Oswald Jonas Memorial collection

Title: Oswald Jonas memorial collection

Date (inclusive): circa 20th century, undated.

Collection Number: MS 067

Creator: Jonas, Oswald

Creator: Schenker, Heinrich, 1868-1935

Creator: Violin, Moriz, 1879-1956

Extent: 85.0 linear feet (86 document boxes, 10 record storage boxes, 1 flat storage box, unboxed material)

Extent: (96 document boxes, 4 record storage boxes, multiple containers)

Repository: Rivera Library. Special Collections Department.

Riverside, CA 92517-5900

Abstract: The Oswald Jonas memorial collection combines the papers of the Austrian music theorist Heinrich Schenker (1868-1935) with the papers of Oswald Jonas (1897-1978), a distinguished Schenker pupil and loyal disciple. Added to these are the papers of Moriz Violin (1879-1956), concert pianist and Schenker's closest friend, including the monumental Schenker-Violin correspondence extending from 1896 to 1935. The total collection comprises about 75,000 leaves of manuscript largely unpublished, including music manuscripts, theoretical and analytical studies, critical essays, letters, Schenker's Tagebücher kept over forty years (1896-1935), biographical materials and printed scores from Schenker's working library, often heavily annotated. In addition there are books, pamphlets, periodical publications, corrected galley and page proofs, notebooks, drafts and fragments from Schenker's work table, photographs and other memorabilia, together with related correspondence and research materials assembled by Jonas.

Languages: The collection is predominantly in German; materials in English are also present.

This collection is open for research.

Copyright Unknown: Some materials in these collections may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction, and/or commercial use, of some materials may be restricted by gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing agreement(s), and/or trademark rights. Distribution or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. To the extent other restrictions apply, permission for distribution or reproduction from the applicable rights holder is also required. Responsibility for obtaining permissions, and for any use rests exclusively with the user.

[Identification of item], [date if possible]. Oswald Jonas memorial collection (MS 067). Special Collections & University Archives, University of California, Riverside.

From the scraps and jottings of his early diary to the bills, tickets and discarded letterheads on which notes for his work in progress were written, Schenker kept nearly everything. After Heinrich and Jeanette began their life together, Jeanette was able to bring order out of his notes and fragments, meticulously copying drafts, taking dictation for the diary and letters, labeling and arranging material, preparing manuscripts for the press. It was this extensive Nachlass that she carefully guarded after his death and, as the Nazi menace drew closer, took steps to protect and preserve for future scholars. Ernst Oster, a Jonas pupil, was among the Jewish intellectuals leaving for New York and Jeanette took this opportunity to send part of the Nachlass with Oster across the Atlantic to a place of safety. She kept with her, however, a large trunk filled with the rest of the Nachlass, only relinquishing it when she was sent to a concentration camp. Jeanette was among those sent to Theresienstadt (now Terezin) but shortly before she was taken away she entrusted the trunk to Erwin Ratz, a musicologist and devoted friend. Jeanette died in Theresienstadt in 1945, and it was not until ten years later that Jonas, investigating the trunk with his old friend Ratz, became aware of its contents. Jonas told the story this way to JoAn Kunselman:

Together we looked inside and found the Schenker materials. I realized immediately how important this would be for my work on Schenker, and we agreed on my acquiring everything that was important.... The materials I acquired include about eight hundred letters to Schenker, four thousand pages of his diary, and his own compositions both in manuscript and published editions. It also includes much other music such as the complete Beethoven sonatas with Schenker's notes.

All of Jonas's collections were brought with him when he came to Riverside in 1965. One of his small but choice gatherings, the First and Early Editions, was acquired by the UCR library in 1976, but Jonas, in frail health, was reluctant to part with the Schenker materials. Negotiations had virtually halted when Jonas died in 1978, and it remained for his stepdaughter and heir, concert pianist Irene Schreier Scott, to complete the transfer that year of the Schenker materials, together with Jonas's own papers and those of Violin, to the UCR library. Since that time the Oswald Jonas memorial collection has grown slowly but significantly with the addition of photocopies of other Schenker manuscripts (for details see Appendix).

The collection of First and Early Editions (Group VI) was painstakingly built up by Jonas to further his research into the precise intentions of the great composers of tonal works. He was concerned not only with the reliability of the first and early editions in relation to an autograph manuscript, but also to determine whether the composer made corrections through the early printings-corrections which would not, of course, appear in the original manuscripts. Jonas began to acquire this segment of his collection soon after his arrival in the United States in 1938. When the war ended in 1945, he contacted various German dealers, and when it was again possible for him to visit Europe he tracked down rarities in obscure bookshops. He eventually acquired, particularly from dealers in Germany and England, many variant editions beyond what he needed at the time for his own work.

Other Jonas material now added to the collection, including his early journal essays, was given later by Heribert Esser.

Moriz Violin carried with him to America as much of his literary and musical estate as he could, and much of what he brought related to his life-long friend and idol, Heinrich Schenker. Violin had carefully preserved each letter and postcard from Schenker (Boxes 6-8 in the Schenker materials). Violin even tried to reconstruct the orchestration of Schenker's Syrische Tänze, originally orchestrated by Schoenberg in 1903 and long lost.

When Violin with his wife and daughter arrived in America in June, 1939, they found a temporary haven with Edith Schreier-soon to become Jonas's wife-in San Francisco. Later, the Jonases moved to Chicago, but Violin continued to live in San Francisco where he died in 1956. Much of his Nachlass, including the Schenker correspondence, was given to Jonas and through Jonas it came to UCR. Other Violin material, including letters from Schoenberg, Walter, and Monteux, was given to the Jonas collection later by Violin's daughter, Eva Windsor.

*Milton Babbitt has described how Schenker was ignored or held up to ridicule by much of the Viennese musical world, fractured as it was by coteries and quarrels. He quotes pianist and composer Eduard Steuermann on Schenker: "This funny little man who haunted the back streets exposing his analytical graphs which no one understood" (M. Babbitt, A Life of Learning, Charles Homer Haskins Lecture. Washington, D.C.: American Council of Learned Societies, 1991, p.10)

*Publication in preparation; edited by Heribert Esser.

Oswald Jonas, 1897-1978

In 1965 my stepfather Oswald Jonas, then 68 years old, faced a difficult decision. Retired from Roosevelt University in Chicago where he had taught since 1942, he was currently lecturing at the Music Academy in Vienna. Should he settle in Vienna, his original home, or should he return to his adopted country? Many factors were pulling in both directions when a temporary answer came in the form of an unexpected invitation to be Regents' Professor at the University of California, Riverside, for the academic year 1965/66. He accepted delightedly. Although neither he nor my mother was acquainted with Riverside, California had always been their favorite state. Indeed, some of his earliest American musical contacts had been made at Berkeley.

The "temporary answer" was to become happily permanent. Thanks to the warm, enthusiastic reception by faculty and students alike, thanks to their openminded response to his highly individual approach to music, thanks particularly to the great personal friendship of Professor William Reynolds, then Department Chairman, and his family, Riverside became a new home. When the Regents' Professorship was over, Jonas remained as Adjunct Professor until his death in 1978.

Over the years, Jonas's work on manuscripts and editions led to his gradual acquisition of an excellent library of first and rare editions. Additionally, he received a substantial part of the Nachlass of Heinrich Schenker from his friend and first student, the Viennese musicologist Erwin Ratz. Ratz, who had heroically rescued Mrs. Schenker twice from concentration camps during the Hitler years, was unable to prevent her final fate; before being taken away by the Gestapo, she entrusted her husband's remaining papers (letters, music, manuscripts and his voluminous diaries) to him. Jonas devoted his last years' work almost exclusively to this fascinating material. It seems entirely appropriate that the University which was so hospitable and enabled him to work freely during those years should be the recipient and guardian of his unique library.

Irene Schreier Scott

In den letzten dreissing Jahren hat Heinrich Schenker als Musiktheoretiker zunehmende Beachtung gefunden. Insbesondere in den U.S.A. ist sein Name weithin bekannt geworden. Schüler und Enkelschüler von ihm haben für die Verbreitung seiner musiktheoretischen Ideen gesorgt und diese zum Teil in verschiedener Richtung fortgeführt. Dieser Prozess ist derzeit noch in vollem Gange. Die meisten seiner Veröffentlichungen erschienen zunächst nur in deutscher Sprache. Erst seit 1979 sind sein Hauptwerk Der freie Satz, seit 1987 sein Kontrapunkt auch in amerikanischen Übersetzungen ( Free Composition, Counterpoint) zugänglich. Ihnen vorausgegangen ist die Übersetzung der Harmonielehre von 1906. Sie ist als Harmony 1954 mit einem ausführlichen Kommentar von Oswald Jonas erschienen, der seit 1966 als Regents' Professor of Music an der University of California, Riverside lehrte. Ein Grossteil des Nachlasses von Heinrich Schenker befand sich in seinem Besitz. Er gelangte nach dem Tode von Oswald Jonas zusammen mit dem eigenen und dem musikalischen Nachlass von Moriz Violin, dem vertrautesten Freunde Schenkers, im Jahre 1978 als Oswald Jonas memorial collection in den Besitz der Universitätsbibliothek Riverside.

Als Schüler von Oswald Jonas und Moriz Violin in Wien in den Jahren 1935-36 und daher vertraut mit der Lehre Schenkers seit meiner Studienzeit ist die Erforschung seiner Persönlichkeit mein besonderes Anliegen. Die in der Oswald Jonas memorial collection vereinigten Nachlässe bieten dazu die beste Grundlage.

Ich begrüsse daher die Fertigstellung des vorliegenden Kataloges, der diesen wertvollen Bestand sachgerecht aufschlüsselt, und bin der festen Überzeugung, dass Forscher aus verschiedenen Disziplinen Anregung und Belehrung aus ihm schöpfen werden.

Hellmut Federhofer, Mainz, 1992

Over the past thirty years, Heinrich Schenker has been steadily gaining recognition as a music theorist, particularly in the United States. Several generations of Schenker students have been responsible for the dissemination of his ideas on music theory and for expanding those theories in various directions. This process is still continuing today, in part because many of his works, originally available only in German, have more recently been published in English. In 1979 his main work Der freie Satz (Free Composition) and in 1987 his Kontrapunkt (Counterpoint) became available in English translations, preceded by Harmony, the 1954 translation of Schenker's Harmonielehre (1906) with an extensive commentary by Oswald Jonas, professor of music at the University of California, Riverside, from 1966 on. Jonas possessed a considerable portion of Heinrich Schenker's literary estate, and upon his death in 1978, the Library of the University of California, Riverside, established the Oswald Jonas memorial collection, containing the Schenker materials, Jonas's own library, and the musical collection of Schenker's closest friend, Moriz Violin.

As a student of Oswald Jonas and Moriz Violin in Vienna from 1935 to 1936 I became familiar with Schenker's teachings, and since that time, the study of his personality has been a special interest of mine. The papers gathered in the Oswald Jonas memorial collection offer the best resources for this purpose.

I am therefore pleased to see the completion of the present catalogue, which provides systematic access to this valuable collection, and I am firmly convinced that researchers in many disciplines will find both inspiration and information therein.

Hellmut Federhofer, Mainz, 1992

Many people have contributed their knowledge and skills to this Checklist. First, there were Oswald Jonas's friends and colleagues; it was through their efforts that the collection was kept together, ultimately to find a permanent home at the University of California, Riverside. Unhappily, though he had long considered depositing his papers at UCR, that hoped-for decision was not reached until after Jonas's death.

Both editors were privileged to know Oswald Jonas and often talked with him about his collection. We did not, however, have access to his papers at that time, and it was not until his stepdaughter and heir, Irene Schreier Scott, entrusted his collection to UCR that his treasured manuscripts could be examined. Without Oswald Jonas himself to explain, many questions about his papers have remained unanswered. Nevertheless, Irene Scott's intimate knowledge of Ossi's career and her sympathetic support have been invaluable; two of Ossi's old friends, Heribert Esser and Hellmut Federhofer, have also examined the entire collection; they have been exceptional in their knowledge and generous with their help. Eva Violin Windsor provided biographical information about her father, Moriz Violin.

Our gratitude goes to William Reynolds, Associate Dean of Humanities and Professor of Music. Professor Reynolds was instrumental in bringing Oswald Jonas to the UCR campus, a prime mover in acquisition of his collection and unswerving in his support. Encouragement and financial support for preparation of the Checklist came from three University Librarians, Eleanor Montague, Joan Chambers, and James C. Thompson; John Tanno, associate university librarian, himself a musicologist, fostered and continued the Library's commitment to the project. Other Library staff members, Sidney Berger, Peter Briscoe, Diane David, and Gladys Murphy, contributed expertise; Heidi Hutchinson prepared English translations and Clifford Wurfel helped decipher Schenker's handwriting. Horst Hoffmann, assistant director of international services, worked on the correspondence at an early stage and identified unfamiliar names.

Acknowledgments are also due the following for information, suggestions and courtesies indispensable to our task: Carolyn Hammer, Donald Johns, Jorun B. Johns, Walter Jansen, Robert Kosovsky, Margit McCorkle, Nicholas Marston, Patrick Miller, Nicholas Rast, John Rothgeb, John Ruggiero, Jutta Theurich.

The onerous task of producing the checklist was undertaken by several student typists, including Christie Hammond, Katja Koerdt, Kelly Myers, Ariel Vitale, and Andrea Brandt, who successfully typed most of the last revision. Pamela Munro, Allen Munro, and J.P. Munro, all computer experts, and Peter Lang, graphic designer, provided reassuring advice, improved the text, and solved technical problems. Allan Crosthwaite skillfully prepared the final format for camera-ready copy.

We owe a debt to all who have helped us avoid blunders; nevertheless it is the editors who must in the end be held responsible for the accuracy of this Checklist. We hope its usefulness will outweigh its limitations.

Robert Lang, University of California, Riverside

Joan Kunselman, California State University, Los Angeles

Riverside and Los Angeles, December 1993

The Oswald Jonas memorial collection combines the papers of the Austrian music theorist Heinrich Schenker (1868-1935) with the papers of Oswald Jonas (1897-1978), a distinguished Schenker pupil and loyal disciple. Added to these are the papers of Moriz Violin (1879-1956), concert pianist and Schenker's closest friend, including the monumental Schenker-Violin correspondence extending from 1896 to 1935. The total collection comprises about 75,000 leaves of manuscript largely unpublished, including music manuscripts, theoretical and analytical studies, critical essays, letters, Schenker's Tagebücher kept over forty years (1896-1935), biographical materials and printed scores from Schenker's working library, often heavily annotated. In addition there are books, pamphlets, periodical publications, corrected galley and page proofs, notebooks, drafts and fragments from Schenker's work table, photographs and other memorabilia, together with related correspondence and research materials assembled by Jonas.

After Heinrich Schenker's death his widow, Jeanette Schenker, divided portions of his Nachlass among his circle of pupils and disciples-Wilhelm Furtwängler, Anthony van Hoboken, Jonas, Felix Salzer, Otto Vrieslander, and others. A major portion, including many of the manuscript analytical studies, was entrusted in 1938 to Ernst Oster, a Jonas pupil, when Oster left Vienna for New York. Most of the remainder, faithfully preserved by Frau Schenker, eventually passed after the war to Jonas; it is this portion, with later additions, that forms the present Schenker materials in the Oswald Jonas memorial collection at the University of California, Riverside. The Oswald Jonas memorial collection and the Oster collection, now in the New York Public Library, are the two largest surviving collections of Schenker manuscript and research materials.

A portion of this collection remains unprocessed. Please contact Special Collections & Archives for additional information regarding this material.

At various stages of his career Schenker was a composer, concert pianist and accompanist, music critic, musicologist, research scholar and editor of authoritative editions of composers (notably Beethoven), diarist and shrewd observer of contemporary Viennese life, and teacher, with a devoted circle of pupils and friends who became scholars and performers in their own right. All these phases are illuminated in the collection. But above all Schenker was a giant among music theorists; his concept of musical structure and his analytical method may be seen taking shape in the Archive's manuscripts. A brief overview follows, arranged according to the order of contents of the Checklist.

I a. Schenker's Diary. The Tagebücher, written daily between 1896 and Schenker's death in 1935, are preserved on more than four thousand leaves of manuscript. Up until 1912, when Jeanette became his amanuensis, Schenker hastily scribbled diary notes on odd scraps of paper in his special mixture of Sütterlinschrift and Lateinschrift; later, Jeanette's precise script takes over and the entries are far more detailed. Often there are working drafts of diary pages in Heinrich's hand, later recopied by Jeanette (the same process occurs in the correspondence).

In the diary Schenker writes of his trip to Berlin in 1903 for the first performance of his Syrische Tänze, orchestrated by Schoenberg. We read of Schenker's struggles to achieve recognition within the Viennese musical establishment, particularly from the Akademie für Musik, and of his lean years during the devastating inflation of the 1920s. At the same time Schenker writes of his often difficult relations with Emil Hertzka and the powerful Universal-Edition, as well as his relations with other publishers. Yet with the aid of patrons an almost constant stream of his essays, monographs and editions came from the press; the progress of these publications is documented in the diary.

Schenker comments on hundreds of performances in the concert hall (by Caruso, Casals, Rubenstein, Schnabel, and many others) and on the radio. He remarks on the events of the day, news and weather, but most expansively on his visitors and his mail. His diary reports on conversations with other musicians, such as Furtwängler, are often more significant and more trenchant than comments in his correspondence or other writings. Schenker talks of his work, of the theatre, art, and his reading-ranging from the classics (Goethe and Shakespeare) to contemporaries such as Hauptmann, Ibsen, Kraus, Mann, Shaw, and Wedekind. In later life Schenker stayed in Vienna, retreating only in the summer heat to his beloved Galtür in the Austrian Tyrol. Afflicted with then-uncontrolled diabetes, Schenker labored to complete the last of his theoretical works; his fervent "Mit Gott!!!" (flanked by a drawing of two lighted menorahs), written on the last manuscript page of Der freie Satz (Free Composition), is pasted to the diary leaf for September 5-6, 1932. Two years later the diary ends abruptly with Schenker's death, January 22, 1935.

I b,c. Correspondence. Beginning about 1888 and continuing until 1935, Schenker's more than three hundred correspondents include Eugen d'Albert, Ignaz Brüll, Ferruccio Busoni, Walter Dahms, Otto Erich Deutsch, John Petrie Dunn, Wilhelm Furtwängler, August Halm, Eduard Hanslick, Maximilian Harden, Paul Hindemith, Anthony van Hoboken, Paul von Klenau, Wanda Landowska, Arnold Schoenberg, and Karl Weigl. In most cases we do not have Schenker's replies, a notable exception being the massive correspondence with Violin already mentioned, but other significant examples are preserved, most notably the Schenker-Busoni and Schenker-Hindemith exchanges. Other instances of prolonged epistolary friendships include the substantial numbers of letters from Felix von Cube (1923-1934), Reinhard Oppel (1919-1935), Herman Roth (1912-1933), and Hans Weisse (1911-1935). Editors of critical reviews, like Harden, Ludwig Karpath, and Hermann Rinn, also wrote many letters to Schenker about his proposed essays.

Other interesting letters include those from the typographer and printer Victor Hammer (Schenker's replies are also preserved); bass Johannes Messchaert, with whom Schenker toured as accompanist; pianist Moriz Rosenthal; and poet Detlev von Liliencron, whose Wiegenlied Schenker set to music.

I d. Schenker's Publications: Critical and Analytical Works. The Archive contains manuscripts, corrected galley and page proofs, and published versions of many of Schenker's critical works, beginning with the excerpt from his dissertation, "Der Geist der musikalischen Technik" (1895), and including most of his writings on Beethoven: the Erläuterungsausgaben der letzen fünf Sonaten Beethovens (1913-1920); analysis of the Third Symphony; Beethovens Neunte Sinfonie (1912); and Schenker's final edition of the Beethoven piano sonatas with his manuscript corrections (filed in section I f). Of his major theoretical works, Schenker's Harmonielehre (1906) is represented by manuscript material for Jonas's English edition and Der freie Satz (1935) by typescripts (incomplete) for Jonas's second edition; the Generalbasslehre, never published and described as an earlier version of Der freie Satz, is present in a typescript prepared by Felix Salzer. Other theoretical studies are substantially represented by original manuscripts, notably Der Tonwille (1921-1924) and Das Meisterwerk in der Musik, Band II (1926). There are also the draft manuscript and notes for revisions of Schenker's planned major work on performance, Die Kunst des Vortrags. Finally, there are Schenker's reviews and periodical essays, written largely when he was a music critic in the 1890s, and here collected in printed versions and photocopies.

I e. Schenker as Composer. In the fervor of youth Schenker was an active composer. He wrote more than thirty songs, a number of piano pieces including the Syrische Tänze (actually Hassidic dances) for four hands; chamber music; and incidental music and songs for Hamlet (possibly sketches for an opera). A few songs and piano works were published, but most of his compositions exist only in manuscript and are found in the Jonas Collection.

I f. Schenker as Editor. When Schenker embarked on his editing of Beethoven's last piano sonatas in 1912-13 he turned to the holograph manuscripts for an authentic reading of Beethoven's intention, seeking to eliminate corrupt readings while paying special attention to the smallest markings and refinements of notation-details previously misunderstood or ignored though often intended by the composer to carry performance indications. Schenker pioneered among modern editors in his recognition that among the performing arts music is uniquely able to convey in manuscript far more of the composer's creative vision, again through performance directions. Here Schenker's theories of musical structure also play a role; many of his studies and annotations in published scores convey his ideas of the composer's deeper intention, to be revealed in performance.

Schenker took practical steps to give other scholars access to the best manuscript scores. His friend and pupil Anthony van Hoboken, a scholar and wealthy man, established with Schenker's blessing the Archiv für Photogramme musikalischer Meisterhandschriften, where photocopies of rare manuscripts were assembled for study in Vienna's Nationalbibliothek.

Schenker's modern critical approach is abundantly demonstrated in the early Beethoven editions (see I d). Later, in the 1920s, Schenker republished all the Beethoven sonatas; this is the edition that remains in print today. Here in Schenker's own copies of those scores are preserved his manuscript corrections, revised in proof as soon as they came from the printer (section I f); the revisions were incorporated in a later printing only after Schenker's death in 1935.

Other Schenker editions, notably Bach and Brahms, exist in the archive; almost equally important are his extensive annotations, often in multi-colored pencil and ink, in his copies of scores, not only of Beethoven and Brahms, but also of Chopin, Handel, and Haydn among others.

I g. Biographical Documents. Past controversy has obscured the date and place of Schenker's birth; the archive, however, provides documentation. Heinrich Schenker was born in Galicia in 1868 (1867, some sources state), within the largely Polish-speaking province of Lemberg (now Lvov), then part of the Austro-Hungarian Empire and now in Ukraine; his parents were German-speaking Jews.

Other documents relate to Schenker's later career; these include autobiographical sketches in his own hand; his academic studies at the University of Vienna; itineraries of concert tours he undertook as accompanist to Messchaert; concert programs where Schenker appeared as composer or pianist, and the sale catalogue of Schenker's library dispersed after his death.

Oswald Jonas, pupil and friend of Schenker from the early 1920s, had the almost unique opportunity, as Schenker's private student of piano and theory for six years, thoroughly to absorb Schenker's musical ideas. Jonas was born in Vienna in 1897 and took his J. D. degree at the University in 1921. At an early age he was passionately devoted to music and in 1915 became a piano student of Moriz Violin, Schenker's intimate friend and confidant. After attending the University Jonas began to take private lessons from Schenker, continuing to see him frequently until in 1930 he moved to Berlin, the center of German musical life. Before long Jonas was teaching at Berlin's Stern Conservatory, at the same time beginning to write, with rare empathy and clarity, an introduction to Schenker theory. This first book-length exposition of Schenker's ideas, Das Wesen des musikalischen Kunstwerks (1934), won Schenker's warm approval and led to Jonas's abiding friendship with Wilhelm Furtwängler, another of Schenker's admirers. After Schenker's death in 1935 Jonas and others founded a Schenker Institute at the University of Vienna, and in partnership with another pupil, Felix Salzer, established a periodical, Der Dreiklang, based upon Schenker theory. Der Dreiklang lasted less than a year; the Anschluss soon brought Hitler to Vienna. Pressure on Jews was increasing and ominous war clouds were gathering. Jonas, Salzer, Violin, Oster and many others were soon to make their way to America.

In 1941 Jonas became a professor of music theory at Roosevelt University in Chicago and in 1965 Regents' professor and adjunct professor at the University of California, Riverside, where he remained until his death. After the war Jonas frequently returned to Europe, and it was on these trips that he began to collect his library of early editions, facsimiles and photocopies of music manuscripts. While he always asserted that he was not a collector and acquired manuscripts and rare editions only for their scholarly value, he managed to obtain autograph manuscripts of Brahms (mainly corrected proofs and Stichvorlagen; these are not part of the Jonas Memorial Collection) and, of course, the Schenker materials which came to light in Vienna after the war. Though continuing to teach Schenker theory, Jonas increasingly turned his attention to the study of manuscripts, contributing scholarly articles to music journals and editing the texts of Bach, Beethoven, Brahms and Haydn as well as new editions of Schenker.

Oswald Jonas always thought of himself as a musician rather than musicologist or pure theorist, perhaps a philosopher of the language of music, as Rothgeb says, and a highly original thinker whose ideas were thoroughly compatible with Schenkerian theory. Trained as a pianist as well as theoretician and, like Schenker, interested above all in performance, Jonas brought new depth of understanding of the repertory especially to pianists and singers (his classes in German song were famous). Besides reediting two of Schenker's theoretical works, Jonas followed Schenker's lead in his research into the autograph intentions of the great composers. All these aspects of Jonas's career, including those relating directly to Schenker, are represented in group II of the collection.

The arrangement of Jonas's papers in group II generally follows the outline observed in group I, the Schenker materials. This in turn reflects Jonas's own ordering of the material.

II a,b. Correspondence. Jonas's correspondents are primarily musicians, musicologists and editors. Among nearly two hundred names there are first of all those who knew Schenker, pupils and other members of the Schenker circle: Paul Breisach, Wilhelm Furtwängler, Anthony van Hoboken, Reinhard Oppel, Felix Salzer, Moriz Violin, and Hans Weisse. Then there is a later generation of musicians and scholars, many associated with Schenker studies or with Jonas's research interests, including Paul Badura-Skoda, Milton Babbitt, Franz Eibner, Heribert Esser, Hellmut Federhofer, Imogen Fellinger, Walter Gerstenberg, Günter Henle, Greta Kraus, Jan La Rue, Ernst Oster, and Erwin Ratz. Many other distinguished names will be found in the list.

II c. Publications. This section contains Der Dreiklang as well as most of Jonas's scholarly articles, though not his editions of Bach, Beethoven, Brahms, Schenker and others, some of which are located in sections I d, I f, and II d. Source material and notes relating to his research will be found in II d.

II d. Jonas Research Materials. When Jonas visited research libraries he collected films or other photocopies of manuscripts he had examined, and these, together with his research notes, are filed under composer's names in this section. The source of some of these photocopies, owing to the dispersal of library collections in Germany, may be difficult to identify; others are incomplete and a few were obtained from private collections with certain restrictions attached. Still others have been superseded by published facsimiles. Nevertheless this section, which also includes some early editions (see also group VI), represents a considerable gathering of source material for those composers, notably Beethoven, Brahms, Mozart, of special interest to Jonas. There are also annotations and extensive notes for Jonas publications, including the Schenker editions, and for projected publications about Schenker as well as Brahms. The material about Schenker, which includes most of Jonas's writings on the subject as well as secondary sources, supplements group I.

II e. Biographical Materials. Besides essential documents and a curriculum vitae, included here are obituaries, bibliographies, data about other scholars and colleagues of Jonas, reviews and publicity clippings, and letters of recommendation, notably those from Furtwängler.

From 1896, when Schenker first met Moriz Violin, a brilliant seventeen-year-old pianist making his debut in Vienna, until Schenker's death in 1935, Schenker and Violin were fast friends, often writing daily postcards or letters whenever they were apart. Schenker's diary begins the year they met; Violin received the last page of the diary at Schenker's deathbed.

At fifteen Violin won the coveted Brahms prize for composition at the Gesellschaft der Musikfreunde (1894) and went on to a career as a concert pianist and teacher, both at the Gesellschaft and the Akademie. Arnold Schoenberg considered his artistry "truly remarkable"; Violin also performed in Berlin with Erich von Wolzogen's Überbrettl and later was a private teacher in Hamburg, 1922-1933. He was a founding member of two chamber groups, the Violin-Fischer-Klengel trio in Vienna and the Violin-Van den Berg-Buxbaum trio in Berlin. In 1939, as the Jewish persecution in Vienna grew more intense, Violin at the age of sixty abandoned his career, made his way to America and settled in San Francisco, where he conducted occasional master classes but never was able fully to resume his brilliant pianism. Schoenberg sought to help him as he did other expatriates, but for Violin there were few performance opportunities in America. He died in San Francisco in 1956.

III a,b. Correspondence. Schenker's letters to Violin, the most extensive part of Violin's correspondence, are filed in the Schenker materials under I b, Boxes 6-8. Next to the Tagebücher, the Schenker-Violin letters provide the most complete record of Schenker's daily life and activities from 1896 to 1935. Other correspondents in III a,b include Eugen d'Albert, Ignaz Brüll, Friedrich Buxbaum, Wilhelm Furtwängler, Johannes Messchaert, Pierre Monteux, Arnold Schoenberg, Otto Vrieslander, Bruno Walter, and Hans Weisse. Letters of recommendation written for Violin are filed in III c.

III c. Works by and about Violin. Writings by Violin include an attack on the Akademie written at the time of his resignation (1912), reminiscences of Brahms, and eulogies of his friend Schenker. Biographical materials include documents from the Akademie für Musik and Gesellschaft der Musikfreunde, together with reviews of performances (some with Schenker) in Vienna, Berlin, and Hamburg. Letters of recommendation are from or to such figures as Busoni, Furtwängler, Goldschmidt, Nikisch, Schalk, Richard Strauss, Schoenberg, and Bruno Walter.

Group IV. The letters in this section exclude Schenker, Jonas or Violin as primary correspondents, though there are a few postscripts addressed to Schenker. Among the names included here are Deutsch, Eibner, Hanslick, Harden, Hoboken, Oster, Reményi, Weisse, and Vrieslander.

Group V. Besides snapshots and studio portraits, this section includes two mezzotints by Victor Hammer and a bronze plaque of Schenker by Alfred Rothberger. In all there are twenty-five portraits of Heinrich Schenker, ca. 1900-1935, plus photos of Jeanette and of Schenker's relations, as well as six interior views of the Schenker apartment in the Keilgasse, Vienna. Photos found in the correspondence have been transferred for better preservation to this section. Among others these include portraits of d'Albert, Brahms, Deutsch, Dunn, Jonas, Roth, Weisse, Violin, and Vrieslander.

Group VI. Supplementing Oswald Jonas's research materials, gathered largely in II d, is a separately catalogued group of 430 early editions of the work of eighteenth and nineteenth century composers. A summary describes the scope of Jonas's collections of the printed scores of Beethoven, Brahms, Chopin, Handel, Haydn, Liszt (one item only), Mendelssohn, Mozart, Schubert, and Robert and Clara Schumann.

Manuscripts and related material in the Jonas Collection are filed by box and folder number. In turn these boxes and folders are divided into groups (I-V) and sections (a-g). The general arrangement is apparent in the table of contents, the major manuscript sections being Group I, Schenker materials; Group II, Jonas materials; and Group III, Violin materials.

Manuscripts in the Jonas collection for the most part were written on acidcontent paper, now grown brittle after nearly a century. Frequent handling of the material results in damage and in some loss of text. For this reason the original manuscripts will be protected, microfilmed, and enclosed in mylar. Access will primarily be to the microfilm (which will also be keyed to box and folder numbers) with the originals available to be consulted when necessary for verification.

Details of arrangement in each section are given below:

Tagebücher (I a). Pagination in Schenker's Diaries is very irregular and the collation attempts to describe the actual sequence of numbered leaves. Series A is the basic diary; B and C are parallel series with overlapping dates covering shorter periods.

The Tagebücher are not indexed except for the small notebook compiled by the Schenkers (Box 4 f.9) covering names and subjects up to Sept. 23, 1912.

Correspondence (I b, c; II a, b; III a, b; IV). Letters or other documents where Schenker is the writer or recipient are all found in Group I. Next in priority are letters with Jonas as writer or recipient (Group II) and third, letters with Violin as writer or recipient (Group III). Thus, if the Schenkers are recipients, all such letters, even if from Jonas or Violin, are found in Group I. Listed in Group IV are a small number of letters in which none of the three principals is involved as correspondent.

Correspondence is identified as autograph (A) or typed (T), whether a letter (L), postcard (P), or note (N), and whether signed (S) or unsigned (U). For each correspondent file, letters are arranged in the following order:

Correspondence files are arranged alphabetically by recipient (e.g., letters from Schenker, I b) or by writer (letters to Schenker, I c). Within each folder, letters are arranged by type (such as ALS) and within each type chronologically, undated letters first, followed by the earliest date. Inclusive dates and number of letters of each type are given but not pagination or other bibliographic data. Documents other than letters or cards are listed at the end. In the following entry listing letters from Furtwängler to Schenker (I c), folder 16 of Box 11 contains six undated autograph letters signed, eleven autograph letters signed and dated between 1919 and 1934 (with one signature missing), two autograph postcards signed and dated 1923, and five typed letters signed and dated between 1932 and 1937, (Letters after 1935 were addressed to Jeanette Schenker):

11 f.16 Furtwängler, Wilhelm
- ALS 6 undated
- ALS 11 1919-1934 (signature has been cut from letter of 16.XI.32)
- APS 2 1923
- TLS 5 1932-1937

Dates enclosed in square brackets have been derived from other evidence than the writer's own dating. Original envelopes are included when found.

Letterheads provide clues to the writer's connections and are listed in parentheses after the signatory's name. Thus in I c:

12 f.49 Mandyczewski, Eusebius (includes letterhead of Gesellschaft der Musikfreunde, Wien, and Internationaler Kongress für Schubertforschung, Wien)

indicates that Mandyczewski wrote at least one letter on the letterhead of each of the organizations listed. The parenthetical qualifier "(with letterhead of...)"; indicates that all of the correspondence includes the letterhead. Neither qualifier is intended to describe the subject of the correspondence.

Schenker's Critical and Analytical Works (I d). In this group, largely Jonas's arrangement, are listed many of Schenker's published critical works, comprising original manuscripts as prepared for the printer, some page proofs, and printed editions with corrections. Included are Jonas's editions of Schenker's work. The material is divided into six subsections (with some overlap):

Box 16-17. Schenker's critical writings arranged by composer; largely Beethoven, excluding the complete edition of the piano sonatas listed in I f.
Box 18-19. Schenker's major works on theory and analysis arranged by date. Includes some Jonas editions, e.g., his English edition of the Harmonielehre.
Box 20. Essays and reviews by Schenker as first published in the periodical press. Arranged by periodical title and then by date. Few original issues; largely Jonas transcripts and photocopies.
Box 21 f.1-6. Other writings by Schenker. Minor works; non-musical writings.
Box 21 f. 7-21. Notes and drafts for Die Kunst des Vortrags and other projects.
Box 21 f.22-25. Essays and announcements concerning Schenker's works.

Schenker As Composer (I e). Manuscripts in Schenker's hand, manuscripts in a copyist's hand, and published editions. There are seven subsections:

Box 22 f.1-13. Vocal music with opus numbers (arranged by opus).
Box 22 f.14-36. Vocal music without opus numbers (arranged by title).
Box 23 f.1-7. Instrumental music: solo piano works.
Box 23 f.8-16. Works for piano 4 hands (includes orchestral versions of Syrische Tänze by Violin [1922-] not part of the Schenker Nachlass).
Box 23 f.17-24. Trios.
Box 23 f.25-28. String quartets.
Box 23 f.29-30. Other instrumental works and sketches.

Schenker's Research and Teaching (I f). Box 24-34. Arranged by composer; under composer by opus number. Included are published editions by Schenker (and revisions by Jonas), published editions by others with autograph annotations by Schenker, manuscript copies by others, performance copies, analytical studies and related material. The extensive Beethoven section (Box 26-30) includes annotated copies and corrected page proofs of Schenker's edition of the complete piano sonatas. Following the composer section are three smaller sections:

Box 33 f.4-6. Other research and teaching materials. Analytical studies by Schenker and others with musical examples for "Lehre vom Vortrag"; (prepared by Jonas).
Box 34 f.1-14. Articles and publications of others. A small collection of clippings and excerpts, found in the Schenker Nachlass.
Box 34 f.15-17. Miscellany. A few studies for Kontrapunkt; student exercises; periodicals, including annotated pages of Radio Wien.

Schenker Biographical Materials (I g). Box 35. Personal documents, business and financial records.

Jonas Correspondence (II a, b). Box 36. For arrangement, see under Correspondence (I b, c) etc.

Critical Works of Oswald Jonas (II c). Box 37-38. Largely published material, but includes final manuscripts, notes and drafts, arranged alphabetically by title, with Jonas's book reviews at the end.

Jonas's Research and Teaching (II d). Box 39-68. Arranged by composer and opus number. Under "Schenker, Heinrich"; are arranged materials collected by Jonas for his publications:

Box 57. Writings by Jonas about Schenker, including a draft outline for "Lehre vom Vortrag.";
Box 58. Publications by others about Schenker, largely journal articles, including a few items since 1978.
Box 59. Excerpts compiled by Jonas for proposed Schenker biography. Largely typed transcripts from correspondence and the Tagebücher.

Following the composer section are three subgroups:

Box 61-62 f.4. Miscellaneous Jonas lecture notes, largely unfinished drafts or outlines.
Box 62 f.5-63 f.8. Collected bibliographic and historical excerpts, largely clipping files and pamphlets.
Box 64-68. Slides and microfilm collection.

Jonas Biographical Materials (II e). Box 69. Personal documents, lists of scholars, etc.

Moriz Violin materials (III a, b, c). Box 70. Arranged like Groups I and II.

Other Correspondence (IV). Box 71. Arranged by writer. See Correspondence (I b, c), etc.

Photographs and Other Portraits (V). Box 72-73. Arranged by subject; oversize items also listed in Box 72 but physically located in Box 73.

First and Early Editions (VI). Not physically located with the Jonas Memorial Collection but catalogued and shelved in the book stacks of Special Collections & Archives.

Appendix: List of Acquisitions Since 1978. Contains information about new items added since Jonas's death.

Index. Locates all personal names and corporate names listed in the Checklist; also indexes (selectively) titles of musical works, titles of books reviewed by Schenker, and periodical titles. Expanded entries for Jonas, Schenker, and Violin index works by the three authors.

A Note on Names and Titles Cited In Checklist Entries

Names of institutions and titles of works cited are normally given in the language of original publication. Places of publication or places where institutions are located are given in the form used in the language of origin, in this case often in the German form.

Titles of musical works are usually given in the language of the composer, unless much better known by the English title. Conventional titles of musical works are given in roman type; titles of published works appear in italics, and manuscript titles are given within quotation marks.

Most of the Checklist copy was prepared before the destruction of the Berlin Wall and the reunification of Germany, hence the designations Berlin [East] and [West] in entries. These descriptions have been allowed to stand as geographic terms; they may also help to identify libraries as they existed in Jonas's post-war Germany.

*For a summary and excerpts from the diaries and correspondence, see Hellmut Federhofer, Heinrich Schenker nach Tagebüchern und Briefen in der Oswald Jonas memorial collection. Hildesheim: Georg Olms, 1985 [Special Collections ML423 S33F45 1985]

Listed here are gifts to the Collection; not listed are purchases which are individually identified in the checklist.

Personal names and institutional names (societies and other corporate entities) appearing in the checklist are indexed by box and folder number. Also indexed selectively are distinctive titles of musical works (such as operas reviewed by Schenker), titles of books reviewed by Schenker, and titles of periodicals, including those in which Schenker's essays and reviews first appeared. A

Aber, Adolf, 36 f.2, 36 f.80 Abert, Anna Amalie, 52 f.16 Adams, Ansel, 72 f.8 Adams, Horst, 36 f.81 Adini, Ada, 20 f.41 Adler, Guido, 5 f.3, 9 f.3, 48 f.1 Aida (Verdi), 20 f.4 Akademie für Musik und darstellende Kunst, Wien, 5 f.4, 9 f.4, 9 f.18, 35 f.4, 36 f.58, 36 f.228, 70 f.49a, 70 f.59 Albersheim, Gerhard, 9 f.5, 21 f.23 Albersheim, Josef, 5 f.5 Albert, Eugen d', 9 f.6, 20 f.2, 20 f.4, 44 f.3, 50 f.12, 59 f.3, 70 f.6, 71 f.17, 72 f.1 Albert, Herminie d', 9 f.7 Albrecht, Hans, 36 f.82 Aldermann, Pauline, 36 f.3 Altmann, Wilhelm, 9 f.8 Ambrosius, Johanna see Voigt, Johanna Ambrosius American Musicological Society, New York, 36 f.173 Anders, Mariedi, 36 f.83, 71 f.1 Archiv für Musikwissenschaft, 36 f.114 Archiv für Photogramme, Wien, 9 f.10, 12 f.24, 20 f.10 Associated Music Publishers, 36 f.126, 36 f.247 Atlantis-Verlag, 36 f.156 Auber, Daniel F.E., 20 f.4 Avé-Lallemant, Theodore, 42 f.14 Avé-Lallemant, Waldlieb, 36 f.86

B

Babbitt, Milton, 36 f.4, 36 f.87, 58 f.1 Bach, C. P. E., 39 f.1-2, Box 64-66 Bach, J. S., 19 f.3, 19 f.5, 19 f.7, 19 f.9, 19 f.16, 20 f.4, 20 f.7, 39 f.3-13, 58 f.17, Box 64-66 Bacher, Eduard, 71 f.14 Badura-Skoda, Paul, 36 f.88 Bärenreiter-Verlag, 36 f.89, 36 f.108, 36 f.164, 36 f.208, Bahr, Hermann 9 f.10a Balassa, Ottilie von, 9 f.11 Bamberger, Carl, 9 f.12 Barbi, Alice, 70 f.56 Barnes, Richard G., 36 f.90, 36 f.195, 71 f.2, 71 f.16 Bauer, Maria, 71 f.41 Bauer, Otto, Konzertdirektion, 12 f.18 Baum, R., 36 f.5, 36 f.91 Baumeyer, Marie, 20 f.4 Bayerischer Rundfunk, Munich, 36 f.92 Beach, David W., 36 f.93, 58 f.1 Beck, Hermann, 36 f.94 Beck, Sidney, 36 f.6, 36 f.95, 69 f.10 Becker, Heinz, 36 f.7 Beckerath, Heinz von, 48 f.2 Beer, Berta Lahn, 70 f.7 Beethoven, Ludwig van, 16 f.3-11, 17 f.1-3, 19 f.4-7, 19 f.10, 19 f.13, 20 f.5-6, 20 f.8, 21 f.3, Box 26-30, 33 f.5, Box 40 - 41, 50 f.13, Box 64-66, Box 67, 70 f.66, Group VI Beethoven'schen Clavier-Sonaten (Reinecke), 20 f.4 Beethoven Archiv, Bonn, 36 f.222 Beethoven-Zentenarfeier, Wien, 9 f.3 Bell, Alice M., 71 f.3 Bente, Hella, 36 f.96, 71 f.4 Beroldingen, Lukas, 36 f.97 Berrsche, Alexander, 9 f.14 Besag, Hilda, 71 f.5 Billroth, Else, 70 f.8 Binder,____, 9 f.16 Bienenfeld, Elsa, 9 f.15 Bizet, Georges, 20 f.3 Blaschik, A. J., 9 f.17 Bloch, Richard, 36 f.160 Blume, Friedrich, 36 f.8, 36 f.98 Böhmische Streichquartet, 20 f.4 Boetticher, Wolfgang, 60 f.17 Boieldieu, François-Adrien, 20 f.4 Bopp, Wilhelm, 9 f.18, 70 f.49a Botstiber, Hugo, 9 f.19 Brahms, Johannes, 16 f.1-2, 17 f.4-8, 19 f.8, 20 f.1-2, 20 f.4, 20 f.10, 31 f.1-15, 33 f.5, 33 f.6, Box 42-50, 51 f.2, 57 f.5, 59 f.12, Box 64-66, Box 68, 72 f.2, Group VI Deutsche Brahms-Gesellschaft, Berlin, 10 f.6 Johannes-Brahms-Denkmal-Komitee, Wien, 12 f.4 Komitee für ein Brahms-Denkmal in Thun, 12 f.16 Breisach, Paul, 36 f.99 Breitkopf & Härtel, 9 f.20, 22 f.1, 36 f.100, 36 f.226 Brennecke, Wilfried, 36 f.9, 36 f.101 Brockhaus, F. A., firm, 9 f.21 Broder, Nathan, 58 f.22 Bruck, Hedwig, 9 f.22 Bruckner, Anton, 17 f.9-10, 20 f.1-2, 20 f.4, 51 f.3, 71 f.42 Brüll, Ignaz, 9 f.23, 63 f.5, 70 f.9 Brünauer, Robert, 21 f.24, 71 f.37 Bülow, Hans von, 20 f.1, 20 f.4 Bundesministerium für Unterricht, Wien, 36 f.84 Busoni, Ferruccio, 5 f.5a, 9 f.27, 23 f.2, 70 f.67, 71 f.6 Busoni, Gerda, 9 f.28 Buxbaum, Friedrich, 70 f.10 Byron, G. 22 f.31

C

Cappell, Richard, 36 f.102 Carreno, Teresa, 9 f.29 Carruth, Hayden, 36 f.103 Chambrun, Comte de, 20 f.4 Le Chapeau Rouge (Boieldieu), 20 f.4 Chapman, Roger, 71 f.30 Chopin, Frédéric, 19 f.18, 31 f.16-26, 33 f.5, 52 f.1-5, 57 f.5, Box 64-66, Group VI Christus (Kiel), 20 f.4 Chrysander, Friedrich, 53 f.4 Citkowitz, Israel, 58 f.2 Clarke, Dennis S., 36 f.104 Clementi, Muzio, 52 f.6 Colbert, Carl and Tony, 9 f.30 Colvin, J. L., 36 f.9a Conne, Paul de, 9 f.30a Conservatorium für Musik und darstellende Kunst, Wien, 35 f.1 Cotta'sche Buchhandlung Nachfolger, 5 f.6, 9 f.31, 9 f.32, 12 f.23, 12 f.27, 12 f.62 Creanza, Joseph, 36 f.10, 36 f.105 Csillag-Stern, Hermann, 9 f.33 Cube, Felix Eberhard von, 5 f.7, 9 f.34, 34 f.11, 36 f.11, 38 f.106, 58 f.3, 70 f.2, 70 f.11 Cube, Gustav von, 5 f.8, 9 f.35 Cuningham, Charles E., 36 f.107, 71 f.39 Cutter, Margot, 71 f.8, 71 f.38 Czerny, Carl, 50 f.13

D

Dahms, Walter, 10 f.1, 58 f.5 Daily Telegraph and Morning Post, London, 36 f.102 Damm, Marianne, 36 f.108 Davies, Ben, 20 f.4 Dehmel, Richard, 22 f.2-4 Derby, Roger, 36 f.109 Deutsch family, 36 f.110 Deutsch, Hanna, 10 f.3 Deutsch, Otto Erich, 5 f.9, 10 f.3, 14 f.21, 52 f.7-8, 59 f.4, 71 f.9, 71 f.19, 71 f.21, 72 f.3 Deutsch, Sofie, 10 f.4 Deutsche Allgemeine Zeitung, Berlin, 10 f.4; essay by Schenker in, 20 f.11 Deutsche Bank, 10 f.5 Deutsche Brahms-Gesellschaft, Berlin, 10 f.6 Deutsche Gesandschaft, Wien, 10 f.7 Deutsche Nothilfe, Berlin, 10 f.8 Deutsche Staatsbibliothek, Musikabteilung, Berlin [East], 36 f.165 Deutsche Zeitschrift, 13 f.25; essays by Schenker in, 20 f.10 Deutsches Musikgeschichtliches Archiv, Kassel, 36 f.143 Dewanger, Anton, 10 f.9 Djamileh (Bizet), 20 f.3 Doane, Marguerite T., 71 f.3 Doblinger, Ludwig, 23 f.1 Don Giovanni (Mozart), 20 f.4 Donizetti, Gaetano, 20 f.4 Dorian, Frederick, 38 f.61 Drei Masken Verlag, 10 f.11, 35 f.8 Der Dreiklang, Monatsschrift für Musik, 36 f.188, 37 f.1-7; essays by Schenker in, 20 f.12 Dunn, Aline Petrie, 10 f.12 Dunn, John Petrie, 10 f.13, 72 f.4 Dürr, Walther, 36 f.112, 60 f.15 Dvorak, Antonin, 20 f.4 Dyson, Sir George, 36 f.113

E

Ebert, Alfred, 41 f.23 Eggebrecht, Hans, 36 f.12, 36 f.114 Eggert, Hanna, 36 f.115 Ehrlich, Theodore, 70 f.12 Ehrmann, Alfred von, 10 f.14 Eibenschütz, Flora, 10 f.15 Eibl, Joseph Heinz, 55 f.10 Eibner, Franz, 36 f.13, 36 f.116, 36 f.157, 52 f.9, 58 f.6, 71 f.27 Eichendorff, J. von, 22 f.3 Einschenk, Franz, 5 f.10, 10 f.16 Einstein, Alfred, 10 f.17, 36 f.117, 54 f.5 Elias, Angie, 10 f.18, 33 f.5, 58 f.7 Elias, Manolo, 10 f.19 Engel, Marie, 71 f.10 Engelhaft, W., 10 f.22 Engelsmann, Walter, 10 f.21 Epp, Margaret, 36 f.118 Epstein, Julius, 10 f.23, 23 f.1 Epstein, Richard, 10 f.24 Erben, Andre, 55 f.9 Esser, Heribert, 36 f.119, 71 f.10a, 71 f.21a Erwin, Charlotte E., 58 f.8 Der Evangelimann (Kienzl), 20 f.4 Ewing, G. A., 36 f.12

F

Fallersleben, Hoffman von, 22 f.10-11 Falstaff, (Verdi), 20 f.2 Faust (Goethe), 21 f.5 Fayer, _____, 11 f.1 Federhofer, Hellmut, 36 f.14, 36 f.121, 39 f.13, 48 f.3, 52 f.10, 58 f.9-11, 60 f.3, 70 f.13, 71 f.36 Feil, Arnold, 36 f.122 Fellerer, Karl Gustav, 36 f.15 Fellinger, Imogen, 36 f.123, 48 f. 4-6 Fidelio (Beethoven), 40 f.12 Figaros Hochzeit ( Marriage of Figaro, Mozart), 20 f.4 Figl, Leopold, 36 f.16 Fischer, Edwin, 36 f.17, 36 f.124 Fischer, Emma, 11 f.2, 72 f.5 Fischer, Jacob, 11 f.3 Fischer, Johannes, 41 f.24 Flemming, Hans, 34 f.1 Floersheim, Georg, 62 f.5 Fock, Dirk, 11 f.4 Foerster, Josef Bohuslav, 11 f.5, 70 f.1 Forberg, Otto, 11 f.6 Forberg, Robert, 11 f.7 Forte, Allen, 36 f.199 Fra Diavolo (Auber), 20 f.4 Frankenstein, Alfred V, 36 f.125 Frankfurter, Albert, 70 f.15 Franz, Leo, 11 f.8 French, Richard F., 36 f.18, 36 f.126 Friedlaender, Max, 47 f.8, 48 f.7 Frimmel, Fanny von, 11 f.9 Frimmel, Theodore von, 11 f.10 34 f.2 Fritsch, Ernst Wilhelm, 11 f.11 Fröhlich, Theodor, 52 f.11 Fromm, Norman, 71 f.1 Frotzler, Carl, 11 f.12 Frühmann,-, 11 f.13 Fry, Stephen, 63 f.5 Fuchs, A., 11 f.14 Fuchs, Robert, 63 f.5, 70 f.16 Funk-Stunde, Berlin, 36 f.128 Furtwängler, A., 17 f.11 Furtwängler, Wilhelm, 5 f.11, 11 f.16, 35 f.4, 36 f.12, 36 f.19, 52 f.13-14, 59 f.5, 69 f.11, 70 f.17, 70 f.68, 71 f.11 Füssl, Karl Heinz, 36 f.20, 36 f.127, 52 f.12

G

Gärtner, Eduard, 5 f.12, 11 f.17, 14 f.23a, 22 f.3 Galitzin, Nicholas B., 41 f.20 Galston, Gottfried, 48 f.8 Geck,-, 11 f.18 Gering, Arnold, 36 f.130 Geiringer, Karl, 48 f.9, 52 f.15 Gelber, Adolf, 11 f.19 General-Anzeiger für Bonn und Umgebung, 5 f.12a, essay by Schenker in, 11 f.20, 20 f.8 Genossenschaft der Bildenden Künstler Wiens, 70 f.18 Genossenschaft der Blas und Saiteninstrumentenmacher, Wien, 5 f.13 Georgii, Walter, 44 f.3, 45 f.10-11 Gerstberger, Karl, 11 f.21, 15 f.15-16 Gerstenberg, Walter, 36 f.21, 36 f.131, 69 f.12, 71 f.12 Gesellschaft der Musikfreunde in Wien, 5 f.14, 11 f.22, 12 f.20, 12 f.29, 12 f.49, 14 f.26, 20 f.4, 70 f.60 Gesellschaft der Musikfreunde, Wien, Concert (3 reviews), 20 f.4 Gesellschaft für Musikforschung, Kiel, 36 f.98 Glasbena Matica, 20 f.4 Glaser, Karl, 36 f.132 Gluck, Christoph Willibald, Ritter von, 20 f.4, 52 f.16 Die Gnossis, Wien, 11 f.23 Görlich, Elizabeth, 36 f.133 Goethe, J. W. von, 19 f.12, 21 f.4-5, 22 f.3, 22 f.6, 22 f.15, 22 f.20, 22 f.33 Goldberg, Albert, 36 f.22, 36 f.134 Goldberg, Szymon, 36 f.135, 71 f.26 Goldmark, Karl, 20 f.2, 20 f.4 Goldschmidt, Adalbert von, 70 f.69, 71 f.13 Goll, Ernst, 34 f.3 Gotwals, Vernon, 36 f.136, 48 f.10 Grädener, Hermann, 11 f.24 Gräser, Wolfgang, 16 f.2 Graf, Max, 11 f.25 Grieg, Edvard Hagerup, 20 f.4 Grodzins, Morton M., 71 f.24 Gross, Max, 11 f.26 Grossman, Orin, 19 f.16 Grosz, Carl, 11 f.27 Grünfeld, Alfred, 11 f.28, 20 f.4 Grünfeld, Ludwig, 35 f.5 Grunsky, Karl, 5. f.15, 11 f.29, 59 f.6 Günzberg, Olga de, 6 f.1 Gura, Eugen, 20 f.4 Gurlitt, Wilibald, 11 f.30 Guttmann, Sophie, 11 f.31

H

Haas, Robert, 11 f.32 Haase, Hans, 36 f.137 Handel-Gesellschaft, Kiel, 34 f.13 Hahn, Harry, 11 f.33 Halberstam, Julius, 11 f.34 Halm, August, 11 f.35, 34 f.4, 53 f.1, 58 f.12 Hamburger Nachrichten, 13 f.30 Hamlet, Schenker's music for, 22 f.36 Hammer, Victor, 5 f.15a, 11 f.36-37, 72 f.6, 72 f.14 Hammerl, Lissy, 70 f.19 Hammerschlag, Paul, 11 f.38 Handel, George Frideric, 32 f.1-2, 33 f.6, 50 f.13, 51 f.1, 53 f.2-4, Box 64-66, Group VI Hansen, Conrad, 36 f.138 Hanslick, Eduard, 11 f.39, 20 f.4, 59 f.7, 71 f.14, Harand-Bewegung, 11 f.40 Harburger, Walter, 11 f.41 Harden, Miximilian, 11 f.42, 59 f.8, 71 f.42 Harpner, Stefan G., 36 f.23, 36 f.139, 71 f.15 Harris, F. W., 36 f.23a Hartmann, Ernst, 36 f.140 Hartry, Theodore G., 36 f.141 Hassler, Hans Leo, 33 f.5 Hatschek, Oskar, 11 f.43 Hausenstein, Wilhelm, 11 f.44 Hauser, Arthur A., 36 f.142 Hausmann, Robert, 20 f.4 Haydn, Joseph, 19 f.2, 19 f.9, 19 f.16, 20 f.4, 20 f.12, 32 f.3-5, 53 f.5-22, Box 64-66, Group VI Haye,- von, 11 f.45 Heartz, Daniel, 55 f.11 Heckmann, Harald, 36 f.143 Heide, Martha von der, 70 f.20 Heide, Rose, 36 f.24, 36 f.144 Das Heimchen am Herd (Goldmark), 20 f.2, 20 f.4 Heimler, Hans, 36 f.145, 58 f.13 Heineman Foundation, New York City, 36 f.158 Heinitz, Ernst, 36 f.146 Heinrich-Schenker Akademie, Hamburg, 36 f.106 Hellmesberger, Josef, 11 f.46 Henle, G., Verlag, 36 f.218, 71 f.3 Henle, Günter, 36 f.25, 36 f.147 Henschel, Lillian, 20 f.4 Herders Konversationslexikon, 11 f.47 Hermelink, Siegfried, 36 f.25, 36 f.148 Hertzka, Emil, 5 f.16, 15 f.12 Emil-Hertzka-Gedächtnisstiftung, Wien, 10 f.20 Herzfeld, V. von, 11 f.48 Heuberger, Richard, 11 f.49, 53 f.23, 70 f.59 Heydusek, A., 11 f.50 Heyse, P., 22 f.17, 22 f.24, 22 f.26 Hift, Elena, 36 f.195, 71 f.2, 71 f.16 Hilbrandt, F, 70 f.20a, 72 f.7 Hill, Richard S., 36 f.27, 36 f.149, 56 f.5 Hindemith, Paul, 5 f.17, 11 f.51, 36 f.2 Hinderaker, Birk, 36 f.150 Hinrichsen, Hans, 36 f.29 Hinrichsen, Max, 36 f.30, 36 f.151 Hinterberger, Heinrich, 11 f.52, 35 f.2 Hirschl, D., 11 f.53 Hoboken, Anthony van, 11 f.54, 36 f.31, 36 f.152, 53 f.21, 58 f.14, 71 f.9 Hoch, D. B., 71 f.17 Hochgrassl, Wilhelm, 70 f.21 Hoesslin, Franz von, 11 f.55 Hoffmann, E. T. A., 19 f.6, 53 f.24 Hoffman, R. S., 70 f.49 Hofmeister, Friedrich, firm, Leipzig, 71 f.18 Holländischer Terzett, 20 f.4 Holler, Karl Heinz, 36 f.153 Holschneider, Andreas, 36 f.154 Holstein, Hedwig von, 53 f.25 Holz, Carl, 41 f.19 Hubermann, Bronislav, 20 f.4 Hucklenbroich, Volker, 36 f.155 Hürlimann, Martin, 36 f.32 Humbert, Georges, 41 f.25 Hunderisser, Franziska, 11 f.56

I

Internationale Kongress für Schubertforschung, Wien, 11 f.57, 12 f.49 Internationale Musik-Gesellschaft, Wien, 9 f.3, 12 f.14 Internationale Schubert Gesellschaft, Kassel-Wilhelmshöhe, 36 f.208 Internationalen Musikwissenschaftlicher Kongress, Wien, 36 f.219 Ilse, Hubert, 70 f.22 Israelitische Kultusgemeinde Wien, 11 f.8, 35 f.6

J

Jacobowski, L., 22 f.1 Jarecki, Gerschon, 36 f.157 Jenkner, Hans, 58 f.15 Jensen, Ivonne, 36 f.158 Jepperson, K., 56 f.5 Jerusalem, Wilhelm, 12 f.1 Jirak, Karel B., 36 f.33, 36 f.159 Jodl, Friedrich, 12 f.2 Jodl, Margarete, 12 f.3 Johannes-Brahms-Denkmal-Komitee, Wien, 12 f.4 Johnson, Robert Underwood, 71 f.29 Jokl, Ernst, 12 f.5 Jonas, Edith Schreier, 69 f.1 Jonas, Olga, 36 f.159a, 69 f.1 Jonas, Oswald biographical materials Box 69; correspondence 5 f.18, 5 f.36, 12 f.6, Box 36; photographs Box 72 f.8; essays and critical works Box 37-38; editions including annotated scores, Box 39-60 editor, Beethoven, Die letzten fünf Sonaten, ed. Schenker, rev. 1970-1972, 28 f.9, f.11-12; Beethoven Op. 109 facsimile, 41 f.7-8; Schenker, Harmonielehre, Engl. tr., 18 f.7; Schenker, Die freie Satz, 2d ed., 19 f.21-23; Brahms, Sonatas Op. 120, 42 f.18, 45 f.14 works: Der Dreiklang, Box 37 "Heinrich Schenker,"; 38 f.22 "Heinrich Schenker und grosse Interpreten,"; 38 f.23 "Die Kunst des Vortrags nach Schenker,"; 57 f.2-5 "Der Nachlass Heinrich Schenkers,"; 38 f.37 "Die `Variationen für eine liebe Freundin' von Brahms,"; 38 f.51, 42 f.12 Das Wesen des musikalischen Kunstwerks, 38 f.53; rev. ed. pub. as Einführung in die Lehre Heinrich Schenkers, 36 f.195, 38 f.54, English transl., 38 f.54 other references, 19 f.18, 21 f.18, 21 f.21, 33 f.4 Joseph, Sol, 36 f.160 Just, Martin, 36 f.161

K

Kahn, Robert, 48 f.11 Kalbeck, Max, 5 f.19, 12 f.7 Kalmus, Alfred, 5 f.20, 12 f.8, 71 f.19 Kammerer, Emil, 71 f.19a Karpath, Ludwig, 12 f.9, 35 f.4, 70 f.66, 71 f.11, 71 f.19a Katz, Adele, 56 f.5 Kauder, Albert, 20 f.4 Kaufmann, Harald, 58 f.16 Kendall, Raymond, 36 f.34, 36 f.162 Kessler, E. v., 36 f.227 Kestenberg, Leo, 71 f.20 Kienzl, Wilhelm, 20 f.4 Komité zur Ehrung Wilhelm Kienzl's, Wien, 12 f.15 Kinberger, J.P., 38 f.26 King, A. Hyatt, 55 f.12 Kinkeldey, Otto, 36 f.163 Kinsey, Barbara, 48 f.12 Kinsky, Georg, 71 f.21 Klein, Fritz, 5 f.21, 12 f.10 Klein, Fritz Heinrich, 12 f.10a Klenau, Paul August von, 12 f.11 41 f.6 Klengel, Julius, 70 f.23 Klett, Ernst, 5 f.22, 12 f.12 Koch, Louis, 62 f.5 Koch, Rosemarie, 36 f.164 Köhler, K.H., 36 f.165 Koenig, A., 12 f.13 Kokoschka, Oscar, 34 f.1 Koller, O., 12 f.14 Kolneder, Walter, 58 f.17 Komorn, Maria, 12 f.17 Kopetsky, Regina Winterberg, 35 f.1 Kornfeld, Felix, 14 f.7 Kornfeld, Tomás, 71 f.10a, 71 f.21a, 72 f.9 Korngold, Julius, 12 f.19 Kramer, Jos., 35 f.5 Krasny, Emil, 12 f.19 12 f.34 Kraus, Ernst, 12 f.20 Kraus, Greta, 36 f.166 Krautwurst, Franz, 36 f.167 Krebs, E., 12 f.21 Krehl, Stephan, 12 f.2 Kröner, Adolf, 12 f.23 Kromer, Julius, 12 f.24 Kross, Siegfried, 47 f.7 Krueger, Theodore Howard, 19 f.23, 36 f.35, 36 f.168, 71 f.22, 71 f.35 Krystall-Verlag, Wien, 36 f.169 Kudryk, Boris, 12 f.25 Kulenkampff, Hans-Wilhelm, 48 f.13 Der Kunstwart, 13 f.25; essays by Schenker in, 20 f.10 Kurth, Ernst, 58 f.11 Kurz, H., 12 f.27 Kurzmeyer, H., 36 f.170 Der Kuss (Smetana), 20 f.3 Kux, Wilhelm, 12 f.2 23 f.5

L

Lach, Robert, 55 f.13 Landowska, Wanda, 12 f.33 Lafite, Carl, 12 f.29 Lagner, Thomas M., 36 f.36, 36 f.172 Lahusen, Christian, 12 f.30 Lamberg, Ernst, 5 f.24, 12 f.31 Landau, Heinrich, 12 f.32 Landon, Christa Fuhrmann, 36 f.157, 36 f.171, 53 f.20, 71 f.34 Landon, H.C. Robbins, 36 f.127 Lanzer, Alfred, 12 f.34, 35 f.8 Larson, Jens Peter, 53 f.22 LaRue, Jan, 36 f.173 Lavart, Louis, 23 f.29 "Lebendige Musik in Wien 1934";, 9 f.9 Lederer, Joseph, 36 f.37, 36 f.174 Legis, Stanislas, 20 f.4 Lehman, Robert Owen, 36 f.38, 36 f.174, 36 f.175, 71 f.2 Leoncavallo, Ruggero, 20 f.2 Lese- und Redehalle jüdischer Hochschüler, Wien, 12 f.35 Leuckart (F.E.C.) Buch & Musikalien-Verlag, Leipzig, 12 f.36 Levarie, Sigmund, 71 f.24 Leygraf, Willy, 36 f.176 Library of Congress, Washington, D.C., 12 f.37, 36 f.245 Lichtenwanger, William, 36 f.39 Liebstoeckl, Hans, 12 f.38 Lienau, Robert Jr., 12 f.39 Liliencron, Detlev von, 12 f.40, 22 f.1, 59 f.10 Lissa, Zofia, 36 f.177 Liszt, Franz, Group VI Löwe, Amalie, 12 f.4 Löwe, Ferdinand, 12 f.42, 70 f.24 Loewe, Theodor, 12 f.43 Lothar, Rudolf, 12 f.44 Lucia di Lammermoor (Donizetti), 20 f.4 Ludwig, Ernst, 12 f.45 Lytle, Victor Vaughn, 12 f.46, 21 f.25

M

Maasz, Gerhard, 36 f.178 Mach, Ernst, 12 f.47 Das Mädchen von Navarra ( La Navarraise, Massenet), 20 f.4 Mahler, Gustav, 12 f.48 Mahides, Barbara, 36 f.180 Maitland, Margaret, 36 f.181 Mandyczewski, Eusebius, 12 f.49, 70 f.25, 70 f.59 Mann, Alfred, 55 f.11 Mann, Michael, 58 f.18 Marbach, Gertrude, 36 f.182 The Marriage of Figaro ( Le nozze di Figaro, Mozart), 20 f.4 Marschner, Franz, 34 f.5 Marschner, Heinrich August, 20 f.4 Martin, Bernhard, 12 f.50 Marx, Joseph, 5 f.25, 12 f.51 Mascagni, Pietro, 20 f.2 Mason, Daniel Gregory, 36 f.183 Massenet, J., 20 f.4 Mast, Paul, 58 f.18a Mayer-Mahr, Moriz, 44 f.3 Mayerhofer, Frau Irene, 23 f.4 McGiffin, Hadassah, 36 f.179 Mendelssohn, Felix, 19 f.9, 32 f.6, Group VI Mendl, Fritz, 12 f.52 Mengelberg, Willem, 70 f.26 Mercurbank, Wien, 12 f.53 Der Merker, Wien, 12 f.9; essay by Schenker in, 20 f.6 Messchaert, Johannes, 12 f.54 20 f.4, 35 f.5, 59 f.11, 70 f.27, 72 f.10 Meyer, Ernst H., 36 f.41, 36 f.184 Michel, R., 36 f.185 Michelmann, Emil, 48 f.14 The Mikado (Sullivan), 20 f.4 Miller, L., 12 f.55 Miller-Aichholz, Eugen von, 72 f.2 Mitchell, William, 36 f.42, 36 f.186 Mittelemann, Aron, 70 f.28 Mittler, Franz, 12 f.56 Mörike, E. 22 f.10 Monteux, Pierre, 70 f.29 Moldenhauer, Hans, 36 f.187 Moll, Carl, 12 f.57 Morik, Werner, 47 f.6 Moser, Hans Joachim, 5 f.31 Motta, J. Vianna da, 20 f.4 Mozart, Wolfgang Amadeus, 19 f.16, 20 f.4, 20 f.10, 32 f.7-8, Box 54, Box 55 f.1-14, 57 f.5, Box 64-66, Group VI Mozart-Ausgabe, Neue, 36 f.115, 36 f.201, 36 f.221 Muffat, Gottlieb, 55 f.15 Mühlau, Walter G., firm, Kiel, 71 f.25 Mühlfeld, Richard, 20 f.4, 50 f.12 Müller, Paul, 12 f.58 Müller, Siegfried Fritz, 12 f.59, 36 f.188 Müller, Wilhelm, 22 f.1, 22 f.16, 22 f.19 Münchheimer, Adam, 12 f.60 Music Library Association, 38 f.61 Musical Quarterly, 36 f.43 Die Musik, 5 f.26, 14 f.20, essay by Schenker in, 16 f.1 Musik in Geschichte und Gegenwart, 36 f.9, 36 f.101, 36 f.137, 36 f.189, 36 f.223 Musikalisches Wochenblatt, essays by Schenker in, 20 f.1 Die Musikforschung, 36 f.44, 36 f.82

N

National-Zeitung, Basel, 12 f.61 La Navarraise (Massenet), 20 f.4 Neff, L., 12 f.62 Nettl, Paul, 38 f.29 Neue Musik-Zeitung, 13 f.1, 13 f.6 Neue Revue, Wien, 13 f.3; essays by Schenker in, 20 f.3 Neue Schule für Musik und Bühnenkunst, Wien 13 f.2 Neues Wiener Tagblatt, 12 f.9 Neumann, Carl, 13 f.3 Neumann, Eduard, 36 f.160 Neumann, Friedrich, 36 f.191 Neumann, Lotte, 13 f.4 Newberry Library, Chicago, 36 f.192 Newman, Ernest, 36 f.193, 69 f.13 Ney, Elly, Sekretariat, Bonn, 36 f.96, 71 f.4 Niederösterreichische Escompte-Gesellschaft, Wien, 13 f.5 Nikisch, Arthur, 71 f.13 Niloff, Artur, pseud. of Heinrich Schenker, 18 f.8-9 Nolle, Hugo, 13 f.6 Norddeutsche Rundfunk, Hamburg, 36 f.194 Northwestern University Press, 36 f.195 Novello & Co., London, 36 f.80, 36 f.196 Nowak, Leopold, 53 f.7, 71 f.26 Nowakowski, Anton, 36 f.197

O

Ochs, Siegfried, 13 f.7 Odelga, Freiherr _____ von, 13 f.8 Oesterreichische Musiklehrerschaft, Wien, 13 f.9 Ohe, Adele aus der, 20 f.4 Ondricek-Popper-Door, 20 f.3 Oppel, Reinhard, 13 f.10, 32 f.9-11, 33 f.6, 34 f.6, 36 f.198, 70 f.30, 71 f.25, 72 f.11 Oppel, Ulrich, 13 f.11 Ornstein, Christiane, 13 f.12 Orpheus (Gluck), 20 f.4 Osten, Heinrich, 13 f.13 Oster, Ernst, 13 f.14, 19 f.23, 36 f.45, 36 f.199, 71 f.7, 71 f.27, 71 f.31

P

Pairamall, Evelina, 5 f.27 Pálffy, _____, Comtesse, 70 f.31 Palisca, Claude V., 36 f.200, 71 f.23 Pascall, Robert, 48 f.15 Paumgartner, Bernhard, 13 f.15, 59 f.13 Pensionsanstalt deutscher Journalisten und Schriftsteller, München, 13 f.16 Perl, Carl Johann, 51 f.3 Perks, W. R., 71 f.28 Peters, C. F., Leipzig, 5 f.28, 13 f.17, 59 f.14 Pfeiffer, _____, 13 f.18 Pfitzner, Hans, 71 f.21 Philharmonische Concert, Wien (8 reviews), 20 f.4 Piper-Verlag, 5 f.29 Plath, Wolfgang, 36 f.201 Plettner, Arthur, 56 f.5 Polzin, Jörg, 36 f.202 Pollak, Egon, 70 f.32 Pollak, Felix, 13 f.18a Pollak, Frieda and Karl, 13 f.19 Possart, Ernst, 20 f.4 Praetorius, Ernst, 5 f.30 Presser, Theodore, Company, 36 f.142 Preussner, Eberhard, 36 f.203 Prohaska, Felix, 36 f.204 Prüfer, Arthur, 20 f.4 Pruhaska, C., 70 f.59

R

Rabes, Alfred, 36 f.46, 36 f.205 Radio-Wien, 4f.1, 33 f.5, 34 f.15 Rantzau (Mascagni), 20 f.2 Rast, Nicholas, 58 f.19 Ratz, Erwin, 36 f.47, 36 f.206, 71 f.22, 71 f.35 Rech, Geza, 36 f.48, 36 f.207 Reger, Max, 19 f.16 Rehm, Wolfgang, 36 f.208 Reich, Willi, 38 f.3, 38 f.52, 60 f.18 Reichert, Ernst, 13 f.20 Reichert, Georg, 36 f.49, 36 f.209 Reigerberg, Heinrich von, 5 f.31, 13 f.21 Reinecke, Carl, 20 f.4 Reinken, Johann Adam, 55 f.16 Reményi, Eduard, 71 f.29 Réti, Rudolf, 13 f.2 Reynolds, William H., 36 f.210, 71 f.30 Reznicek, Emil Nikolaus von, 70 f.33 RIAS, Berlin [West], 36 f.120, 36 f.172 Richter, Hans, 50 f.12 Riemann, Hugo, 13 f.2, 58 f.11 Riesling, Elfi von, 13 f.24 Riezler, Walter, 21 f.24 Rinn, Hermann, 5 f.32, 13 f.25 Robert, Richard, 13 f.26 Röntgen, Julius, 13 f.27, 20 f.4, 72 f.12 Rosé, Quartett, 20 f.4 Rosenthal, Felix, 13 f.28 Rosenthal, Moriz, 13 f.29, 70 f.3 Rosenwald, Hans, 36 f.50, 36 f.211 Ross, Colin, 34 f.7 Rostal, Max, 36 f.212 Roth, Herman, 5 f.33, 13 f.30, 25 f.1, 34 f.8, 72 f.13 Rothberger, Alfred, 72 f.14 Rothberger, Hilda, 13 f.31 Rothgeb, John, 38 f.54 Rothkäppchen ( Le Chapeau Rouge, Boieldieu), 20 f.4 Rothschild, Alphonse de, 13 f.32, 23 f.8-16 Rothschild, Alphonse Mayer, Baron, 5 f.34 Rothschild, Clarice Sebag-Montefiore, Baronin, 5 f.34a Rothschild'schen Künstlerstiftung, Kuratorium, Wien, 12 f.26 Rottenberg, Ludwig, 13 f.33 Rottensteiner, Kati and family, 13 f.34 Rousseau, Jean-Jacques, 36 f.213 Rousseau, Martha, 36 f.213 Rubenstein, Anton, 20 f.2 Rubenstein Preis, 20 f.4 Rubinraut, Hilde, 13 f.35 Rudorff, Elisabeth, 13 f.36 Rudorff, Ernst Friedrich Karl, 5 f.35, 13 f.37, 59 f.15 Russell, S. A., 36 f.51

S

Sadie, Stanley, 36 f.52 Salzer, Felix, 5 f.36, 14 f.1, 36 f.53, 36 f.169, 36 f.188, 36 f.214, 38 f.61, 71 f.31 Sambeth, H. M., 14 f.2 Sandresky, Clemens, 69 f.14 Saphir, Mathilde, 14 f.3 Sappho, 22 f.18 Saturn-Verlag, Wien, 69 f.17, 71 f.4 Savler, Roberta, 36 f.215 Scanlon, John D., 36 f.54, 36 f.216 Schabes, Ezra, 36 f.217 Schaefer, Josef, 36 f.55, 36 f.218, 45 f.16, 71 f.10 Schalk, Franz, 70 f.70, 71 f.32 Schein, Johann Herman, 20 f.4 Schenk, Erich, 36 f.219 Schenker, Frieda, 72 f.18 Schenker, Hans, 14 f.4, 72 f.18 Schenker, Heinrich autobiography (diaries), Box 1-4; 35 f.2; other biographical materials, Box 35, 56-59; photographs, 72 f.14-15, 72 f.19; publications about, 21 f.22-25, Box 37, 38 f.22-23, 38 f.29, 38 f.37, 38 f.53-54, Box 58, 70 f.53-54; correspondence, Box 5-15, 71 f.11, 71 f.19a, 71 f.42; critical and analytical works, Box 16-21; editions, including annotated scores, Box 16-17, 24-34 as composer: vocal music, Box 22, instrumental music, Box 23 journal articles and reviews, Box 20; also 17 f.2-7, 17 f.9-10, 17 f.12 editor, Bach, J. S., Chromatische Fantasie und Fuge, D moll, 24 f.1-2; Beethoven, L. van, Samtliche Klaviersonaten, 26 f.1; Beethoven piano sonatas separately published, 16 f.3-4, 27 f.1-19, 28 f.1-14; Beethoven, Sonata Opus 27 Nr.2 (facsimile edition), 16 f.4; Beethoven, Die letzen fünf Sonaten, 16 f.6-11, 28 f.9-14, 41 f.6-8; Brahms, J., Oktaven und Quinten u. A., 17 f.8, 31 f.1-1a; Handel, G. F., Grosse Concerte IV, Op. 6, 31 f.1 works: Beethovens dritte Sinfonie, 16 f.5, 19 f.17 Beethovens V. Sinfonie, 19 f.1, 4, 6 Beethovens neunte Sinfonie, 17 f.1, 57 f.7 Ein Beitrag zur Ornamentik, 18 f.1-5 Der freie Satz, 19 f.20-23 Fünf Urlinie-Tafeln, 19 f.19 Der Geist der musikalischen Technik, 21 f.1 Generalbasslehre, 19 f.18 Harmonielehre, 18 f.6-7 Instrumentations-Tabelle, 18 f.8-9 Kontrapunkt, 34 f.17 Die Kunst des Vortrags, 18 f.10, 19 f.6, 21 f.7-21, 33 f.4, 57 f.2-5 Das Meisterwerk in der Musik, 19 f. 16-17 Tagebücher, Box 1-4 Der Tonwille, 19 f.1-15 other references, 42 f.9, 48 f.16 Schenker, Julien (Julko), 72 f.18 Schenker, Jeanette, 35 f.1, 35 f.9-10, 72 f.15-16; also passim Schenker, Johann, 72 f.17 Schenker, Moriz, 14 f.5, 35 f.8, 72 f.18 Schenker, Wilhelm, 14 f.6 Schenker and Schiff families, 14 f.3a Schenker-Institut, Hamburg, 36 f.106 58 f.4 Schenker-Institut, Wien, 56 f.3 Scherber, Ferdinand, 14 f.11 Schiff, Otto M., 71 f.28 Schiff, Paul and Anna, 14 f.8 Schiff, Victor, 14 f.9, 72 f.21 Schindler, Anton, 20 f.12 Schlee, Alfred, 36 f.220, 71 f.22, 71 f.35 Schmid, Edmund, 14 f.12 Schmid, Ernst, 14 f.13 Schmid, Ernst Fritz, 36 f.56, 36 f.221 Schmidt, Franz, 70 f.34 Schmidt-Görg, Joseph, 36 f.222, 41 f.17 Schmidt-Preuss, Dorothea, 36 f.223 Schnabel, Artur, 14 f.14 Schneider, Hans, 36 f.224 Schoenberg, Arnold, 14 f.15, 58 f.8, 58 f.20, 59 f.12, 60 f.1-4, 70 f.1, 70 f.35, 70 f.71 Schott's Söhne, B., Verlag, Mainz, 14 f.16, 36 f.225, 36 f.231, 36 f.239 Schrader, Bruno, 14 f.17 Schroeder, Oswald, 70 f.36 Schubert, Franz, 3 f.5, 19 f.1, 19 f.6, 19 f.9, 20 f.3, 33 f.5, 60 f.5-15, Box 64-66, Group VI Schubert, Kurt, 5 f.39, 14 f.18 Schubert-Ausgabe, Neue, 36 f.112 Schünemann, Georg, 53 f.15 Schulter, Rose H., 36 f.57 Schumann, Clara, 60 f.8, Group VI Schumann, Robert, 19 f.9, 50 f.13, 60 f.16-17, Box 64-66, Group VI Schuster, Bernhard, 14 f.20 Schütt, Eduard, 14 f.19 Secession, Wiener, 11 f.37 Seidel'sche Sortiments-Buchandlung, O. E. Deutsch & Co., Wien, 14 f.21 Seifert, Wolfgang, 53 f.24 Selbsthilfe der Wiener Künstler, Wien, 14 f.2 Seligmann, Adalbert Franz, 14 f.23 Sessions, Roger, 56 f.5, 70 f.37, 71 f.33 Shakespeare, Hamlet, Schenker's music for, 22 f.36 Siebenlist, Ottilie, 14 f.23a Sievers, Gerd, 36 f.220 Silver, Martin A., 52 f.15 Simms, Bryan R., 58 f.8, 58 f.20 Simrock, N., 36 f.240, 50 f.14 Simrock, N., Musikverlag, Berlin, 14 f.24; Hamburg, 36 f.227 Singer, J., 14 f.25 Sittner, Hans, 36 f.58, 36 f.228 Smetana, Bedrich, 20 f.2-3 Smith, Datus C., 71 f.33 Soebs-Brünauer, Ida, 14 f.27 Sölle, Dorothee, 53 f.24 Soldat-Roeger Streichquartett, 20 f.4 Somfai, László, 71 f.34 Sonzogno, Eduardo, 20 f.2 Sparling, Edward J., 36 f.59, 36 f.229 Spiegler, Albert, 14 f.28 Spiegler, Nina, 14 f.29 Srb-Debrnov, Josef, 14 f.30 Staatsbibliothek Preussicher Kulturbesitz, Berlin [West], 36 f.60 Staeps, Hans Ulrich, 14 f.31 Stahl, Albert, Musikalien-Handlung und Leih-Institut, Berlin, 14 f.32 Steglich, Rudolf, 14 f.33, 34 f.9 Stein, Fritz, 34 f.10 Stein, Josef, 71 f.15 Stein, Leon, 48 f.17 Steiner, Franz, 14 f.34 Steiner, H., 70 f.59 Steinhoff, Elisabeth, 14 f.35 Steuermann, Eduard, 45 f.10-11 Sternberg, Daniel, 36 f.230 Stern'sches Konservatorium der Musik, Berlin, 69 f.4 Stifter, Adalbert, 21 f.3 Stochmann, Bernhard, 36 f.61, 36 f. 231 Storm, Theodor, 22 f.8 Straube, Karl, 21 f.3 Strauss, Johann (Jr.), 20 f.4 Strauss, Richard, 20 f.4, 59 f.12, Box 64-66, 71 f.32 Struzl, Paul, 36 f.232 Stuart, R. E., 70 f.38 Stubenrauch, Maria, 36 f.233 Stummvoll, Joseph, 71 f.23 Sullivan, Arthur, 20 f.4 Sun Times, Chicago, 36 f.62 Symbolische Grossloge von Ungarn, Budapest, 14 f.36 Syrische Tänze für Pianoforte zu 4 Händen (Schenker), 23 f.8-16 Szabolsci, Benze, 36 f.234 Szalit, Paula, 14 f.37, 20 f.4, 72 f.22

T

Tannhäuser (Wagner), 20 f.4 Tedesko, Salo, 14 f.38 Der Templer und die Jüdin (Marschner), 20 f.4 Thoms-Paetow, Johanna, 52 f.13 Thorsch, Madame Edouard, 70 f.39 Tobin, J. Raymond, 36 f.235 Todt, D. B., 20 f.4 Toifl, Hans, 14 f.39 Türkel, Siegfried, 14 f.40

U

Uhland, L., 22 f.10, 22 f.12, 22 f.13 Ullreich, M_____., 14 f.41 Die Umschau, Frankfurt am Main, 14 f.42 Universal-Edition, Leipzig, 71 f.5 Universal-Edition, Wien, 3 f.5, 5 f.40, 14 f.43, 36 f.63, 36 f.127, 36 f.139, 36 f.140, 36 f.195, 36 f.202, 36 f.220, 36 f.236, 36 f.249, 70 f.40, 71 f.35, 71 f.41 University of Chicago Press, 36 f.103

V

Vademecum durch die Bach'schen Cantaten (Todt), 20 f.4 Valentin, Erich, 36 f.64 Verdi, Giuseppe, 20 f.4 Verein zur Abhaltung akademischer Vorträge für Damen, Wien, 70 f.41 Vereinigung Wiener Musikreferenten, Wien, 14 f.44 Vetter, Walther, 36 f.237, 71 f.36 Violin, Carl Raphael, 5 f.4, 70 f.42 Violin, Eduard, 70 f.5 Violin, Eva, see Windsor, Eva Violin Violin, Fanny, 14 f.46 Violin, Frau Genovefa, 70 f.4 Violin, Karl, 14 f.46 Violin, Moriz Biographical materials, 70 f.57-73; correspondence, Box 6-8, 70 f.1-48, 70 f.67-72; photographs, 72 f.33; essays and critical works, 70 f.49-49a, 70 f. 51-54 works: "My Personal Recollections of Brahms";, 70 f.51 Ueber das sogenannte Continuo, 70 f.49 War Diary, 70 f.50 "Zu Dr. Schenker's 50ten Geburtstage";, 70 f.53 "Zur Erinnerung an Heinrich Schenker";, 70 f.54 Die Zustände an der k. k. Akademie, 70 f.49a other references, 14 f.45, 20 f.4, 36 f.65, 36 f.238, 59 f.12 Violin, Valerie, Box 6-8 Violin-Fischer-Klengel (trio), Wien, 70 f.63, 70 f.66 Violin-van den Berg-Buxbaum (trio), 70 f.65 Virneisl, Wilhelm, 36 f.66 Voigt, Johanna Ambrosius, 22 f.7, 22 f.9, 22 f.25, 22 f.29 Volk, Arno, 36 f.67, 36 f.239, 71 f.12 Voraus, Greta, 15 f.1 Vornkeller, Maja, 15 f.2 Voss, Gotthilf Erich, 15 f.3 Vrieslander, Klaus, 15 f.3a Vrieslander, Otto, 17 f.12, 34 f.12, 58 f.21, 70 f.43, 71 f.37, 71 f.40, 72 f.13 Vrieslander, Otto and Helene, 5 f.42, 15 f.4

W

Waechter, Eberhard, 5 f.43, 15 f.5 Die Wage, Wien, 12 f.44 Wagner, Karl Dieter, 36 f.68, 36 f.240 Wagner, Richard, 20 f.4, 20 f.5, 33 f.1 Wagner, Siegfried, 20 f.2 Wahle, Richard (Fritz), 15 f.6 Waldeck, Arthur, 5 f.44, 15 f.7, 36 f.69, 36 f.241, 58 f.22, 71 f.8, 71 f.38 Waldheim, R. v.-Jos. Eberle & Co., Wien, 15 f.8 Waldmeister (J. Strauss), 20 f.4 Walter, Bruno, 70 f.44, 70 f.72 Waltershausen, Philippine von, 15 f.9 Walther, Arnold, 36 f.70, 36 f.242 Walther von der Vogelweide (Kauder), 20 f.4 Wanek, Marlies, 15 f.10 Warburg, Gerald Felix, 36 f.71 Wasita, Ryszard, 36 f.243 Wasserman, Georg, 36 f.244 Waters, Edward N., 36 f.72, 36 f.245, 69 f.15, 71 f.39 Webb, O. W., 70 f.45 Weber, Carl Maria von, 51 f.2, Box 64-66 Webern, Anton, 60 f.18 Weigl, Karl, 33 f.2 Weigl, Karl and Vally, 5 f.44a, 15 f.11 Weil, Arnold and Rosa, 14 f.9 Weinberger, Josef, 15 f.12 Weingartner, Felix, 20 f.1, 60 f.19 Weiss-Hausleithner, Tity, 15 f.13 Weissberger, Alfred, 13 f.2 Weisse, _____ (father of Hans), 15 f.14 Weisse, Hans, 5 f.45, 15 f.15-16, 33 f.3, 36 f.73, 36 f.246, 69 f.16, 70 f.46, 70 f.55, 71 f.20, 71 f.40, 72 f.24 Weisse, Hertha, 15 f.15-16 Weissgärber, _____, 15 f.17 Wellesz, Egon, 60 f.4 Wiederer, Eva, 36 f.247, 71 f.35, 71 f.41 Wiener Abendpost, essay by Schenker in, 20 f.5 Wiener Bank-Verein, Wien, 15 f.18 Wiener, Herr _____, 70 f.49a Wiener Konzerthausgesellschaft, Wien, 15 f.19 Wiener Philharmonischer Verlag, Wien, 15 f.20 Wiener Singakademie, Wien, 35 f.5 Wiener Tonkünstler-Verein, Wien, 15 f.21 Wildgans, Friedrich, 36 f.74 Wilhelm Meister (Goethe), 21 f.4 Will, Roy, 36 f.75 Willfort, Manfred, 15 f.22, 33 f.5 Williams, J. Emlyn, 36 f.248 Willnauer, Franz, 36 f.76, 36 f.249 Windsor, Eva Violin, 14 f.46, 70 f.26 Winkler, O., 15 f.23 Wirth, Hellmut, 36 f.77 Wittgenstein, Paul, 15 f.24 Wittgenstein, Poldy, 70 f.47 Wöss, Josef Venatius von, 15 f.21 Wolf, Hans, 15 f.22 Wolfart, Lina, 15 f.23 Wolff, Hermann, 71 f.42 Wollner, Anny, 35 f.8 Wolters, Rosa, 15 f.24 Wolzogen, Ernst von, 70 f.48 Wüllner, Ludwig, 15 f.29 Württembergische Vereinsbank, Stuttgart, 15 f.30 Wunsch, Hermann, 15 f.31 Wurmbrand, Ernst, 15 f.32

Z

Zagiba, Franz, 36 f.78, 36 f.250 Zanetto (Mascagni), 20 f.4 Zeigler, L., 70 f.48a Die Zeit, Wien, 9 f.10a, 14 f.25; essays by Schenker in, 20 f.4 Zeitschrift für Musik, essays by Schenker in, 20 f.9 Zemlinsky, Alexander von, 14 f.23a Zollner, Otto, 15 f.33 Zuckerkandl, Victor, 15 f.34 Die Zukunft, Berlin, 11 f.42; essays by Schenker in, 20 f.2

The following terms have been used to index the description of this collection in the library's online public access catalog.