx’s interest
and goodwill.
-
OeNB H Autogr.856/20-3 Handwritten letter from Schenker to Josef Marx, dated January 19, 1933
Schenker urges Marx to advocate on behalf of Moriz Violin as a candidate for a
post at the Akademie für Musik, extolling his qualities as musician and
colleague.
-
OJ 89/6, [1] Handwritten letter from Schenker to Hoboken, dated January 20, 1933
Schenker reports (1) discussion with Joseph Marx of a school version of his
Harmonielehre for the Akademie curriculum; (2) proposal from New York for an English
translation of Harmonielehre.
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OC 18/44 Typewritten letter from Karpath to Schenker, dated January 23, 1933
Karpath reports that Joseph Marx is a candidate again for the Directorship of
the Academy. — He will advocate to Marx and to Karl Kobald that Schenker be appointed as a
professor at the Academy. — He says that he will write a letter to
Furtwängler.
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Sbb 55 Nachl. 13, [8] Handwritten letter from Schenker to Furtwängler, dated January 24, 1933
Schenker has received a letter from Karpath, and alerts Furtwängler that he will
be hearing from him about the proposed letter to the newspaper; Schenker reports on recent visit
by Joseph Marx re the adaptation of Harmonielehre; Schenker would now be willing to associate
with the Akademie, but appointments there come about only by intrigue.
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OC 18/46 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated January 30,
1933
Covering letter for a letter of recommendation (OC 18/47) by Furtwängler for
Schenker.
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OC 18/52 Typewritten letter (carbon copy) from Karpath to Furtwängler, including a
typewritten annotation from Karpath to Schenker, dated February 15, 1933
Karpath sends the copy of a letter to Furtwängler. He again shows himself
discontented with the latter's letter. In his letter to the conductor he asks for another
letter of recommendation.
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OJ 8/5, [15] Handwritten postcard from Schenker to Violin, dated February 15, 1933
Schenker reports reading a newspaper article in which Arnold Schoenberg was
not offered a post at the Vienna Academy, and draws from it a parallel with Violin and
himself.
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OJ 89/6, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated February 15,
1933
Miss Boy has had an angina attack — they are to be married; — The number of
subscriptions for Jonas's book is disappointing; — Hoboken is weighing up his financial
support for it with that for Schenker's Freier Satz.
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OC 18/54 Handwritten letter from Karpath to Schenker, dated February 24, 1933
Karpath reports a conversation with Academy President Karl Kobald about a
position for Schenker, and regrets being unsuccessful. Kobald and Marx would have
recommended Schenker for a newly established "Austro-American course." Karpath asks for a
meeting with Schenker.
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OC 18/23 Typewritten letter from Josef Marx to Schenker, dated February 28, 1933
Marx thanks Schenker for hospitality on January 18. He lacks the influence at
the Vienna Akademie to introduce Schenker's theoretical system, but has advocated for the
inclusion of Schenker's name on the list of publications to be taken into account in its
teaching. He has had Violin's name put down for a forthcoming teaching position, but cannot
say how the Ministry of Education will judge that name.
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OJ 89/6, [4] Handwritten letter from Schenker to Hoboken, dated March 22, 1933
Schenker thanks Hoboken for money transferred, for contact with Dlabač, and
for information about Jonas. — Oktaven u. Quinten may be published within three weeks. —
Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations
about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled
for his course [at Mannes School]; and Furtwängler deems Schenker the "great music
theorist."
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OC 18/30 Typewritten letter from Frederick E. Auslander to Schenker, dated April 8,
1933
Auslander and Weisse plan to wait for clarity over the Marx Harmonielehre plan. —
Meanwhile, Auslander will publish extracts from Schenker's works in a magazine, with a view to
complete translations later.
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OJ 8/5, [22] Handwritten postcard from Schenker to Violin, dated October 25, 1933
Schenker reports that Ludwig Karpath has been lying, and that six new
appointments have already been made at the Vienna Academy. His new pupil, Hans Wolf, is
thirsting after Urlinie analysis, which Schenker has to resist.
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OJ 15/16, [94] Handwritten letter from Hans Weisse to Schenker, dated March 15, 1934
Weisse apologizes for long silence, largely on account of depression at the
lack of enrollment at Mannes and of enthusiasm for his recently published Violin Sonata. —
At Mannes he lectures about his own work, because it is important to show how Schenkerian
theory can have a practical application for composers; his pupil Israel Citkowitz is the
only cause for optimism. — At Columbia University, where he "smuggles" Schenkerian theory
into his lectures, enrolment continues to be large. — He sends a copy of his Violin Sonata,
and promises his Variations on a Popular American Song. — He is not coming to Europe this
summer. — Universal Edition is going ahead with a schools' version of Schenker's
Harmonielehre, but he is surprised that Alfred Kalmus expects him to be involved in an
American edition of this.
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OJ 6/8, [25] Handwritten letter from Schenker to Violin, dated September 23, 1933
Schenker arranges a time for Violin and his sister to have supper with him:
not too late in the evening. He does not intend to teach Hans Wolf for less than two hours a
week, on account of the substance of the theoretical material, but is willing to lower his
hourly rate for him.
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FS 40/1, [22] Handwritten letter from Schenker to Salzer, dated June 6, [1934]
Schenker is breaking his association with Willfort and Kraus, but offers to
continue working with Salzer.
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OJ 89/7, [10] Handwritten letter from Schenker to Hoboken, dated July 12, 1934
8-page letter: Schenker thanks Hoboken for his support for Jonas's new book. — He
reminds Hoboken of his earlier promise to support Der freie Satz financially, and predicts that
costs will be high. — Otto Erich Deutsch has been granted a course at the Vienna Academy for
Music and Performing Arts.
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OJ 15/22, [8] Handwritten letter from Willfort to Schenker, dated July 30, 1934
Willfort reports progress in his conducting career; he will be in Vienna next
academic year; has the prospect of a radio concert with RAVAG in September.
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OJ 89/7, [12] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 31,
1934
Hoboken assures Schenker that he will support him in his work. — He outlines
the restrictions that he has placed on Otto Erich Deutsch, and expresses irritation that
Deutsch has been offered a course at the Vienna Academy. — He is annoyed at the political
views expressed by E. F. Schmid, who has been appointed at the University of
Graz.
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OJ 5/34, [2] Handwritten revised draft letter from Schenker to Alphons Rothschild, in Jeanette
Schenker's hand, undated [August 3‒6, 1934]
Draft accompanying letter for a copy of Oswald Jonas's Das Wesen ... —
Schenker reiterates his gratitude for previous financial support, and reports that he now
has 11 published works, many articles, and entries on him in several general encyclopedias.
— Only in Vienna is he unrecognized. — He describes Wilhelm Furtwängler's faith in his
theories and the support he has given him. — He mentions his earlier proposal for a
Rothschild orchestra.
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OC 44/42 Handwritten letter from Willfort to Schenker, dated September 1, 1934
Willfort gives particulars of his radio concert, implicitly hoping Schenker will
listen to it.
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OC 44/15 Handwritten letter from Robert Brünauer to Schenker, dated September 20,
1934
Brünauer asks Schenker to put Moriz Violin in touch with Adalbert Franz
Seligmann.
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OC 44/2 Handwritten letter from Salzer to Schenker, undated [November 5, 1934]
Salzer asks to see Schenker in order to set up a lesson time.
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LC ASC 27/45, [13] Handwritten curriculum vitae from Moriz Violin to Schoenberg, undated [July 20,
1939]
Violin's curriculum vitae.
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OJ 70/35, [6] Typewritten testimonial (carbon copy) from Schoenberg concerning Moriz Violin, dated
July 21, 1939
Schoenberg letter of recommendation to "whom it may concern."
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LC ASC 27/45, [34] Handwritten letter from Moriz Violin to Schoenberg, undated [October 1?,
1949]
Violin reports on a successful performance of a C. P. E. Bach concerto at the
Carmel Bach Festival and on a Music Teacher's Convention in San Francisco.