Schenker Documents Online: Felix Hupka

OJ 9/6, [56] Handwritten postcard from Eugen d’Albert to Schenker, postmarked May 11, 1912

Eugen d'Albert has instructed Felix Hupka to call on Schenker, and asks Schenker to listen to his compositions.

OJ 15/16, [4] Handwritten letter from Weisse to Schenker, dated June 1, 1912

Weisse is concerned that Schenker will turn his attention from himself to Felix Hupka, whom Schenker has just taken on as a pupil.

OJ 9/6, [57] Handwritten letter from Eugen d’Albert to Schenker, dated June 11, 1912

Eugen d'Albert suggests they attend a concert together on June 24.

OC 1 B/15 Handwritten draft letter from Schenker to Carl Colbert, dated September 15, 1912

Schenker explains why he deprecates strongly giving a student only one lesson a week and positively recommends two or three; he leaves the matter to Colbert, but gives him a difficult choice.

OJ 9/6, [55a] Handwritten letter from Eugen d’Albert to Schenker, undated [?May 10, 1912]

Eugen d'Albert proposes that Schenker take on a 15-year old musician.

OJ 5/45, [1] Copy letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated June 17, 1915

In a six-page letter, and following harsh exchanges the previous day, Schenker castigates Weisse for trying to avoid paying for four lessons, speaking of his own difficulties in managing the profession of private teacher, and the unfair ways in which artists are treated financially.

OJ 8/3, [59] Handwritten postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz Violin, dated May 13, 1918

Schenker thanks Moriz Violin for an address; reports on planned visit to his brother Wilhelm Schenker, and food promised by him and items sent by Felix Hupka; Heinrich and Jeanette expect to spend the summer in Vienna.

OJ 8/3, [61] Handwritten postcard from Schenker to Moriz Violin, dated August 21, 1918

The Schenkers went to Mariazell on the 16th for a work-free vacation. - - Schenker has had difficulties with Wilhelm and Moriz Schenker. - - He describes visit to Hupka in Kapuvár (Hungary). - - Comments on Violin's forthcoming promotion to Lieutenant.

OJ 6/6, [10] Handwritten letter from Heinrich Schenker to Moriz Violin, dated August 17, 1919

Schenker hopes that colleagues will support Moriz Violin. – The court has favored Emil Kornfeld unduly. – A move to Germany might save Schenker money, but he is uncertain how many of his pupils would follow him there (only Pairamall has indicated willingness). – He asks Weisse to act as an intermediary in booking a supply of wood for burning. – Dahms and Weisse are due for simultanous visits. – He is glad to hear Valerie Violin is better.

OJ 5/18, [E] Handwritten postcard from Schenker to Jonas, dated September 27, 1920

Schenker is unable to give Jonas lessons, and suggests Felix Hupka.

OJ 14/1, [4] Handwritten postcard from Felix Hupka to Schenker, dated February 18, 1921

In Leipzig Hupka reports that he has met Karl Straube, who inquired as to the possibility of tempting Schenker to move to Leipzig, and also Alfred Heuss and Walter Niemann.

OJ 14/1, [5] Handwritten letter from Felix Hupka to Schenker, dated November 18, 1921

Hupka reports on his latest concert, in Munich. Otto Vrieslander and Herman Roth were present, and Hupka reports their critical reactions to his program. He visited the home of Paul Hirsch.

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.

OJ 8/4, [16] Handwritten postcard from Schenker to Moriz Violin, dated September 29, 1922

Schenker reports, among other things, that Hans Weisse has returned as a paying pupil.

OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922

Schenker reports the imminent publication of Tonwille 3, and some new publishing ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the Short Preludes by J. S. Bach.

OJ 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18, 1925

Bamberger reports that after six months of repetiteur work he has been granted some conducting. -- He laments the lack of musical education of the Danzig citizens, and its impact on the theater's repertory. Talent is not appreciated by the theater's administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks Schenker a question about Schubert's song "Wohin?"

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.

OJ 9/5, [1] Handwritten letter from Gerhard Albersheim to Schenker, dated May 3, 1926

Albersheim asks Schenker to take him on as pupil.

OJ 9/12, [6] Handwritten letter from Carl Bamberger to Schenker, dated June 15, 1926

Bamberger has introduced pianist Stefan Askenase to Schenker's Erläuterungsausgabe of Op. 111, to the latter's delight. He would like to visit the Schenkers in Galtür.

OJ 8/4, [44] Handwritten postcard from Schenker to Moriz Violin, dated November 10, 1926

Schenker enquires about the health of Violin and his son Karl. He has received a cordial letter from Hindemith, assuring him that the fruits of his theory may be found in his works, including the Urlinie; he has responded politely but candidly.

OJ 9/12, [7] Handwritten letter from Carl Bamberger to Schenker, dated May 10, 1927

Bamberger has been appointed second conductor at the Darmstadt operahouse. He asks to visit Schenker in Vienna.

OJ 5/7a, [18] (formerly vC 18) Handwritten postcard from Schenker to Cube, dated September 6, 1928

Freier Satz will be prepared for publication this year; gives news of former pupils and supporters.

OJ 5/7a, [20] (formerly vC 20) Handwritten postcard from Schenker to Cube, dated October 8, 1928

Schenker acknowledges receipt of Hammer portrait; urges Cube when in Cologne to visit Gerhard Albersheim's parents and Felix Hupka.

OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928

Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a "connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next time.

OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929

Cube is listening by radio to music being performed in Vienna. The two caricatures are his fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous lectures, and forthcoming lecture series.

OJ 89/6, [11] Handwritten letter from Schenker to Hoboken, dated December 25, 1933

Schenker speaks of recent articles by O. E. Deutsch and I. Citkowitz, and reports on former pupils Hupka and Breisach.