Documents associated with this person:

Pupil of Schenker's from at the latest January 17, 1912 (there is no mention of her in Schenker's diary before 1912) to at least 1932 and probably until Schenker's death.

According to Schenker, she was a wealthy Polish Jew and owned "twenty-seven or twenty-nine [...] properties and houses in and around Lodz" (diary: OJ 1/15, p. 666, Aug 26, 1914). Schenker's antipathy toward the rich in society caused him frequently to voice harsh criticism of her, as of other rich pupils of his. She was, however, useful to Schenker on occasions in drawing his attention to items of interest and giving him useful presents. In 1919, when Schenker was intending to move to Germany, she was the first pupil to declare that she would go with him – but, Schenker remarks, "only after I had thrown her out on account of her sordid attitude toward money and other matters" (OJ 6/6, [10], Aug 17, 1919).

She also took some lessons from Hans Weisse in 1921 (OJ 15/16, [45]). By 1929 she was suffering from ill-health and went into a sanatorium. There the Schenkers visited her on November 28, 1929, on which visit she claimed precedence "in the matter of [collecting photographs of] autograph manuscripts" [i.e. the Photogrammarchiv], and expressed resentment at Schenker for having given all the credit to Hoboken (also diary Jan 19, 1930).

She was enrolled at the newly-founded Schenker-Insitut at the Neues Wiener Konservatorium in 1935/36, at which time she was living at Vienn III, Neulinggasse 16/6 (very close to Schenker's Reisnerstraße apartment). Apparently she returned to Lodz in 1938. Nothing more is known of her.

Correspondence with Schenker

There are two letters from Schenker to Pairamall: OJ 5/27 (November 12, 1913) and OC 1B/5 (September 9, 1916, which is written by Jeanette in a system of shorthand known as "Gabelsberger" Kurzschrift).

Bibliography:

  • Fink, Evelyn, ed., Rebell und Visionär: Heinrich Schenker in Wien (Vienna: Lafite, 2003), pp. 22-23

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Correspondence

  • OJ 8/3, [55] Handwritten postcard from Schenker to Valerie Violin, dated January 6, 1918

    Schenker recounts explosion of gas oven and subsequent activities. Jeanette has transferred things to her apartment and stayed up late to help.

  • OJ 6/6, [7] Handwritten letter from Schenker to Moriz Violin, dated March 20, 1918

    [50th Festschrift:] Schenker intends not to influence anyone in their decision to contribute or not. — [Personal issues:] Schenker agrees to draw a line under issues discussed in OJ 6/6, [6]; however, he accounts for his epistolary silence regarding Valerie Violin, including the possible contact with Seligmann; he attempts to explain the matter of the jars of jam and the absence of visits to Schönbrunn, describing vividly how tirelessly Jeanette works and how dependent they both are on Sunday for work time; he expresses outrage that he and Jeanette live so poorly while his pupils live lives of luxury, commenting bitterly on state of play over the Sofie Deutsch stipend; he wishes the Violins well for their 6-month stay in Marburg.

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

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

  • OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921

    Weisse has completed a string quartet, the parts of which are being copied out, after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept because his knowledge of English is insufficient. He enquires about the progress of Schenker's current projects.

  • 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 89/1, [1] Handwritten letter from Schenker to van Hoboken, dated July 3, 1927

    Schenker gives Hoboken Furtwängler's summer address and urges him to contact the latter, which could yield advantage, not least for the Photogrammarchiv. — Has seen Schindler's Beethoven biography with notes on performance. — Notifies Hoboken of the normalizing of his fee at 50 schillings per lesson.

Diaries

Lessonbooks