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OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923
Violin has met an industrialist by the name of Max Temming who would be willing
to help make Schenker’s work more widely accessible. Violin will probably not visit the
Schenkers in Galtür this summer, as prices have gone up in Germany.
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JOB 94-3, [7] Handwritten letter from Schenker to Hammer dated January 13, 1924
Schenker responds to a long letter from Hammer by, first, agreeing to his
proposal to sittings for a portrait, and, second, saying that there is no one in music now
capable of judging the artistry of musicians. Schenker feels he has uniquely this ability,
but others in music do not understand him.
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OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24,
1925
Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred
Einstein, whose character he rates highly and who assured him that he was looking forward to
publishing Schenker's work.
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OJ 11/51, [1] Typed letter from Hindemith to Schenker, dated October 25, 1926
Finding his name mentioned adversely in Meisterwerk 1, Hindemith writes that
he has always striven to fulfill in his own work the fundamental truths that are stated in
Schenker's books. He encloses two scores, and is convinced Schenker will find the Urlinie in
them.
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OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926]
In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first
draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently
from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable
with material property; the music of today is quite different from that of the past, the rules
of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to
speak his own mind.
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OJ 8/4, [44] Handwritten postcard from Schenker to Moriz Violin, dated November 10,
1926
Schenker enquires about the health of Violin and his son Karl. He has received
a cordial letter from Hindemith, assuring him that the fruits of his theory may be found in
his works, including the Urlinie; he has responded politely but candidly.
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OJ 14/45, [57] Handwritten letter from Moriz Violin to Schenker, dated November 17, 1926
Violin reports on having moved to a new apartment, no longer on the ground
floor, which his sister and (especially) a friend in Berlin named Martha Loeb have helped to
finance. He is amused what Schenker told him about his letter from Hindemith, whose words,
he believes, ought to be taken at face value.
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OJ 8/4, [49] Handwritten postcard from Schenker to Violin, dated March 29, 1927
In advance of seeing Klenau, Schenker reports on a meeting with Wilhelm
Altmann and Ludwig Rottenberg, who believe that only people under 30 years old are likely to
be appointed to a post of the sort that Violin is seeking in Frankfurt – a situation that he
finds appalling.
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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.
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DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927
Thanking Halm for his Beethoven book, he believes that their misunderstandings
could be removed and hopes Der freie Satz will help bring that about; gives order of publication
for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work
of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his
correspondence with Hindemith.
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OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927
Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and
expresses the hope that it will be possible to interest Furtwängler in performance according to
the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and
discusses negotiations with the Austrian National Library and Ministry of Education. — Comments
on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. —
Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig
Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and
Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory.
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WSLB-Hds 191.564 Handwritten picture postcard from Schenker to Deutsch, dated and postmarked June 30,
1928
Schenker congratulates Deutsch on being granted the title of “Professor”; he
makes an ironic comment on a hypothetical Nobel Prize for music.
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OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928
Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and
plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to
return the Hammer etching.
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OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928
Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a
"connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next
time.
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OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929
Cube is listening by radio to music being performed in Vienna. The two caricatures are his
fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous
lectures, and forthcoming lecture series.
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OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)
Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17],
and offers advice and a warning: ordinary people are not interested in beauty in art, but look
for quick, easy judgments.
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OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929
Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ
9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music,
after which publication should ensue. Schenker gives detailed comments, with music examples, on
Cube's two piano sonatas, praising them highly and making suggestions for
improvement.
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OJ 5/7a, [33] (formerly vC 33) Handwritten postcard from Schenker to Cube, dated November 10, [1930]
Discusses attendance at Weisse's forthcoming lecture in Berlin; refers to two
articles in Die Musik.
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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, [33] Handwritten letter from Cube to Schenker, dated July 2, 1932
Cube outlines, with music examples and graphs, a theory of tonal system and modal
mixture based on "the series of 5ths," "the closed-up circle of 5ths," and "differentiation of
the resultant intervals in a diatonic projection" as a scale. He asks for Schenker's
reaction.
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OJ 89/5, [3] Handwritten letter from Schenker to Hoboken, dated July 31, 1932
Schenker welcomes a visit from Hoboken and Miss Boy, and encloses a clipping of
an article.
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OC 38/346v Handwritten letter from Violin to Schenker, dated December 22, 1932
In this partly incoherent message which responds to Schenker’s recent letters,
especially that of December 19, Violin urges his friend to remain optimistic. He will
discuss things with Furtwängler that should be beneficial. He asks to borrow Hindemith’s
letter to Schenker.
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OJ 6/8, [15] Handwritten letter from Schenker to Violin, dated December 25, 1932
In this letter, much of it written in a bitter and sarcastic tone, Schenker
urges Violin not to appeal to Anthony van Hoboken for financial help. He has sought
assistance for his friend from Ludwig Karpath and Josef Marx.
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OJ 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933
Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in
his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political
developments in Germany, and attributes his threatened hunger to Violin's return to Vienna.
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FS 40/1, [16] Handwritten letter from Schenker to Salzer, dated June 30, 1933
Schenker expresses pleasure that the seminar is grasping the "truth of the
genius's art," and comments that it is a Jew who has been called upon to reveal this truth. — He
reports Vrieslander's indignation that Furtwängler's address [to the Brahms centennial] did not
refer to Schenker. — The letter makes heavy use of Latin phrases.