Schenker Correspondence Project

Handwritten postcard from Schenker to Jonas, dated April 11, 1934

{recto}
Postkarte

Absender: Schenker
Wien, III, Keilgasse 8

[An:] H [/] D^r [/] Oswald Jonas
Berlin W 30
Bambergerst. 25

[postmark:] || 3 WIEN 40 | 11 IV 34 20 | * 4f * ||

[For message-continuation, see below]

{verso}
11. 4. 34

Geehrter, lieber Herr D^r Jonas!

Zum 2^ten Mal brachte H.¹ Ihre Arbeit² zur Sprache, er rühmte sie sehr, sehr, vorbehaltlos, nach jeder Richtung hin, “Sie werden sehr zufrieden sein!” sagte er mir öfter. “Aber . . .” seine Subvention will er doch nicht erhöhen, lieber läßt er es drauf ankommen, daß die Beisp. hinter den Text gelegt werden; er wurde belehrt, daß das Anbringen ^{im Text} unbedingt das Ex. verteuern müsste. Er ist klar, er hat für unser Beider Arbeiten einen Betrag festgesetzt, den er niemals überschreiten wird. Daß der Betrag nicht einmal für 4 Monate Rente {recto} an die geschiedene Frau³ zureicht, daß er Geld in solchen Höhen leicht für Dummheiten u. Launen schlimmster Art hinauswirft, das Alles macht ihn nicht besser. Das Geld, sein Geld muß in den Snobismus münden oder (durch Wiederverkauf u. dgl.), womöglich, verzieht, zurückmünden! Mit bestem Gruß,

Ihr
[ sign’d: ] H Schenker

[vertically in left margin:]
In unserem Fall trifft Beides nicht zu!

© In the public domain.
© Transcription John Rothgeb 2006.

Handwritten postcard from Schenker to Jonas, dated April 11, 1934

{recto}
Postcard

From: Schenker
Vienna III, Keilgasse 8

[To:] Dr. Oswald Jonas
Berlin W 30,
Bambergerstraße 25

[postmark:] || 3 WIEN 40 | 11 IV 34 20 | * 4f * ||

[For message-continuation, see below]

{verso}
April 11, 1934

Dear Dr. Jonas,

Hoboken¹ mentioned your work² for the second time; he praised it very, very unconditionally, this way and that—you “will be very pleased” he told me often. “BUT . . .” he doesn’t want to increase his subvention, he would rather stipulate the condition that the examples be set at the end of the text; he has been instructed that presentation ^{in the text} would certainly have to make the book more expensive. It is clear that he has settled on a figure for both of our works that he will never overstep. That this figure would not even cover 4 months of alimony {recto} for the divorced wife,³ that he throws away such amounts for stupidities and whims of the worst kind—all of that doesn’t make him any better. Money, his money, has to feed snobbery or (through resale and the like), once paid out, feed back to him! With best greetings,

Yours,
[ sign’d: ] H. Schenker

[vertically in left margin:]
In our case neither applies!

© Translation John Rothgeb 2006.

COMMENTARY:
Format: printed postcard, holograph addresses, message-continuation, and signature recto, message-beginning verso
Sender address: Vienna III, Keilgasse 8
Recipient address: Berlin W 30, Bambergerstraße 25

FOOTNOTES:

¹ Click on Anthony van Hoboken.

² Jonas’s Das Wesen des musikalischen Kunstwerks: Eine Einführung in die Lehre Heinrich Schenkers (Vienna: Saturn-Verlag, 1934).

³ See OJ 5/18, 13, September 7, 1932.

SUMMARY:
Hoboken will not increase his subvention of Jonas's book.

© Commentary, Footnotes, Summary John Rothgeb 2006.

Rothgeb, John
Schenker, Heinrich
DE
Cambridge University Faculty of Music-Ian Bent
Schenker, Heinrich; Jonas, Oswald; Wesen des musikalischen Kunstwerks; Einführung in die Lehre Heinrich Schenkers; music examples; cost; ex-wife
Handwritten postcard from Schenker to Jonas, dated April 11, 1934
OJ 5/18, 40
1934-04-11
2006-08-30
Jonas
This document is deemed to be in the public domain as of January 1, 2006. Any claim to intellectual rights should be addressed to the Schenker Correspondence Project, Faculty of Music, University of Cambridge, at schenkercorrespondence@mus.cam.ac.uk.
Oswald Jonas (1934-1978)—Special Collections, University of California, Riverside (1978-)
IPR: In the public domain; Image: Special Collections, University of California, Riverside; Transcription, Translation, Commentary, Footnotes, and Summary: John Rothgeb.
Vienna
1934