OJ 6/3, [13] Handwritten letter with envelope from Schenker to Moriz Violin, dated February 8,
1900
When Violin returns from Berlin, Schenker will send him his Zweistimmige
Inventionen, Op. 5: he inquires whether Busoni has said anything about them. -- He raises the
substitute lessons he is giving to the Wiener and Leiner families: Violin has failed to instruct
him on the fee to be charged. Can he ask 10 Florins? -- He disagrees with Mahler's performance
of the "Eroica."
OJ 6/3, [16] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked August 22,
1900
Schenker writes from Lunz to describe the vacation accommodation available and to
give Moriz and Fanny Violin the alternatives for joining him and the Mayerhofer family.
OJ 6/3, [17] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked August 31,
1900
Schenker tells Violin he can come to Lunz to visit, but adds
caveats.
OJ 6/3, [18] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked September
13, 1900
Fanny Violin has informed Schenker that Moriz has been unwell. Schenker regrets
that he cannot renew his invitation to him to stay in the Lunz holiday household because there
is no longer space. He reports on Irene Mayerhofer's health. If the Mayerhofers leave earlier
than expected, he will let Violin know.
OJ 6/4, [28] Handwritten letter with envelope from Schenker to Violin, postmarked August 27,
1903
Having prepared his Mädchen Lieder for printing, Schenker, in Gmunden, is about
to work on his Trio. Busoni will be performing his Syrische Tänze in Berlin. He asks Violin to
check with Eduard Gärtner about financial support for Aron Mittelmann.
OJ 7/4, [52] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909
Schenker is in Steinach, awaiting Moriz Violin's arrival.
OJ 7/4, [54] Handwritten picture postcard from Jenny Kornfeld to Moriz Violin, dated September 23,
1909
Jenny Kornfeld sends Moriz Violin best wishes for recovery, and greetings to
Fanny Violin; — her husband (Emil Kornfeld) adds his greetings.
OJ 7/4, [65] Handwritten picture postcard from Schenker and Jenny Kornfeld to Violin, dated July 12,
1910
Heinrich asks Violin to bring tarot cards; Jenny Kornfeld asks for
sunshine.
OJ 7/4, [69] Handwritten postcard from Jenny Kornfeld and Heinrich Schenker to Violin, dated
December 9, 1910
Jenny Kornfeld asks to speak with Moriz Violin re her divorce petition. Heinrich
gives his availability and reports on his mother's situation.
OJ 8/1, [2] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated April 15, 1911
A jokey message giving the menu of a meal eaten in Pressbaum.
OJ 8/1, [3] Handwritten picture postcard from Jenny Kornfeld and Heinrich Schenker to Moriz Violin,
dated June 11, 1911
Heinrich Schenker and Jenny Kornfeld report the delights of the Vienna
Woods.
OJ 8/1, [5] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated July 10, 1911
Schenker asks why Violin is silent about visiting them.
OJ 8/1, [6] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
July 22, 1911
Violin has written an unclear letter: Schenker presses him to say why he isn't
coming to visit; and Jenny Kornfeld urges him not to be so poor a
correspondent.
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.
OJ 6/5, [2] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 26, 1911
With Heinrich and Jenny Kornfeld still in Sulden (Tyrol), Heinrich alludes to
the uncertainty about their return on account of a recent storm and destruction to the road;
— they have decided that, on return to Vienna, Jenny shall stay in a hotel until an
apartment is found for her; — Violin is asked to mail a letter to Schenker's attorney which
concerns Jenny's maintenance payments; Jenny reports that she is unrecognized in
Sulden.
OJ 8/1, [8] Handwritten picture postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz
Violin, dated August 27, 1911
Schenker and Jeanette vie with short stanzas. — Heinrich reports a walk to
Gomagoi.
OJ 8/1, [9] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
September 8, 1911
Schenker asks if a letter has arrived at Violin's address, and asks for it to be
forwarded to him if so.
OJ 8/1, [10] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated September 11,
1911
Schenker complains that Violin has failed to turn up for an agreed meeting at the
right place. He comments favorably on a new composition by Violin. He is going to the Pollaks in
the evening.
OJ 6/5, [3] Handwritten letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
September 26, 1911
Seemingly in response to a cry for companionship, Heinrich and Jenny Kornfeld express
their willingness to help, and ask what would be best.
OJ 8/1, [13] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 29,
1911
Schenker has booked four seats for the theater [for Wedekind:
Erdgeist].
OJ 8/1, [14] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 3,
1911
Schenker complains of Violin's dilatoriness, and asks to meet
him..
OJ 8/1, [15] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
November 5, 1911
Schenker reports a difficult encounter with "Frau O."; also reports a first
victory in Jenny Kornfeld's divorce application.
OJ 8/1, [16] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 7,
1911
Schenker urges Violin to request Hertzka send a copy of his Continuo
essay.
OJ 8/1, [17] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
November 27, 1911
Schenker reports the impossibility of Jenny Kornfeld's defending herself in her
divorce plea; and Jenny writes that she has had to send an inventory of all her chattels to Emil
Kornfeld.
OJ 6/5, [29] Handwritten letter from Heinrich Schenker to Valerie Violin, dated November 28,
1913
Heinrich and Jeanette have regarded it as their duty to invite Fanny Violin on
each occasion that they invited Moriz and Valerie; their conduct is thus blameless; only now
have they understood Fanny's true meaning in writing as she did after two years. They wish to
place no pressure on her and to help her overcome her illness.
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.
OJ 14/45, [13] Handwritten letter from Moriz Violin to Schenker, dated February 2, 1922
In this direct reply to Schenker's previous letter, OJ 6/7, [2], Violin expresses
his dismay that some of the performing material for keyboard concertos by C. P. E. Bach,
including original cadenzas by Schenker, appear to have gone missing. — He reports on his
growing number of pupils, on the acquisition of a piano for his apartment, and on Hamburg's
extremely conservative musical tastes.
OJ 14/46, [1] Handwritten postcard from Fanny Violin to Jeanette Schenker, dated May 29, 1922
Fanny apologizes for missing Jeanette and plans to visit.
OJ 8/4, [13] Handwritten postcard from Schenker to Moriz Violin, dated July 9, 1922
Schenker reports the publication of the second part of Kontrapunkt and continued
difficulties with Universal Edition.
OJ 14/45, [14] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1922
In this highly emotional letter, Violin describes his personal difficulties in
the face of spiraling inflation in Germany.
OJ 8/4, [14] Handwritten postcard from Schenker to Moriz Violin, dated August 5, 1922
Schenker commends Walter Dahm's latest book, Die Offenbarung der Musik, to Violin
as one which ought to have important consequences for the course of music.
OJ 8/4, [16] Handwritten postcard from Schenker to Moriz Violin, dated September 29, 1922
Schenker reports, among other things, that Hans Weisse has returned as a paying
pupil.
OJ 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9,
1923
Having settled into country life in the Tyrol, Schenker returns to his work, in
particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks
Violin’s opinion about a subscription plan for a periodical that would appear four times a year
(instead of the current two), and hopes that his friend might spare a few days to visit him in
Galtür.
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.
OJ 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20,
1923
Schenker describes his efforts to make Der Tonwille more widely read, through its
distribution by his pupils and its display in music shop windows. He needs more help from pupils
and friends with the dissemination of his work, but complains that Hans Weisse has let him down
on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about
whether he should accept an invitation to speak at a conference in Leipzig, or whether he should
simply stay at home and continue to write.
OJ 8/4, [24] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 9,
[1923]
Concerned that Violin has not arrived in Galtür, Schenker asks him if something
has gone amiss with his plans to visit.
OJ 14/46, [2] Handwritten letter from Fanny Violin to Heinrich Schenker, dated June 18, 1924
Fanny thanks Schenker for sending Tonwille 5 and 6 and reports holiday plans.
OJ 8/4, [30] Handwritten picture postcard from Schenker to Moriz Violin, dated July 28, 1924
Writing from Galtür to Schruns in the nearby Motafon Valley, Schenker invites the
Violins to visit them some time during their Austrian holiday, and shows them, on the picture,
the mountain pass where they can meet up.
OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925
In a wide-ranging letter, Schenker sends Violin money for arranging the order of
Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative,
Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action.
Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact
that does not prevent him from earning huge fees for conducting in New York. He has turned down
a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish
to spend some time with him in Galtür. He enquires about the personal difficulties that Violin
writes about in his letter, and asks him to say more; they will invite his sister for a visit.
He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor
Hammer is not yet finished.
OJ 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925
Making preparations with his solicitor for the legal action against Universal
Edition, Schenker asks Violin to find out whether Max Temming paid for the additional
subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of
Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk
yearbook and asks Violin whether he has yet made summer plans and whether these might include a
trip to Galtür.
OJ 8/4, [38] Handwritten postcard from Schenker to Moriz Violin, dated June 22, 1925
Schenker thanks Violin for his most recent efforts concerning the
subscriptions to Der Tonwille; he is astonished to learn that Tonwille 10, published in
January 1925, did not reach some subscribers until June. He hopes that Violin will be able
to visit him in the Tyrol this summer, as he is expecting Vrieslander with his
son.
OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925
After expressing his sympathy for Violin, in response to his friend's depressing
postcard, Schenker gives an account of some of the summer events, including a visit from
Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail
against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to
send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is,
however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this
connection the payment has been made.
OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925
In this wide-ranging letter, Schenker commiserates with Violin about the high
cost of living, and his inability to raise his fees to keep up with it (in particular, he
feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on
sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his
portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original
drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the
portrait, and things are now going well with the corrections to Meisterwerk 1 and the
writing of Meisterwerk 2.
OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21,
1925
Interrupting his correcting of the proofs for the first Meisterwerk Yearbook,
Schenker sends Christmas greetings to the Violins, and informs his friend that an
out-of-court settlement was made with Universal Edition. Recent concert appearances of the
cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio
concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be
sent to Hamburg.
OJ 14/45, [51] Handwritten letter from Moriz Violin to Schenker, dated February 18, 1926
Violin, in the aftermath of two enormously successful trio concerts with
Mauritz van den Berg and Friedrich Buxbaum, gives an account of Buxbaum's vanity and the
difficulty this causes in rehearsals and more generally for the ensemble. His doctor has
recommended that he spends three weeks in Bad Gastein this summer. He has not yet received
Hammer's portrait of Schenker.
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.
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.
OJ 14/45, [53] Handwritten letter from Moriz Violin to Schenker, dated June 7, 1926
Violin thanks Schenker for his recent postcard, gives a brief account of his
own illnesses, and gives a somewhat longer account of those of his son Karl, which will
complicate summer travel plans. He has learned from music shops in Hamburg that the
Erläuterungsausgabe of Op. 106 is not yet published, and has also heard that Schenker's
Beethoven sonata edition is no longer available; he asks Schenker if this is
true.
OJ 8/4, [43] Handwritten postcard from Schenker to Moriz Violin, written July 8, 1926
Schenker expresses his pleasure that the Violins are on holiday in Badgastein;
he enquires about whether Violin has received a complimentary copy of Meisterwerk 1, which
his publishers seem slow to dispatch, and whether he has further plans to give piano trio
concerts.
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.
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 6/7, [34] Handwritten letter from Schenker to Moriz Violin, dated June 30, 1927
Schenker answers Violin's birthday greetings letter philosophically. He is
able to work on the final version Der freie Satz at leisure and in good spirits. He reports
on the establishment of an archive of photographic reproductions of autograph and gives an
account of a visit from Violin's sister Fanny: in return for a picture of Karl Violin, he is
enclosing two pictures of himself and one of Jeanette. Finally, he urges his friend to spend
part of the summer in Galtür.
OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927
In a wide-ranging letter, Schenker underscores the importance of his friend's
taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by
Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where
he will teach from Schenker's texts. He comments at length on the decline of society, as
exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders;
until it is published, he will be working on Der freier Satz.
OJ 14/45, [67] Handwritten letter from Violin to Schenker, dated August 13, 1927
Violin reports that he was hoping to get away, but things came up that he had
to deal with, which made the summer the saddest of his life. His wife and son will move to
Vienna in the fall, and he will be there for Christmas.
OJ 8/4, [52] Handwritten postcard from Schenker to Violin, dated November 16, 1927
Schenker congratulates Violin on obtaining many private pupils, and for his
continued activity as a performer. He expresses his joy that Violin's son Karl will be
visiting Vienna next year.
OJ 8/4, [58] Handwritten postcard from Schenker to Moriz Violin, dated October 9, 1928
Schenker is glad to hear that his friend's setback was only a minor one. He
has received a nice letter from Harry Hahn, together with a copy of his lecture and the
splendid voice-leading diagrams.
OJ 8/4, [60] Handwritten poscard from Schenker to Moriz Violin, dated December 22,
1928
The Schenkers send the Violins their best wishes.
OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929
Schenker thanks Violin for his concerns, describes how they survived the cold
weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished
and that he has written an article about the Photogram Archive, which has acquired over
seven thousand pages of manuscripts. He looks forward to seeing his friend in the
summer.
OJ 14/45, [77] Handwritten letter from Violin to Schenker, dated March 20, 1929
Violin thanks Schenker for his letter with the voice-leading sketch of Bach's
C major Invention, and for the article from Der Kunstwart on the Photogram Archive. He is
enjoying the climate of Nice, and seems to be getting on well with the French language; a
lady who overheard him playing the piano praised his expressive playing.
OJ 14/45, [78] Handwritten letter from Moriz Violin to Schenker, dated April 29, 1929
Violin has finally paid off a large debt, and promises to save enough money so
that he can spend a few days in Galtür with the Schenkers. He apologizes for any
indiscretion on the part of his sister Fanny.
OJ 8/4, [62] Handwritten postcard from Schenker to Violin, dated May 3, 1929
Schenker assures Violin that there is no friction whatever between his sister
Fanny and himself; he looks forward to seeing him in the summer.
OJ 6/7, [43] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1929
Urging his friend to write only when he feels up to it, Schenker gives Violin
some news of his own: that the Eroica Symphony monograph is finished but a publisher who is
capable of dealing with the numerous music examples must be found; that Schenker will work
unceasingly on Der freie Satz once the Eroica is out of the way; that the Photogram Archive
has grown in size in two years, and that so many requests for information have been received
that a yearbook is planned, with critical reports, new editions, and the like; that Hoboken
and Vrieslander have fallen out (over money matters); that Schenker's brother Mozio (Moses)
has separated from his wife after 25 years of marriage and that he his has been giving music
lessons to Mozio’s son, a cellist in the Baden city orchestra.
OJ 14/45, [81] Handwritten letter from Violin to Schenker, dated December 19, 1929
Violin has two possible publishers for the "Eroica" monograph. One of these he
names as Rather in Leipzig, which has recently bought up Simrock. The other, Breitkopf &
Härtel, has been suggested by Furtwängler, who believes that the proposal would be supported
by Karl Straube. Violin also considers the possibility replying to a recent article by
Schoenberg.
OJ 6/7, [48] Handwritten letter from Schenker to Moriz Violin, dated May 19, [1930]
After congratulating Violin on moving house, Schenker reports that an article
that is critical of the "Urlinie", by Walter Riezler, has apparently offended Furtwängler, a
childhood friend of the author. Furtwängler hoped that Hans Weisse might write a response;
in the end, Brünauer wrote one, and Weisse has sent it to Furtwängler. Schenker has himself
replied to an article by Eduard Beninger in the February 1930 issue of the Zeitschrift für
Musik. Owing to overwork, he was required to rest during the day between lessons; now he is
better. Oppel is again coming to Galtür and Schenker hopes that Violin will join him there,
too.
OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930
Acknowledging his recent letter to Jeanette, Schenker expresses his regret
that Violin and his son Karl are still troubled by health problems and reports some recent
news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was
in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but
this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many
visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife,
and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected
edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but
Schenker is cautious about this because his paid involvement in the project might result in
work that would jeopardize progress on Der freie Satz. He has been included in the latest
edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain
Rolland's latest Beethoven book.
OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931
In this long and wide-ranging two-part letter, which includes a graphic
analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of
Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post
there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald
Warburg), or even found an institute that would give employment to Felix Salzer and other
Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the
morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg.
For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and
Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes
with a tirade against those who have caused him financial misery (including his brother
Mozio), culminating in a cynical passage in which Schenker advises his friend to look after
himself and engage some dull pedagog to teach conventional theory. In the end, he wishes
Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s
clutches.
OJ 6/8, [5] Handwritten letter from Schenker to Violin, dated September 6, 1931
In this long, sentimental letter, Schenker thanks Violin for founding a
Schenker Institute in Hamburg and reflects on the intertwining of their fates through their
connection with C. P. E. Bach. He also advises on the wording of the Institute’s
prospectus.
OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931
Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his
relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at
a lecture given by Hans Weisse.
OJ 6/8, [6] Handwritten letter from Schenker to Violin, dated September 28, 1931
Schenker is heartened that Herman Roth, once again, seems to be supporting his
cause. Schenker recommends a series of possible “guest speakers” at the Schenker Institute
and asks if there is some sort of monument or commemorative space devoted to C. P. E. Bach
in Hamburg.
OJ 9/34, [28] Handwritten letter from Cube to Schenker, dated October 16, 1931
Cube reports enrollment and quality of students at the Schenker Institute,
Hamburg; his own teaching is increasingly small-group-tuition based, drawing on Tonwille and
Meisterwerk. Karl Violin is recovering.
OJ 15/16, [84] Handwritten letter from Hertha Weisse to the Schenkers, dated February 9,
1932
Hertha Weisse gratefully accepts a second invitation from the
Schenkers.
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.
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.
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.
OC 38/340v Handwritten letter from Moriz Violin to Fanny Violin, dated January 15,
1933
Moriz Violin reports to his sister Fanny on the use of money for Karl; adjures
her to be steadfast; says the doctor holds out possibility for recovery; asks for any news
on discussions between Schenker and Josef Marx; and wishes he could be in Vienna and with
little Karl. [This letter was passed to Heinrich Schenker.]
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.
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.
OJ 6/8, [22] Handwritten letter from Schenker to Violin, dated April 21, 1933
Schenker eagerly awaits Violin’s arrival in Vienna. He will soon send his
friend a copy of the Brahms study Oktaven und Quinten.
OJ 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933
Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of
Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and
explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism;
someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to
Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard
from Furtwängler.
OJ 6/8, [29] Handwritten letter from Schenker to Violin, dated December 11, 1933
Schenker asks Violin to seek his sister Fanny’s help in finding someone who
can produce typed copies of an article about him published in America [Israel Citkowitz,
“The Role of Heinrich Schenker”].
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.
LC ASC 27/45, [28] Handwritten letter from Moriz Violin to Schoenberg, dated May 21, 1941
Violin reports that he has been trying to rescue his sister from Vienna. — He
wants to report to Schoenberg in person how his "institute" ideas are developing.— He asks
for the score of a Schoenberg composition in order to see how the 12-tone method is
implemented. — He asks for answers to recently asked questions. — And he inquires after the
Guggenheim Foundation.
LC ASC 27/45, [30] Handwritten letter from Moriz Violin to Schoenberg, dated April 5, 1945
Violin conveys his desperation over his job situation, and asks Schoenberg to
write to Pierre Monteux to request an interview.