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OJ 15/16, [31] Handwritten letter from Weisse to Schenker, dated November 9, 1917
Weisse now has a piano in his army lodgings, plays in the evenings, expects to
send Schenker an analysis of Brahms Intermezzo, Op. 119, No. 2, shortly. The Italian defeat
is near. He has sent a pamphlet by Walther Rathenau.
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OJ 8/3, [50] Handwritten postcard from Schenker to Valerie Violin, dated November 16,
1917
Schenker requests Moriz's full army address; pressure of work precludes a visit;
a parcel has gone astray.
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OC 1 B/35-40 Handwritten draft letter, in Jeanette Kornfeld/Schenker's hand, from Schenker to
Hertzka (UE), undated [June 10, 1919]
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven ... op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art and all manifestations of human life are inextricably
interconnected. He claims that his pronouncements on politics now will prove correct in the long
run. His sole concern is with the truth; he is not interested in pandering to his readers.
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WSLB 303 Handwritten letter from Schenker to Hertzka (UE), dated June 12, 1919
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven, Op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art, life, and politics are inextricably interconnected. He claims
that his pronouncements on politics now will prove correct in the long run. His sole concern is
with the truth; he is not interested in pandering to his readers.
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DLA 69.930/8 Handwritten letter from Schenker to Halm, dated October 27, 1919
Schenker writes of the deteriorating intellectual conditions in Germany and
Austria with respect to other nations, and of the devastating political and psychological
consequences. Schenker praises Halm's Klavierübung for its sensitivity to voice leading, and
speaks of it as an antidote to the decline of musical literacy. He hopes to talk with Halm about
these matters when he moves to Germany.
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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.
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OJ 10/1, [67] Handwritten postcard from Dahms to Schenker, dated October 12, 1921
Dahms reports on his Italian sojourn and work.
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OJ 8/4, [13] Handwritten postcard from Schenker to Moriz Violin, dated July 9, 1922
Schenker reports the publication of the second part of Kontrapunkt and continued
difficulties with Universal Edition.
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OJ 11/35, 20 Handwritten letter from Halm to Schenker, dated July 24 and August 19, 1922
Halm announces publication of his three suites for piano trio, and has arranged for two of
them to be sent to Schenker. He thanks Schenker for sending him Kontrapunkt II, and expresses admiration
for the "power of the broad conception" of Schenker's work. He is distressed at Schenker's attacks on
other countries and glorification of Germany, and speaks with appreciation of French and Russian music. He
describes his new publisher.
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OJ 10/1, [78] Handwritten letter from Dahms to Schenker, dated August 23, 1923
Dahms has received Tonwille 4 but not yet examined it. — Has deferred work on
his Haydn book because of financial problems over Musik des Südens and poor take-up of
subscriptions. — Debates whether to attend the Leipzig musicology conference. — Comments on
German politics as the occupation of the Ruhr unfolds, and compares German attitudes with
Italian.
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OJ 15/16, [49] Handwritten letter from Weisse to Schenker, dated September 7, 1923
Weisse asks Schenker why he and his wife treated him so coldly when they recently
met on the street; he suspects this had something to do with his recent trip to Italy, protests
his innocence but affirms his unchanged love for his teacher.
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OJ 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September
12, 1923
Schenker explains his behavior a few days before, in reply to Weisse’s letter of
September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer.
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OJ 10/1, [80] Handwritten letter from Dahms to Schenker, undated [c. November 18, 1923]
Having sent a subscription copy of Musik des Südens to Moriz Schenker and
received no acknowledgement, Dahms asks Schenker's help.
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OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924
Dahms thanks Schenker for information about Castiglione. The Deutsche
Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has
excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in
Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong
reaction outside Germany.
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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.
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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.
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JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925
Wherever Hammer may travel, Schenker declares, he will never lose his
Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the
west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an
account of the dispute with Universal Edition and the outcome of negotiations with Drei
Masken Verlag.
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OJ 10/1, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925]
Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers
to visit. — Hindenburg's election as German President has given a "jolt" to Europe and
pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will
be able to lift Germany out of mediocrity.
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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.
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OJ 10/1, [92] Typewritten letter from Dahms to Schenker, dated May 21, 1926
Dahms reports plans, with a young Munich publisher, to launch a popular music
"almanach," anti-modern, propagandizing for "our ideas," and later a serious periodical. —
He has to raise 10,000 Marks, and asks for Heinrich's help in doing this. — Margarete has
had surgery.
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OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929
In a long letter, Deutsch thanks Schenker for encouraging him to apply for the
post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the
previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of
play at the Archive, above all on its insecure position. — He also expresses his regret that
Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors
from the Vienna Academy, and that some of the players are no longer enthusiastic about them;
he hopes to start a new initiative of that sort in the autumn. — He is in good standing with
Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his
recent trip to Italy, and thinks that he might have become an art historian had he gotten to
know the country earlier.
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OJ 12/6, [21] Handwritten postcard from Jonas to Schenker, dated May 2, [1933]
Jonas thanks Schenker for Brahms study; — he will be in Vienna to see Hoboken on
16th and will visit Schenker.
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OJ 9/15, [3] Handwritten notecard from Elsa Bienenfeld to Schenker, dated June 6, 1933
Bienenfeld thanks Schenker for her visit to him on June 2, 1933, and invites
him to meet Felix Weingartner on June 14, 1933.