OJ 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921
Schenker gives an account of the move into Keilgasse 8 and describes his study in
the apartment. He outlines his holiday plans, and explains how he is raising the fees for
lessons in the autumn.
OC 24/22 Typewritten postcard from Otto Erich Deutsch to Schenker, dated June 28,
1921
Deutsch thanks Schenker for his postcard of June 26, 1921, and wishes him good
luck in his new home and with his summer trip to Galtür. Deutsch has read issue 1 of
Tonwille with great interest, and hopes that their connoisseur edition will be as
successful.
OJ 8/4, [6] Handwritten picture postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated
June 30, 1921
On holiday (for the first time) in Galtür in the Paznaun Valley, Schenker
composes two short verses in local dialect, and Jeanette a third, to convey something of the
Tyrolean atmosphere.
OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921
Weisse has completed a string quartet, the parts of which are being copied out,
after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as
a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept
because his knowledge of English is insufficient. He enquires about the progress of Schenker's
current projects.
OJ 10/1, [65] Handwritten letter from Dahms to Schenker, dated August 21, 1921
Dahms is unable to visit the Schenkers in Galtür. — He criticizes Berlin and its
artists and critics.
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.
JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922
Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an
instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to
read Fiedler and Hildebrand.
OJ 8/4, [12] Handwritten postcard from Schenker to Moriz Violin, undated [June 17, 1922]
Schenker explains why the "Miscellanea" is missing from Tonwille 2; he likens
Hertzka's heavy-handedness to Prince Metternich's police-state tactics.
OJ 15/15, [13] Handwritten postcard from Weisse to Schenker, dated July 17, 1922
Weisse has returned to Vienna, thanks Schenker for the Galtür visit, and will
order the bread [for diabetics] the next day.
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.
OJ 10/18, [1] Handwritten letter from Elias to Schenker, dated August 10, 1922
Miss Elias is unable to get to Galtüt on account of bad weather. — She
compares prices in the Tyrol with those in Vienna. — She hopes to meet up with the Schenkers
in Innsbruck on the homeward journey. — She confirms that she will be able to meet her
financial obligations in teh coming year.
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.
OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26,
1923
Not having heard from him for a long time, Schenker’s asks for news of Violin and
his family.
OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11,
1923
Responding to a letter from Violin despairing of the political situation in
Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which
resonate with his own views that German society is, in effect, ruled by foreign despots.
OJ 10/1, [77] Handwritten letter from Dahms to Schenker, dated June 15, 1923
Dahms sends best wishes on Schenker's [55th] birthday, thanks him for his
assistance, and praises vol. I of Schenker's Beethoven sonata edition. Members of the German
community in Rome reject his assertions about genius.
OJ 12/59, [2] Handwritten letter from Siegfried Fritz Müller to Schenker, dated July 12,
1923
Siegfried Fritz Müller asks for a testimonial for a piano teaching
position.
OJ 14/45, [23] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated July 12, 1923
Violin writes approvingly of Schenker’s scheme to make Der Tonwille available by
subscription, as a periodical publication, and has a plan in mind. He inquires about the cost of
staying 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 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.
OJ 12/59, [3] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 7,
1923
Siegfried Fritz Müller reports on a recital that he has given, inclosing the
program and early reviews. –- He has just done an audition for the position for which he has
applied. -- He has to do a short period of military service, after which he will continue
his studies with Schenker.
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.
OJ 8/4, [29] Handwritten postcard from Schenker to Moriz Violin, undated [April 11, 1924]
Schenker offers Violin advice about holidaying in Austria, recommending the Tyrol
above all. He expects that Otto Vrieslander and possibly Herman Roth will visit them [in
Galtür]. He also inquires about the establishment of a Hochschule for music in Hamburg.
OJ 11/36, [16] Handwritten postcard from Hammer to Schenker, postmarked June 17, 1924
Hammer sets the arrival time for the portrait sitting on June
18.
OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924
The Dahmses send birthday greetings. They are staying in the Abruzzi; will not
get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest.
OJ 12/17, [5] Handwritten letter from Komorn to Heinrich Schenker, dated June 18, 1924
Miss Komorn thanks Schenker profusely for all that he has taught her in the
past year.
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.
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 15/15, [16] Handwritten postcard from Weisse to Schenker, dated August 4, 1924
Weisse has sent Schenker a volume of Kalbeck's Brahms biography, and reports that
Universal Edition is about to send him the proofs for two of his compositions, a set of vocal
quartets and a string quartet.
OJ 14/45, [107] Handwritten postcard from Moriz Violin to Schenker, dated August 14, 1924
Violin thanks Schenker for his recent postcard, and reports that he will resume
negotiations with Max Temming concerning the distribution of copies of Der Tonwille when the
latter return to Hamburg.
OJ 14/45, [33] Handwritten letter from Moriz Violin to Schenker, dated August 29, 1924
Violin reports on continued negotiations with Max Temming on the distribution of
free copies of Der Tonwille, and gives a brief description of the Hamburger Fremdenblatt (in
which something about Schenker's writings may have recently appeared). He expresses his
embarrassment regarding the essay he had written at the behest of Otto Vrieslander on the
occasion of Schenker's 50th birthday, but agrees to let him see it.
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.
OJ 11/54, [1] Handwritten letter from Hoboken to Schenker, dated October 20, 1924
Hoboken encloses photographs; reports his summer travel; is now living in
Paris.
OJ 14/45, [36] Handwritten letter from Moriz Violin to Schenker, dated October 22, 1924
In the process of arranging for copies of Der Tonwille to be distributed, Violin
discovers that a pupil of his paid twice as much for one issue as the marked price in Austria.
He has made some inquiries into this matter, and asks Schenker what an issue currently costs in
Austria. There are no respectable music institutions in Hamburg, so Violin will distribute
copies there personally.
OJ 14/45, [41] Handwritten letter from Moriz Violin to Schenker, dated January 19, 1925
Violin reports on a successful concert in which he performed both as a soloist
and with the Klingler String Quartet. He thanks Schenker for Tonwille 10. He has received a copy
of Hans Weisse’s recent vocal quartets, and is puzzled by how a limited talent can write such
good music. He is going to see Max Temming, and has received four courteous letters of
acknowledgement from university music departments for copies of Der Tonwille.
OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925
Schenker, repeating some of the points made in earlier letters, continues to give an account of
Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the
subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music
departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent
concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists;
the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the
canonic composers.
OJ 11/36, [17] Handwritten letter from Hammer to Schenker, dated March 1, 1925
Hammer describes his travels and work in the past eight months, and compares the
piano playing of Otto Vrieslander with that of Schenker.
OJ 9/12, [4] Handwritten letter from Carl Bamberger to Schenker, dated March 4, 1925
Bamberger seeks Schenker's advice on the choice of works for a series of
Sunday morning concerts that is included in his new contract with Danzig.
OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925
The St. Matthew Passion parts may be retained until mid-July; Altmann is
pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in
Galtür next summer.
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.
OC B/190 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked June 15,
1925
Altmann thanks Schenker for the medallion; he will be unable to visit
Galtür.
OJ 10/1, [90] Handwritten letter from Dahms to Schenker, dated June 16, 1925
Dahms sends birthday greetings to Schenker, and gratitude for the [Rothberger]
medallion. — Margarete Dahms has given birth to a girl. — Speaks of "rotten German laws."
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, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925
Two weeks after arriving in Galtür for the summer holidays, Schenker reports that
he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue
on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to
interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag
for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe
of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and
those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second
impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work,
has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to
Galtür sometime during the summer.
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.
JOB 94-3, [13] Handwritten letter from Schenker to Hammer, dated September 8, 1925
Heinrich discusses the drawing from which the Schenker mezzotint was made, and
its prospects for sale. The Keilgasse house is undergoing deep cleaning.
OJ 11/10, [18] Handwritten postcard from Frimmel to Schenker, dated September 10, 1925
Frimmel will correct [errors pointed out by Schenker], and reports that his
Beethovenhandbuch is in press.
OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925
Van Hoboken reports on his recent travels, describing the house that he has
rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he
thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on
October 13, 1925; encloses $60 in advance monthly payment.
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.
OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9,
1926
Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two
Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing
article about Schenker in Die Musik; advice for Weisse over choice of
publisher.
OJ 9/12, [6] Handwritten letter from Carl Bamberger to Schenker, dated June 15, 1926
Bamberger has introduced pianist Stefan Askenase to Schenker's
Erläuterungsausgabe of Op. 111, to the latter's delight. He would like to visit the
Schenkers in Galtür.
OJ 10/1, [94] Handwritten letter from Dahms to Schenker, dated June 26, 1926
Dahms thanks Schenker for his report [on the viability of the almanach
proposal]. — He plans to devote part of the almanach to Beethoven, and asks whether Schenker
might contribute something new, or grant permission to reprint some of what he has written
in Der Tonwille.
OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926
Violin announces his arrival in Bad Gastein, to improve his health. The rest
of his family is in Bistrai, near Bielitz, in Silesia.
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.
OC 52/907 Typed letter from Hugo Winter (UE) to Schenker, dated July 14, 1926
UE have mailed Schenker's statement of account to Galtür.
OC B/193 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked August 3,
1926
Altmann thanks Schenker for Meisterwerk I and describes his summer
travels.
OJ 5/8 [1] Handwritten letter from Schenker to Gustav von Cube, dated August 18, 1926
Schenker insists that Gustav von Cube pay the fee for his son Felix’s last three
months of lessons with him. He does not teach without being paid, explaining that this would be
self-degrading – in his case all the more so, as he lives frugally and teaches only much as is
necessary to afford to pursue his own research.
OJ 11/54, [8] Handwritten letter from Hoboken to Schenker, dated August 22, 1926
Hoboken will probably not now visit Schenker in Galtür; explains his and his
wife's departure from Munich and their subsequent travels to Bern, Naples, and Capri, and
reports that his house in Vienna should be ready for occupancy on October 1. — Vrieslander and
he are considering founding a music journal, and wish to discuss the idea with Schenker.
OJ 9/35, [2] Handwritten letter from Gustav von Cube to Schenker, dated August 24, 1926
Responding to Schenker’s demand for final payment for his son’s lessons, Gustav
von Cube has arranged for 250 Marks to be paid to Schenker in Galtür; he will send the remainder
to Vienna.
OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926
Schenker has received indication of part-payment from Cube's father [for Cube's
lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has
completed a clarinet quintet.
OJ 9/8, [3] Handwritten postcard from Wilhelm Altmann to Schenker, dated May 26, 1927
Altmann reports on conversion of Hoch Conservatory to
Hochschule.
OJ 6/7, [33] Handwritten letter from Schenker to Violin, dated May 27, 1927
Schenker has tried to find out more about the plans for the conservatory in
Frankfurt to be upgraded to a music Hochschule (and, presumably, for Violin to be posted
there), but he is reluctant to press his contacts too far, as this may prove
counterproductive.
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 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.
Sbb 55 Nachl. 13, [2] Handwritten letter from Schenker to Furtwängler, dated July 3, 1927
Schenker recommends Oppel's Mass, and commends Anthony van Hoboken to
Furtwängler.
OJ 9/5, [2] Handwritten letter from Josef Albersheim to Schenker, dated August 8, 1927
The costs of his son's lessons with Schenker are a burden to Josef Albersheim; he
asks Schenker for some "accommodation," asserting that with teachers of Schenker's caliber
pupils normally attend for fewer lessons a month.
OJ 5/5, [1] Incomplete handwritten draft letter from Schenker to Josef Albersheim, dated August 12,
1927
Schenker articulates the reasons why Gerhard Albershim should continue his
lessons at the same frequency for another year.
OJ 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927
Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927;
encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the
Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk
in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the
Hobokens' trip to Switzerland, reporting on von Cube.
PhA/Ar 56, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
PhA/Ar, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
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.
OJ 11/54, [16] Handwritten letter from van Hoboken to Schenker, dated August 30, 1927
Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and
manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early
sources. -- Gives addresses for forthcoming travels.
OJ 89/1, [4] Handwritten letter from Schenker to van Hoboken, dated September 6, 1927
Schenker comments on Hoboken's Appeal [for the Photogrammarchiv], sets out what
is necessary for correctly reading an autograph manuscript and understanding its relationship to
the first edition, and rails against the tendency of performers, including Furtwängler, to think
such matters trivial.
OJ 5/7a, [11] (formerly vC 11) Handwritten postcard from Schenker to Cube, dated September 7, 1927
Schenker acknowledges Cube's postcards; Cube will receive the appeal [for photostats of
MSS].
OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927
Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus"
and the suitability of Vrieslander's text for that purpose. — He expresses an interest in
Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the
whereabouts of the autograph manuscript of Beethoven's Op. 106.
OJ 9/34, [9] Handwritten letter from Cube to Schenker, dated October 29, 1927
Cube has had 'flu; reports on his [conservatory] teaching of Schenkerian theory
(though disguised from the authorities), his private teaching, his work in composition; he has
joined the Reichsverband deutscher Tonkünstler und Musiklehrer. Dunn has sent him his
translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that
of Vrieslander. He is enjoying using his radio; sends two Galtür portraits; his father has had a
son.
OJ 9/8, [4] Handwritten picture postcard from Wilhelm Altmann to Schenker, dated November 8,
1927
Altmann thanks Schenker for Masterwork 2; — Has retired but is temporarily
continuing in his position; — Reports publication of his handbook for string quartet
players.
OJ 5/7a, [12] (formerly vC 12) Handwritten letter from Schenker to Cube, dated November 9, 1927
Schenker thanks Cube for the pictures enclosed with OJ 9/34, [9] and expresses
pleasure at Cube's reports of his teaching, composition, listening to the radio, Urlinie
studies, and advocacy of good editions; refers to Vrieslander's planned monograph on Schenker,
the prospectus for Meisterwerk I and II, and the call [for the
Photogrammarchiv].
OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928
Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the
approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him
to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties
he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and
speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.
OJ 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928
Schenker sends Cube an article written for the Beethoven centenary festival and suggests a
"connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA;
outlines summer plans.
OJ 14/45, [70] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1928
Violin sends 60th birthday greetings to Schenker, adding that he is unlikely
to leave Hamburg this summer.
PhA/Ar 56, [8] Handwritten letter from Schenker to Kromer, dated June 22, 1928
Schenker expresses thanks for the greetings telegram, and extolls the work of
the Photogrammarchiv.
OJ 6/7, [38] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated June 23,
1928
Schenker thanks Violin for his kind birthday greetings, explaining the
discrepant birth dates assigned to him. He reaffirms his spiritual solidarity with his
friend. He has read some articles and reviews mentioning his work, at all of which he
laughs.
OJ 8/4, [55] Handwritten picture postcard from Schenker to Moriz Violin, dated July 3,
1928
Schenker asks Violin to write to Fritz Stein, to ask him to return one of his
arrangements of a musical work.
OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928
Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses
associated newspaper article; also on recent lecturing and composition activity. He is unlikely
to visit Schenker this year; recalls people at Galtür.
OJ 10/18, [3] Handwritten letter from Elias to Schenker, dated July 11, 1928
Miss Elias is glad that Schenker is "not dissatisfied" with her graphings of
his piano piece Op. 4, No. 1 and looks forward to her October lessons for a detailed
discussion. — She inquires about Vrieslander's "monograph." — She was interested to see the
autograph and first edition of "Erlkönig" juxtaposed in a Schubert
exhibition.
OJ 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928
Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises
recent article by Cube, but corrects overstated connection between himself and Brahms and
Joachim.
OJ 14/45, [71] Handwritten letter from Moriz Violin to Schenker, dated July 18, 1928
Owing to a "complete breakdown," Violin is recovering at a sanatorium in
Schierke, from where he writes. In response to Schenker's previous postcard, Violin had
written more than once to Prof. [Fritz?] Stein for the return of the manuscript of a Handel
arrangement by Schenker, and he will chase him up in August. A pupil of his, Harry Hahn, has
taken upon himself to lecture on Schenker's theories at the local society of composers; for
this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude
and a Schubert waltz, and has proved a surprisingly competent and persuasive
speaker.
OJ 6/7, [39] Handwritten envelope from Schenker to Moriz Violin, postmarked July 22, 1928
Schenker asks about Violin's breakdown, and comments on Halm's avoidance of
fearful situations and on Cube's shop window exhibition.
OJ 8/4, [56] Handwritten picture postcard from Schenker to Moriz Violin, dated July 25,
1928
Writing to the sanatorium in the Harz mountains, Schenker ask Violin how
things are with him.
OJ 15/16, [59] Handwritten letter from Weisse to Schenker, dated July 26, 1928
Writing while on holiday (in Bad Aussee), Weisse apologizes for not having
replied to Schenker's previous letter. He is enjoying reading C. P. E. Bach's Versuch, and
reports the illness and recovery of Viktor Hammer, who was staying in Grundlsee near the Weisses
during the month of June.
OC 52/914 Typed letter from Ernst Roth (UE) to Schenker, dated August 20, 1928
UE understands that the royalty payment has now been made.
OJ 11/54, [24] Typed letter from Hoboken to Schenker, dated August 27, 1928
Hoboken recounts his and his wife's travels through Germany, including encounters
with Thomas Mann and others. He expects to return to Vienna in mid-October.
OJ 89/2, [7] Handwritten letter from Schenker to Hoboken, dated September 5, 1928
The Schenkers have just returned to Vienna. — The "fantastic nature" of the
Hobokens' travels by auto. — The exceptional heat in Galtür. —Salzburg as magnificent but
too small to hold Mozart.
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 12/50, [2] Handwritten letter from Bernhard Martin to Schenker, dated June 15, 1929
Bernhard Martin sends Schenker a "little treasure box" and wishes him and
Jeanette a recuperative vacation.
OJ 14/45, [79] Handwritten letter from Violin to Schenker, dated June 16, 1929
In spite of an earlier promise, Violin says he cannot visit the Schenkers in
Galtür because he must stay with his son, who has had an inflammation of his kidney
following the news of the death of Otto Schreier. He will instead take his son on a holiday
in the Harz Mountains, and hopes to visit Vienna in the autumn or over
Christmas.
WSLB 408 Handwritten letter from Schenker to Hertzka (UE), dated June 19, 1929
Schenker inquires after Hertzka's decision on the "Eroica" monograph; gives
his vacation address.
PhA/Ar 56, [3] Handwritten letter from Schenker to Haas, dated July 6, 1929
Schenker draws Haas's attention to an article in the Neue Freie Presse
regarding Haydn manuscripts.
OJ 89/3, [4] Handwritten letter from Schenker to Hoboken, dated July 12, 1929
Schenker thanks Hoboken for the Harburger items and agrees to write to
Vrieslander.
OJ 5/7a, [25] (formerly vC 25) Handwritten postcard from Schenker to Cube, dated July 14, 1929
Voß is coming to Vienna.
WSLB 411 Handwritten picture postcard from Schenker to UE, dated July 19, 1929
Requests half-yearly statement of account.
OJ 5/7a, [26] (formerly vC 26) Handwritten postcard from Schenker to Cube, dated July 22, 1929
Acknowledges the sonatas Cube sent with OJ 9/34, [19]; reports on Reinhard Oppel
and on Hans Weisse's recent publication success; Schenker approves of Cube's use of pianistic
diminution.
OJ 15/16, [62] Handwritten letter from Weisse to Schenker, dated August 5, 1929
Weisse, absorbed by Schenker's ideas (especially the concept of "tonal space")
tells of his plans to write about his teacher's significance as a contemporary theorist. He
describes his progress in composition, which includes the completion of a set of six bagatelles
for piano and a Clarinet Quintet, and much work on an Octet. He asks about progress on Der freie
Satz and about the publication of Schenker's analysis of the "Eroica" Symphony, and reports his
and Hertha's joy in parenthood.
OJ 89/3, [7] Handwritten letter from Schenker to Hoboken, dated August 5, 1929
Further communications between Hoboken and Vrieslander should now go via
Kromer, not Schenker; Oppel leaves tomorrow; how is house-construction
going?
WSLB 417 Handwritten letter from Schenker to UE, dated August 9, 1929
Reacting to Edmund Schmid's follow-up remarks, Schenker points up a favorable
passage and comments wrily on a critical one.
OJ 89/3, [8] Handwritten letter from Schenker to Hoboken, dated September 10, 1929
Schenker increases his lesson fee by inflation. — He reports on Oppel and
Vrieslander, referring to his (Schenker's) not having been appointed to a professorship at
Heidelberg; on Albersheim's marriage, and approaches made to him by Cube and
Waldeck.
OJ 89/3, [9] Typewritten letter from Hoboken to Schenker, dated September 15, 1929
Hoboken encloses his analytical study of Brahms's Intermezzo, Op. 117, No. 1,
and raises several technical matters. — He reports on his building project, and responds to
Schenker's refusal, in OJ 89/3, [7], to continue acting as intermediary with Vrieslander. —
He encloses a check for his lesson fee.
OJ 89/3, [10] Handwritten letter from Schenker to Hoboken, dated September 18, 1929
Schenker acknowledges check; — comments on Hoboken's work on a Chopin Etude; —
discusses an approach by Vrieslander; — explains how the possibility of a professorship at
Heidelberg had come about.
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 10/3, [129] Handwritten letter from Deutsch to Schenker, dated June 6, 1930
Deutsch has discussed the printing of the music illustrations for Schenker’s
"Eroica" monograph with the lithographers Elbemühl. He hopes that Georg Tomay will complete
his calligraphic work before Schenker leaves for Galtür.
OJ 5/7a, [29] (formerly vC 29) Handwritten postcard from Schenker to Cube, undated [June 8, 1930]
Schenker sends copy of Vrieslander's article and comments on it, comparing it
unfavorably with Meisterwerk III; inquires about Cube's "article," asks whether Erich Voß is
with him; reports departure date for Galtür.
OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930
A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would
like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s
calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until
September, if the "Eroica" monograph is to be published by the end of the
year.
OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930
Furtwängler reports on his meeting with Breitkopf &
Härtel.
OJ 14/45, [115] Handwritten postcard from Moriz Violin to Schenker, dated July 3, 1930
Violin is spending two weeks with Karl in Schierke, in the Harz Mountains. In
the fall, he will have to make a decision about what to do about his son.
OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930
Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed
Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie
Satz.
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.
WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930
In this 16-page response to a letter from Deutsch, Schenker thanks his
correspondent for his unstinting assistance (in relation to the third Meisterwerk
yearbook) and underlines the importance of a collected edition of the works of C. P.
E. Bach. — He then launches a long and detailed denunciation of Anthony van
Hoboken’s character, referring in particular to his treatment of Otto Vrieslander,
his ambivalence towards projects associated with the Photogram Archive, and his
absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is
thoroughly undeserving of a high honor conferred by the Austrian
state.
WSLB-Hds 191.566 Handwritten letter from Schenker to Deutsch, dated August 5, 1930
Replying to Deutsch’s letter of July 30, Schenker warmly recommends his
long-standing pupil Marianne Kahn as a teacher for Deutsch’s brother. -- He then
comments at length on a newspaper article by Richard Benz (of which Deutsch had sent
a clipping), using a medical metaphor to describe the current pathological state of
music.
WSLB-Hds 191.567 Handwritten letter from Schenker to Deutsch, dated August 15,
[1930]
Schenker thanks Deutsch for his careful, helpful reading of the proofs
to the third Meisterwerk yearbook. -- Tomay has assigned the autography of the
foreground graphs for the second movement of the "Eroica" Symphony to an apprentice;
these are full of mistakes and will have to be done again. But Tomay’s own work, on
the third and fourth movements, is excellent. -- In a postscript, he comments on his
entry in the most recent Meyers Lexikon, and on a review of the second Meisterwerk
yearbook in the Deutsche Tonkünstler-Zeitung.
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.
OC 54/301 Handwritten letter from Furtwängler to Schenker, dated September 2, 1930
Furtwängler wishes to visit Schenker in the Tyrol.
WSLB-Hds 191.569 Handwritten letter from Schenker to Deutsch, dated September 10, 1930
Schenker requests a meeting with Deutsch and Robert Haas. -- The
page-proofs for the third Meisterwerk yearbook will arrive soon. -- Schenker will
also look at the early edition of Beethoven’s Sonata Op. 22, recently acquired by
Hoboken, and discuss any outstanding matters between them then.
PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker,
dated September 15, 1930
Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to
check in connection with a planned new collected edition of the works of that
composer.
OJ 89/4, [5] Handwritten letter from Schenker to Hoboken, dated September 29, 1930
Schenker invites Hoboken to tea to discuss attribution in the collected edition,
and congratulates Hoboken on his endeavor.
OJ 5/7a, [31] (formerly vC 31) Handwritten letter from Schenker to Cube, dated November 1, 1930
Dr. Leo Kestenberg of the Prussian Ministry of Art and Education has, at
Furtwangler's recommendation, asked Hans Weisse to deliver three lectures on Schenker's theory
in Berlin, to be repeated elsewhere. Cube should take heart from this turn of
events.
OJ 15/16, [70] Handwritten letter from Weisse to Schenker, dated March 21, 1931
Weisse reports to Schenker Furtwängler's confidence about obtaining money from
two wealthy people in Berlin to defray the publication costs of Der freie Satz and the
analysis of Beethoven’s "Eroica" Symphony, i.e. third volume of Das Meisterwerk in der
Musik. Weisse has suggested a sum of 4,000 marks for the former, as a conservative
estimate.
OJ 10/3, [147] Typewritten letter from Deutsch to Schenker, dated May 2, 1931
Deutsch asks Schenker to return the edition of the first version of
Beethoven’s Variations WoO 74. Needing a few weeks’ peace and quiet in the summer holidays,
he is looking for a place in the Tyrol that is more than 1,500 meters above sea level, and
asks Schenker’s advice about accommodation, possibly in Galtür.
OJ 6/8, [3] Handwritten letter from Schenker to Violin, dated May 24, 1931
Schenker sends Violin clippings of a positive anonymous review of Das
Meisterwerk 3, and an article by Bruno Walter from the Neue freie Presse mentioning
him.
OJ 5/7a, [36] (formerly vC 36) Handwritten postcard from Schenker to Cube, dated June 6, 1931
Schenker will write to Cube from Galtür, with Mozart calling
card.
OJ 6/8, [4] Handwritten letter from Schenker to Violin, dated June 11, 1931
Schenker expresses his feelings about the establishment of a music school in
Hamburg named after him, believing it to represent a spiritual union of Violin with himself.
He is sending him some recent compositions by Weisse, which he finds well
composed.
OJ 15/16, [78] Handwritten letter from Weisse to Schenker, dated June 12, 1931
Weisse expresses his joy and gratitude at Schenker's approval of the
three-voice piano pieces he has dedicated to him. Having sent his teacher several copies of
them, he asks for the names of the recipients of the other copies.
OJ 5/7a, [37] (formerly vC 37) Handwritten postcard from Schenker to Cube, dated June 12, 1931
Schenker sends pieces by Hans Weisse; promises letter from Galtür.
OJ 15/16, [79] Handwritten letter from Weisse to Schenker, dated June 13, 1931
Weisse sends Schenker further corrections of printing errors [in Meisterwerk
III], and notes that the book has recently been reviewed.
OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931
Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he
emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice;
comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of
C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be
available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete
rest.
OJ 8/5, [5] Handwritten picture postcard from Schenker to Violin, dated July 13,
[1931]
Schenker asks Violin if he has yet seen the review of Meisterwerk 3 in the
current issue of Die Musik, which has raised his standing in the world.
OJ 14/23, [25] Handwritten picture postcard from Seligmann to Schenker, postmarked July 17,
1931
Seligmann acknowledges the receipt of Schenker’s article about a lost Mozart
letter, published in Der Kunstwart. He was surprised to learn that some Mozart scholars
doubted its authenticity.
OJ 8/5, [6] Handwritten picture postcard from Schenker to Violin, dated July 24, 1931
Schenker expresses his astonishment at what the Violin family has had to
endure, and thanks him for the Schenker Institute prospectus.
OJ 9/34, [26] Handwritten letter from Cube to Schenker, dated August 19, 1931
Cube informs Schenker that Moriz Violin's son has been taken ill; Cube sends
Schenker a copy of the Schenker Institute prospectus.
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.
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 11/16, [9] Handwritten letter from Furtwängler to Schenker, dated November 8, 1931
Furtwängler would hear with Schenker. — He has heard good news of Weisse from
Violin.
OJ 9/8, [5] Printed and handwritten card from Wilhelm Altmann to Schenker, dated April,
1932
[printed:] Altmann thanks those who sent good wishes for his 70th birthday. —
[handwritten:] Reports on his travel plans and his forthcoming publication.
OJ 9/8, [6] Typewritten postcard from Wilhelm Altmann to Schenker, dated March 22, 1933
Altmann did not know of the letter from Brahms to Kalbeck about which Schenker
had written him. — He hopes for an economic upturn [now Hitler is in power].
OC 44/12 Handwritten postcard from Wilhelm Altmann to Schenker, dated September 10,
1934
Altmann thanks Schenker for sending Oswald Jonas's book, and will cite it in
his Tonkünstler-Lexikon, with entries on Jonas and Salzer. — He reminisces on his Galtür
visit and recounts his publication plans.
OJ 11/16, [15] Handwritten letter from Furtwängler to Schenker, dated September 26, 1934
Furtwängler apologies for not visiting Galtür in the summer; he spent the
vacation on his own work; he will be in Vienna and hopes to see Schenker; he intends to
write publicly about Schenker's work; comments on current political situation. — Finds
Jonas's book excellent.
