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OJ 11/42, [30] Handwritten letter from Maximilian Harden to Schenker, dated December 2,
1897
Harden rejects a submission by Schenker. — He tells him that his glowing
review of Goldmark's Das Heimchen am Herd, which turned out to be a terrible work, has
compromised the integrity of Die Zukunft; and he informs Schenker that a collaboration
between the two of them is now virtually unthinkable.
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OJ 9/30, [5] Handwritten letter from Tony Colbert to Schenker, undated [September 13,
1914]
Mrs. Colbert pleads for reduction of lessons to once every other week on account
of the war work she is doing and the difficulties that she and her husband are
facing.
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Sbb 55 Nachl. 13, [1] Handwritten letter from Schenker to Furtwängler, dated November 5, 1919
Having attended for the first time a concert conducted by Furtwängler, Schenker
congratulates him on his achievement then, proclaiming him a "counterweight" to the present [in
his opinion inadequate] generation of conductors, and heir to the Mahler mantle. Schenker
comments on Viennese concert-goers and their fickleness. — He commends Moriz Violin to
Furtwängler, in case the latter can provide an introduction to Hausegger.
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OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October
16, 1920
Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking
a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit
Wally next Sunday.
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OC B/152 Handwritten postcard from Wilhelm Altmann to Schenker, dated June 30,
1921
Altmann reports on holdings of Handel keyboard works edition
(1702).
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OJ 8/4, [7] Handwritten picture postcard from Schenker to Moriz Violin, dated July 6, 1921
In anticipation of preparing an edition of Handel's keyboard works, Schenker asks
Violin for the address of a library in Hamburg that would be likely to have an early print or
handwritten copy of Handel's first book of Suites.
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OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921
Violin reports on his work, and on musicians in Hamburg, and congratulates
Schenker on his (publication) successes.
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OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922
Schenker offers to lend Violin his performing materials for two keyboard
concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most
recent work, continues to despair of his financial situation.
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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.
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OJ 8/4, [15] Handwritten postcard from Schenker to Moriz Violin, dated September 10, 1922
Hearing of the Violins' son Karl's recent illness, Schenker sends his sympathy,
then reports on his financial troubles. His application for a post at the University of Leipzig
was received without enthusiasm, on the grounds that he is "more an artist than a
scholar."
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OJ 14/45, [20] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 6, 1923
Violin thanks Schenker for Tonwille 3 and reports on growing social unrest and
anti-French feeling in Germany.
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OJ 14/45, [21] Handwritten letter from Moriz Violin to Heinrich Schenker, dated April 28, 1923
Violin reports on a brief trip to Berlin for respite from the strain of teaching
and his son’s illness. He is reading the second volume of Schenker’s Counterpoint, but asks him
for clarification of a matter concerning second-species counterpoint in two voices, discussed in
volume 1.
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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.
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OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21,
1923
In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving
health, and goes on to mention a number of personal successes he has lately had, including a
visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa
solemnis. He has also had some unexpected support from his publisher, who wants to expand Der
Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts
(three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are
overtaking Furtwängler as conductors in Vienna by accepting more modest fees.
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OJ 14/45, [27] Handwritten letter from Moriz Violin to Heinrich Schenker, dated December 11, 1923
Violin reports the conversion to a new, stable currency in Germany; Hamburg has
been among the first cities to benefit from this, as a result of which he is somewhat better off
and the prospects for the future appear brighter. He plans to come to Vienna for Christmas, if
only for a few days; this will give him an opportunity to discuss arrangements for the
distribution of copies of Der Tonwille to libraries and schools.
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JOB 94-3, [7] Handwritten letter from Schenker to Hammer dated January 13, 1924
Schenker responds to a long letter from Hammer by, first, agreeing to his
proposal to sittings for a portrait, and, second, saying that there is no one in music now
capable of judging the artistry of musicians. Schenker feels he has uniquely this ability,
but others in music do not understand him.
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OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924
Violin reports that Max Temming is keen to support his plan to promote Schenker's
work. Following discussions with Schenker in Vienna, he makes some provisional calculations on
how the gift of money would give Schenker more time to devote to his writings. He also thinks
about the happy prospect of Schenker coming to Hamburg.
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OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924
Schenker reports continuing trouble with Hertzka, especially over delays to the
publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is
beginning to think about legal action. Hertzka has made his position so difficult that he feels
obliged to turn down Max Temming's offer of direct financial support for his work. He asks
Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he
neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if
Violin received any of the four volumes of the Beethoven piano sonata edition.
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DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924
In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.
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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.
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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.
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OJ 14/45, [32] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1924
Writing from the nearby town of Schruns, in the Montafun Valley (Vorarlberg),
Violin asks Schenker to suggest a day when he and his wife might visit them in Galtür.
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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.
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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.
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OJ 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924
After thanking Violin for his touching fiftieth-birthday tribute of 1918,
Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which
Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate
more on the dissemination of Der Tonwille, with a new publisher.
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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.
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OJ 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924
Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. —
Encloses a draft of a letter to the university music departments chosen to be given copies of
Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution
of complimentary copies of Der Tonwille to needy scholars.
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OJ 14/45, [39] Handwritten letter from Moriz Violin to Schenker, dated December 10, 1924
This somewhat cryptic letter, possibly relating to a subscription order for Der
Tonwille, was sent with an enclosure that required some interpretation or action on the part of
Schenker. Violin also reports that the music department at the University of Berlin has
received, with gratitude, the copies of Der Tonwille.
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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.
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OJ 6/7, [16] Handwritten letter from Schenker to Moriz Violin, dated January 24, 1925
Responding point by point to Violin's previously letter (OJ 14/45, [41]),
Schenker congratulates his friend on the success of his recent concert. He writes at length
about Hertzka's last efforts to hold onto Der Tonwille, and about successful negotiations with
Drei Masken Verlag over its successor, Das Meisterwerk in der Musik. He has now to prepare
enough material for a yearbook comprising fifteen gatherings by July 1, so that the volume can
be published by Christmas. Finally, he echoes Violin's assessment of Hans Weisse, adding a few
disparaging remarks about his character.
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OJ 14/45, [42] Handwritten letter from Moriz Violin to Schenker, dated January 30, 1925
Violin lends Schenker the letters sent by university music departments
acknowledging receipt of their copies of Der Tonwille. The reviews of his recent concert were
cooler than the audience’s reception, and the concert suffered a financial loss; nonetheless he
hopes to persevere with public performances as a pianist. Finally, he wishes Schenker luck with
his new publisher, Drei Masken Verlag.
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OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925
Violin explains why, and how, the number of free copies of Der Tonwille
distributed to German university music departments was reduced from 10 per university to 7.
He has seen Paul Bekker's recent book, which includes a survey of recent trends in music
theory.
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OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925
Schenker thanks Violin for his recent letter (and enclosure), which contains
evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark
contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the
publication of Weisse's recently published vocal quartets than to his writings. Leaving Der
Tonwille behind, which has earned him little money and caused him much misery, he has written a
lengthy study of Bach's solo violin works, which will be published in the first volume of Das
Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen
Kontrapunkts.
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OC 52/648 Handwritten letter from Moriz Violin to Schenker, dated March 5, 1925
Violin sends Schenker receipts for the purchase of Der
Tonwille.
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OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925
Continuing the story of the ongoing financial battle against Hertzka and
Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid
for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the
order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr.
Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek
a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned
royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact –
outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this
issue is still in demand, despite Hertzka's claims to the contrary. He has attended a
performance of Hans Weisse's Sextet, of which he found the variation movement and the trio
section of the scherzo to be the most satisfactory parts.
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OC 52/644 Handwritten letter from Moriz Violin to Schenker, dated April 21, 1925
Violin has had the order for nine copies of Tonwille 1 placed in Berlin, and
has collected the receipts. He has not heard from Weisse, but attended a performance of his
String Sextet and, like Schenker, found the variations and the trio section of the scherzo
the most successful.
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OJ 14/45, [43] Handwritten letter from Moriz Violin to Schenker, dated June 4, 1925
Violin thanks Schenker for sending him the small version of the medallion
designed by Alfred Rothberger. He does not want to give an account of the difficult times he
is facing, expecting that things will eventually turn out for the better. He returns some
money, left over from the purchase of copies of Tonwille 10, which Schenker had previously
sent him.
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OC 52/649 Handwritten letter from Moriz Violin to Schenker, dated June 15, 1925
Violin has received letters from the music departments of two German
universities, which show that the tenth issue of Der Tonwille (published in January 1925)
was not received until June 10.
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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.
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OJ 14/45, [108] Handwritten postcard from Moriz Violin to Schenker, dated July 28, 1925
Unable to leave Hamburg this summer because of financial difficulties, but having
nothing worth saying in a letter, Violin asks for some news from Schenker.
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OJ 14/45, [45] Handwritten letter from Moriz Violin to Schenker, dated August 28, 1925
Violin, in a philosophical mood, thanks Schenker for his concerns; he paints a
pessimistic picture of the world in general, embracing the injustices that his friend must
also suffer.
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OJ 9/12, [5] Handwritten letter from Carl Bamberger to Schenker, dated September 27,
1925
Bamberger is officially a "conductor" at Danzig. -- He asks how to obtain a
Rothberger medallion of Schenker and inquires after Hammer's etching. -- He reports on
Hupka's progress in Cologne, and inquires after F.E. von Cube.
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OJ 14/45, [46] Handwritten letter from Moriz Violin to Schenker, dated October 23, 1925
Informing Schenker that he is beginning to recover after a disastrous year,
Violin reports that he has formed a trio with the violinist Mauritz van den Berg and the
cellist Friederich Buxbaum, and has scheduled concerts for January. His son has started
school, which he also regards as a blessing.
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OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925
Violin gives Schenker the program of his concerts with van den Berg and
Buxbaum.
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OJ 14/45, [47] Handwritten letter from Moriz Violin to Schenker, dated December 25, 1925
Catching up on his correspondence on Christmas Day, Violin thanks Schenker for
his recent postcard, and hopes that 1926 will be a less troublesome year for him. He quotes
an extract from a negative review of Berg's Wozzeck, and reports on his practice and
rehearsal plans for the trios that he will perform with van der Berg and Buxbaum in a
month's time.
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OJ 14/45, [50] Handwritten letter from Moriz Violin to Schenker, dated January 12, 1926
Violin asks Schenker if he would consider taking one of his pupils, Miss Agnes
Becker, as a pupil for the remainder of the teaching year.
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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.
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OJ 14/45, [52] Handwritten letter from Moriz Violin to Schenker, dated March 6, 1926
Responding to Schenker's continuing queries, Violin gives some details of
recent illnesses, the cure for which his doctor has ordered him to spend part of the summer
in Bad Gastein. He is awaiting the arrival of the Hammer portrait, and is considering the
future of his piano trio ensemble.
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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.
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OJ 14/45, [54] Handwritten letter from Moriz Violin to Schenker, undated, written July 13,
1926
Replying to Schenker's postcard of July 8 and the receipt of the first
Meisterwerk Yearbook, Violin singles out the article "Weg mit dem Phrasierungsbogen" and
remarks on passages in two Chopin etudes and in Beethoven's "Pathétique" Sonata which
Schenker would find interesting. There is no news concerning his piano trio (with Mauritz
van den Berg and Friedrich Buxbaum) but he is considering playing a concerto in the 1926-27
season.
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OJ 14/45, [55] Handwritten letter from Moriz Violin to Schenker, dated September 5, 1926
Violin reports that he had to cut short his holiday in Bad Gastein because his
son Karl was again seriously ill. The costs of treatment amounted to nearly 4000 Marks, and
this sum must be paid by the end of the year.
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OJ 14/45, [56] Handwritten letter from Moriz Violin to Schenker, dated October 10, 1926
Violin reports that his son Karl's health has improved, but that he has to
find a new apartment because Karl cannot stay on the ground floor. He will obtain a copy of
the current issue of Die Musik, and reports that a review of (presumably) Meisterwerk 1 has
appeared in the Hamburger Fremdenblatt.
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OJ 14/45, [57] Handwritten letter from Moriz Violin to Schenker, dated November 17, 1926
Violin reports on having moved to a new apartment, no longer on the ground
floor, which his sister and (especially) a friend in Berlin named Martha Loeb have helped to
finance. He is amused what Schenker told him about his letter from Hindemith, whose words,
he believes, ought to be taken at face value.
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OC 54/108 Typed letter from Alfred Böhme (DMV) to Schenker, dated November 26, 1926
Drei Masken Verlag are not at liberty to make a direct approach to a
retailer’s customers. They suggest that Schenker contact the firm of Gutmann directly, and
that the appeal to his readers is personally composed; they will offer Gutmann a reduction
in the cost of copies ordered or sold by the firm.
-
OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927
Violin reports on his son Karl's continued health problems and also his
affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in
Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for
comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for
two pianos by C. P. E. Bach in an arrangement by Schenker.
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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.
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OJ 14/45, [61] Handwritten letter from Moriz Violin to Schenker, dated February 23, 1927
Following a brief description of a recent illness, Violin replies to
Schenker's question about accepting the Order of Merit from the Viennese Academy of Art and
Science and advises him to accept it. He realizes that staying in Hamburg would be bad for
his son's long-term health and has spoken to Artur Schnabel about the possibility of moving
to Berlin or Frankfurt. An influential man in Frankfurt is the father-in-law of Paul Klenau;
Violin knows of Klenau's respect for Schenker, and asks his friend to write to Klenau in
support of his application for a post there.
-
OJ 14/45, [62] Handwritten letter from Violin to Schenker, dated March 2, 1927
Violin thanks Schenker for his willingness to intervene on his behalf with
regard to a position in Frankfurt, and asks him to get in touch with Paul von Klenau before
a possible meeting in person at Easter.
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OJ 14/45, [63] Handwritten letter from Violin to Schenker, dated March 31, 1927
In reply to Schenker's recent postcards, Violin maintains that Klenau's
support for his appointment in Frankfurt is important, as the Ministry of Education in
Berlin can exert only a limited amount of pressure on the Frankfurt circle.
-
OJ 14/45, [113] Handwritten postcard from Violin to Schenker, dated April 6, 1927
In a reply to a recent letter, Violin thanks Schenker for the news concerning
the position he is hoping to obtain in Frankfurt and asks him whether Klenau might discover
what the people in Frankfurt think of him as a candidate.
-
OJ 14/45, [64] Handwritten letter from Violin to Schenker, dated April 14, 1927
Violin thanks Schenker for his article (on Beethoven). He is still hoping for
a positive reply regarding Paul von Klenau's support for him in Frankfurt.
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OJ 15/15, [22] Handwritten postcard from Weisse to Schenker, dated April 14, 1927
Weisse calls his teacher's attention to a recent article by Edmund Schmid,
which questions the objectivity of Schenker's Beethoven research and deplores the slavish
adherence of his disciples to the concept of Urlinie.
-
OJ 14/45, [66] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1927
In deepest admiration and gratitude, Violin sends Schenker (59th) birthday
greetings and pictures of his children.
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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 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 8/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated October 5, 1927
Schenker has asked a former pupil (Felix-Eberhard von Cube), who knows Dr.
Simon in Frankfurt, about the likely opening date of a music Hochschule there, but has
received little information in return. the second volume of Meisterwerk will be published
very soon.
-
OJ 14/45, [68] Handwritten letter from Violin to Schenker, dated November 13, 1927
Violin thanks Schenker for sending him the second volume of Meisterwerk, which
he regards as a milestone in offering the strongest statement of his theories. He is
accompanying a cellist in early January and will not be able to get to Vienna at Christmas
after all. His wife and son – who is now able to get up and around – are hoping to go to
Vienna at Easter.
-
OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927
Violin reports that his concert (cello recital) has been put back a week
because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his
recent written work, but he feels that Vrieslander does not truly understand Schenker's
cause, does not have the same "orientation" towards it as he, and expresses himself poorly.
(Weisse, he says, could have done things better.) However, all this pettiness is nothing
compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon
follow.
-
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.
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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.
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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.
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OJ 14/45, [72] Handwritten letter from Moriz Violin to Schenker, dated September 21,
1928
Violin apologizes for not writing sooner; he has suffered a further health
setback. His pupil Harry Hahn will send Schenker the illustrations and a copy of his lecture
(on the Schubert waltz and Bach prelude). He enquires about Der freie Satz.
-
OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928
Schenker has received large-format Urlinie charts from Harry Hahn and recommends
format to Cube.
-
OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928
Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and
plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to
return the Hammer etching.
-
OJ 14/45, [73] Handwritten letter from Moriz Violin to Schenker, dated October 26, 1928
Violin queries Schenker's suggestion for displaying graphic work by
light-projection. He has recently made the acquaintance of a Hamburg organist name
Hahnemann, who teaches only according to Schenker's theory. Finally he asks whether the
"last volume" (Der freie Satz) has been published.
-
WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated
November 27, 1928
Schenker reports the impact of his Urlinie concept on the educational world
within Germany and in the USA. — He seeks to re-establish a working relationship with UE,
raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical
study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of
NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his
existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the
"Eroica."
-
OJ 14/45, [74] Handwritten letter from Moriz Violin to Schenker, dated December 24, 1928
On his first teaching-free day, Violin writes to say that his health is good,
and to wish the Schenkers a happy holiday. His organist friend Hahnemann will probably write
to Schenker soon about performing some of his arrangements. Schnabel, too, wants to obtain
the score, parts and cadenzas for the keyboard concertos of C. P. E. Bach that Schenker has
prepared.
-
OJ 14/45, [75] Handwritten letter from Violin to Schenker, dated February 25, 1929
Violin has heard terrible things from Vienna on account of the extremely cold
weather, and hope that the Schenkers are in good health. His brother-in-law will take him on
holiday at Easter, and also pay for a family holiday in the summer.
-
OJ 14/45, [76] Handwritten letter from Moriz Violin to Schenker, dated March 3, 1929
On the point of departing for the Riviera with his brother-in-law – possibly
via Vienna – Violin asks Schenker to make a quick assessment of his voice-leading reduction
of Bach's first Two-Part Invention, in C major.
-
OJ 6/7, [42] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated March 7,
1929
In reply to Violin's previous letter, Schenker writes out a graphic analysis
of Bach's Two-Part Invention in C major, and wishes him an enjoyable holiday on the French
Riviera.
-
OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)
Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17],
and offers advice and a warning: ordinary people are not interested in beauty in art, but look
for quick, easy judgments.
-
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 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.
-
OJ 14/45, [114] Handwritten picture postcard from Moriz and Karl Violin to Schenker, undated,
postmarked July 16, [1929]
Violin and his son have taken a bus to Brocken in the Harz mountains, the
highest point in northern Germany.
-
OJ 14/45, [80] Handwritten letter from Violin to Schenker, dated November 19, 1929
Violin apologizes for not having written, but does not want to burden Schenker
with negative thoughts. He will try to help find a publisher for the "Eroica" analysis, and
also offers some thoughts of comfort on hearing the news that Schenker's brother and
sister-in-law have separated. He has little energy left, but is somehow able to muster it
when needed, e.g. at a sold-out orchestral concert in which he played better than ever. He
promises to be in Vienna over Christmas.
-
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 14/45, [83] Handwritten letter from Violin to Schenker, dated January 24, 1930
Violin has learned that the proprietor of Rather-Verlag is unwell, and that
there would be no chance of Schenker's having his "Eroica" Symphony monograph published
there. He also reports on declining cultural and human values, of which the recent success
of jazz-based works, staged in German opera houses, is emblematic. He is going to Berlin to
investigate possible employment there.
-
OJ 14/45, [84] Handwritten letter from Moriz Violin to Schenker, dated May 15, 1930
Violin apologizes for not having written, but his family have moved to a more
affordable apartment and, around the same time, his wife was taken seriously ill with
appendicitis. Things are better now.
-
OJ 14/45, [85] Handwritten letter from Moriz Violin to Jeanette Schenker, dated June 16,
1930
Violin thanks Jeanette Schenker for sending him a recent article. His wife and
daughter will spend the summer holiday with his brother-in-law, who is also paying for a
three-week holiday for him and his son Karl.
-
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 14/45, [86] Handwritten letter from Moriz Violin to Schenker, dated July 23, 1930
Violin despairs of the future for his son, who has just turned 17, and about
life in general. He has faith only in Schenker, whom he sees as truly a product of his time,
because of his intimate attachment to the great achievements of bygone eras. He thinks that
the rest of the world will recognize in half a century what he knows now; he has no interest
in Furtwängler, who may appear to be modest in Schenker's company, but is no less arrogant
than any other idiot when left to his own devices. He is concerned about things that might
interfere with the completion of Schenker's last works.
-
OJ 6/7, [50] Handwritten letter from Schenker to Moriz Violin, dated July 31, 1930
Schenker assures his friend that he understands his difficulties, and that he
can be proud of holding his head high above those who do not understand music, or are
incapable of interpreting it beautifully. His own problems are focussed around money,
especially as his brother (Moses) has not given him the second part of his inheritance. He
has sought to find cheaper ways of producing the music examples for his latest writings: he
is more satisfied with the Eroica examples than the engraved illustrations from previous
volumes of Das Meisterwerk in der Musik, and is planning to issue Der freie Satz with a
volume of examples that is separate from the text. He repeats the news, from an earlier
letter, of his being mentioned in Romain Rolland's most recent Beethoven book, and of his
entry in Meyers Konversations-Lexicon, and also reports on an item about him in the Deutsche
Tonkünstler-Lexikon.
-
OJ 14/45, [87] Handwritten letter from Moriz Violin to Schenker, dated October 13, 1930
Violin has just heard that Hans Weisse will be lecturing in Berlin in
December; he plans to go there to hear him. His pupil Agnes Becker, returning from a trip to
London, has discovered that Schenker's Beethoven sonata edition is much in demand,
especially from students at the Royal Academy of Music.
-
OJ 14/45, [88] Handwritten letter from Moriz Violin to Jeanette Schenker, dated October 18,
1930
Upon hearing from Furtwängler that Schenker is unwell, Violin asks Jeanette
for news about him.
-
OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21,
1930
Writing after a long and serious illness, Schenker assures his friend that he
is alive and well. The doctors have pronounced him generally fit, but he suffers from a
painful tightening of the thorax, and also a flickering that causes him to "lose" letters
and notes. He has had to give many double-lessons of late, in theory, which he finds tiring.
To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons
without having prepared anything, he would rather play than give over-long lectures. He is
concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that
Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that
Violin is going to Berlin, and will give him instructions about what to do there. His
Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers
– and his brother still has half of his inheritance. But he is still alive – with Der freie
Satz.
-
OJ 5/7a, [33] (formerly vC 33) Handwritten postcard from Schenker to Cube, dated November 10, [1930]
Discusses attendance at Weisse's forthcoming lecture in Berlin; refers to two
articles in Die Musik.
-
OJ 14/45, [116] Handwritten picture postcard from Moriz Violin and others to Schenker, undated, c.
December 10, 1930
Moriz Violin, Hans Weisse, Anthony van Hoboken, Oswald Jonas and Felix Salzer
send greetings to Schenker, following Weisse's lectures in Berlin.
-
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.
-
OeNB Mus.Hs. 36390/1 [1] Handwritten letter from Violin to Schenker, dated March 12, 1931
Violin says that things are in order [with the planned Schenker Institute in
Hamburg], but that Hans Weisse will not take part. He will visit Vienna at the end of the
month to consult his friend, whom he asks to say nothing about the matter to
Weisse.
-
OJ 9/34, [24] Handwritten letter from Cube to Schenker, dated April 25, 1931
Cube is busy disposing of his house and dealing with his father's estate; he is
moving to Hamburg to work with Moriz Violin after a short holiday.
-
OJ 9/34, [25] Handwritten letter from Cube to Schenker, dated May 9, 1931
Cube describes his feelings and final dealings with the Conservatory in Duisburg,
and preparations for work with Violin in Hamburg; he reports on his two best pupils, Erich Voss
and Lieselotte Müller.
-
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 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 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.
-
OC 38/155v Handwritten letter (fragment) from Violin to Schenker, dated July 18,
1931
Violin’s son collapsed while away on a school holiday, but is now recovering.
The family are about to move to a new apartment in Hamburg, and Violin is sending Schenker a
copy of the prospectus for the Schenker Institute.
-
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 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 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.
-
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 15/16, [82] Handwritten letter from Weisse to Schenker, dated October 15, 1931
Weisse describes his new life in America; — is touched by the spirit that
pervades the Mannes Music School; — has given a lecture to the faculty on the role of a
theorist in a music school. — He reports that he has 22 pupils, and is about to meet George
A. Wedge, Dean of the Institute of Musical Art. — He asks whether Schenker has had any news
from 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 6/8, [8] Handwritten letter from Schenker to Violin, dated October 23, 1931
Schenker has written to Ludwig Karpath concerning the matter of Violin’s
appropriation of the title of “Professor” (as discussed in Schenker’s letter of October 17).
He hopes that his friend's difficulties are now entirely behind him.
-
OeNB Mus.Hs. 36390/1 [2] Handwritten letter from Violin to Schenker, dated November 4, 1931
Violin thanks Schenker for his package. He has been swamped by administrative
business concerning the Schenker Institute, but is sometimes able to argue about musical
matters with Felix-Eberhard von Cube. He thanks Schenker for correcting a mistake on Cube’s
part concerning the analysis of the end of the C major Prelude from the first book of Bach’s
Well-tempered Clavier.
-
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 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
-
OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and
Heinrich Schenker’s hand, dated November 11‒16, 1931
-
OJ 8/5, [7] Handwritten picture postcard from Schenker to Violin, dated November 27,
1931
Inquiring about Violin’s difficulties at the Schenker Institute in Hamburg,
Schenker observes that there are many fewer conservatory students in Vienna, and also in
Berlin, because music teachers earn so little.
-
OJ 6/8, [13] Handwritten letter, with envelope, from Schenker to Violin, dated June 12,
1932
Schenker refers to his “betrayal” by Herman Roth and shares with Vrieslander’s
letter on the subject. He updates Violin on the forthcoming publication of the Fünf
Urlinie-Tafeln, accusing the Mannes School of getting more publicity and profits from the
sale of the work than it deserves.
-
OJ 9/34, [34] Handwritten letter from Cube to Schenker, dated September 12, 1932
Cube outlines the conflict between Moriz Violin and the school authorities over
inspection of the Hamburg Schenker-Institut, portrays his own differences of opinion with
Violin, and asks for Schenker's opinion.
-
OJ 15/16, [87] Handwritten letter from Hans Weisse to Schenker, dated September 14, 1932
After a long silence, for which he apologizes, Weisse congratulates Schenker
on the completion of Der freie Satz and reports that he has composed a violin sonata, which
retains the neo-Bachian style of his three-voiced piano pieces of 1931. He gives Schenker
the dates of his sailing to America and his address in New York.
-
OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20,
1932]
In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.
-
OC 18/37-38 Handwritten letter from Furtwängler to Schenker, dated December 10, 1932
Furtwängler shares Schenker's assessment of Ludwig Karpath, and has not
written a letter for publication. — He has been exploring possibilities for Schenker in
Berlin, particularly taking over a masterclass at the Akademie der Künste, with additional
lectures at the Stern'sches Conservatory. — He has heard from Hans Weisse. — He encloses a
review by Herman Roth, and comments on the latter's character.
-
OJ 6/8, [14] Handwritten letter, with envelope, from Schenker to Violin, dated December 19,
1932
In this characteristically long end-of-year letter to his friend, Schenker
mentions his forthcoming edition of Brahms’s study of consecutive octaves and fifths,
Jonas’s book on his achievements as a theorist, Zuckerkandl’s book on opera, and the
possibility of an English translation of his Theory of Harmony.
-
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, [16] Handwritten letter from Schenker to Violin, dated December 29, 1932
Schenker advises Violin to keep up the pressure on Josef Marx regarding a
possible position at the Vienna Akademie; he will do the same. He again discourages his
friend from approaching Anthony van Hoboken with an appeal for financial
assistance.
-
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.
-
OC 18/45 Handwritten postcard from Josefine Violin to Karpath, dated January 23, 1933
Josefine Violin informs Karpath of the death of Karl Violin. Karpath sends
Schenker the card, and complains in an annotation about the disrespectful mode of
address.
-
OJ 6/8, [21] Handwritten letter from Schenker to the family of Moriz Violin, postmarked January
24, 1933
Schenker sends condolences, from Jeanette and himself, to the whole Violin
family on the death of Karl Violin, reassuring them that they did all they could in his
lifetime.
-
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 6/8, [23] Handwritten letter from Schenker to Violin, dated May 3, 1933
Preparing for Violin’s arrival, Schenker proposes that he ask the same lesson
fee that his friend would ask, 25–30 shillings per hour, for any new pupils he takes on. (He
will charge Miss Weber less, Hans Wolf perhaps a bit more.) Wolf will get tuition in theory,
but continue to study the piano with Violin.
-
OJ 6/8, [24] Handwritten letter from Schenker to Violin, dated May 9, 1933
Schenker suggests a possible time for Wolf’s first lesson, and a schedule for
him and Miss Weber. He is surprised to hear that Violin is thinking of emigrating to
Palestine, and suggests that the Jews there should come to Vienna to study with himself as a
“first-class Jew.” Their summer plans are not yet fixed.
-
PhA/Ar 56, [11] Handwritten letter from Schenker to Kromer, dated October 2, 1933
Schenker returns a loaned book.
-
OJ 15/26, [1] Handwritten postcard from Hans Wolf to Schenker, dated January 4, 1934
Wolf sends good wishes for the New Year; he expects to be back from Hamburg
for his lesson on Monday.
-
OJ 12/6, [28] Handwritten postcard from Jonas to Schenker, dated January 19, 1934
Jonas provides requested address; no further headway with van
Hoboken.
-
OJ 12/6, [30] Handwritten letter from Jonas to Schenker, dated March 16, 1934
Jonas has mailed off the book [to his publisher]; he hopes that Schenker will
approve of it [when eventually he sees it]. It comprises four chapters and two appendices. —
He thanks Schenker for the gift of his Syrian Dances. — The Director of the Hochschule für
Musik in Berlin, Fritz Stein, has written that he cannot arrange a position for Jonas,
whereas Jonas (with support from Furtwängler) had sought only students to whom to give
[private] lessons. — Jonas alludes to difficult conditions under which he is working, and
describes his conflict with piano teacher Georg Bertram. — Relations with van Hoboken are
strained, despite Jonas's having included an appendix about the Photogrammarchiv in his
book.
-
OJ 12/6, [29] Handwritten letter from Jonas to Schenker, dated March 30, 1934
Jonas wishes the Schenkers a happy Easter. — His book expected out April 20:
Jonas wonders if it would be a good idea to ask Furtwängler for a letter for
it.
-
OJ 5/18, 38 Handwritten letter from Schenker to Jonas, dated April 7, 1934
Further to OJ 5/18, 37, Schenker reports his conversation with Hoboken, who
praised Jonas's book, then asked Schenker's opinion on how best to display the music
examples. Schenker attempts diplomatically to explain Hoboken's pettiness. — Furtwängler is
in Vienna. — Schenker praises Jonas's activities.
-
OJ 12/6, [31] Handwritten letter from Jonas to Schenker, dated April 15, 1934
Jonas acknowledges three communications; Hoboken has increased his subvention
for Jonas's book; Furtwängler has agreed to write a supporting letter. — Jonas proposes a
series of individual critical introductions to most frequently performed piano works and
concertos.
-
OJ 9/34, [41] Handwritten letter from Cube to Schenker, dated June 7, 1934
Acknowledges a (non-extant) letter in which Schenker had expressed dismay at a review (enclosed
with OJ 9/34, [40]) of a recent lecture by Cube, who explains the circumstances under which he had to disguise
the source of some of his ideas: Schenkerian theory is regarded as "Jewish rubbish," and is no longer discussed;
one has to choose one words carefully.
-
OJ 12/6, [35] Handwritten letter from Jonas to Schenker, dated July 25, 1934
Jonas has changed his travel plans; describes Bayreuth; sends corrigenda list
for his Das Wesen; Roth is working on continuo realizations of Handel.
-
OC 44/4 Printed and handwritten birth annnouncement from the Cube family to Schenker, dated
August 12, 1934
Birth announcement of John-Carsten von Cube.
-
OC 44/43 Handwritten letter from Jonas and Hans Wolf to Schenker, dated September 24,
1934
Jonas reports on complimentary copies of Das Wesen and the plans for the
elucidatory editions. — He hopes to enlist Furtwängler in supporting Hans Wolf's application
to reenter Austria from Germany, but thinks a letter from Schenker to Furtwängler would be
more effective.
-
OC 44/46 Handwritten postcard from Jonas and three others to Schenker, dated October 2,
1934
Jonas has spoken to Furtwängler, who will proceed on the matter of Hans
Wolf.
-
OJ 9/34, [42] Handwritten letter from Cube to Schenker, dated October 4, 1934
Quotes letter from Furtwängler in extenso touching on reasons for dismissal and
articulating the importance of Schenker's theory; Cube describes the impact of this letter on his
Director. The names of Schenker, Halm, and Kurth were deleted from a recent text of his, and
censorship has been imposed. Describes his own recent activities. Outlines his geometric theory of the
diatonic components of tonality. Encloses photograph of his wife and son; describes hardships. Denies
rumors that he has cheated Moriz Violin, and refers to the resulting backlash on him: Violin has a
"complex", feels downtrodden by everyone.
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OC 44/47 Handwritten letter from Hans Wolf to Schenker, dated October 19, 1934
Wolf has receive authorization to enter Austria.
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OJ 5/18, 60 Handwritten letter from Schenker to Jonas, dated October 25, 1934
Schenker thanks Jonas for the assistance he has given Hans Wolf, and reports
that Furtwängler has intervened on Wolf's behalf, and also helped von Cube obtain a position
in Hamburg; Hoboken "doesn't want to drop" Jonas.
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OC 44/9 Handwritten letter from Jonas to Schenker dated October 27, 1934
Jonas acknowledges OJ 5/18, 59 and 60; Hoboken has no reason to complain about
his behaviour. — As a result of Hoboken's distribution of complimentary copies, Jonas has
received letters of appreciation. —Reacts critically to Willi Reich and his magazine 23. —
Describes plans for forthcoming events in Hamburg.
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OJ 12/6, [39] Typewritten letter (carbon copy) from Jonas to Schenker, dated November 28,
1934
Jonas has agreed to let his publisher proceed with a lawsuit against Willi
Reich; he has written up the documentary evidence of the case and asks Schenker to circulate
it among his circle. — He reports his activities in Berlin. — He reports his dispute with
the Jüdischer Verlag.
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OJ 12/6, [40] Handwritten letter from Jonas to Schenker, dated December 19, 1934
Jonas encloses a translation of an English review of his book; comments
despairingly. — Lawsuit against Willi Reich comes to court on December 22. — Jonas hopes to
give lectures in Vienna. —Asks if Schenker knows Carl Johann Perl. —Holiday good
wishes.
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OJ 15/26, [3] Handwritten picture postcard from Hans Wolf to Jeanette Schenker, postmarked May 18,
1935
Wolf sends greetings to Jeanette Schenker.
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LC ASC 27/45, [3] Handwritten letter from Moriz Violin to Schoenberg, dated April 17, 1938
Violin tells Schoenberg he expects to obtain an affidavit to emigrate to the
USA, and ask if Schoenberg could write a letter of recommendation for work in San Francisco,
and advise him on possibilities there.
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OJ 70/35, [5] Handwritten letter from Schoenberg to Moriz Violin, dated December 23,
1938
Schoenberg has asked a rabbi to produce an affidavit, and offers this to
Violin in advance of receiving it.
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LC ASC 27/45, [13] Handwritten curriculum vitae from Moriz Violin to Schoenberg, undated [July 20,
1939]
Violin's curriculum vitae.
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OJ 70/35, [6] Typewritten testimonial (carbon copy) from Schoenberg concerning Moriz Violin, dated
July 21, 1939
Schoenberg letter of recommendation to "whom it may concern."