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Schenker Documents Online: Karl [Karli; Carli] Violin [Bubi]

️Sun Mar 23 2025

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, [80] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 12, 1920

Schenker comments acerbically on the settlement with Emil Kornfeld. — Reports on a contract Halm has shown him. — Inquires about the children's health and reports that Wilhelm has been taken ill.
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.
OJ 14/45, [15] Handwritten letter from Moriz Violin to Schenker, dated September 3, 1922

Violin reports that his son Karl has suffered several setbacks of health, including inflammation of a cardiac muscle. Plans for Musikhochschule in Hamburg are making strides.
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."
OJ 14/45, [16] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922

Violin reports briefly about his son's health, then goes into the practical issues arising from Schenker's active search for a post at a German music institute.
OJ 14/45, [17] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922

Apparently having returned from a visit to Vienna, Violin expresses his joy at having seen Schenker recently.
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 8/4, [20] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 21, 1923

Schenker reports on the publication progress of Der Tonwille, and on his plans to get his pupils to help him distribute copies to schools and potentially interested readers.
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.
OJ 8/4, [21] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 5, 1923

Schenker asks after Violin and his family, reports on progress with Der Tonwille and the edition of the Beethoven sonatas.
OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26, 1923

Not having heard from him for a long time, Schenker’s asks for news of Violin and his family.
OJ 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.
OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11, 1923

Responding to a letter from Violin despairing of the political situation in Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which resonate with his own views that German society is, in effect, ruled by foreign despots.
OJ 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.
OJ 14/45, [23] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated July 12, 1923

Violin writes approvingly of Schenker’s scheme to make Der Tonwille available by subscription, as a periodical publication, and has a plan in mind. He inquires about the cost of staying in Galtür.
OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923

Violin has met an industrialist by the name of Max Temming who would be willing to help make Schenker’s work more widely accessible. Violin will probably not visit the Schenkers in Galtür this summer, as prices have gone up in Germany.
OJ 8/4, [24] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 9, [1923]

Concerned that Violin has not arrived in Galtür, Schenker asks him if something has gone amiss with his plans to visit.
OJ 14/45, [26] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated October 9, 1923

In response to Schenker’s recent postcard, Violin reports that his family are mainly well, but that the political situation in Germany is so depressing that it is almost impossible to write. He would be glad to have some news from Schenker.
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.
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.
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.
OJ 8/4, [32] Handwritten picture postcard from Schenker to Moriz Violin, dated August 5, 1924

Schenker sends a greeting on the occasion of the Violins' return to Hamburg after their holiday in Austria, writing a picture postcard showing the cottage where they presumably went for a meal.
OJ 8/4, [31] Handwritten picture postcard from Heinrich and Jeanette Schenker and others to Moriz Violin, undated [postmarked August 12, 1924]

In this postcard, begun by Heinrich Schenker, continued by Jeanette Schenker and Carl Bamberger, and additionally signed by Anthony and Annemarie van Hoboken and Otto Vrieslander, all express their regret that the Violins could not be with them.
OJ 6/7, [11] Handwritten letter from Schenker to Moriz Violin, dated November 6, 1924

Schenker has received a photographic reproduction of the opening chorus of Bach's St Matthew Passion. — Gives account of delays to the publication of Tonwille 8/9 and 10, blaming Hertzka for being slow to send work to the engraver, and has written to him with a request to dissolve the Tonwille contract with UE. — Refers to a recent review by (Julius) Korngold, and recounts a long story about his piano dealer, Bernhard Kohn.
OJ 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925

Making preparations with his solicitor for the legal action against Universal Edition, Schenker asks Violin to find out whether Max Temming paid for the additional subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk yearbook and asks Violin whether he has yet made summer plans and whether these might include a trip to Galtür.
OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925

Two weeks after arriving in Galtür for the summer holidays, Schenker reports that he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work, has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to Galtür sometime during the summer.
OJ 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.
OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926

In a wide-ranging letter responding to Moriz Violin's previous letter, Schenker asks his friend to confide in him his personal troubles. He offers his support in the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to find a way of getting the Hammer portrait to him safely, possibly by having it sent directly from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil Agnes Becker, recently arrived from Hamburg where Violin had been teaching her.
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.
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.
OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926

Violin announces his arrival in Bad Gastein, to improve his health. The rest of his family is in Bistrai, near Bielitz, in Silesia.
OJ 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.
OJ 6/7, [29] Handwritten letter from Schenker to Moriz Violin, dated September 7, 1926

Schenker conveys his personal grief over the serious illness of Violin's son Karl. He philosophizes about the ills of the world, noting financial difficulties recently faced by Vrieslander, Dahms, and van der Berg. He reports Robert Pollak's imminent departure for San Francisco.
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.
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 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.
OJ 6/7, [30] Handwritten letter from Schenker to Moriz Violin, dated December 19, 1926

Schenker expresses his delight that his friend received sufficient financial help to be able to move into a new apartment for the sake of his son Karl's health. He reports having shown Agnes Becker some straightforward examples of the Urlinie, out of desperation (she shows little aptitude for piano playing), and then explains that a great deal of time, patience and faith are needed to understand such things. Of his current pupils, only Elias, Brünauer, Hoboken and (to some extent) Albersheim are capable of following the ramifications of the new theory, which he sees as his unique gift to the world. At present, he is working on his "crowning work," Free Composition.
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.
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.
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.
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 8/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated April 25, 1927

Schenker explains that what he is doing behind the scene to assist Violin in obtaining a post in Frankfurt, and hopes for some news from Wilhelm Altmann. Artur Schnabel will be more useful to his cause than Paul von Klenau and his brother-in-law Heinrich Simon.
OJ 6/7, [33] Handwritten letter from Schenker to Violin, dated May 27, 1927

Schenker has tried to find out more about the plans for the conservatory in Frankfurt to be upgraded to a music Hochschule (and, presumably, for Violin to be posted there), but he is reluctant to press his contacts too far, as this may prove counterproductive.
OJ 14/45, [65] Handwritten letter from Violin to Schenker, dated June 6, 1927

Violin still maintains that Paul von Klenau's petitioning on his behalf would provide a strong measure of support for his application for a post in Frankfurt.
OJ 6/7, [34] Handwritten letter from Schenker to Moriz Violin, dated June 30, 1927

Schenker answers Violin's birthday greetings letter philosophically. He is able to work on the final version Der freie Satz at leisure and in good spirits. He reports on the establishment of an archive of photographic reproductions of autograph and gives an account of a visit from Violin's sister Fanny: in return for a picture of Karl Violin, he is enclosing two pictures of himself and one of Jeanette. Finally, he urges his friend to spend part of the summer in Galtür.
OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927

In a wide-ranging letter, Schenker underscores the importance of his friend's taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where he will teach from Schenker's texts. He comments at length on the decline of society, as exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders; until it is published, he will be working on Der freier Satz.
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 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 8/4, [52] Handwritten postcard from Schenker to Violin, dated November 16, 1927

Schenker congratulates Violin on obtaining many private pupils, and for his continued activity as a performer. He expresses his joy that Violin's son Karl will be visiting Vienna next year.
OJ 6/7, [36] Handwritten letter from Schenker to Moriz Violin, dated December 29, 1927

Sending greetings for the New Year, Schenker expresses the hope that his friend's fortunes will begin to improve in 1928. He agrees with Violin's pronouncements on Vrieslander’s character and ability to convey Schenker's thoughts, and has no idea of what to expect in Vrieslander's (supposedly) forthcoming monograph on him. Weisse, whom he regards as a more skilled interpreter of his work, has announced plans for a monthly journal, Die Tonkunst, to be edited with his pupils Oswald Jonas and Felix Salzer, which will be based exclusively on Schenker's theoretical approach. But he is afraid that Weisse might leave Vienna, to teach at Damrosch's music school.
OJ 8/4, [57] Handwritten postcard from Schenker to Moriz Violin, postmarked September 5, 1928

Having just returned from the Tyrol, Schenker asks how Violin and his family. He would also like to see the voice-leading diagrams that Violin's pupil Harry Hahn has prepared for his lectures.
OJ 8/4, [58] Handwritten postcard from Schenker to Moriz Violin, dated October 9, 1928

Schenker is glad to hear that his friend's setback was only a minor one. He has received a nice letter from Harry Hahn, together with a copy of his lecture and the splendid voice-leading diagrams.
OJ 8/4, [59] Handwritten postcard from Schenker to Moriz Violin, dated October 22, 1928

The large-format graphs prepared by Harry Hahn have been greeted enthusiastically by Schenker's pupils and friends; Schenker suggests that a "light projection apparatus" (i.e. an overhead projector), which is now often available in schools and hospitals, might be more practical.
OJ 8/4, [60] Handwritten poscard from Schenker to Moriz Violin, dated December 22, 1928

The Schenkers send the Violins their best wishes.
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 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 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 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, [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, [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 14/45, [115] Handwritten postcard from Moriz Violin to Schenker, dated July 3, 1930

Violin is spending two weeks with Karl in Schierke, in the Harz Mountains. In the fall, he will have to make a decision about what to do about his son.
OJ 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 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.
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 9/34, [26] Handwritten letter from Cube to Schenker, dated August 19, 1931

Cube informs Schenker that Moriz Violin's son has been taken ill; Cube sends Schenker a copy of the Schenker Institute prospectus.
OJ 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 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.
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 9/34, [31] Handwritten letter from Cube to Schenker, dated May 8, 1932

Cube sends Schenker an Urlinie graph of Schubert's song "Der Dopplegänger," and offers an extended commentary. Describes his work and state of mind, and comments on working with Moriz Violin; he expresses fears for the Hamburg Schenker Institut. He has just got married.
OJ 8/5, [11] Handwritten postcard from Schenker to Violin, dated September 1, 1932

Schenker reports that Der freie Satz is finished, apart from the final draft of the manuscript.
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.
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, [15] Handwritten letter from Schenker to Violin, dated December 25, 1932

In this letter, much of it written in a bitter and sarcastic tone, Schenker urges Violin not to appeal to Anthony van Hoboken for financial help. He has sought assistance for his friend from Ludwig Karpath and Josef Marx.
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.]
OeNB H Autogr.856/20-3 Handwritten letter from Schenker to Josef Marx, dated January 19, 1933

Schenker urges Marx to advocate on behalf of Moriz Violin as a candidate for a post at the Akademie für Musik, extolling his qualities as musician and colleague.
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.
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.