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OJ 15/15, [9] Handwritten postcard from Weisse to Schenker, postmarked August 22, 1921
Weisse is taking a very late summer holiday and so cannot visit Schenker in
Galtür. He has finished composing a sonata and is writing out a fair copy.
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OJ 15/15, [11] Handwritten postcard from Hertha and Hans Weisse to Schenker, dated December 1,
1921
Weisse has returned a score to Universal Edition and written to Moriz Violin. He
has, with some reluctance, raised his lesson fee.
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OJ 15/15, [12] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated May 20,
1922
Hertha Weisse gives Jeanette Schenker the name and address of a tailor who can
make her a coat, and tells her how much material she needs to buy.
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OJ 15/16, [46] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 21, 1922
Weisse reports from Vienna that a sum of money has arrived, and will be paid to
its intended recipient (Kohn), and gives an account of his and Hertha Weisse's travels in
Vorarlberg following a visit to the Schenkers in Galtür.
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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.
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OJ 15/16, [47] Handwritten letter from Hans and Hertha Weisse to Schenker, dated August 11, 1922
Weisse reports that he is dealing with business matters entrusted to him by
Schenker, and thanks his teacher for arranging the posting of Kontrapunkt 2, which he is in the
midst of reading.
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OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923
Weisse summarizes his recent travels in northern Italy and Switzerland, and
inquires about progress on Der freie Satz, a work which he thinks will be an indispensable
foundation for the analyses in Der Tonwille.
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OJ 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September
12, 1923
Schenker explains his behavior a few days before, in reply to Weisse’s letter of
September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer.
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OJ 15/16, [52] Handwritten letter from Weisse to Schenker, dated August 28, 1924
Weisse is so absorbed in his work that he is unable to give Schenker a precise
number of subscribers to Der Tonwille among his circle of pupils. He will see Gerald Warburg
soon, but confesses that the latter felt hurt by Schenker’s article “The Mission of German
Genius.” — Weisse will devote much time to composition during the coming season, and for this
reason will forego taking further lessons from Schenker.
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OJ 15/16, [53] Handwritten letter from Weisse to Schenker, dated September 6, 1924
Weisse apologizes for not writing sooner, saying that he will return to Vienna by
the middle of the following week.
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JOB 94-3, [15] Handwritten letter from Schenker to Hammer, continued by Weisse, dated October 5,
1925
Schenker informs Hammer that he has recommended Otto Vrieslander as the author
of a short article about him to accompany the Hammer mezzotint for publication in the
journal Die Musik. Weisse continues the letter, ordering prints of the mezzotint for
Schenker and himself, and detailing arrangements for payment.
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OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926
The composition of a clarinet quintet has kept Weisse from writing to Schenker.
Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to
meet with him in Vienna to discuss its content.
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OJ 15/16, [57] Handwritten letter from Weisse to Schenker, dated April 29, 1927
Lacking an official state teaching certificate, Weisse asks Schenker for a
testimonial that states that he studied with him from 1908 to 1915, and in 1919, and that he is
fully qualified to teach harmony, counterpoint, composition, and piano.
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OJ 15/15, [32] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated September 28,
1928
In reply to a postcard from Jeanette Schenker, Hertha Weisse recommends
linoleum as a covering for the flat surfaces of a sideboard and bench.
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OJ 15/16, [60] Handwritten letter from Weisse to Schenker, dated December 16, 1928
Weisse reports the birth of his (first) child, a girl. In a postscript, he
informs Schenker that C. P. E. Bach's "Prussian" and "Württemberg" sets of keyboard sonatas
have been published in a modern edition.
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OJ 15/15, [35] Handwritten postcard from Weisse to Schenker, dated January 18, 1929
Weisse regrets that Schenker is still unable to visit. He has arranged for a
photograph to be made of a Brahms sonata autograph manuscript.
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OJ 15/16, [61] Handwritten letter from Weisse to Schenker, dated May 29, 1929
Weisse reports that Gerhard Albersheim is going to see him about the
possibility of having lessons from him. He congratulates Schenker on completing his study of
the "Eroica" Symphony, and hopes to be able to get together with his teacher sometime in the
next two weeks.
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OJ 15/16, [63] Handwritten letter from Weisse to Schenker, dated March 3, 1930
Weisse has delayed in replying to Schenker's recent letter because he has been
corrected copies of his Clarinet Quintet and Octet, which he will submit to the City of Vienna
Prize competition. He asks Schenker to help publicize the first performance of the Octet, at the
small auditorium of the Musikverein, and asks for the addresses of Angi Elias and Marianne Kahn
so that he can send them personal invitations. His wife is about to give birth to a second
child, and he hopes that Schenker's personal doctor Julius Halberstam might also be interested
in hearing the Octet.
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OJ 15/15, [51] Handwritten postcard from Weisse to Schenker, dated [December] 3, 1930
Carl Bamberger has just returned from Tokyo, and Weisse would like to bring
him to the Schenkers on Friday (December 5).
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OJ 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931
Hearing that Schenker expects to complete Der freie Satz by early spring,
Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on
Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of
a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the
author against Schenker.
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OJ 15/15, [62] Handwritten picture postcard from Weisse to Schenker, dated May 19, 1931
Weisse arranges to meet Schenker; he has written again to
Furtwängler.
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OJ 15/16, [80] Handwritten letter from Weisse to Schenker, dated August 25, 1931
Weisse, on holiday, will not be returning to Vienna before making his way ‒
via Nuremberg and Berlin ‒ to Hamburg, where his ship to America sets sail on September 17.
He gives Schenker the address of the Mannes Music School, and reports that he has heard
nothing of late from Furtwängler.
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OJ 15/16, [81] Handwritten letter from Weisse to Schenker, dated September 5, 1931
Weisse outlines his travel plans before leaving for America. He has accepted
an invitation from Moriz Violin to give a lecture in Hamburg on September 16, the day before
he sets sail.
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OJ 15/16, [83] Handwritten letter from Hertha Weisse to the Schenkers, dated November 5,
1931
Hertha Weisse thanks the Schenkers for an invitation to their place, and asks
Jeanette to suggest two possible dates.
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OJ 15/15, [63] Handwritten picture postcard from Hertha Weisse to Jeanette Schenker, dated November
16, 1931
Hertha Weisse accepts an invitation from Jeanette Schenker.
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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.
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OJ 15/16, [85] Handwritten letter from Hertha Weisse to Heinrich Schenker, dated May 26,
1932
Hertha Weisse reports that her husband will be arriving in Vienna in a couple
of days, but that the Mannes School needs a bit more time to consider a proposal [presumably
for the joint publication of the Fünf Urlinie-Tafeln / Five Analyses in Sketchform by
Universal Edition in Vienna and the David Mannes School in New York].
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OC 18/32-33 Handwritten letter from Weisse to Schenker, dated November 28, 1932
Weisse is uneasy about disparity among translations of Schenker's writings
into English, and suggests that he work with potential translators to arrive at an agreed
set of technical terms. He has renewed contact with Vrieslander, who has sent him a copy of
his recently published songs and Ländler. His work in New York is going well and his family
is thriving, but he sees and hears about a great deal of suffering, on account of the
economic collapse in America.
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OJ 15/16, [88] Handwritten letter from Hertha Weisse to Schenker, dated February 15,
1933
Hertha Weisse reports that, through Hans's teaching at Columbia University and
the Mannes School, Schenker's work has gained a footing in New York (where people seem more
receptive to new ideas), and she expresses her gratitude to Schenker for breathing life into
the spirit that has given such joy to her husband's pupils. The children are growing up
speaking German, and she has begun to restudy the piano.
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OJ 8/5, [16] Handwritten postcard from Schenker to Violin, dated February 26, 1933
Schenker reports on Hans Weisse’s phenomenal success as a teacher in New York,
and complains about Joseph Marx’s duplicitous behavior.
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OJ 15/16, [92] Handwritten letter from Hans Weisse to Schenker, dated May 23, 1933
Weisse thanks Schenker for Brahms's Oktaven u. Quinten, which he finds too
specialist a work to be of use to the uninitiated in Schenker's approach, and therefore does
not recommend for translation into English or use as a textbook. He reports a brief meeting
with Alfred Kalmus and a recent concert of his works, including a new violin sonata. He
gives Schenker his summer holiday address.
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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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OC 44/41 Handwritten letter from Hans Weisse to Schenker, dated June 2, 1934
Weisse will send Schenker his Variations and Fugue for 2 pianos when copies
are ready; he is glad to learn that Oswald Jonas's book will soon be published. He describes
the beauty of Tenants Harbor, Maine, where his family is spending the summer
vacation.
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OJ 15/16, [95] Handwritten letter from Hans Weisse to Schenker, dated September 23, 1934
Weisse reports a visit from Victor Vaughn Lytle, to whom Schenker had recently
written, and the receipt of Oswald Jonas's recent book, on which he comments. The Weisses
have spent a lovely summer by the sea, in the midst of unspoiled nature, and he has
completed a set of five six-voice madrigals on Goethe texts and a string quartet. He reports
and laments his mother’s death.
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OJ 15/16, [96] Handwritten letter from Hertha Weisse to Jeanette Schenker, dated February 21,
1935
In this letter of condolence, sent together with one by Hans, Hertha Weisse
explains that the obituary of Schenker in the New York Times by Olin Downes, though based
partly on information supplied by Hans, was hastily written and contains many errors. A
pupil of Hans [Adele Katz] has prepared an article on Schenker's theory, which will soon be
published in an American music journal.
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OJ 15/16, [98] Handwritten letter from Hans Weisse to Jeanette Schenker, dated May 26,
1935
Weisse outlines a plan to give Jeanette financial support in the form of a
collection from his most dedicated pupils, equivalent to 200 Austrian shillings per month,
for a year, and encloses the first of three planned annual payments. — He inquires whether
Schenker's notes on C. P. E. Bach’s Essay on the True Art of Playing Keyboard Instruments
might be included in an Afterword to a projected English translation. — He plans an
exposition of Schenkerian theory for use in schools, for which he needs to receive a copy of
Der freie Satz. — He thanks Jeanette for mementos of her husband, and says a few words about
his family and their summer plans.
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OJ 15/16, [99] Handwritten letter from Hans Weisse to Jeanette Schenker, dated July 14,
1935
Weisse thanks Jeanette Schenker for her letter and copy of Der freie Satz
which he has read through and is about to study carefully. His initial impressions are that
its conception and content are impressive, but that there are a lot of misprints; and he
regrets that the foreword does not mention the financial help Schenker received from [Paul]
Khuner. He approves Jeanette's idea of depositing Schenker's Nachlass in the
Photogramm-Archiv in the Austrian National Library.
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OJ 15/16, [101] Handwritten letter from Hans Weisse to Jeanette Schenker, dated October 22,
1935
Weisse thanks Jeanette for the photographs of her husband, and will distribute
them to his pupils soon, when he sends the next payment of financial support that he has
collected from them on her behalf. — He is actively engaged in bringing Schenker's ideas to
an English-speaking audience, and urges her to consider agreeing to a suitably shortened
version of Harmonielehre, rather than a word-for-word translation. — For Der freie Satz, an
English translation would do more harm to Schenker's cause than not to have it translated at
all, and it would be necessary to reconceive the presentation of the theory entirely,
especially with respect to terminology. — He suggests that there may be a market for
Schenker's library in American universities and libraries.