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OJ 8/1, [7] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated August 4,
1911
Schenker inquires after Violin's location and company; — reports his work on
Riemann's theories.
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OJ 14/45, [10] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 5,
1918
Schenker, Violin alleges, has accused him of a dearth of subject matter in letter
writing; Violin defends himself on grounds that his life has been disrupted by military service
and the impact of that on his physical and mental state. He accuses Schenker of insensitivity,
and treating him like his pupils. He defends his wife for giving food to the Schenkers, and
explains her motivation for so doing.
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OJ 6/6, [6] Handwritten letter from Schenker to Moriz Violin, dated February 17, 1918
Schenker warns Violin to expect a letter from Vrieslander concerning a
contribution to a Festschrift for Schenker's 50th birthday, and then airs a number of grievances
against Moriz and Valerie concerning jars of jam, Sunday visits, and insufficient food.
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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.
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OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October
16, 1920
Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking
a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit
Wally next Sunday.
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OJ 11/16, [3] Handwritten letter from Furtwängler to Schenker, dated November 26, 1920
Furtwängler proposes that they meet on Tuesday [November 30, 1920].
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OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922
This wide-ranging letter describes the difficulties encountered with Emil Hertzka
at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the
"Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success
as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's
generosity. — Ends with generous praise for Violin's musicianship.
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OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21,
1923
In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving
health, and goes on to mention a number of personal successes he has lately had, including a
visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa
solemnis. He has also had some unexpected support from his publisher, who wants to expand Der
Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts
(three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are
overtaking Furtwängler as conductors in Vienna by accepting more modest fees.
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OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924
Schenker reports continuing trouble with Hertzka, especially over delays to the
publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is
beginning to think about legal action. Hertzka has made his position so difficult that he feels
obliged to turn down Max Temming's offer of direct financial support for his work. He asks
Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he
neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if
Violin received any of the four volumes of the Beethoven piano sonata edition.
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OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926
In a wide-ranging letter responding to Moriz Violin's previous letter,
Schenker asks his friend to confide in him his personal troubles. He offers his support in
the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to
find a way of getting the Hammer portrait to him safely, possibly by having it sent directly
from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil
Agnes Becker, recently arrived from Hamburg where Violin had been teaching
her.
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OJ 14/45, [52] Handwritten letter from Moriz Violin to Schenker, dated March 6, 1926
Responding to Schenker's continuing queries, Violin gives some details of
recent illnesses, the cure for which his doctor has ordered him to spend part of the summer
in Bad Gastein. He is awaiting the arrival of the Hammer portrait, and is considering the
future of his piano trio ensemble.
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OC 38/341v Handwritten letter from Moriz and Fanny Violin to Schenker, dated December 24,
1932
Violin asks Schenker’s opinion about a reply to a letter he sent to Joseph
Marx, who had been in Constantinople (Istanbul) for the purpose of regenerating a music
conservatory there; he encloses a copy of Marx’s reply, which mentions Schenker in
particular.
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OJ 6/8, [16] Handwritten letter from Schenker to Violin, dated December 29, 1932
Schenker advises Violin to keep up the pressure on Josef Marx regarding a
possible position at the Vienna Akademie; he will do the same. He again discourages his
friend from approaching Anthony van Hoboken with an appeal for financial
assistance.
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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.