-
OJ 11/16, [E] Handwritten letter from Furtwängler to Schenker, undated [1928‒30]
Furtwängler cancels meeting on account of illness.
-
OC 54/91-92 Draft of a letter from Schenker to DMV in Schenker’s hand, dated June 24,
1926
In response to Drei Masken Verlag’s delay in initiating production of the
second Meisterwerk Yearbook, Schenker points out that the publishers are in breach of
paragraph 8 of the contract between them for not informing him the previous summer. He
threatens them with legal action if he has not had a reply within a week, or if they insist
on delaying production.
-
OJ 10/3, [90] Typewritten letter from Deutsch to Schenker, dated June 27, 1928
Touched by Schenker’s response to his birthday greetings, Deutsch quotes a
passage from Johann Mayrhofer’s recollections of Schubert. He notes that the Columbia
Phonograph Company has sponsored a competition that could be viewed as a kind of Nobel Prize
for music.
-
OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929
Schenker thanks Violin for his concerns, describes how they survived the cold
weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished
and that he has written an article about the Photogram Archive, which has acquired over
seven thousand pages of manuscripts. He looks forward to seeing his friend in the
summer.
-
OJ 15/16, [61] Handwritten letter from Weisse to Schenker, dated May 29, 1929
Weisse reports that Gerhard Albersheim is going to see him about the
possibility of having lessons from him. He congratulates Schenker on completing his study of
the "Eroica" Symphony, and hopes to be able to get together with his teacher sometime in the
next two weeks.
-
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.
-
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 11/16, [7] Handwritten letter from Furtwängler to Schenker, dated August 30, 1929
Furtwängler comments retrospectively on the Heidelberg affair, and rejoices over
the "Eroica" monograph.
-
OJ 5/44, [1] Handwritten letter from Schenker to Arthur Waldeck, dated September 23, 1929
Schenker encourages Waldeck to spread his (Schenker's) ideas in America, and
apprises him of Dunn's translation of Kontrapunkt and his own recent and forthcoming
publications.
-
OJ 6/7, [43] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1929
Urging his friend to write only when he feels up to it, Schenker gives Violin
some news of his own: that the Eroica Symphony monograph is finished but a publisher who is
capable of dealing with the numerous music examples must be found; that Schenker will work
unceasingly on Der freie Satz once the Eroica is out of the way; that the Photogram Archive
has grown in size in two years, and that so many requests for information have been received
that a yearbook is planned, with critical reports, new editions, and the like; that Hoboken
and Vrieslander have fallen out (over money matters); that Schenker's brother Mozio (Moses)
has separated from his wife after 25 years of marriage and that he his has been giving music
lessons to Mozio’s son, a cellist in the Baden city orchestra.
-
OJ 14/45, [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 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929
After reply to some of the more personal points in Violin's previous letter,
Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony
monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books
are still in print and his status as a theorist has been acknowledged by the the fact that
the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A
recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when
approaching a publisher. That same issue also contains an article by Schoenberg touching on
various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1;
Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet).
He feels that it is beneath his dignity to make a formal reply; but to illustrate what he
means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs
and other music examples concerning these works.
-
OJ 6/7, [45] Handwritten letter from Schenker to Violin, dated December 23, 1929
Schenker, expressing misgivings about the medical profession, nonetheless
hopes that Karl Violin's impending operation is successful. He is still awaiting news about
a publisher for the "Eroica" monograph; Furtwängler's illness has delayed some lines of
enquiry, and Hertzka (at Universal Edition) has not been cooperative.
-
OJ 12/50, [5] Handwritten letter from Bernhard Martin to Schenker, undated [January 1 or 2,
1930]
In thanking Schenker for all that he has learned from him, Bernhard Martin
sends New Year's greetings to Heinrich and Jeanette. He looks forward to the "Eroica
monograph."
-
OC 54/221 Letter from Waldheim-Eberle to Schenker, dated February 13, 1930
Cost estimate of production costs for the third Meisterwerk
yearbook.
-
OJ 10/3, [119] Typewritten letter from Deutsch to Schenker, dated February 26, 1930
In contrast to the uprightness of Schenker’s other pupils, Hans Weisse and
Felix Salzer, Hoboken is described by Deutsch as an unsteady, unfocussed person who may yet
be able to do some good but whose restlessness gives him grounds to fear for the future of
his library, and his own future.
-
OJ 10/3, [120] Handwritten postcard from Deutsch to Schenker, dated March 2, 1930
Deutsch has come across information suggesting that there may be parts, even a
score, of the "Eroica" Symphony with corrections in Beethoven’s hand from the music library
of Archduke Rudolph and still located in Olmütz [Olomouc].
-
OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930
Schenker reports on two concerts at which Hans Weisse's Octet was performed
for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality
of the voice-leading in general, the construction of the finale movement (a passacaglia) in
particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented
the cost of the rehearsals and concerts, and the provision of food and drink for the
audience; this he compared with Antony van Hoboken's reluctance to help him with the
publication costs of his recent work.
-
OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930
Deutsch suggests that Schenker should get Breitkopf & Härtel to publish
his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will
continue to study theory with Schenker while he improves his piano technique in Berlin. --
He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which
predates its publication in Op. 75 by about three years, and asks Schenker to compare the
two version with a sketch from 1798 that was published by Nottebohm.
-
OJ 5/9, [2] Handwritten letter from Schenker to Deutsch, dated April 3, 1930
Schenker confirms that a Beethoven sketch for "Neue Liebe, neues Leben" is
related to the earlier of his two settings of the song. Although he is grateful for
Nottebohm’s work on the Beethoven sketches, he transcribed only from the surface, not from
the depths of the composition. -- In a postscript, Schenker complains that, in a recent
feuilleton, the music critic Julius Korngold has quoted his terminology (e.g.
Auskomponierung) but failed to mention his name.
-
OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930
Furtwängler encloses a letter from Karl Straube, and cautions Schenker against
publishing with Breitkopf.
-
OC 54/218 Handwritten letter from Karl Straube to Schenker, dated May 14–16, 1930
Straube informs Schenker that, owing to the acute slump in sales of musical
textbooks, he has been unable to secure a publishing deal for the third Meisterwerk yearbook
with both Breitkopf & Härtel and C. F. Peters.
-
OC 54/224 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated May 22,
1930
Drei Masken Verlag confirm that they are willing to embark on the publication
of the third Meisterwerk volume, and request further information about the print
run.
-
OC 54/225 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated May 27,
1930
Drei Masken Verlag will draw up an estimate for the production costs of the
third Meisterwerk volume following receipt of the manuscript.
-
OC 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930
Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has
resigned his Vienna position.
-
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 54/227 Typed Postcard from August Demblin (DMV) to Otto Erich Deutsch, dated June 10,
1930
Drei Masken Verlag ask Deutsch to forward the manuscript of the third
Meisterwerk yearbook to Elbemühl, in order to allow them to produce a more precise
estimate.
-
OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930
Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about
Schenker difficult to read. He advises him to proceed with the printing of his essay on the
"Eroica" Symphony, even if it proves possible for another publisher to take it over at a
late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for
orchestra or wind band].
-
OC 54/306 Handwritten receipt from Deutsch to Schenker, dated June 21, 1930
Receipt for the text of Schenker’s study of the Eroica Symphony, [which Deutsch
was to take to the printers for an estimate of the production costs].
-
OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930
Furtwängler reports on his meeting with Breitkopf &
Härtel.
-
OC 54/308 Handwritten picture postcard from Deutsch to Schenker, dated June 28,
1930
A printer’s sample make-up for the third Meisterwerk yearbook is on its way to
Schenker; Deutsch asks Schenker to return it together with his comments.
-
OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10,
1930]
Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major
piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working
on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." --
Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. --
He asks about Furtwängler's studies with Schenker.
-
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.
-
OC 54/314 Typewritten picture postcard from Deutsch to Schenker, dated July 28,
1930
Deutsch asks Schenker not to return any proof corrections (to the text of the
third Meisterwerk yearbook) until he has seen his own.
-
OC 54/315 Typewritten letter from Deutsch to Schenker, dated July 30, 1930
Deutsch makes further reports on the anticipated costs of the third
Meisterwerk yearbook. -- He has come across an arrangement of Beethoven’s Op. 74 Quartet as
a symphony and found some important early editions of the Op. 22 Sonata. -- He would like
Schenker to meet his friend [Leopold] Liegler, whose theories about literature resonate with
the concept of Urlinie.
-
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.
-
OC 54/316 Handwritten picture postcard from Deutsch to Schenker, dated August 11,
1930
Deutsch has received the first proofs [of the third Meisterwerk yearbook] from
the printers, and would like to look carefully at them before forwarding them to
Schenker.
-
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 39/1 Handwritten envelope for proofs sent by Deutsch to Schenker, postmarked August 23,
1930
Envelope for proofs.
-
OC 54/318 Typewritten picture postcard from Deutsch to Schenker, dated August 27,
1930
Deutsch has no objection to Schenker adding a note about a possible source for
the “Eroica” Symphony in his notes on the text of the work. -- He is happy that reading the
proofs of the third Meisterwerk yearbook has been useful. -- He suggests that the [Austrian]
Minister for Education ought to see the letters that Leo Kestenberg has written about
Schenker’s work. -- He asks Schenker for a possible journalist contact in
Aussig.
-
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.
-
OC 54/320 Handwritten letter from Deutsch to Schenker, dated September 11, 1930
Deutsch asks Schenker to look carefully at two passages in the proofs of the
music examples to the third Meisterwerk yearbook and send them to him immediately. He also
wants Schenker to change the ending of the final item in the yearbook’s
“Miscellanea.”
-
OC 54/322 Handwritten letter from Deutsch to Schenker, dated September 19, 1930
Deutsch cannot see Schenker until Sunday, September 21, 1930.
-
OC 54/323 Handwritten picture postcard from Deutsch to Schenker, dated September 26,
1930
Deutsch has learned that a number of Beethoven items have been transferred
from Olmütz [now Olomouc, in the Czech Republic] to the monastery at
Kremsier.
-
OC 54/325 Handwritten letter from Deutsch to Schenker, dated October 11, 1930
Deutsch explains to Schenker which proof corrections may be the author’s
responsibility, and which the printer’s or publisher’s, and advises him to write back to the
publisher but not to get unduly upset about these matters.
-
WSLB-Hds 191.571 Letter from Schenker to Deutsch, in Jeanette Schenker’s hand, dated October
17, 1930
Enclosing two recent letters from Drei Masken Verlag, Schenker asks
Deutsch’s advice on what further action to take, if any. His doctor has pronounced
him fit.
-
OC 54/216 Handwritten receipt from Georg Tomay to Schenker, dated October 18, 1930
Tomay confirms receipt of the outstanding payment for his work on the third Meisterwerk yearbook.
-
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.
-
OC 54/329 Handwritten letter from Deutsch to Schenker, dated October 24, 1930
Deutsch makes further suggestions about how the musical material for the
"Eroica" – the booklet of Urlinie graphs, and other illustrations (“figures”) – should fit
into the third Meisterwerk yearbook. He also recommends fully paginating the
booklet.
-
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 10/3, [131] Handwritten letter from Deutsch to Schenker, dated November 5, 1930
Deutsch advises Schenker to send a sample of proofs of the third Meisterwerk
yearbook to the editor of Der Kunstwart. He thanks him for copies of the letters written by
Leo Kestenberg.
-
OJ 13/25, [12] Typewritten letter from Rinn to Schenker, dated November 17, 1930
Rinn recommends an discussion in the Münchener Zeitung involving one of his
assistants, Alexander Berrsche. He looks forward to seeing the third Masterwork yearbook and
speaks of publishing a selection of "aphorisms" from the second and third
yearbooks.
-
OJ 5/32, [3] Postal receipt from Schenker to Rinn, dated November 20, 1930
Schenker sends Rinn Meisterwerk II and the page-proofs of Meisterwerk
III.
-
OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November
26, 1930
Schenker summarizes the achievements and ambitions of several of his pupils
and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse
is the most ambitious of all of these though he is not completely at home in the new theory.
He fears that something might go wrong at Weisse's forthcoming lecture at the Central
Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse
will give a trial run of the lecture at the Schenkers' apartment.
-
OJ 15/15, [48] Handwritten postcard from Weisse to Schenker, dated November 27, 1930
Weisse, having received a copy of the page-proofs for "Rameau oder Beethoven?"
from the third Meisterwerk Yearbook, calls Schenker's attention to two
misprints.
-
OJ 10/3, [134] Handwritten picture postcard from Deutsch to Schenker, dated December 14,
1930
Deutsch thanks Schenker -- and Hans Weisse -- for Weisse’s lecture. Hoboken
has recently acquired a second edition of Beethoven’s Sonata Op. 22, which Schenker may wish
to consult.
-
OJ 10/3, [135] Handwritten letter from Deutsch to Schenker, dated December 25, 1930
Deutsch’s son Peter has broken a leg ice-skating. He is devastated by the news
of Hoboken’s withdrawal of support for the C. P. E. Bach collected edition). He will discuss
the terms [of payment] regarding the third Meisterwerk yearbook in person, and advises that
review copies be sent out in January.
-
OJ 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931
Hearing that Schenker expects to complete Der freie Satz by early spring,
Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on
Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of
a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the
author against Schenker.
-
OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931
In this long and wide-ranging two-part letter, which includes a graphic
analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of
Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post
there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald
Warburg), or even found an institute that would give employment to Felix Salzer and other
Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the
morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg.
For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and
Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes
with a tirade against those who have caused him financial misery (including his brother
Mozio), culminating in a cynical passage in which Schenker advises his friend to look after
himself and engage some dull pedagog to teach conventional theory. In the end, he wishes
Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s
clutches.
-
OJ 10/3, [137] Typewritten letter from Deutsch to Schenker, dated January 24, 1931
Deutsch is sorry not to be able to meet with Schenker and Felix Salzer. — He
is concerned that others may think that he had a part to play in Hoboken’s withdrawing his
financial support for a collected edition of C. P. E. Bach’s works.
-
OJ 10/1, [104] Typewritten letter from Dahms to Schenker, dated February 7, 1931
Dahms is looking forward to reading Meisterwerk III and inquires after Der
freie Satz. — He has cut himself off from Berlin and Germany; his marital situation has
finally been resolved, and he and his wife and child have settled in Paris.
-
OJ 15/15, [55] Handwritten picture postcard from Weisse to Schenker, dated February 13,
1931
Weisse thanks Schenker for sending him a Mozart quotation, asks for a source
for it, and makes a reference to a certain "Preetorius."
-
OJ 5/30, [1a] Handwritten draft letter from Schenker to Preetorius, undated [February 12–13,
1931]
Schenker draws Preetorius's attention to part of Meisterwerk III, and
invites him to consider his (Schenker's) theory of coherence in music as a basis for
that in other arts, hence unity among the arts. -- He envisions a "club" of artists
to discuss these matters.
-
OJ 10/1, [105] Handwritten picture postcard from Dahms to Schenker, dated February 23,
1931
Dahms acknowleges receipt of Meisterwerk 3.
-
OJ 12/9, [27] Typewritten picture postcard from Karpath to Schenker, dated February 23,
1931
Karpath thanks Schenker for sending volume III of the Yearbook.
-
WSLB-Hds 94479 Handwritten letter from Schenker to Seligmann, dated February 26, 1931
Schenker asks Seligmann to read the opening essay in the third volume of Das
Meisterwerk in der Musik. He quotes from a letter to his pupil Hans Weisse which
demonstrates the attention his theories have been gaining in Germany, especially Berlin, and
expresses his regret that no one in Vienna shows similar respect for him.
-
OJ 14/23, [23] Handwritten picture postcard from Seligmann to Schenker, undated [February 28, 1931]
Seligmann thanks Schenker for his recent correspondence, is heartened by what
Hans Weisse has written (about the reception of Schenker’s work in Berlin); he looks forward
to reading about Rameau (in the third Meisterwerk yearbook).
-
OJ 10/3, [140] Handwritten picture postcard from Hannah Deutsch to Schenker, dated March 2,
1931
Deutsch will meet Schenker at the Café Aspang on Thursday, March
5.
-
OJ 10/3, [142] Typewritten letter from Deutsch to Schenker, dated March 6, 1931
Having spoken with a friend in confidence, he advises Schenker to apply to the
Ministry of Education for help with the printing costs of the “Eroica book” [i.e. the third
Meisterwerk yearbook], and to get Furtwängler and Hoboken to write in support of his
receiving an civic honor.
-
OJ 12/50, [7] Handwritten letter from Bernhard Martin to Schenker, undated [1931?]
Bernhard Martin sends Schenker a circular sketch diagram of the opening of the
C minor fugue from WTC, Book I, which he has used in his class teaching. He has for two
years been developing from Schenker's publications proposals for music instruction in
schools, including counterpoint with practical exercises.
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OJ 14/23, [24] Handwritten postcard from Seligmann to Schenker, postmarked March 11,
1931
Seligmann thanks Schenker for sending him the third Meisterwerk yearbook and
says he greatly enjoyed learning about Rameau in the opening essay. But, he says, Schenker
can hardly be surprised that he is ignored by the Ministry [of Education] if he constantly
offends the people who are responsible to the Minister.
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OJ 15/16, [69] Handwritten letter from Weisse to Schenker, dated March 19, 1931
Weisse asks Schenker’s approval to approach Furtwängler about Der freie Satz,
presumably to seek financial assistance for its publication. He has been given a copy of a
letter from Mozart to Baron van Swieten, but expresses his doubts about the tone of one of
Mozart’s phrases; he hopes to meet Schenker soon, to talk about Bruckner.
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OJ 15/16, [71] Handwritten letter from Weisse to Schenker, dated March 25, 1931
Weisse, remaining confident that Furtwängler will provide financial assistance
with Schenker’s publications, thinks it is best to ask for help with the “Eroica” analysis
(Meisterwerk III) and Der freie Satz together; he will emphasize that the subvention for the
“Eroica” is the more urgent, and the cost of publishing the latter could be met by
subscription. From what Furtwängler has hinted, the prospects for Weisse lecturing, and
eventually teaching, in Berlin are not good; but Weisse may have other
plans.
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OJ 12/6, [8] Handwritten postcard from Jonas to Schenker, dated March 30, [1931]
Jonas thanks Schenker for OJ 5/18, 4; — reports that his own essay and a review
of Das Meisterwerk III will appear in the Zeitschrift für Musikwissenschaft; — asks question
about a discussion in Der Tonwille of a Bach fugue copied out by Beethoven.
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OJ 15/16, [72] Handwritten letter from Weisse to Schenker, dated March 30, 1931
Following up a discussion with Schenker in the presence of Wilhelm
Furtwängler, Weisse draws up a list of Schenker’s early essays. Oswald Jonas and his wife
have been copying them and Jonas plans to write a Foreword to a new edition of these
writings.
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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.
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OJ 8/5, [4] Handwritten picture postcard from Schenker to Violin, postmarked June 6,
1931
Furtwängler has sent 3,000 Marks via Hans Weisse for the costs of Das
Meisterwerk 3, and Weisse will continue to seek the funds for Der freie
Satz.
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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.
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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.
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OJ 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931
Deutsch reports illness in his family over the summer. -- He is glad to see
Schenker’s article on the lost Mozart letter in print, and mentions other places in which it
was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which
have, however, been misrepresented in the press.
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OJ 10/3, [152] Typewritten letter from Deutsch to Schenker, dated August 19, 1931
Replying to Schenker’s recent letter and postcard, Deutsch says that he will
be out of the country in the first half of September (travelling with a choir). He is
delighted with the recent review [of the third Meisterwerk yearbook], and is always happy to
see Schenker’s work praised. His wife and family have now recovered from illnesses. He is
still awaiting a letter from Drei Masken Verlag.
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OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
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OJ 12/6, [11] Typewritten letter from Jonas to Schenker, dated March 24, 1932
Furtwängler liked his essay; Jonas describes his lectures at the Conservatory;
the situation with Einstein over publishing his review of Meisterwerk 3; asks about
permission to consult Brahms's arrangement of Saul.
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OJ 11/16, [10] Typewritten letter from Furtwängler to Schenker, dated April 5, 1932
Furtwängler thanks Schenker for a gift, and wishes to call on
him.
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OJ 12/6, [13] Handwritten letter from Jonas to Schenker, dated July 14, 1932
Jonas reports on his visit to Berlin, where he failed to meet with Furtwängler; —
discusses Brahms-Handel Saul and Beethoven Op. 109. — He has heard about the Fünf Urlinie-Tafeln
from Hoboken and Salzer; — discusses plans for publishing his Das Wesen des musikalischen
Kunstwerkes. — Has received books from Alfred Einstein.
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OJ 12/6, [15] Handwritten letter from Jonas to Schenker, dated September 5, 1932
Jonas encloses sample page-make-up by Saturn-Verlag, and asks Schenker to send
addresses for recipients of invitations [to subscribe]. Reports on his professional
prospects and contacts in Berlin, and on reviewing.
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OJ 12/6, [24] Handwritten letter from Jonas to Schenker, dated October 25, 1932
Jonas acknowledges OJ 5/18, 16 (not surviving); is pleased his article has
Schenker's approval; sends [text of] lecture for Schenker's judgment; result of subscription
[for Einführung] so far depressing.
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OC 44/22 Typewritten letter from Jonas to Schenker, dated November 10, 1932
Jonas acknowledges letter from Schenker and gives initial list of subscribers
with number of copies; he reports on two of his latest publications.
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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.
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OC 18/32-33 Handwritten letter from Weisse to Schenker, dated November 28, 1932
Weisse is uneasy about disparity among translations of Schenker's writings
into English, and suggests that he work with potential translators to arrive at an agreed
set of technical terms. He has renewed contact with Vrieslander, who has sent him a copy of
his recently published songs and Ländler. His work in New York is going well and his family
is thriving, but he sees and hears about a great deal of suffering, on account of the
economic collapse in America.
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OJ 9/34, [35] Handwritten letter from Cube to Schenker, dated December 7, 1932
Cube reports on his current state of mind, his work on a Bach graph (commenting
on a graph by Angi Elias), promises to send an article on Schenker that has appeared in the
Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl
Violin.
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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.
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OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933
Schenker returns four essays with praise. Salzer is informed that the price
for Jonas's Einführung has been set too high; Schenker advises caution with
Hoboken.
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OJ 89/6, [3] Handwritten letter from Schenker to Hoboken, dated February 17, 1933
Congratulating Hoboken on his forthcoming marriage to Frl. Boy, Schenker
reports that Kalmus is playing a devious financial game over Oktaven u. Quinten (which is in
press) and Der freie Satz (which he thinks will take two years to publish) that may yet see
the latter revert to Cotta. — He speaks of Marx's naiveté over the proposed school version
of Harmonielehre. — He reports on the remaining stocks of Das Meisterwerk in der
Musik.
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OJ 15/16, [90] Handwritten letter from Hans Weisse to Schenker, dated March 17, 1933
Weisse reports the success of his lecture on the C minor prelude from the
Well-Tempered Clavier, Book 1. — He is currently giving two lectures on a Haydn's sonata. —
He inquires about the possibility of having Schenker's foreground graphs for the "Eroica"
Symphony printed separately and sold to his pupils, for a series of lectures planned for the
following year; the profits entirely to Schenker. — He sees little prospect visiting Europe
in the summer, as his financial situation has worsened: the Mannes School has been forced to
reduce his teaching for the next season. — He expresses his doubts about Vrieslander's
ability to reshape Schenker's Harmonielehre as a school textbook, and about the value of
Harmonielehre itself in the light of his teacher's most advanced theoretical
ideas.
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OJ 15/16, [91] Handwritten letter from Hans Weisse to Schenker, dated March 30, 1933
In this long letter, Weisse expresses his bitter regret about Otto
Vrieslander's reaction to his criticism of a recently published collection of his
(Vrieslander's) songs, and to Schenker's exaggerated claims of their worth. Weisse defends
his critical stance on the grounds that objective discussions are the only worthwhile ones,
and that he took the trouble to write about the songs in a 14-page letter to Vrieslander
only for the sake of art (in the Schenkerian sense) and feels hurt both by Vrieslander's
personal reaction to Weisse's criticism and by Schenker's defence of the older pupil. — In
the final paragraph, he inquires again about gaining permission to make multiple copies of
Schenker's foreground graph of the "Eroica" Symphony.
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OJ 11/32, [16] Handwritten letter from Robert Haas to Schenker, dated September 10, 1933
Haas expresses pleasure at Schenker's comments on his performance practice
book, and asks if Schenker can donate a copy of Meisterwerk I to the
Archive.
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OJ 5/18, 32 Handwritten letter from Schenker to Jonas, dated December 13, 1933
The music examples in Das Meisterwerk were engraved; Schenker draws attention
to and commends an article [by Israel Citkowitz].
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OJ 89/7, [12] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 31,
1934
Hoboken assures Schenker that he will support him in his work. — He outlines
the restrictions that he has placed on Otto Erich Deutsch, and expresses irritation that
Deutsch has been offered a course at the Vienna Academy. — He is annoyed at the political
views expressed by E. F. Schmid, who has been appointed at the University of
Graz.
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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 15/16, [99] Handwritten letter from Hans Weisse to Jeanette Schenker, dated July 14,
1935
Weisse thanks Jeanette Schenker for her letter and copy of Der freie Satz
which he has read through and is about to study carefully. His initial impressions are that
its conception and content are impressive, but that there are a lot of misprints; and he
regrets that the foreword does not mention the financial help Schenker received from [Paul]
Khuner. He approves Jeanette's idea of depositing Schenker's Nachlass in the
Photogramm-Archiv in the Austrian National Library.