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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Ludwig van Beethoven Documents associated with this entity: Correspondence Diaries Lessonbooks Other material Types person Names Ludwig van Beethoven Relationships 15 Variations and Fugue on an Original Theme, Op. 35 (“Eroica”) is composed by Ludwig van Beethoven 32 Variations on an Original Theme in C minor, WoO 80 is composed by Ludwig van Beethoven 33 Variations on a Waltz by Diabelli, Op. 120 is composed by Ludwig van Beethoven 7 Variations on “God Save the King,” WoO 78 is composed by Ludwig van Beethoven Concerto for Piano, Violin, and Cello, Op. 56 (“Triple Concerto”) is composed by Ludwig van Beethoven Die Geschöpfe des Prometheus, Op. 43 is composed by Ludwig van Beethoven Grosse Fugue, Op. 133 is composed by Ludwig van Beethoven Mass in D major, Op. 123 (“Missa solemnis”) is composed by Ludwig van Beethoven Overture “Coriolanus,” Op. 62 is composed by Ludwig van Beethoven Overture “Die Weihe des Hauses,” Op. 124 is composed by Ludwig van Beethoven Overture “Egmont,” Op. 84, No. 1 is composed by Ludwig van Beethoven Overture “Leonora No. 1,” Op. 138 is composed by Ludwig van Beethoven Overture “Leonora No. 2,” Op. 72, vsn 1 is composed by Ludwig van Beethoven Overture “Leonora No. 3,” Op. 72, vsn 2 is composed by Ludwig van Beethoven Overture “Namensfeier,” Op. 115 is composed by Ludwig van Beethoven Piano Concerto No. 1 in C major, Op. 15 is composed by Ludwig van Beethoven Piano Concerto No. 2 in B-flat major, Op. 19 is composed by Ludwig van Beethoven Piano Concerto No. 3 in C minor, Op. 37 is composed by Ludwig van Beethoven Piano Concerto No. 4 in G major, Op. 58 is composed by Ludwig van Beethoven Piano Concerto No. 5 in E-flat major, Op.73 (“Emperor”) is composed by Ludwig van Beethoven Piano Sonata in A major, Op. 101 is composed by Ludwig van Beethoven Piano Sonata in A major, Op. 2, No. 2 is composed by Ludwig van Beethoven Piano Sonata in A-flat major, Op. 110 is composed by Ludwig van Beethoven Piano Sonata in Ab major, Op. 26 is composed by Ludwig van Beethoven Piano Sonata in Bb major, Op. 106 (“Hammerklavier”) is composed by Ludwig van Beethoven Piano Sonata in Bb major, Op. 22 is composed by Ludwig van Beethoven Piano Sonata in C major, Op. 2, No. 3 is composed by Ludwig van Beethoven Piano Sonata in C major, Op. 53 (“Waldstein”) is composed by Ludwig van Beethoven Piano Sonata in C minor, Op. 10, No. 1 is composed by Ludwig van Beethoven Piano Sonata in C minor, Op. 111 is composed by Ludwig van Beethoven Piano Sonata in C minor, Op. 13 (“Pathétique”) is composed by Ludwig van Beethoven Piano Sonata in C# minor, Op. 27, No. 2 (“Moonlight”) is composed by Ludwig van Beethoven Piano Sonata in D major, Op. 10, No. 3 is composed by Ludwig van Beethoven Piano Sonata in D major, Op. 28 (“Pastoral”) is composed by Ludwig van Beethoven Piano Sonata in D minor, Op. 31, No. 2 (“Tempest”) is composed by Ludwig van Beethoven Piano Sonata in E major, Op. 109 is composed by Ludwig van Beethoven Piano Sonata in E major, Op. 14, No. 1 is composed by Ludwig van Beethoven Piano Sonata in E minor, Op. 90 is composed by Ludwig van Beethoven Piano Sonata in Eb major, Op. 27, No. 1 (“Quasi una fantasia”) is composed by Ludwig van Beethoven Piano Sonata in Eb major, Op. 31, No. 3 is composed by Ludwig van Beethoven Piano Sonata in Eb major, Op. 7 is composed by Ludwig van Beethoven Piano Sonata in Eb major, Op. 81a (“Les adieux”) is composed by Ludwig van Beethoven Piano Sonata in F major, Op. 10, No. 2 is composed by Ludwig van Beethoven Piano Sonata in F major, Op. 54 is composed by Ludwig van Beethoven Piano Sonata in F minor, Op. 2, No. 1 is composed by Ludwig van Beethoven Piano Sonata in F minor, Op. 57 (“Appassionata”) is composed by Ludwig van Beethoven Piano Sonata in F# major, Op. 78 is composed by Ludwig van Beethoven Piano Sonata in G major, Op. 14, No. 2 is composed by Ludwig van Beethoven Piano Sonata in G major, Op. 31, No. 1 is composed by Ludwig van Beethoven Piano Sonata in G major, Op. 49, No. 2 is composed by Ludwig van Beethoven Piano Sonata in G major, Op. 79 is composed by Ludwig van Beethoven Piano Sonata in G minor, Op. 49, No. 1 is composed by Ludwig van Beethoven Piano Sonatas, Op. 10, Nos 1-3 is composed by Ludwig van Beethoven Piano Sonatas, Op. 14, Nos 1 & 2 is composed by Ludwig van Beethoven Piano Trio in Bb major, Op. 97 (“Archduke”) is composed by Ludwig van Beethoven Piano Trio in C minor, Op. 1, No. 3 is composed by Ludwig van Beethoven Piano Trio in D major, Op. 70, No. 1 (“Ghost”) is composed by Ludwig van Beethoven Piano Trio in Eb major, Op. 1, No. 1 is composed by Ludwig van Beethoven Piano Trio in Eb major, Op. 70, No. 2 is composed by Ludwig van Beethoven Piano Trio in G major, Op. 1, No. 2 is composed by Ludwig van Beethoven Rondo a capriccio in G major, Op. 129 (“Rage over a Lost Penny”) is composed by Ludwig van Beethoven Septet in E-flat major, Op. 20 is composed by Ludwig van Beethoven String Quartet in A major, Op. 18, No. 5 is composed by Ludwig van Beethoven String Quartet in A minor, Op. 132 is composed by Ludwig van Beethoven String Quartet in B-flat major, Op. 130 is composed by Ludwig van Beethoven String Quartet in B-flat major, Op. 18, No. 6 is composed by Ludwig van Beethoven String Quartet in C major, Op. 59, No. 3 (“Razumovsky”) is composed by Ludwig van Beethoven String Quartet in C minor, Op. 18, No. 4 is composed by Ludwig van Beethoven String Quartet in C# minor, Op. 131 is composed by Ludwig van Beethoven String Quartet in D major, Op. 18, No. 3 is composed by Ludwig van Beethoven String Quartet in E minor, Op. 59, No. 2 (“Razumovsky”) is composed by Ludwig van Beethoven String Quartet in E-flat major, Op. 127 is composed by Ludwig van Beethoven String Quartet in E-flat major, Op. 74 (“Harp”) is composed by Ludwig van Beethoven String Quartet in F major, Op. 135 is composed by Ludwig van Beethoven String Quartet in F major, Op. 18, No. 1 is composed by Ludwig van Beethoven String Quartet in F major, Op. 59, No. 1 (“Razumovsky”) is composed by Ludwig van Beethoven String Quartet in F minor, Op. 95 (“Serioso”) is composed by Ludwig van Beethoven String Quartet in F minor, Op. 95 (“Serioso”) is composed by Ludwig van Beethoven String Quartet in G major, Op. 18, No. 2 is composed by Ludwig van Beethoven String Quartets, Op. 18, Nos 1-6 is composed by Ludwig van Beethoven Symphony No. 1 in 1 in C major, Op. 21 is composed by Ludwig van Beethoven Symphony No. 2 in 2 in D major, Op. 36 is composed by Ludwig van Beethoven Symphony No. 3 in Eb major, Op. 55 (“Eroica”) is composed by Ludwig van Beethoven Symphony No. 4 in Bb major, Op. 60 is composed by Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 is composed by Ludwig van Beethoven Symphony No. 6 in F major, Op. 68 (“Pastoral” is composed by Ludwig van Beethoven Symphony No. 7 in A major, Op. 92 is composed by Ludwig van Beethoven Symphony No. 8 in F major, Op. 93 is composed by Ludwig van Beethoven Symphony No. 9 in D minor, Op. 125 (“Choral”) is composed by Ludwig van Beethoven Trio in B-flat major for Clarinet or Violin, Piano and Cello, Op. 11. is composed by Ludwig van Beethoven Violin Concerto in D major, Op. 61 is composed by Ludwig van Beethoven Violin Sonata in A major, Op. 30, No. 1 is composed by Ludwig van Beethoven Violin Sonata in A minor, Op. 47 (“Kreutzer”) is composed by Ludwig van Beethoven Violin Sonata in C minor, Op. 30, No. 2 is composed by Ludwig van Beethoven Violin Sonata in F major, Op. 24 (“Spring”) is composed by Ludwig van Beethoven Violin Sonata in G major, Op. 30, No. 3 is composed by Ludwig van Beethoven Fidelio (opera, libretto by J. Sonnleithner) is composed by Ludwig van Beethoven Cello Sonata in D major, Op. 102, No. 2 is composed by Ludwig van Beethoven Cello Sonata in A major, Op. 69 is composed by Ludwig van Beethoven “Neue Liebe, neues Leben,” Op. 75, No. 2 is composed by Ludwig van Beethoven Choral Fantasy, for chorus, piano and orchestra, Op. 80 is composed by Ludwig van Beethoven String Quartet In Eb major, Op. 74 is composed by Ludwig van Beethoven Six Variations on an original theme, Op. 34 is composed by Ludwig van Beethoven Cello Sonata in C major, Op. 102, No. 1 is composed by Ludwig van Beethoven Violin Sonata in D major, Op. 12, No. 1 is composed by Ludwig van Beethoven Violin Sonata in A major, Op. 12, No. 2 is composed by Ludwig van Beethoven Violin Sonata in Eb major, Op. 12, No. 3 is composed by Ludwig van Beethoven Overture “King Stephen” is composed by Ludwig van Beethoven Incidental music to “Egmont” is composed by Ludwig van Beethoven Violin Sonata in G major, Op. 96 is composed by Ludwig van Beethoven Christus am Oelberge is composed by Ludwig van Beethoven Two Cello Sonatas, Op. 102 is composed by Ludwig van Beethoven Variations in Eb major on “Bei Männern, welche Liebe fühlen” (Zauberflöte) for cello and piano, WoO 46 is composed by Ludwig van Beethoven Romance in G major for violin and orchestra, Op. 40 is composed by Ludwig van Beethoven Seven Bagatelles, Op. 33 is composed by Ludwig van Beethoven Canon “Ta ta ta ... lieber Maelzel,” WoO 162, for 4 voices is composed by Ludwig van Beethoven An die ferne Geliebte, op. 98 is composed by Ludwig van Beethoven Twenty-five Scottish Songs, Op. 108 is composed by Ludwig van Beethoven Christus am Ölberg is composed by Ludwig van Beethoven Three Piano Sonatas, Op. 31 is composed by Ludwig van Beethoven Piano Sonatas in E major and G major, Op. 14 is composed by Ludwig van Beethoven Bagatelle in A-flat major, Op. 33, No. 7 is composed by Ludwig van Beethoven Bagatelle in C minor, Op. 119, No. 5 is composed by Ludwig van Beethoven Bagatelle in F major, Op. 33, No. 3 is composed by Ludwig van Beethoven Bagatelle in D major, Op. 119, No. 3 is composed by Ludwig van Beethoven Bagatelle in B-flat major, Op. 119, No. 11 is composed by Ludwig van Beethoven Six Bagatelles, Op. 126 is composed by Ludwig van Beethoven Bagatelle in G major, Op. 126, No. 1 is composed by Ludwig van Beethoven Bagatelle in G minor, Op. 126, No. 2 is composed by Ludwig van Beethoven Bagatelle in Eb major, Op. 126, No. 3 is composed by Ludwig van Beethoven Bagatelle in B minor, Op. 126, No. 4 is composed by Ludwig van Beethoven Bagatelle in G major, Op. 126, No. 5 is composed by Ludwig van Beethoven Bagatelle in Eb major, Op. 126, No. 6 is composed by Ludwig van Beethoven Eleven Bagatelles, Op. 119 is composed by Ludwig van Beethoven Bagatelle in G major, Op. 119, No. 6 is composed by Ludwig van Beethoven Bagatelle in Bb major, Op. 119, No. 11 is composed by Ludwig van Beethoven Variations in A major on “Das Waldmädchen,” WoO 71 is composed by Ludwig van Beethoven Violin Sonata in G major is composed by Ludwig van Beethoven Downloads temporarily removed for testing purposes Correspondence OJ 9/6, [7] Handwritten letter with inclosure from Eugen d'Albert to Schenker, dated September 2, 1894 Eugen d'Albert incloses his autobiographical contribution to Schenker's forthcoming feature article in Die Zukunft. He apologizes for the non-arrival of the MS piano reduction of his new opera, Ghismonda, which he describes as a "psychological character sketch," and thanks Schenker for his interest. OJ 9/6, [23] Handwritten letter from Eugen d'Albert to Schenker, dated October 21, 1897 Eugen d'Albert gives his travel plans for the late Fall. He describes the difficult situation with Paula Szalit and her family. OJ 6/3, [19] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked November 1?, 1900 Schenker offers Violin advice on the planning of a concert and its financing, promising to have his Hamlet incidental music ready in time. He reports on fees at the Leiners and Wieners. OJ 15/6, [4] Handwritten letter from Fritz Wahle to Schenker, dated August 20, 1903 Fritz Wahle thanks Schenker for receipt of Eine Beitrag zur Ornamentik; he praises its serious intent, but there may be some things about which he would disagree. OJ 11/10, [7] Handwritten postcard from Frimmel to Schenker, dated March 14, 1905 The promised Handel Organ Concertos volume has not yet arrived. — Frimmel asks for the score of the C. P. E. Bach concerto that Schenker played the previous fall. Tickets for his Beethoven lectures will be sent soon. OJ 11/10, [7a] Handwritten calling card from Frimmel to Schenker, undated [March 17 or 18, 1905] Frimmel encloses ticket for his Beethoven lectures. BNba Frimmel Nachl, [2] Handwritten letter from Schenker to Frimmel, dated March 18, 1905 Schenker explains the delay in sending Frimmel the C. P. E. Bach concerto, thanks Frimmel for the ticket to his lectures, and gives Violin's address. OJ 11/10, [8] Handwritten postcard from Frimmel to Schenker, postmarked March 18, 1905 Frimmel acknowledges receipt of Schenker' Handel Organ Concertos volume and says the latter's C. P. E. Bach keyboard words edition will feature in his forthcoming lecture series. OJ 11/10, [9] Handwritten postcard from Frimmel to Schenker, postmarked March 20, 1905 Frimmel acknowledges loan [of C. P. E. Bach Klavierwerke]. He offers a discount for his Beethoven lecture course to Schenker's pupils. OJ 11/10, [10] Handwritten letter from Frimmel to Schenker, dated March 21, 1905 Frimmel has had to postpone his lecture series on Beethoven until the Fall. — He invites Schenker to afternoon tea at a date to be settled. CA 41-42 Handwritten letter from Schenker to Cotta, dated October 1, 1906 Schenker goes back on his earlier agreement with Cotta, and makes an impassioned case for including the "Nachwort" as Section 3 of Part II of Harmonielehre. OJ 11/10, [11] Handwritten letter from Frimmel to Schenker, dated August 10, 1907 Frimmel invites Schenker to contribute to the Beethoven-Jahrbuch, and suggests topics. — He hopes to meet up with him in Steinach. CA 75 Handwritten letter from Schenker to Cotta, dated February 8, 1908 Schenker asks for a copy of his Harmonielehre to be sent to Theodor Frimmel. WSLB 4 Handwritten letter from Schenker to Hertzka (UE), dated April 22, 1908 Schenker promises material the next day, and extols the work's structure. CA 76 Handwritten letter from Schenker to Cotta, dated April 24, 1908 Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch, explaining the delay on Kontrapunkt I. OJ 11/10, [13] Handwritten postcard from Frimmel to Schenker, dated April 25, 1908 Frimmel draws Schenker's attention to an article in the Musikalisches Wochenblatt. OJ 5/15, [2]-[3] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?c. June 1, 1908] Responding to Grunsky's request, Schenker gives his assessment of Bruckner's music. First exploring common ground between him and Grunsky, he then offers "technical reasons" why he regards Bruckner as "possessing minimal powers of invention," therefore cannot call him a "master." In the process, he compares the "Komponisten" (composers) of the present day unfavorably with the "Tonsetzer" (tonal craftsmen) of the past. OJ 11/29, [3] Handwritten letter from Grunsky to Schenker, dated September 10, 1908 Grunsky acknowledges receipt of Schenker's Beitrag zur Ornamentik and two letters; — He recognizes that he and Schenker hold "opposite views" on Bruckner's music but welcomes Schenker's openness to discussion; — He counters Schenker's arguments on Bruckner's approach to form, rhythm, theme, and musical character; — He admits his own "antipathy" toward the music of Brahms. OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12, 1908 Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in agreement. OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?mid-late September 1908?] Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf. Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than Haydn, Brahms, and other masters. OJ 5/35, [3] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, dated September 28, 1908 Schenker comments on Wagner's alterations to Beethoven's Ninth Symphony, and outlines his own plans, wishing to see Wagner reduced to the same subordinate place as Gluck [unaware of the provocation this will be to Rudorff!]. — He takes issue with Beyschlag's interpretation of the turn in Haydn's music. OJ 13/37, 4 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated October 1, 1908 Grunsky expresses his opinions on the turn in Haydn's music and the status of Gluck in relation to Mozart and Wagner. OJ 5/15, [4] Incomplete handwritten letter draft from Schenker to Grunsky, undated [?between September 23 and December 31, 1908] Schenker reports progress on his Kontrapunkt. — The main problem in music is "how length can be produced." — He recollects his love for the pious Bruckner, and his admiration for the latter's music, but speaks of its "defects," comparing the music favorably with that of Tchaikovsky. Bruckner's stumbling block was form. OJ 5/35, [4] Handwritten draft incomplete letter from Schenker to Ernst Rudorff, incompletely dated [?October 11,] 1908 Schenker explains his position on Gluck, Mozart, and Wagner. BNba Frimmel Nachl, [3] Handwritten letter from Schenker to Frimmel, dated April 8, 1909 Schenker thanks Frimmel for his copy of Beethoven-Jahrbuch vol. II, and expresses admiration at Frimmel's editing of the authors' contributions, remarking how slowly he is proceeding with his own Kontrapunkt. He comments on two of the contributions. CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909 Schenker raises again the splitting of Kontrapunkt into two half-volumes, or even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the Academy of Music, despite his being in a constant state of feud with all officialdom. — The Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading work" on the subject; he argues the case for splitting the work on "psychological" and "technical" grounds. WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July 1909] Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks it worthy of publication, to send a letter of reference to one or other Viennese newspaper. He also expresses his satisfaction at how his career is shaping: he has requested and received generous fees for the editions he has prepared for Universal Edition, and his theoretical writings for Cotta are also moving along. WSLB-Hds 94476 Handwritten letter from Schenker to Seligmann, dated July 17, 1909 Schenker thanks Seligmann for helping him to get a friend’s essay on Byron’s Manfred published in a Viennese newspaper. He then asks whether it would be possible to make a judgment about painters, and paintings, on purely objective grounds, as he (Schenker) has been aiming to do with composers and musical works. WSLB 44 Handwritten letter from Schenker to Hertzka (UE), dated October 18, 1909 Schenker tells Hertzka of the Academy's plans to present a "historical" concert of works edited by himself. WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909 Schenker resists attending a meeting with Hertzka and von Wöß regarding the printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an author to control over his own material; and makes claims for the introduction to his Instrumentations-Tabelle, which was not accepted for inclusion in 1908 reprinting. CA 118 Handwritten letter from Schenker to Cotta, dated August 19, 1910 A fire at his hotel causes Schenker to ask whether Cotta has sent him final proofs recently. — He inquires whether he might travel to Stuttgart to present his plan for the Handbibliothek in person. OJ 14/44, [1] Handwritten letter from the Vereinigung Wiener Musikreferenten (Theodor Antropp and Paul Stauber) to Schenker, dated September 30, 1910 The Association invites Schenker to give a lecture series on Beethoven's Ninth Symphony. OC 52/425 Typewritten letter from UE to Schenker, dated October 14, 1910 UE is transferring Schenker's second honorarium for the Chromatic Fantasy & Fugue edition, and enclose the publisher's blurb for the monograph Beethoven's Ninth Symphony. WSLB 66/67 Handwritten letter from Schenker to Hertzka (UE) + list of names, dated October 19, 1910 Schenker cancels their Thursday meeting. — He argues for sweeping changes to the draft contract for Beethovens neunte Sinfonie. — He defends his own free speech in the face of Universal Edition's commercial interests. As with his Chromatic Fantasy & Fugue edition, UE will never regret publishing the Ninth Symphony monograph. — He also lauds the prospective editions of the last five Beethoven piano sonatas and volume of J. S. Bach toccatas in a lofty vision for future publications. — He appends a list of recipients of complimentary copies of the Chromatic Fantasy & Fugue. OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910 Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice. — He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a grant from the Ministry of Education. OC 52/60 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1910 Hertzka is pleased that Schenker's conversation with Wilhelm Bopp has gone promisingly, and that Schenker is agreeable to the alternating publication of Beethoven and Bach. — He is sending a new draft contract for Beethovens neunte Sinfonie. OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16, 1910 Rudorff approves of the [highly controversial] Introduction to Schenker's Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and Fugue, raising some technical matters. OJ 11/29, [5] Handwritten letter from Grunsky to Schenker, dated December 1, 1910 Grunsky thanks Schenker for the gift of his Chromatische Phantasie und Fuge, and criticizes it for excessive polemic. WSLB 75 Handwritten letter from Schenker to Hertzka (UE), dated May 17, 1911 The manuscript of Beethovens Neunte Sinfonie will be handed over complete tomorrow. — Academy Director Wilhelm Bopp still favors the planned Bach-Beethoven editions scheme, and Schenker awaits a summons from President Carl von Wiener.— Schenker argues the case for UE to publish his arrangements of two C. P. E. Bach concertos and a work by Handel. OC 1A/4-5 Handwritten letter, carbon copy, from Schenker to Hans Liebstoeckl, dated May 30, 1911 Schenker asks Liebstöckl to place an announcement [of a lecture series] in the Illustrirtes Wiener Extrablatt. WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911 Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie in time to take on vacation, and inquires as to his proposal for UE to publish the score of the Ninth Symphony with original markings. — No summons to interview with Academy President von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade against von Wiener and the Academy's teachers. OC 52/445 Typewritten letter from Hertzka (UE) to Schenker, dated June 27, 1911 Hertzka explains that the proofs for Schenker's monograph Beethovens neunte Sinfonie will not be ready before August. — He hopes that an agreement can be reached over the Beethoven/Bach project. WSLB 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911 Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies his editorial stance with reference to Rodin and architecture, and suggests it might be published in Germany as retribution against Bopp and Wiener. —He is working now on Counterpoint II for Cotta. WSLB 80 Handwritten postcard from Schenker to Hertzka (UE), dated September [2]0, 1911 Schenker gives an ultimatum for Hertzka's decision on the Bach-Beethoven plan. WSLB 84 Handwritten letter from Schenker to Hertzka (UE), dated November 19, 1911 Schenker offers UE an arrangement of the Mozart A major piano concerto, arguing the case for its publication despite existing editions. -- He is impatiently awaiting proofs of his monograph Beethovens neunte Sinfonie. WSLB 85 Handwritten postcard from Schenker to Hertzka (UE), postmarked November 25, 1911 Schenker corrects Hertzka's misapprehension about his proposed arrangement of a Mozart piano concerto for two pianos four hands. -- He suggests Breitkopf are stringing Hertzka along. WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911 Schenker explains that the music examples without [key] signatures in Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. -- He approves the use of a quotation from a D'Albert letter for publicity purposes. WSLB 105 Handwritten letter from Schenker to Hertzka (UE), dated March 28, 1912 Schenker will send the complete manuscript only on receipt of written assurance that it be returned to him later -- He speaks of being not only to "procreator" of his work but also "a manufacturer, hence a busieness man." -- He implies his refusal to pay any correction costs. He points out a placement error in gathering 16. BNba Frimmel Nachl, [4] Handwritten letter from Schenker to Frimmel, dated June 13, 1912 Schenker asks for guidance on the location of autograph manuscripts of Beethoven's last five piano sonatas, in particular that of Op. 109. OJ 11/10, [15] Handwritten letter from Frimmel to Schenker, dated June 17, 1912 In response to Schenker's inquiry as to the locations of autograph manuscripts of Beethoven's last five piano sonatas, Frimmel refers Schenker to the Berlin Academy's Urtext edition and to Nottebohm's writings. WSLB 124 Handwritter letter from Schenker to Hertzka (UE), dated June 27, 1912 Schenker asks for copies of his Beethovens neunte Sinfonie to be sent to himself and others. -- He reports that the Gesellschaft der Musikfreunde has invited him to teach. WSLB 126 Handwritten letter from Schenker to Hertzka (UE), dated July 11, 1912 Schenker has referred a textual anomaly in Beethoven Op. 109 to Ernst Rudorff, and asks for the contract for Die letzten fünf Sonaten to be sent to him. OJ 13/37, 14 Handwritten letter from Rudorff to Schenker, dated July 18, 1912 Rudorff writes admiringly of Schenker's new book, Beethovens Neunte Sinfonie; — He responds to Schenker's question about the whereabouts of the autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109, speaking also of his own former editorial work. WSLB 128 Handwritten letter from Schenker to Hertzka (UE), dated July 21, 1912 Beethovens neunte Sinfonie: Schenker justifies the higher number of proof corrections and reiterates his demand for a supplementary honorarium. -- Die letzten fünf Sonaten: he objects to a clause in the draft contract concerning correction costs, and emphasizes the expenses that he himself is incurring in preparing the edition. OJ 13/37, 15 Handwritten notecard from Rudorff to Schenker, dated August 7, 1912 Rudorff is convinced the autograph of Op. 109 was acquired from the Joachim estate by Mrs. Wittgenstein. WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912 Schenker returns the contract for Die letzten fünf Sonaten von Beethoven signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that tradition, which will spawn a new generation of composers superior to the present "cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of Musicians project in the fall. WSLB 134 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912 Schenker asks for the first installment of his honorarium for Die letzten fünf Sonaten Beethovens to be sent, now that he is back in Vienna. — He reports on the Organization plan, and on progress on Op. 109. — He reiterates his claim for a supplementary honorarium for proof correction of Beethovens neunte Sinfonie. OJ 15/6, [12] Handwritten notecard from Fritz Wahle to Schenker, dated September 25, 1912 Fritz Wahle thanks Schenker for his book on Beethoven’s Ninth Symphony and expresses his agreement about the concept of program music. He hopes that the two of them could get together for a few hours, and sends his greetings to their mutual friend Moriz Violin. OJ 9/30, [4] Handwritten letter from Tony Colbert to Schenker, dated September 27, 1912 Mrs. Colbert suggests works she might study. -- She is enjoying Schenker's (newly published) monograph on Beethoven's Ninth Symphony. OC B/179 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated October 31, 1912 Kopfermann informs Schenker which late Beethoven piano sonatas the Library has autograph pages of, and the arrangements for making photographs. WSLB 143 Handwritten letter from Schenker to Hertzka (UE), dated November 27[–28], 1912 Schenker requests another copy of Beethoven Op. 109, and lists the sources he has now consulted, the communications with scholars, the cost and time involved, proclaims the "spectacular" findings made, and the incompetence of all previous editors unmasked. OC B/205 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated April 26, 1913 Schmidt identifies the autograph manuscript material of Beethoven Op. 111 held by the Beethoven-Haus, and the extent to which photography of it has been carried out. OJ 11/36, [2] Handwritten letter from Hammer to Schenker dated September 17, [1913] Hammer cannot afford Schenker's fee; he dislikes the modern piano and has a Stein grand piano, a Hammerklavier copy, and a clavichord. OJ 15/16, [21] Handwritten letter from Weisse to Schenker, dated October 7, 1913 Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op. 109. OC B/178 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated October 21, 1913 The Library's photographer has been inundated with work and unable to start on Schenker's order. OC B/273 Typewritten letter from Louis Koch to Schenker, dated October 23, 1913 Koch lists the Beethoven manuscript items in his possession. OC B/177 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated October 30, 1913 Kopfermann notifies Schenker of the dispatch of photographs and of the cost. OJ 15/15, [K] Handwritten letter from Weisse to Schenker, undated [November 1913] This communication consists of three parts: p. 1 offers an interpretation of a passage from Brahms's Horn Trio, first movement; p. 2 is a quotation from Schopenhauer concerning the ethical status of a search for artistic truth; p. 3 offers an interpretation of the Waltz No. 12 from Brahms's Op. 39. OC B/176 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated November 18, 1913 Kopfermann provides an estimate for the photography of Beethoven's Ninth Symphony that Schenker has requested; and notifies him of another source of this work in the Library's holdings. OC B/275 Handwritten letter from Louis Koch to Schenker, dated November 22, 1913 Koch gives the provenance of the Op. 110 manuscript in his possession, and other information. OC B/279 Typewritten letter from Leo Liepmannssohn to Schenker, dated November 29, 1913 Liepmannssohn has none of the manuscripts Schenker seeks. BNba 318, [1] Handwritten letter from Schenker to Heinrich Rose, dated December 9, 1913 Schenker places an order for photographs of Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28. BNba 318, [2] Handwritten letter from Schenker to F. A. Schmidt, dated December 9, 1913 Schenker states that he is writing a letter placing an order for photographs of Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28, and hoping that Schmidt will extend his permission to cover the latter two manuscripts. OC B/203 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December 13, 1913 Schmidt thanks Schenker for the copy of his monograph Beethovens neunte Sinfonie, and raises points of detail about the photography of the three requested works. BNba 304g, [3] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated December 14, 1913 Schmidt consults Zitelmann as to whether Schenker should be granted permission for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28; then proceeds to other Beethoven-Haus business. OC B/175 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated December 20, 1913 Kopfermann inquires after Schenker's photographic requirements. BNba 304g, [8] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated June 19, 1914 Schenker asks if the Beethoven-Haus Archive has a copy of the Cappi & Diabelli early edition of Op. 111. OC B/172 Printed form-letter with handwritten additions, from Wilhelm Altmann (Königliche Bibliothek zu Berlin) to Schenker, dated June 19, 1914 Altmann sends three early editions of Op. 111 on lean. WSLB-Hds 95654 Handwritten letter from Schenker to Seligmann, dated July 24, 1916 Schenker tells Seligmann that he has arranged for copies of his critical editions of Beethoven’s Op. 110 and Op. 111 to be sent to him. He speaks of the positive interest his works have received in Germany, and about Hugo Riemann asking him to provide autobiographical material for an entry in the next edition of his music lexicon. WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916 Schenker explains why he is reluctant to produce a critical edition with commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could be freed from some of his teaching obligations, and also the autograph manuscript and other sources are missing. He also defends his sharp tongue in discussions of the secondary literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical editions of the late Beethoven piano sonatas). OJ 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December 1916] Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to Universal Edition. OJ 10/1, [26] Handwritten letter from Dahms to Schenker, dated March 2, 1917 Dahms's nerves are bad and he has difficulty doing any serious reading. — Moellendorf has sent a review of the quarter-tone harmonium, and Dahms comments. OJ 11/35, 4 Handwritten letter from Halm to Schenker, dated March 18, 1917 Halm attempts to identify the fundamental differences between their two views, with reference to Beethoven, Bruckner and Brahms. He and Karl Grunsky have been estranged for some years. OJ 11/35, 5 Handwritten letter from Halm to Schenker, dated July 2, 1917 Halm seeks advice on choice of edition for the Beethoven variations, and offers advice in negotiating with publishers. DLA 69.930/1 Handwritten letter from Schenker to Halm, July 8, 1917 Schenker acknowledges Halm's letter; he discusses the relative merits of editions of Beethoven variations, and looks forward to seeing Halm's review of his "Beethoven editions"; he is putting the finishing touches to Kontrapunkt 2. DLA 69.930/2 Handwritten letter from Schenker to Halm, dated January 17, 1918 Schenker has received Halm's article about him, and expresses his appreciation. Schenker's mother died in December 1917; he looked after her and his siblings from the time his father died [1887]. Addresses a reservation on Halm's part—speaking to him as "leader to leader"—and confirms his concept of the Volk. Schenker has a plan to put to Halm. OJ 6/6, [6] Handwritten letter from Schenker to Moriz Violin, dated February 17, 1918 Schenker warns Violin to expect a letter from Vrieslander concerning a contribution to a Festschrift for Schenker's 50th birthday, and then airs a number of grievances against Moriz and Valerie concerning jars of jam, Sunday visits, and insufficient food. WSLB 298 Handwritten letter from Schenker to Hertzka (UE), dated April 17, 1918 Schenker returns the article by Maurice Kufferath and comments on it critically. -- Beethoven did give phrase-markings, thus Schenker advocates inserting fingering but not additional phrase-marks. -- Diatribe against Hans von Bülow's editions and those who have emulated him. OJ 14/33, [5] Handwritten letter from Steglich to Schenker, dated July 22, 1918 Steglich has studied the Op. 111 Erläuterungsausgabe. Rejecting the polemic as redundant, he makes detailed suggestions concerning the relationship of the Arietta to the coda of the first movement. OC 52/923 Typed letter from Hertzka (UE) to Schenker, dated June 6, 1919 Hertzka acknowledges receipt of WSLB 302; he cannot entertain early publication of Weisse's work but wishes to get to know it now. — He hopes to have work from Schenker's pen as soon as work for Cotta is finished. — He proposes that the Foreword to Die letzten fünf Sonaten von Beethoven ... op. 111 be omitted [in an future edition]. OC 1 B/35-40 Handwritten draft letter, in Jeanette Kornfeld/Schenker's hand, from Schenker to Hertzka (UE), undated [June 10, 1919] Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven ... op. 111 be discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his writings, contending that art and all manifestations of human life are inextricably interconnected. He claims that his pronouncements on politics now will prove correct in the long run. His sole concern is with the truth; he is not interested in pandering to his readers. WSLB 303 Handwritten letter from Schenker to Hertzka (UE), dated June 12, 1919 Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven, Op. 111 be discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his writings, contending that art, life, and politics are inextricably interconnected. He claims that his pronouncements on politics now will prove correct in the long run. His sole concern is with the truth; he is not interested in pandering to his readers. OJ 10/1, [45] Handwritten letter from Dahms to Schenker, dated September 26, 1919 Dahms responds to Schenker's letter (non-extant). He reflects on Prussian militarism. He declares that there is no such things as "military genius"; Germany was as guilty as the Entente Powers for the war; soldiers were treated as slaves by their officers, with Wilhelm II bearing the ultimate guilt. He rejects all political parties. England does not treat its people as Germany does. He believes only in the German spirit, which he regards as the spirit of the world. He cannot wait to leave Germany, and wants only to immerse himself in Schenker's work. OJ 15/5, [4] Handwritten letter from Eberhard von Waechter to Schenker, dated October 1, 1919 Waechter asks for an article on performance for Der Merker, remarking that analysis takes the performer only so far, after which the latter's feelings must take over. He praises Schenker's prowess in analysis, and asks again if he may send the manuscript of his latest book for Schenker's appraisal. DLA 69.930/8 Handwritten letter from Schenker to Halm, dated October 27, 1919 Schenker writes of the deteriorating intellectual conditions in Germany and Austria with respect to other nations, and of the devastating political and psychological consequences. Schenker praises Halm's Klavierübung for its sensitivity to voice leading, and speaks of it as an antidote to the decline of musical literacy. He hopes to talk with Halm about these matters when he moves to Germany. Sbb 55 Nachl. 13, [1] Handwritten letter from Schenker to Furtwängler, dated November 5, 1919 Having attended for the first time a concert conducted by Furtwängler, Schenker congratulates him on his achievement then, proclaiming him a "counterweight" to the present [in his opinion inadequate] generation of conductors, and heir to the Mahler mantle. Schenker comments on Viennese concert-goers and their fickleness. — He commends Moriz Violin to Furtwängler, in case the latter can provide an introduction to Hausegger. OJ 11/16, [1] Handwritten letter from Furtwängler to Schenker, dated November [18 or 19,] 1919 Furtwängler prizes Schenker's approval higher than that of others; he is uncertain what role he is destined to play in the musical life of Vienna; he hopes to talk with Schenker. WSLB 310 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1919 Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine Bibliothek and other tasks. WSLB 305 Handwritten letter from Schenker to Hertzka (UE), dated December 21, 1919 Schenker informs Hertzka that he has ordered two more Beethoven sketchbooks in connection with Op. 101, and asks him for some other "apportionment," which will protect him from long-term deterioration of the exchange rate. OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8, 1920 Deutsch reports that Hertzka wants the music connoisseur edition of the "Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch outlines the basis of the contract (editors will receive 8% of the retail price) and the production timetable. He asks if Schenker would rather take on a different facsimile due to competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in Vienna. OC 52/446 Typed letter from Hertzka (UE) to Schenker, dated January 14, 1920 Hertzka has not yet gone to Frankfurt.—- He wants to publish the "Moonlight" Sonata in a series edited by Otto Erich Deutsch. — Would like to do new edition of complete Beethoven sonatas, but without wholesale reengraving. — Discusses financial arrangements for the latter, and for the Kleine Bibliothek. — Encloses the contract for Die letzten fünf Sonaten von Beethoven ... op. 101. OJ 10/3, [7] Handwritten letter from Otto Erich Deutsch Deutsch to Schenker, dated January 16, 1920 Deutsch will write to the Beethoven House in Bonn to seek permission to reproduce the manuscript of the "Moonlight" Sonata. He suggests using the first edition as the source for the missing opening and closing bars, and asks Schenker to refrain from polemics in his commentary. Copies of the manuscripts of Beethoven's piano sonatas Opp. 28, 109, 110 and 111 should not be difficult to obtain, and he has made inquiries regarding the manuscripts of Beethoven's Piano Sonata Op. 106 and Mozart's A minor Rondo K. 511. OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22, 1920 OC 52/215 Typed letter from Hertzka (UE) to Schenker, dated January 23, 1920 Hertzka is sending the publisher's copy of the contract for Die letzten fünf Sonaten von Beethoven ... op. 101 and the first tranche of honorarium, discusses the facsimile edition of the "Moonlight" Sonata, raises issues regarding the prospective Beethoven collected sonatas edition and Kleine Bibliothek, and expresses pleasure that he and Schenker are again in accord. OC 52/218 Typed letter from Fischmann (UE) to Schenker, dated February 19, 1920 Acting for the Schutzverband deutscher Schriftsteller in Wien, Fischmann offers Schenker advice on the draft contract for the Kleine Bibliothek. OC B/168 Typewritten letter from Wilhelm Altmann to Schenker, dated February 25, 1920 Altmann is glad Schenker hopes to visit the Library; photography of Chopin Etudes Op. 10 is in progress. OC 52/223 Handwritten draft contract, in Jeanette Schenker's hand, between UE and Schenker for the Kleine Bibliothek and Beethoven sonatas edition, undated [March 17,?] 1920 Handwritten draft contract jointly for the Kleine Bibliothek and Beethoven sonatas edition. OC 52/560 Draft Contract between UE and Schenker for the Kleine Bibliothek, dated March 23, 1920 Draft contract for the Kleine Bibliothek. OC B/162 Typewritten letter from Wilhelm Altmann to Schenker, dated April 19, 1920 Altmann advises Schenker on the early sources of Beethoven piano sonatas in the Library's possession. OC 52/517 Typed contract from between UE and Schenker for the Kleine Bibliothek, dated July 10, 1920 Contract between UE and Schenker for the Kleine Bibliothek. OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16, 1920 Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight" Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside. Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him to write to the Museum to request a photograph of the sketchleaf. OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920 Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp. 109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's attentions. OJ 9/30, [7] Handwritten letter from Carl Colbert to Schenker, dated September 6, 1920 Carl Colbert invites Schenker to submit an article to Der Abend for the 150th anniversary of Beethoven's birth. OC 52/411 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 14, 1920 Kalmus is glad Schenker approves of the type samples and gives estimates for the extent per page, has not yet heard from Wellesz re the "Appassionata" Sonata, is contacting Hertzka about the "Waldstein" Sonata photography, will send documentary evidence regarding a 1912 payment, and sends copies of Beethoven sonatas. OC B/159 Typewritten postcard from Wilhelm Altmann to Schenker, dated September 20, 1920 The photographs of Beethoven's Fifth Symphony, first movement, should be dispatched next week. OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920 Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about the autograph manuscript for which Schenker is waiting. OC 52/235-236 Handwritten delivery note from UE to Schenker, dated October 27, 1920 Delivery of Beethoven sonatas for comparative study. OJ 10/3, [17] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 6, 1920 Deutsch encloses two photographic prints of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaf. Edward Speyer has not yet had his sketchleaf photographed, but has sent a description of its content, which Deutsch passes on. OJ 10/3, [18] Typewritten postcard from Otto Erich Deutsch to Schenker, dated November 13, 1920 Deutsch has obtained a sheet with corrections for Beethoven's "Hammerklavier" Sonata, which he would like to show Schenker. The photographic images of the "Moonlight" Sonata will be made this week. OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26, 1920 Replying to Schenker's postcard of November 20th, Deutsch writes that the connoisseur edition is to be reproduced using photolithography, and repeats the particulars of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111). Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks for sight of the draft of Schenker's Preface. OC 52/238 Typed letter from Rothe (UE) to Schenker, dated December 6, 1920 UE are delivering [first] proofs of Op. 111 and second proofs of figures [for "Schubert: Ihr Bild"]. OC 52/485 Contract between Otto Erich Deutsch and Schenker, dated December 16, 1920 Contract between Otto Erich Deutsch and Schenker for the facsimile edition of Beethoven, "Moonlight" Sonata. OJ 10/3, [22] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 23, 1920 Deutsch confirms receipt of Schenker preface for the "Moonlight" Sonata edition and five photographs of sketchleaves. He will send a formal contract in the next few days. OJ 10/1, [60] Handwritten letter from Dahms to Schenker, dated December 29, 1920 Dahms thanks Schenker for his assessment of the three of his books that he has sent him; gives a chapter synopsis of his next book, concerning Nietzsche and music; reports on his movement in the coming months. OC B/156 Typewritten postcard from Wilhelm Altmann to Schenker, postmarked January 18, 1921 Photographing of movements 2-4 of Beethoven's Fifth Symphony will be delayed until February. OC B/151 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 10, 1921 Altmann sends Schenker Beethoven Op. 31, No. 3 in the Simrock edition on loan. OC 24/20 Handwritten letter from Frimmel to Schenker, dated August 1, 1921 Frimmel acknowledges receipt of a complimentary copy of Tonwille 1, comments neutrally on Schenker's incursions into politics, imagines something rather different by the concept of "Tonwille," and while agreeing with the criticism of Riemann thinks it could have been done more gently. — He asks for review copies of Schenker's editions of Beethoven Op. 110 and 101. OC B/148 Typewritten letter from Wilhelm Altmann to Schenker, dated September 9, 1921 Altmann reports on holdings of Handel keyboard works; and on progress in photographing Beethoven's Symphony No. 5; and thanks Schenker for sending Tonwille 1 and Op. 101. OJ 11/10, [16] Handwritten letter from Frimmel to Schenker, dated September 26, 1921 Frimmel thanks Schenker for delivery of the latter's elucidatory editions of Beethoven's piano sonatas Opp. 101 and 111, and expresses admiration. OC 12/1 Handwritten letter from Theodor Frimmel to Deutsch, dated February 22, 1922 (forwarded from Deutsch to Schenker with marginal note dated Feburary 27, 1922) Deutsch forwards Schenker a letter from Theodor Frimmel regarding errors in Rolland's Beethoven biography. In the original letter, Frimmel asks Deutsch to send his regards to the Schenkers. OC 1B/10-11 Handwritten letter from Schenker to Hertzka (UE), dated February 22‒23, 1922 Schenker returns materials for the Fifth Symphony article, reports a delay in providing information for the facsimile edition of the "Spring" Sonata, and complains that he has futilely lavished time on the purification of the German language for the second edition of Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an "Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that his pupils might make the preparatory graphs. OJ 10/1, [69] Typed letter from Dahms to Schenker, dated March 11, 1922 Dahms's book, which has earned an award, is delayed at the bindery. He blames this on the prevailing undisciplined conditions in Germany, criticizes the current government, and predicts war. OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922 Deutsch writes that the "Moonlight" Sonata facsimile edition is still being printed, and that he cannot make a decision on the production of a second facsimile edition until the new contract has been agreed with Universal Edition. The contract has been delayed by Universal Edition's dispute with Drei Masken. If they have to abandon plans for the facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute, Deutsch suggests Beethoven's String Quartet Op. 95 as an alternative. OJ 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922 Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven manuscript. OJ 10/3, [32] Typewritten postcard from Deutsch to Schenker, dated April 20, 1922 Deutsch thanks Schenker for his suggestions [for further facsimile editions] and has passed them on to Universal Edition. OJ 10/3, [33] Typewritten postcard from Deutsch to Schenker, dated April 21, 1922 Deutsch has already written to Universal Edition about [Schenker's proposal for a facsimile edition of] Beethoven's Piano Sonata Op. 109. Should this plan be realized, he hopes that Schenker will provide a foreword. OJ 10/3, [34] Typewritten letter from Deutsch to Schenker, dated April 26, 1922 Deutsch reports that Universal Edition has agreed to publish facsimile editions of Beethoven's Piano Sonatas Opp. 109 and 110; he asks what sources Schenker could make available. Deutsch would also like to know which Beethoven string quartet Schenker would recommend for a further facsimile edition. OJ 10/3, [37] Typewritten postcard from Deutsch to Schenker, dated May 26, 1922 Deutsch reports that Drei Masken will not publish a facsimile edition of Beethoven's "Spring" Sonata Op. 24, and will instead publish editions of Beethoven's Piano Sonata in F-sharp Op. 78, a string quartet by Haydn, and Schubert's Winterreise and B minor Symphony. OJ 11/35, 20 Handwritten letter from Halm to Schenker, dated July 24 and August 19, 1922 Halm announces publication of his three suites for piano trio, and has arranged for two of them to be sent to Schenker. He thanks Schenker for sending him Kontrapunkt II, and expresses admiration for the "power of the broad conception" of Schenker's work. He is distressed at Schenker's attacks on other countries and glorification of Germany, and speaks with appreciation of French and Russian music. He describes his new publisher. DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922 Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him; speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker, Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development" and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to become brain); Schenker deplores "artifice" (French) as against nature (German). — Things French: praises German superiority over French in its joy of work. — Higher Plane: the German should not abase himself before the Frenchman. OC B/145 Typewritten letter from Wilhelm Altmann to Schenker, dated September 25, 1922 Altmann has dispatched two items to Schenker, and asks Schenker to instruct UE to send copies of Der Tonwille to the Preussische Staatsbibliothek. OC B/143 Typewritten letter from Wilhelm Altmann to Schenker, dated October 9, 1922 Altmann acknowledges receipt of Der Tonwille and return of two editions, and refers to Universal Edition. DLA 69.930/11 Handwritten letter from Schenker to Halm, dated November 2, 1922 Schenker acknowledges receipt of two booklets on youth and the new republic, returns them, comments on them critically: idealistic German democrats desire maximal remuneration with minimal work; illustrates point by difficulties with maids in Schenker household; German democrats naively overestimate social and intellectual status of non-German commoners (French, British, American); Schenker decries cosmopolitanism and those Germans who advocate individuality at the expense of society; Schenker praises the fascists as countering communism and social leveling, compares Mussolini's Italy favorably with present-day Germany. OJ 8/4, [17] Handwritten postcard from Schenker to Moriz Violin, dated December 23, 1922 Amplifying a thought expressed in a recent letter, Schenker speaks of a plan to silence the throng that worships Schoenberg and the moderns, but money for it is lacking. OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27, 1922 Dahms has been trying to improve his publishers' financial terms. — He is in low-grade accommodation; housing in the "German colonies" is available only to officials. — Reports on the concert season in Rome. — Die Musik would not accept an article from him on Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's "sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on his latest book, for which he is arranging a de luxe edition by subscription. — Reports unfavorably on an incident in which Otto Klemperer played the Italian fascist hymn. OJ 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922 Deutsch provides a full overview of Schenker income from the current sales reported by Universal Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the publication. OJ 10/1, [76] Handwritten postcard from Dahms to Schenker, dated May 19, 1923 Hertzka's excuse for not subscribing; gives summer address; asks ornamentation question about the "Les adieux" sonata. OJ 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20, 1923 Schenker describes his efforts to make Der Tonwille more widely read, through its distribution by his pupils and its display in music shop windows. He needs more help from pupils and friends with the dissemination of his work, but complains that Hans Weisse has let him down on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about whether he should accept an invitation to speak at a conference in Leipzig, or whether he should simply stay at home and continue to write. OJ 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September 12, 1923 Schenker explains his behavior a few days before, in reply to Weisse’s letter of September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer. OJ 12/11, [4] Handwritten letter from Klenau to Schenker, dated October 4, 1923 Klenau asks Schenker questions about the performance of the "Eroica" Symphony. OC 54/333-336 Handwritten letter (copy) from Schenker to Klenau, dated October 9‒10, 1923 Schenker offers further advice on performing the "Eroica" Symphony. 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. JOB 94-3, [5] Handwritten letter from Schenker to Hammer dated October 24, 1923 Schenker invites Hammer and his wife for November 7; — The problem of the "middleman" (performer, etc.) in music, by contrast with painting; — he reports on Hertzka's proposal to make Tonwille a quarterly publication. OJ 10/1, [79] Handwritten letter from Dahms to Schenker, dated November 1, 1923 Dahms has devoted a chapter of his Musik des Südens to "genius" in which he asserts its absoluteness and the gulf between genius and mediocrity. — He concurs with Hertzka's judgement of Furtwängler as a "coward"; In his quest for success, the latter has compromised his belief in genius by pandering to Schoenberg. The Korngolds are coming to Rome in August. OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924 Schenker responds to Klenau's remarks on atonal composers and a coming Renaissance; invites him to visit on a Wednesday. OJ 10/1, [83] Handwritten letter from Dahms to Schenker, dated January 4, 1924 Money has arrived. Dahms hopes for better conditions in 1924. OJ 11/36, [11] Handwritten letter from Hammer to Schenker, dated January 5, 1923 [recte 1924] Hammer refers to the making of a portrait; — he discusses German and Austrian art with respect to Italian and French; — he comments favorably on Der Tonwille, but defends the art of the French. JOB 94-3, [7] Handwritten letter from Schenker to Hammer dated January 13, 1924 Schenker responds to a long letter from Hammer by, first, agreeing to his proposal to sittings for a portrait, and, second, saying that there is no one in music now capable of judging the artistry of musicians. Schenker feels he has uniquely this ability, but others in music do not understand him. OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924 Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111; he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a passage exhibiting non-genius in his or Oppel's music and discuss it in Der Tonwille. OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924 Dahms thanks Schenker for information about Castiglione. The Deutsche Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong reaction outside Germany. OJ 14/45, [31] Handwritten letter from Moriz Violin to Schenker, dated March 16, 1924 Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In the former, he finds the graphs of the short preludes by Bach more difficult than anything that Schenker has previously done. He will write to Bamberger with the offer of help (in finding an accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of his pupils, he offers an explanation for the falling direction of the transitional theme (measures 24-30) and its reappearance in the development section (measures 94-100) in inverted, ascending form; he asks if this interpretation is sensible. OC 12/13-14 Handwritten letter from Halm to Schenker dated March 15, 1924 and April 1, 1924 Halm attacks Schenker for condemning Berlioz's melodic practice without substantiating his argument, and for harsh language. Halm compares Berlioz favorably to Mendelssohn. DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924 In response to matters raised by Halm in two previous letters, Schenker discusses figuration, distinguishing between that which works only on the surface and that which arises out of the middle and background, drawing on primal intervals. He also concedes that he heard Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for forthcoming volumes of Der Tonwille. JOB 94-3, [8] Handwritten letter from Schenker to Hammer dated May 3, 1924 Schenker agrees to come on May 27 to sit for his portrait, and tells Hammer of the forthcoming historical Beethoven Ninth Symphony concert. OC 12/15-17 Handwritten letter from Halm to Schenker dated April 7, April 14, and May 6, 1924] Halm again asks Schenker to point out an instance of non-genius in his [Halm's] music. — Has long believed that foreground (= corporeality) has been neglected at the expense of background (= spirituality) in music. — Defends Kurth against Schenker's critical remarks. — Suggests an explanation for the Bruckner classroom incident. — Will send parts of his [A major] String Quartet and promises a copy of his "Von Grenzen und Ländern". — Accepts offer of assistance with publication costs. — Comments on Reger. OJ 12/59, [5] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 21, 1924 Siegfried Fritz Müller has met with resistence in rural Switzerland to Schenker's ideas. -- He describes his daily working practices. -- He plans to return to Schenker for lessons in Spring 1925 and lists the works in his prepared programs. OJ 9/12, [1] Handwritten letter from Carl Bamberger to Schenker, dated October 6, 1924 Bamberger writes of his pleasure at working in a theater, and his liking of Danzig as a medieval city. He is studying Schenker's edition of the Beethoven sonatas, and has ordered Harmonielehre and Kontrapunkt I and II. He is subscribing to Der Tonwille, and is interesting one of his colleagues in Schenker's ideas. He inquires after two Schenker pupils. OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9, 1924 In the light of an exchange of letters with UE, Schenker suggests that the new publication have a new title (Die Urlinie) but that the old typeface and format be retained. He suggests that the new periodical should include articles on each of the Chopin etudes and the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from all of which book-length studies could subsequently be made. OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925 Schenker, repeating some of the points made in earlier letters, continues to give an account of Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists; the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the canonic composers. OJ 9/12, [4] Handwritten letter from Carl Bamberger to Schenker, dated March 4, 1925 Bamberger seeks Schenker's advice on the choice of works for a series of Sunday morning concerts that is included in his new contract with Danzig. OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925 The St. Matthew Passion parts may be retained until mid-July; Altmann is pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in Galtür next summer. OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925 Weisse asks Schenker to look at some suitable frames for Hammer's portrait of him. He reports that several autograph manuscripts of Brahms are being put up for sale, of which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest theoretical concepts are being taught at Damrosch's music school in New York. OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925 Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven manuscript at Heck's. WSLB-Hds 191.558 Handwritten letter from Schenker to Deutsch, dated November 7, 1925 Schenker agrees to the cuts to his article, and invites the Deutsches for a snack and chat on November 12 or 15. Schenker is planning to see Heck's Beethoven manuscript. OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925 Violin gives Schenker the program of his concerts with van den Berg and Buxbaum. OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21, 1925 Interrupting his correcting of the proofs for the first Meisterwerk Yearbook, Schenker sends Christmas greetings to the Violins, and informs his friend that an out-of-court settlement was made with Universal Edition. Recent concert appearances of the cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be sent to Hamburg. OC 54/56 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 14, 1926 Drei-Masken Verlag says that there are plans to publish the autograph manuscript of Mozart’s Don Giovanni in facsimile. They are in the process of finishing the first Meisterwerk Yearbook, note Schenker’s wish for wider Urlinie graphs in future yearbooks. OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926 Drei Masken Verlag in Munich have now transferred all matters of production concerning the first Meisterwerk Yearbook to their office in Vienna. OC 54/58 Typewritten letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January 16, 1926 The facsimile edition of Mozart’s Don Giovanni will not be ready for some time; a facsimile of Beethoven’s Op. 57 is planned, not by DMV but by a Paris printing-house. OJ 9/3, [4] Typewritten letter from Guido Adler to Schenker, dated February 10, 1926 Invitation to join the Conference Committee of the Beethoven Centennial Celebration 1927. OJ 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11, 1926 Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in putting together the first Meisterwerk Yearbook, on account of the numerous music examples and separate Urlinie graphs, and summarizes the contents of the second Yearbook. OJ 14/45, [51] Handwritten letter from Moriz Violin to Schenker, dated February 18, 1926 Violin, in the aftermath of two enormously successful trio concerts with Mauritz van den Berg and Friedrich Buxbaum, gives an account of Buxbaum's vanity and the difficulty this causes in rehearsals and more generally for the ensemble. His doctor has recommended that he spends three weeks in Bad Gastein this summer. He has not yet received Hammer's portrait of Schenker. OC 82/27-28 Handwritten letter from Georg Dohrn to Schenker, dated April 2, 1926 Dohrn inquires as to the performance of the opening of the second movement of Beethoven's Ninth Symphony. OJ 5/9a, [1] Handwritten letter from Schenker to Georg Dohrn, dated April 5, 1926 Schenker answers Dohrn's inquiry as to the performance of the opening of the second movement of Beethoven's Ninth Symphony. OJ 10/1, [94] Handwritten letter from Dahms to Schenker, dated June 26, 1926 Dahms thanks Schenker for his report [on the viability of the almanach proposal]. — He plans to devote part of the almanach to Beethoven, and asks whether Schenker might contribute something new, or grant permission to reprint some of what he has written in Der Tonwille. OJ 14/45, [54] Handwritten letter from Moriz Violin to Schenker, undated, written July 13, 1926 Replying to Schenker's postcard of July 8 and the receipt of the first Meisterwerk Yearbook, Violin singles out the article "Weg mit dem Phrasierungsbogen" and remarks on passages in two Chopin etudes and in Beethoven's "Pathétique" Sonata which Schenker would find interesting. There is no news concerning his piano trio (with Mauritz van den Berg and Friedrich Buxbaum) but he is considering playing a concerto in the 1926-27 season. OJ 10/1, [96] Handwritten letter from Dahms to Schenker, dated July 14, 1926 Dahms acknowledges receipt of Das Meisterwerk 1, and will review it for the Allgemeine Musikzeitung and his Almanach. — Is going to Berlin. — PS on acoustics of under-dominant. OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926] In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable with material property; the music of today is quite different from that of the past, the rules of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to speak his own mind. OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927 Deutsch thanks Schenker for his recent communications, including a copy of the contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of relevant extracts from the correspondence with the publishers. He reports progress in the establishment of a Photogram Archive at the Austrian National Library, with the cooperation of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to photographically reproduce autograph manuscripts are underway at the Beethoven House in Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses his delight in being able to assist Schenker in the promotion of his work. BerkAE 7/898, [4] Handwritten postcard from Schenker to Deutsch, dated January 16, 1927 Schenker responds to Deutsch’s request for information about the recent facsimile edition of Beethoven’s Ninth Symphony, and the new edition of the symphony published by the Philharmonischer Verlag. He had made changes to the text of the first movement, but subsequently withdrew from the editing. OJ 10/3, [54] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January 18, 1927 Vrieslander would like to give a lecture on Schenker and Beethoven at the centenary celebrations in Vienna; Deutsch asks Schenker to contact Vrieslander directly about this. OJ 9/3, [5] Typewritten letter from Adler to Schenker, dated January 28, 1927 Invitation to give a lecture to the conference associated with the Beethoven Centennial Celebration [March 1927]. OJ 5/3, [1] Handwritten draft letter from Schenker to Adler, dated February 7, 1927 Schenker declines invitation to give lecture. OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927 Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave the music examples for the second Meisterwerk volume in order to ensure a flawless reproduction. He also reports that the width of the pages in the supplement will be expanded, and notifies Schenker of the changes that he will make to the music examples following this decision. Vrieslander states he has officially enquired with Einstein about potential problems in the printing process, making clear that Schenker will not be able to bear any additional costs for printing errors. 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. OC B/228 Typewritten letter from V. A. Heck to Schenker, dated February 21, 1927 Heck informs Schenker of a Beethoven manuscript in his hands. OC B/224 Typewritten letter from V. A. Heck to Schenker, dated March 10, 1927 Heck asks Schenker to identify a Beethoven sketchleaf. OJ 8/4, [48] Handwritten picture postcard from Schenker to Violin, dated March 27, 1927 Schenker has written to Paul von Klenau on Violin's behalf, and received an assurance that Klenau will write to his brother-in-law (not father-in-law, as Violin had originally thought) but thinks that Artur Schnabel will be more influential. Klenau will visit the Schenkers on Saturday. 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. OC B/222 Typewritten letter from V. A. Heck to Schenker, dated April 12, 1927 Heck sends a Beethoven sketchleaf and asks Schenker's opinion of it. OJ 10/1, [100] Typewritten letter from Dahms to Schenker, dated April 13, 1927 His Almanach has been a success but produced no financial return in a hostile environment. — They are leaving Berlin for the south; he has lost faith in German spirit, intellect, and morality. OJ 15/15, [22] Handwritten postcard from Weisse to Schenker, dated April 14, 1927 Weisse calls his teacher's attention to a recent article by Edmund Schmid, which questions the objectivity of Schenker's Beethoven research and deplores the slavish adherence of his disciples to the concept of Urlinie. WSLB 375 Handwritten letter from Schenker to UE, dated April 25, 1927 Having gained access to the facsimile of the "Appassionata" Sonata, Schenker sends revisions to his edition. OJ 10/3, [61] Typewritten postcard from Deutsch to Schenker, dated May 9, 1927 Deutsch asks Schenker to lend him the April 1927 issue of Der Schriftsteller. He is grateful for having been introduced to the artist Viktor Hammer. He recommends that Schenker visit the Beethoven exposition in the City Hall, and also the Planetarium, where an “optical organ” is on display. OJ 11/1, [1] Typewritten letter from Atelier Pietzner-Fayer to Schenker, dated May 10, 1927 Pietzner-Fayer extends the deadline for portrait photography to May 20. OJ 10/3, [62] Typewritten postcard from Deutsch to Schenker, dated May 11, 1927 Deutsch has been invited to pose for an album of the Beethoven Committee; he enquires whether Schenker has accepted an invitation to do so, in which case he will do the same. He is delighted to learn that the (Photogram) Archive has been agreed. WSLB 380 Handwritten postcard from Schenker to UE, dated May 27, 1927 Schenker asks that a complimentary copy of his Fifth Symphony monograph be sent to Vrieslander. OC 52/840 Typed postcard from Barbara Rothe (UE) to Schenker, dated May 31, 1927 A copy of Schenker's Fifth Symphony monograph has been dispatched to Vrieslander as requested. 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. WSLB 385 Handwritten postcard from Schenker to UE, dated June 30, 1927 Has UE forgotten to send him a copy of his own revised edition of the "Appassionata" Sonata? Sbb 55 Nachl. 13, [2] Handwritten letter from Schenker to Furtwängler, dated July 3, 1927 Schenker recommends Oppel's Mass, and commends Anthony van Hoboken to Furtwängler. OC 52/842 Typed postcard from Barbara Rothe to Schenker, dated July 6, 1927 The revised edition of Schenker's "Appassonata" Sonata edition has not yet appeared. DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927 Thanking Halm for his Beethoven book, he believes that their misunderstandings could be removed and hopes Der freie Satz will help bring that about; gives order of publication for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his correspondence with Hindemith. OJ 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927 Deutsch tells Schenker that the second edition of Schindler’s Beethoven biography is available, but not the first. --- He explains at length a misunderstanding over the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and expresses his regret that Drei Masken Verlag have been slow to prepare the second Meisterwerk yearbook for publication. OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927 Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He has made progress on his index of Haydn's works, and has purchased some Beethoven first editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn. OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927 Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and expresses the hope that it will be possible to interest Furtwängler in performance according to the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and discusses negotiations with the Austrian National Library and Ministry of Education. — Comments on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. — Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory. OC 52/843 Typed postcard from Barbara Rothe to Schenker, dated September 7, 1927 A copy of Schenker's new edition of the "Appassionata" Sonata is on its way. OJ 10/3, [68] Typewritten letter from Deutsch to Schenker, dated September 12, 1927 Deutsch has sent Vrieslander’s prospectus of the second Meisterwerk yearbook to the publisher almost unchanged, despite overlength. — He reports 200 new acquisitions [for Hoboken's collection], particularly in Mozart, Haydn, and Chopin. OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927 Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus" and the suitability of Vrieslander's text for that purpose. — He expresses an interest in Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the whereabouts of the autograph manuscript of Beethoven's Op. 106. OJ 89/1, [6] Handwritten letter from Schenker to van Hoboken, dated October 4, 1927 Schenker thanks van Hoboken [for subventing Yearbook 2], while complaining at Drei Masken Verlag's failure to send him his author's copies and its lack of honesty; he praises Hoboken for his collection and service to mankind. OJ 10/3, [69] Typewritten picture postcard from Deutsch to Schenker, dated October 6, 1927 Deutsch regrets that Drei Masken Verlag has not yet sent Schenker his complimentary copies [of the second Meisterwerk yearbook]; they will send an invoice for the production costs. Hoboken ought to receive an honor from the Austrian state only after the Photogrammarchiv is up and running. Deutsch has much to show Schenker from the first editions of Beethoven sonatas. He wants to arrange a time to go through the corrections to Schubert’s Symphony in B minor. WSLB 389 Handwritten letter from Schenker to UE, dated October 6, 1927 Schenker inquires after revised edition of Beethoven, Piano Sonata Op.78. OJ 12/8, [1] Typed letter from Kalmus (UE) to Schenker, dated October 10, 1927 Kalmus explains the situation over Beethoven Sonata Op. 78. OJ 10/3, [70] Typewritten picture postcard from Deutsch to Schenker, dated October 11, 1927 Deutsch has seen Otto Vrieslander, who surprisingly did not mention the recent publication of his songs. He explains how different early print-runs of Beethoven’s works may display telling differences, and how parallel publications in different cities could sometimes show changes attributable to the composer (as is typically found in Chopin). OJ 10/3, [71] Typewritten picture postcard from Deutsch to Schenker, dated October 15, 1927 Deutsch accepts an invitation to the Schenkers on Wednesday, October 19. – Drei Masken Verlag have told him that they have already paid Schenker’s honorarium and sent him complementary copies [of the second Meisterwerk yearbook] in January and that the second payment came to him from their branch in Vienna. – He has been working on a Beethoven catalogue but must now turn his attention to Mozart, and then to Schubert. 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 10/3, [73] Typewritten postcard from Deutsch to Schenker, dated November 14, 1927 Deutsch has had a telephone call from Alfred Kalmus, who reported that Schenker’s revised copy of Schubert’s “Unfinished” Symphony has been messed up, that it will be returned to him, with a second, clean copy, and that Kalmus may visit Schenker to apologize for this. – Deutsch will lend Schenker a copy of stories by Balzac, two of which may be of interest from a musical point of view. He also hopes that work can be found for the precocious Gerald Warburg. OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927 Violin reports that his concert (cello recital) has been put back a week because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his recent written work, but he feels that Vrieslander does not truly understand Schenker's cause, does not have the same "orientation" towards it as he, and expresses himself poorly. (Weisse, he says, could have done things better.) However, all this pettiness is nothing compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon follow. WSLB-Hds 191.560 Handwritten letter from Schenker to Deutsch, dated January 25, 1928 Schenker comments on the text of Deutsch’s forthcoming radio broadcast about the Photogram Archive, noting in particular that the word “scientific” (wissenschaftlich) has no place in the study of music, which is a unique art form. OJ 11/32, [3] Typed letter from Robert Haas to Schenker, dated March 1, 1928 The Photogrammarchiv has a source that Schenker is at liberty to consult. OJ 89/2, [4] Handwritten letter from Schenker to Hoboken, dated March 16, 1928 Schenker speaks of Hoboken's Photogrammarchiv as a "grand contribution," and of the work to be done there; reports on a copy of Beethoven Sonata, Op. 90, by Archduke Rudolph. — He will show Hoboken recent articles by Dahms and Vrieslander, and inquires about Hoboken's birthday.— Furtwängler may come to Vienna permanently. OJ 10/3, [81] Typewritten postcard from Deutsch to Schenker, dated March 25, 1928 Deutsch’s plans to give a pre-concert talk on the radio have been messed up by Max Ast at Austrian Radio. -- He asks Schenker to tell him about the authentic copies of Beethoven’s works made for Archduke Rudolph. -- He has been on the track of a German mass for the dead by Schubert (the Deutsche Trauermesse) and would like to show Schenker his work on it. OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928 Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer. OJ 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928 Schenker sends Cube an article written for the Beethoven centenary festival and suggests a "connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA; outlines summer plans. OJ 10/3, [88] Typewritten picture postcard from Deutsch to Schenker, dated June 14, 1928 Deutsch can show Schenker the reissue (Titelauflage) of Beethoven’s Sonata Op. 6 if he is interested. -- On the 27th, he is giving a radio broadcast on Schubert’s lost symphony; he has obtained funding ($1,000) for the person who finds it. -- He is giving another radio talk on July 3, on Schubert’s incidental music to Rosamunde. OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928 Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses associated newspaper article; also on recent lecturing and composition activity. He is unlikely to visit Schenker this year; recalls people at Galtür. OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928 Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to return the Hammer etching. OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928 Sends best wishes for Cologne lecture-series; is planning to issue a folder of Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv, which will be officially opened on November [25]. The "counter-examples" should be taken slowly. OC B/300 Typewritten letter from V. A. Heck to Schenker, dated November 24, 1928 Heck consults Schenker on another Beethoven sketchleaf. WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated November 27, 1928 Schenker reports the impact of his Urlinie concept on the educational world within Germany and in the USA. — He seeks to re-establish a working relationship with UE, raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the "Eroica." OC B/301 Typewritten letter from V. A. Heck to Schenker, dated November 29, 1928 Heck thanks Schenker for information regarding a Beethoven sketchleaf. WSLB-Hds 191.519 Handwritten letter from Frimmel to Schenker, dated beginning of December 1929 [recte 1928] Frimmel thanks Schenker for his good wishes. He is unable to visit Schenker to give him certain information and regarding a supposed Beethoven portrait. OJ 10/3, [96] Typewritten letter from Deutsch to Schenker, dated December 11, 1928 Deutsch outlines plans for the publication of catalogues of music manuscripts worldwide and, in particular, new thematic catalogues of the music of Schubert, Mozart and Beethoven. With the intervention of Leopold Richtera, he has been assured of a good working relationship with the director of music at Radio Wien (RAVAG). WSLB 403 Handwritten letter from Schenker to Hertzka (UE), dated December 23, 1928 Schenker reports on the autograph manuscript of Beethoven Op. 79. — He is "convinced" that the autograph of Op. 106 is in England. OJ 10/3, [97] Typewritten picture postcard from Deutsch to Schenker, dated February 12, 1929 Deutsch thanks Schenker for his recent postcard, then describes the circumstances of his recent and forthcoming radio programs, which include a series of concerts given by a “Kammerensemble” (chamber group) which includes professors from the Vienna Academy. He has been to a man named Villers, who has been reconstructing orchestral scores from piano reductions. WSLB 408 Handwritten letter from Schenker to Hertzka (UE), dated June 19, 1929 Schenker inquires after Hertzka's decision on the "Eroica" monograph; gives his vacation address. OJ 89/3, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 7, 1929 Hoboken recounts recent travels. — Is now at Kliffende, where he is about to build a house. — Reports meetings with Hubermann and Harburger; encloses a letter and articles from the latter. — Refers to a Vrieslander problem. OC 52/853 Typed letter from Ernst Roth (UE) to Schenker, with enclosure, dated August 5, 1929 Encloses additional remarks by Edmund Schmid. WSLB 417 Handwritten letter from Schenker to UE, dated August 9, 1929 Reacting to Edmund Schmid's follow-up remarks, Schenker points up a favorable passage and comments wrily on a critical one. OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929 Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ 9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music, after which publication should ensue. Schenker gives detailed comments, with music examples, on Cube's two piano sonatas, praising them highly and making suggestions for improvement. OJ 5/44, [1] Handwritten letter from Schenker to Arthur Waldeck, dated September 23, 1929 Schenker encourages Waldeck to spread his (Schenker's) ideas in America, and apprises him of Dunn's translation of Kontrapunkt and his own recent and forthcoming publications. PhA/Ar 56, [10] Handwritten postcard from Schenker to Kromer, dated November 22, 1929 Inquiry as to the whereabouts of the autograph of Beethoven Op. 90. OJ 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929 After reply to some of the more personal points in Violin's previous letter, Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books are still in print and his status as a theorist has been acknowledged by the the fact that the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when approaching a publisher. That same issue also contains an article by Schoenberg touching on various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1; Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet). He feels that it is beneath his dignity to make a formal reply; but to illustrate what he means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs and other music examples concerning these works. OJ 10/3, [115] Typewritten picture postcard from Deutsch to Schenker, dated January 27, 1930 Deutsch clarifies one or two misunderstandings in Schenker’s previous postcard: Vrieslander has been contracted by the publisher Strache to bring out some unpublished sonatas by C. P. E. Bach. OJ 89/4, [1] Handwritten letter from Schenker to Hoboken, dated February 22, 1930 Schenker advises that an analysis of the score of Beethoven's Missa solemnis should be taken at a slow pace. OJ 10/3, [120] Handwritten postcard from Deutsch to Schenker, dated March 2, 1930 Deutsch has come across information suggesting that there may be parts, even a score, of the "Eroica" Symphony with corrections in Beethoven’s hand from the music library of Archduke Rudolph and still located in Olmütz [Olomouc]. OJ 13/25, [9] Typewritten letter from Rinn to Schenker, dated March 8, 1930 Vrieslander's article about Schenker for Der Kunstwart is too technical and too long for a journal with amateur readership; he has asked Vrieslander to shorten it. — He expresses enthusiasm for Schenker's idea of writing about the relationship of the great German poets to music. OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19, 1930 Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of his own, and that for Schenker. OJ 89/4, [3] Handwritten letter from Schenker to Hoboken, undated [March 23, 1930] Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano technique, and defines Hoboken's character as a pianist. OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930 Deutsch suggests that Schenker should get Breitkopf & Härtel to publish his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will continue to study theory with Schenker while he improves his piano technique in Berlin. -- He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which predates its publication in Op. 75 by about three years, and asks Schenker to compare the two version with a sketch from 1798 that was published by Nottebohm. Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19, 1930 Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with other publishers and plans for future publications. OJ 10/3, [126] Handwritten letter from Deutsch to Schenker, dated May 11, 1930 Deutsch asks for Schenker’s advice on the programming of an evening “Serenade” of orchestral and choral music, to be conducted by Robert Heger. OJ 10/3, [127] Handwritten picture postcard from Deutsch to Schenker, dated May 23, 1930 Deutsch thanks Schenker for his musical illustration relating to Beethoven’s "Neue Liebe, neues Leben" and gives details of the second of two outdoor music events [Leopoldsplatz], scheduled for June 12. OJ 5/7a, [29] (formerly vC 29) Handwritten postcard from Schenker to Cube, undated [June 8, 1930] Schenker sends copy of Vrieslander's article and comments on it, comparing it unfavorably with Meisterwerk III; inquires about Cube's "article," asks whether Erich Voß is with him; reports departure date for Galtür. OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930 Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about Schenker difficult to read. He advises him to proceed with the printing of his essay on the "Eroica" Symphony, even if it proves possible for another publisher to take it over at a late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for orchestra or wind band]. OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930 A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until September, if the "Eroica" monograph is to be published by the end of the year. OJ 9/34, [21] Handwritten letter from Cube to Schenker, dated June 25, 1930 Acknowledges OJ 5/7a, [29] and offers mitigation for Vrieslander's non-acquaintance with the Urlinie (to which Cube has just introduced new violin teachers). Reports on Erich Voß, and on concert plans at Conservatory. Reports on his teaching. Threat of financial difficulties; he has offered his services to the Hochschule für Musik in Berlin. OC 54/310 Typewritten letter from Deutsch to Schenker, dated July 4, 1930 Deutsch gives further details of the production costs for the third Meisterwerk yearbook and makes some recommendations, including the printing of the Urlinie-Tafeln of the "Eroica" as a booklet, not as loose pages. OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10, 1930] Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." -- Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. -- He asks about Furtwängler's studies with Schenker. 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. OC 54/315 Typewritten letter from Deutsch to Schenker, dated July 30, 1930 Deutsch makes further reports on the anticipated costs of the third Meisterwerk yearbook. -- He has come across an arrangement of Beethoven’s Op. 74 Quartet as a symphony and found some important early editions of the Op. 22 Sonata. -- He would like Schenker to meet his friend [Leopold] Liegler, whose theories about literature resonate with the concept of Urlinie. 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. OC 54/325 Handwritten letter from Deutsch to Schenker, dated October 11, 1930 Deutsch explains to Schenker which proof corrections may be the author’s responsibility, and which the printer’s or publisher’s, and advises him to write back to the publisher but not to get unduly upset about these matters. OJ 14/45, [87] Handwritten letter from Moriz Violin to Schenker, dated October 13, 1930 Violin has just heard that Hans Weisse will be lecturing in Berlin in December; he plans to go there to hear him. His pupil Agnes Becker, returning from a trip to London, has discovered that Schenker's Beethoven sonata edition is much in demand, especially from students at the Royal Academy of Music. OC 54/329 Handwritten letter from Deutsch to Schenker, dated October 24, 1930 Deutsch makes further suggestions about how the musical material for the "Eroica" – the booklet of Urlinie graphs, and other illustrations (“figures”) – should fit into the third Meisterwerk yearbook. He also recommends fully paginating the booklet. PhA/Ar 56, [4] Handwritten letter from Schenker to Haas, dated November 12, 1930 Schenker offers Haas a line of inquiry for tracing Beethoven source materials. OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930 The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker and Hoboken soon. OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November 26, 1930 Schenker summarizes the achievements and ambitions of several of his pupils and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse is the most ambitious of all of these though he is not completely at home in the new theory. He fears that something might go wrong at Weisse's forthcoming lecture at the Central Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse will give a trial run of the lecture at the Schenkers' apartment. OC 54/332 Handwritten letter from Deutsch to Schenker, dated November 26, 1930 Deutsch thinks that the invoice for the printing and production of the third Meisterwerk yearbook is reasonable, and that Drei Masken Verlag had underestimated the costs earlier in the summer. He advises on sellling price to ask for. OJ 15/16, [65] Handwritten letter from Weisse to Schenker, dated November 27, 1930 Weisse thanks Schenker for the essay "Rameau oder Beethoven?". He is surprised to hear that Jonas has sought Schenker's help in finding employment, and urges Schenker not to write a letter of recommendation until a concrete piece of work materializes. He is about to go to Berlin to deliver two lectures on Schenker's theories, and has heard that Moriz Violin and Reinhard Oppel will be there; he would like to give one of these lectures at Schenker's home before a small audience of his most dedicated pupils, and suggests a date and time for this. OJ 11/54, [29] Typewritten letter from Hoboken to Schenker, dated December 5, 1930 Hoboken depicts the abundance of music in Berlin, contrasting Furtwängler, Klemperer and Kleiber. — He has decided to withdraw his planned financing of the Photogramarchiv's collected edition of C. P. E. Bach. OJ 12/6, [6] Handwritten letter from Jonas to Schenker, dated December 5, [1930] Jonas thanks Schenker for OJ 5/18, [3a], outlines the contents of the general letter of recommendation requested, and informs Schenker that the Edwin Fischer circle is very interested is Schenker's work. OJ 10/3, [144] Handwritten picture postcard from Deutsch to Schenker, dated March 13, 1931 In this cryptic message, Deutsch creates a relationship among Beethoven, Schenker, the music critic Julius Korngold, and the writer on music Richard Specht. OJ 12/6, [8] Handwritten postcard from Jonas to Schenker, dated March 30, [1931] Jonas thanks Schenker for OJ 5/18, 4; — reports that his own essay and a review of Das Meisterwerk III will appear in the Zeitschrift für Musikwissenschaft; — asks question about a discussion in Der Tonwille of a Bach fugue copied out by Beethoven. OJ 10/3, [146] Typewritten letter from Deutsch to Schenker, dated April 21, 1931 Deutsch thanks Schenker for his completion of an untexted Schubert song. He asks Schenker to help him to compare two versions of a set of variations. A deputation from the Ministry of Education will pay a visit to Hoboken’s private library. OJ 11/54, [34] Handwritten letter from Hoboken to Schenker, dated April 29, 1931 Hoboken may stay at the Semmering spa for a few more days, and discusses his next appearance for a lesson. — He discusses Specht's Bildnis Beethovens. OJ 10/3, [147] Typewritten letter from Deutsch to Schenker, dated May 2, 1931 Deutsch asks Schenker to return the edition of the first version of Beethoven’s Variations WoO 74. Needing a few weeks’ peace and quiet in the summer holidays, he is looking for a place in the Tyrol that is more than 1,500 meters above sea level, and asks Schenker’s advice about accommodation, possibly in Galtür. OJ 10/3, [149] Typewritten letter from Deutsch to Schenker, dated June 11, 1931 Deutsch will not be spending the summer holiday in Ischgl, but with a family in Nauders. He hopes to see Schenker before the Schenkers go on holiday. OJ 11/54, [35] Handwritten letter from Hoboken to Schenker, dated September 27, 1931 Hoboken encloses a check for 39 past lessons and reports on his work during the summer. -- He comments on books by Hans Meyer and Cassirer. OJ 10/3, [155] Typewritten picture postcard from Deutsch to Schenker, dated October 9, 1931 Deutsch has learned, from an 1892 exhibition catalogue, that the Moscheles family owned Beethoven sketch manuscripts and that G. B. Davy owned a number of autographs, and a sketchbook for the Cello Sonata Op. 102, No. 2. OJ 6/8, [7] Handwritten letter from Schenker to Violin, dated October 17, 1931 Schenker offers Violin words of comfort in the light of a misappropriation of the title “Professor.” He also describes progress on Chopin’s Op. 10, No. 12, and the Bach Prelude in C major for the Five Analyses in Sketchform, and his work on a document of Anton Schindler purporting to convey Beethoven’s instructions on the performance of the Op. 14 sonatas. OJ 12/6, [10] Typewritten letter from Jonas to Schenker, dated March 3, 1932 Jonas reports on his course on Schenker's theory at the Stern Conservatorium, two forthcoming lectures, an article intended for publication, two radio talks and a radio recital; includes reference to his later textbook Das Wesen des musikalischen Kunstwerks. OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20, 1932] In this unsent letter, Schenker tells Einstein about his works and the difficulties he has encountered in promoting them, and calls upon the physicist for help in gaining financial support for the publication of Free Composition. OJ 12/6, [19] Handwritten letter from Jonas to Schenker, dated January 28, 1933 Jonas still has no response from Hoboken re: his Einführung; encloses four essays; reports on forthcoming article, his teaching and advocacy of critical editions, planned radio lectures and performance, and other work. OJ 9/34, [36] Handwritten letter from Cube to Schenker, dated May 1, 1933 Thanks Schenker for sending Brahms's Octaven u. Quinten, expresses his longing for Der freie Satz, sends an example of his work, and expresses concern over his future. OJ 5/7a, [45] (formerly vC 45) Handwritten letter from Schenker to Cube, dated May 6, 1933 Schenker congratulates Cube on the submitted work and offers analytical comments; and laments the economic conditions for musicians. OJ 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933 Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political developments in Germany, and attributes his threatened hunger to Violin's return to Vienna. OJ 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933 Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism; someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard from Furtwängler. OJ 13/2, [1] Typewritten letter from the Neue Schule für Musik und Bühnenkunst to Schenker, dated August 3, 1933 Through an intermediary, Weissberger invites Schenker to teach a Beethoven course at the Neue Schule für Musik und Bühnenkunst, Vienna OJ 89/6, [10] Typewritten letter (carbon copy), from Hoboken to Schenker, dated August 5, 1933 Hoboken is gratified by Schenker's praise of his song compositions; — He will continue his Chopin projects someday, but is preoccupied with the worsening European political situation; — He comments on Kleiber, Max Graf, on Goos's estimate of Schenker's importance, and returns newspaper clippings that Schenker has sent him with comments. OJ 13/2, [2] Typewritten letter from Alfred Weissberger to Schenker, dated August 18, 1933 Alfred Weissberger concurs with Schenker as to the lower value now placed on ability and knowledge, though he thinks the younger generation see the arts as a means of obtaining a livelihood; he will sound out the viability of a Beethoven course for the following year, and leaves open the possibility of approaching Schenker again. OJ 9/34, [38] Handwritten letter from Cube to Schenker, dated September 7, 1933 Cube reports on his poor health and straitened cirumstances, teaching at two conservatories and private pupils; he eagerly awaits Der freie Satz, and reports on his investigation of diatonic systems. OJ 5/7a, [49] (formerly vC 49) Handwritten postcard from Schenker to Cube, dated May 8, 1934 Schenker congratulates Cube on the graph he has sent, and reports on Der freie Satz and the continuation of the Urlinie-Tafeln. OJ 12/6, [32] Handwritten letter from Jonas to Schenker, dated June 11, 1934 Publication of Jonas's book has been delayed until June 22; — he may give a lecture in conjunction with Edwin Fischer; — his Beethoven sketches article is in press; — Hoboken is considering Jonas's proposed elucidatory edition plan in conjunction with a putative publication by the Photogram Archive. OJ 5/18, 43 Handwritten letter from Schenker to Jonas, dated June 24, 1934 Schenker reports on visit from Furtwängler and future visit; — reacts to news in Jonas's letter; — Brahms on Beethoven's notation; — printing of Der freie Satz begins soon. OJ 5/18, 47 Handwritten letter from Schenker to Jonas, dated July 22, 1934 Schenker praises Jonas's book highly; gives Hoboken's current address; — Furtwängler has written a recommendation for Moriz Violin, who would like go to Jerusalem; asks whether Vrieslander and Oppel are subscribers. — Comments on Bayreuth and Wagner. OJ 5/7a, [51] (formerly vC 51) Handwritten letter from Schenker to Cube, dated October 26, 1934 Acknowledges OC 9/34, [42], and its contents; comments on the "youth of today" – organic connection is the best thing for them; asks publisher of Schäfke book. Once Der freie Satz is in print, he will give his mind to the continuation of the Urlinie-Tafeln. Schenker's name is included in the Spanish Enciclicopedia universale. OC 44/9 Handwritten letter from Jonas to Schenker dated October 27, 1934 Jonas acknowledges OJ 5/18, 59 and 60; Hoboken has no reason to complain about his behaviour. — As a result of Hoboken's distribution of complimentary copies, Jonas has received letters of appreciation. —Reacts critically to Willi Reich and his magazine 23. — Describes plans for forthcoming events in Hamburg. LC ASC 27/45, [17] Handwritten letter from Moriz Violin to Schoenberg, dated January 26, 1940 Violin acquiesces to applying for the job in St. Louis, despite reservations about the climate there. He laments the backwardness of San Francisco's musical world. He admits to being "kept" by his wife. LC ASC 27/45, [26] Handwritten letter from Moriz Violin to Schoenberg, dated March 29, 1941 Violin thanks Schoenberg for his recent stay in Los Angeles, and comments on Schoenberg's lecture "Composition with Twelve Tones," which he attended during that stay. — He reminds Schoenberg to advocate for him for an engagement with the New York New Friends of Music; and he mentions for the first time his plan to found an institute in San Francisco. OJ 70/35, [9] Handwritten open letter from Schoenberg dated September 16, 1949, with handwritten letter from Schoenberg to Moriz Violin, dated October 14, 1949 Schoenberg sends a copy of his open letter on his 75th birthday, embedded within a letter in which he expresses pleasure at Violin's report of his Carmel performance. LC ASC 27/45, [37] Handwritten letter from Moriz Violin to Schoenberg, undated [1950] Violin thanks Schoenberg for his copy of Style & Idea, and comments on it enthusiastically. He describes himself as a "displaced artist." Diaries Diary entry by Schenker for 27 August 1898 Diary entry by Schenker for 1 October 1906 Diary entry by Schenker for 4 October 1906 Diary entry by Schenker for 7 November 1906 Diary entry by Schenker for 13 November 1906 Diary entry by Schenker for 19 November 1906 Diary entry by Schenker for 29 November 1906 Diary entry by Schenker for 30 November 1906 Diary entry by Schenker for 1 December 1906 Diary entry by Schenker for 2 December 1906 Diary entry by Schenker for 6 December 1906 Diary entry by Schenker for 12 December 1906 Diary entry by Schenker for 26 January 1907 Diary entry by Schenker for 6 February 1907 Diary entry by Schenker for 23 March 1907 Diary entry by Schenker for 9 April 1907 Diary entry by Schenker for 12 April 1907 Diary entry by Schenker for 23 April 1907 Diary entry by Schenker for 24 April 1907 Diary entry by Schenker for 21 June 1907 Diary entry by Schenker for 29 July 1907 Diary entry by Schenker for 8 January 1908 Diary entry by Schenker for 15 January 1908 Diary entry by Schenker for 13 February 1908 Diary entry by Schenker for 26 February 1908 Diary entry by Schenker for 15 November 1908 Diary entry by Schenker for 1 June 1910 Diary entry by Schenker for 26 November 1910 Diary entry by Schenker for 27 November 1910 Diary entry by Schenker for 1 July 1911 Diary entry by Schenker for 23 July 1911 Diary entry by Schenker for 11 November 1911 Diary entry by Schenker for 4 February 1912 Diary entry by Schenker for 2 August 1912 Diary entry by Schenker for 11 August 1912 Diary entry by Schenker for 14 September 1912 Diary entry by Schenker for 1 October 1912 Diary entry by Schenker for 16 October 1912 Diary entry by Schenker for 27 October 1912 Diary entry by Schenker for 28 October 1912 Diary entry by Schenker for 31 October 1912 Diary entry by Schenker for 22 November 1912 Diary entry by Schenker for 25 November 1912 Diary entry by Schenker for 10 January 1913 Diary entry by Schenker for 23 January 1913 Diary entry by Schenker for 26 February 1913 Diary entry by Schenker for 7 March 1913 Diary entry by Schenker for 11 March 1913 Diary entry by Schenker for 27 April 1913 Diary entry by Schenker for 30 April 1913 Diary entry by Schenker for 6 May 1913 Diary entry by Schenker for 23 May 1913 Diary entry by Schenker for 9 July 1913 Diary entry by Schenker for 1 August 1913 Diary entry by Schenker for 22 September 1913 Diary entry by Schenker for 23 September 1913 Diary entry by Schenker for 25 September 1913 Diary entry by Schenker for 25 September 1913 Diary entry by Schenker for 26 September 1913 Diary entry by Schenker for 3 October 1913 Diary entry by Schenker for 6 October 1913 Diary entry by Schenker for 25 October 1913 Diary entry by Schenker for 10 November 1913 Diary entry by Schenker for 19 December 1913 Diary entry by Schenker for 19 January 1914 Diary entry by Schenker for 9 March 1914 Diary entry by Schenker for 10 March 1914 Diary entry by Schenker for 9 May 1914 Diary entry by Schenker for 12 May 1914 Diary entry by Schenker for 17 May 1914 Diary entry by Schenker for 18 May 1914 Diary entry by Schenker for 19 May 1914 Diary entry by Schenker for 21 May 1914 Diary entry by Schenker for 22 May 1914 Diary entry by Schenker for 23 May 1914 Diary entry by Schenker for 28 May 1914 Diary entry by Schenker for 7 June 1914 Diary entry by Schenker for 1 July 1914 Diary entry by Schenker for 3 July 1914 Diary entry by Schenker for 15 July 1914 Diary entry by Schenker for 25 July 1914 Diary entry by Schenker for 4 August 1914 Diary entry by Schenker for 8 September 1914 Diary entry by Schenker for 15 September 1914 Diary entry by Schenker for 27 September 1914 Diary entry by Schenker for 16 October 1914 Diary entry by Schenker for 19 November 1914 Diary entry by Schenker for 24 December 1914 Diary entry by Schenker for 3 February 1915 Diary entry by Schenker for 18 March 1915 Diary entry by Schenker for 27 March 1915 Diary entry by Schenker for 19 September 1915 Diary entry by Schenker for 29 September 1915 Diary entry by Schenker for 6 October 1915 Diary entry by Schenker for 24 October 1915 Diary entry by Schenker for 31 October 1915 Diary entry by Schenker for 14 November 1915 Diary entry by Schenker for 21 November 1915 Diary entry by Schenker for 28 November 1915 Diary entry by Schenker for 5 December 1915 Diary entry by Schenker for 12 December 1915 Diary entry by Schenker for 16 January 1916 Diary entry by Schenker for 28 January 1916 Diary entry by Schenker for 30 January 1916 Diary entry by Schenker for 6 February 1916 Diary entry by Schenker for 9 February 1916 Diary entry by Schenker for 10 March 1916 Diary entry by Schenker for 12 March 1916 Diary entry by Schenker for 15 March 1916 Diary entry by Schenker for 8 April 1916 Diary entry by Schenker for 7 May 1916 Diary entry by Schenker for 12 May 1916 Diary entry by Schenker for 13 May 1916 Diary entry by Schenker for 17 May 1916 Diary entry by Schenker for 31 May 1916 Diary entry by Schenker for 6 June 1916 Diary entry by Schenker for 12 June 1916 Diary entry by Schenker for 17 June 1916 Diary entry by Schenker for 25 June 1916 Diary entry by Schenker for 28 June 1916 Diary entry by Schenker for 10 August 1916 Diary entry by Schenker for 15 August 1916 Diary entry by Schenker for 16 October 1916 Diary entry by Schenker for 2 November 1916 Diary entry by Schenker for 10 November 1916 Diary entry by Schenker for 30 November 1916 Diary entry by Schenker for 2 January 1917 Diary entry by Schenker for 21 March 1917 Diary entry by Schenker for 24 March 1917 Diary entry by Schenker for 25 March 1917 Diary entry by Schenker for 25 April 1917 Diary entry by Schenker for 10 May 1917 Diary entry by Schenker for 21 May 1917 Diary entry by Schenker for 27 June 1917 Diary entry by Schenker for 7 July 1917 Diary entry by Schenker for 8 July 1917 Diary entry by Schenker for 9 July 1917 Diary entry by Schenker for 13 July 1917 Diary entry by Schenker for 21 September 1917 Diary entry by Schenker for 15 November 1917 Diary entry by Schenker for 7 December 1917 Diary entry by Schenker for 16 December 1917 Diary entry by Schenker for 1 April 1919 Diary entry by Schenker for 3 September 1923 Diary entry by Schenker for 7 October 1923 Diary entry by Schenker for 23 March 1924 Diary entry by Schenker for 11 May 1924 Diary entry by Schenker for 25 May 1924 Diary entry by Schenker for 31 July 1925 Diary entry by Schenker for 12 September 1925 Diary entry by Schenker for 30 November 1925 Diary entry by Schenker for 6 January 1926 Diary entry by Schenker for 10 January 1926 Diary entry by Schenker for 13 January 1926 Diary entry by Schenker for 22 March 1926 Diary entry by Schenker for 8 April 1926 Diary entry by Schenker for 9 August 1926 Diary entry by Schenker for 5 September 1926 Diary entry by Schenker for 9 September 1926 Diary entry by Schenker for 18 September 1926 Diary entry by Schenker for 20 September 1926 Diary entry by Schenker for 1 October 1926 Diary entry by Schenker for 8 October 1926 Diary entry by Schenker for 15 October 1926 Diary entry by Schenker for 20 October 1926 Diary entry by Schenker for 25 October 1926 Diary entry by Schenker for 16 November 1926 Diary entry by Schenker for 20 November 1926 Diary entry by Schenker for 30 November 1926 Diary entry by Schenker for 1 December 1926 Diary entry by Schenker for 4 December 1926 Diary entry by Schenker for 5 December 1926 Diary entry by Schenker for 16 December 1926 Diary entry by Schenker for 19 December 1926 Diary entry by Schenker for 26 December 1926 Diary entry by Schenker for 29 December 1926 Diary entry by Schenker for 2 January 1927 Diary entry by Schenker for 5 January 1927 Diary entry by Schenker for 6 January 1927 Diary entry by Schenker for 10 January 1927 Diary entry by Schenker for 11 January 1927 Diary entry by Schenker for 16 January 1927 Diary entry by Schenker for 19 January 1927 Diary entry by Schenker for 31 January 1927 Diary entry by Schenker for 2 February 1927 Diary entry by Schenker for 5 February 1927 Diary entry by Schenker for 7 February 1927 Diary entry by Schenker for 8 February 1927 Diary entry by Schenker for 11 February 1927 Diary entry by Schenker for 15 February 1927 Diary entry by Schenker for 20 February 1927 Diary entry by Schenker for 21 February 1927 Diary entry by Schenker for 1 March 1927 Diary entry by Schenker for 9 March 1927 Diary entry by Schenker for 12 March 1927 Diary entry by Schenker for 13 March 1927 Diary entry by Schenker for 15 March 1927 Diary entry by Schenker for 22 March 1927 Diary entry by Schenker for 23 March 1927 Diary entry by Schenker for 25 March 1927 Diary entry by Schenker for 26 March 1927 Diary entry by Schenker for 27 March 1927 Diary entry by Schenker for 28 March 1927 Diary entry by Schenker for 29 March 1927 Diary entry by Schenker for 3 April 1927 Diary entry by Schenker for 4 April 1927 Diary entry by Schenker for 5 April 1927 Diary entry by Schenker for 12 April 1927 Diary entry by Schenker for 13 April 1927 Diary entry by Schenker for 29 April 1927 Diary entry by Schenker for 9 May 1927 Diary entry by Schenker for 11 May 1927 Diary entry by Schenker for 19 May 1927 Diary entry by Schenker for 30 May 1927 Diary entry by Schenker for 4 June 1927 Diary entry by Schenker for 17 June 1927 Diary entry by Schenker for 27 June 1927 Diary entry by Schenker for 30 June 1927 Diary entry by Schenker for 1 July 1927 Diary entry by Schenker for 10 July 1927 Diary entry by Schenker for 14 July 1927 Diary entry by Schenker for 3 August 1927 Diary entry by Schenker for 3 October 1927 Diary entry by Schenker for 7 October 1927 Diary entry by Schenker for 10 October 1927 Diary entry by Schenker for 12 October 1927 Diary entry by Schenker for 5 November 1927 Diary entry by Schenker for 14 November 1927 Diary entry by Schenker for 24 November 1927 Diary entry by Schenker for 3 December 1927 Diary entry by Schenker for 4 December 1927 Diary entry by Schenker for 8 December 1927 Diary entry by Schenker for 16 December 1927 Diary entry by Schenker for 15 January 1928 Diary entry by Schenker for 1 February 1928 Diary entry by Schenker for 5 February 1928 Diary entry by Schenker for 21 February 1928 Diary entry by Schenker for 24 February 1928 Diary entry by Schenker for 7 March 1928 Diary entry by Schenker for 10 March 1928 Diary entry by Schenker for 15 March 1928 Diary entry by Schenker for 27 March 1928 Diary entry by Schenker for 13 May 1928 Diary entry by Schenker for 16 May 1928 Diary entry by Schenker for 17 May 1928 Diary entry by Schenker for 19 May 1928 Diary entry by Schenker for 21 May 1928 Diary entry by Schenker for 27 May 1928 Diary entry by Schenker for 28 May 1928 Diary entry by Schenker for 8 June 1928 Diary entry by Schenker for 17 July 1928 Diary entry by Schenker for 14 September 1928 Diary entry by Schenker for 18 September 1928 Diary entry by Schenker for 2 October 1928 Diary entry by Schenker for 6 October 1928 Diary entry by Schenker for 7 October 1928 Diary entry by Schenker for 8 October 1928 Diary entry by Schenker for 12 October 1928 Diary entry by Schenker for 14 October 1928 Diary entry by Schenker for 21 October 1928 Diary entry by Schenker for 5 November 1928 Diary entry by Schenker for 11 November 1928 Diary entry by Schenker for 12 November 1928 Diary entry by Schenker for 14 November 1928 Diary entry by Schenker for 15 November 1928 Diary entry by Schenker for 17 November 1928 Diary entry by Schenker for 20 November 1928 Diary entry by Schenker for 21 November 1928 Diary entry by Schenker for 24 November 1928 Diary entry by Schenker for 30 November 1928 Diary entry by Schenker for 2 December 1928 Diary entry by Schenker for 3 December 1928 Diary entry by Schenker for 16 December 1928 Diary entry by Schenker for 21 December 1928 Diary entry by Schenker for 23 December 1928 Diary entry by Schenker for 31 December 1928 Diary entry by Schenker for 4 January 1929 Diary entry by Schenker for 5 January 1929 Diary entry by Schenker for 6 January 1929 Diary entry by Schenker for 7 January 1929 Diary entry by Schenker for 26 January 1929 Diary entry by Schenker for 2 February 1929 Diary entry by Schenker for 17 February 1929 Diary entry by Schenker for 24 February 1929 Diary entry by Schenker for 8 March 1929 Diary entry by Schenker for 11 March 1929 Diary entry by Schenker for 15 March 1929 Diary entry by Schenker for 23 March 1929 Diary entry by Schenker for 29 March 1929 Diary entry by Schenker for 31 March 1929 Diary entry by Schenker for 2 April 1929 Diary entry by Schenker for 12 May 1929 Diary entry by Schenker for 19 May 1929 Diary entry by Schenker for 24 May 1929 Diary entry by Schenker for 30 May 1929 Diary entry by Schenker for 15 June 1929 Diary entry by Schenker for 26 July 1929 Diary entry by Schenker for 20 September 1929 Diary entry by Schenker for 29 September 1929 Diary entry by Schenker for 9 October 1929 Diary entry by Schenker for 12 October 1929 Diary entry by Schenker for 18 October 1929 Diary entry by Schenker for 19 October 1929 Diary entry by Schenker for 20 October 1929 Diary entry by Schenker for 21 October 1929 Diary entry by Schenker for 9 November 1929 Diary entry by Schenker for 16 November 1929 Diary entry by Schenker for 30 November 1929 Diary entry by Schenker for 11 December 1929 Diary entry by Schenker for 24 December 1929 Diary entry by Schenker for 31 December 1929 Diary entry by Schenker for 3 January 1930 Diary entry by Schenker for 1 February 1930 Diary entry by Schenker for 7 February 1930 Diary entry by Schenker for 11 February 1930 Diary entry by Schenker for 21 February 1930 Diary entry by Schenker for 22 February 1930 Diary entry by Schenker for 23 February 1930 Diary entry by Schenker for 24 February 1930 Diary entry by Schenker for 25 February 1930 Diary entry by Schenker for 9 March 1930 Diary entry by Schenker for 15 March 1930 Diary entry by Schenker for 21 March 1930 Diary entry by Schenker for 29 March 1930 Diary entry by Schenker for 2 April 1930 Diary entry by Schenker for 16 May 1930 Diary entry by Schenker for 2 June 1930 Diary entry by Schenker for 7 June 1930 Diary entry by Schenker for 10 July 1930 Diary entry by Schenker for 17 July 1930 Diary entry by Schenker for 11 September 1930 Diary entry by Schenker for 20 October 1930 Diary entry by Schenker for 3 November 1930 Diary entry by Schenker for 26 November 1930 Diary entry by Schenker for 5 December 1930 Diary entry by Schenker for 9 December 1930 Diary entry by Schenker for 17 December 1930 Diary entry by Schenker for 27 December 1930 Diary entry by Schenker for 28 December 1930 Diary entry by Schenker for 18 February 1931 Diary entry by Schenker for 5 March 1931 Diary entry by Schenker for 10 March 1931 Diary entry by Schenker for 11 March 1931 Diary entry by Schenker for 26 April 1931 Diary entry by Schenker for 30 April 1931 Diary entry by Schenker for 30 September 1931 Diary entry by Schenker for 1 October 1931 Diary entry by Schenker for 17 October 1931 Diary entry by Schenker for 18 October 1931 Diary entry by Schenker for 15 November 1931 Diary entry by Schenker for 14 December 1931 Diary entry by Schenker for 24 December 1931 Diary entry by Schenker for 19 January 1932 Diary entry by Schenker for 25 February 1932 Diary entry by Schenker for 27 February 1932 Diary entry by Schenker for 22 March 1932 Diary entry by Schenker for 2 April 1932 Diary entry by Schenker for 7 November 1932 Diary entry by Schenker for 18 December 1932 Diary entry by Schenker for 18 January 1933 Diary entry by Schenker for 20 January 1933 Diary entry by Schenker for 7 June 1933 Diary entry by Schenker for 6 July 1933 Diary entry by Schenker for 5 August 1933 Diary entry by Schenker for 11 August 1933 Diary entry by Schenker for 25 August 1933 Diary entry by Schenker for 1 October 1933 Diary entry by Schenker for 9 December 1933 Diary entry by Schenker for 22 December 1933 Diary entry by Schenker for 16 May 1934 Diary entry by Schenker for 11 July 1934 Diary entry by Schenker for 17 July 1934 Diary entry by Schenker for 28 July 1934 Diary entry by Schenker for 29 August 1934 Diary entry by Schenker for 6 September 1934 Diary entry by Schenker for 7 September 1934 Diary entry by Schenker for 8 September 1934 Diary entry by Schenker for 9 September 1934 Diary entry by Schenker for 19 September 1934 Diary entry by Schenker for 4 October 1934 Diary entry by Schenker for 22 November 1934 Diary entry by Schenker for 29 December 1934 Lessonbooks OC 3/1: Jan 1912-Mar 1912 Marianne Kahn: lesson: Saturday January 20, 1912 OC 3/1: Jan 1912-Mar 1912 Evelina Pairamall: lesson: Saturday January 27, 1912 OC 3/1: Jan 1912-Mar 1912 Otto Vrieslander: lesson: Monday January 29, 1912 OC 3/1: Jan 1912-Mar 1912 Hans Weisse: lesson: Tuesday January 30, 1912 OC 3/1: Jan 1912-Mar 1912 Marianne Kahn: lesson: Saturday February 3, 1912 OC 3/1: Jan 1912-Mar 1912 Hans Weisse: lesson: Tuesday February 6, 1912 OC 3/1: Jan 1912-Mar 1912 Hans Weisse: lesson: Tuesday February 13, 1912 OC 3/1: Jan 1912-Mar 1912 Marianne Kahn: lesson: Saturday March 2, 1912 OC 3/1-2: Oct 1912-Jun 1913 Sofie Deutsch: lesson: Thursday November 21, 1912 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday October 3, 1913 OC 3/2-3: Oct 1913-Jun 1914 Marianne Kahn: lesson: Saturday October 11, 1913 OC 3/2-3: Oct 1913-Jun 1914 Marianne Kahn: lesson: Saturday October 18, 1913 OC 3/2-3: Oct 1913-Jun 1914 Hans Weisse: lesson: Thursday October 23, 1913 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday October 24, 1913 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday November 7, 1913 OC 3/2-3: Oct 1913-Jun 1914 Jenny Kornfeld: lesson: Saturday November 8, 1913 OC 3/2-3: Oct 1913-Jun 1914 Sofie Deutsch: lesson: Thursday November 13, 1913 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday November 14, 1913 OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Friday November 21, 1913 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday November 21, 1913 OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Tuesday November 25, 1913 OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Friday November 28, 1913 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday November 28, 1913 OC 3/2-3: Oct 1913-Jun 1914 Robert Brünauer: lesson: Friday November 28, 1913 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday December 5, 1913 OC 3/2-3: Oct 1913-Jun 1914 Robert Brünauer: lesson: Tuesday December 9, 1913 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday December 12, 1913 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday December 19, 1913 OC 3/2-3: Oct 1913-Jun 1914 Hans Weisse: lesson: Monday December 22, 1913 OC 3/2-3: Oct 1913-Jun 1914 Robert Brünauer: lesson: Tuesday, January 13, 1914 OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Friday, January 16, 1914 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday, January 16, 1914 OC 3/2-3: Oct 1913-Jun 1914 Hans Weisse: lesson: Thursday, January 29, 1914 OC 3/2-3: Oct 1913-Jun 1914 Marianne Kahn: lesson: Saturday, February 21, 1914 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday, February 27, 1914 OC 3/2-3: Oct 1913-Jun 1914 Toni Colbert: lesson: Thursday, March 5, 1914 OC 3/2-3: Oct 1913-Jun 1914 Marianne Kahn: lesson: Saturday, March 7, 1914 OC 3/2-3: Oct 1913-Jun 1914 Marianne Kahn: lesson: Saturday, March 21, 1914 OC 3/2-3: Oct 1913-Jun 1914 Sofie Deutsch: lesson: Monday, March 23, 1914 OC 3/2-3: Oct 1913-Jun 1914 Robert Brünauer: lesson: Friday, April 17, 1914 OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Tuesday, April 28, 1914 OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Tuesday, May 5, 1914 OC 3/2-3: Oct 1913-Jun 1914 Robert Brünauer: lesson: Friday, May 8, 1914 OC 3/2-3: Oct 1913-Jun 1914 Fräulein Bloch: lesson: Friday, June 5, 1914 OC 3/3: Oct 1914-Jun 1915 Viktor Zuckerkandl: lesson: October 8, 1914 OC 3/3: Oct 1914-Jun 1915 Felix Hupka: lesson: October 24, 1914 OC 3/3: Oct 1914-Jun 1915 Victor Zuckerkandl: lesson: November 2, 1914 OC 3/3: Oct 1914-Jun 1915 Hans Weisse: lesson: March 4, 1915 OC 3/3: Oct 1914-Jun 1915 Fräulein König: lesson: March 15, 1915 OC 3/3: Oct 1914-Jun 1915 Hans Weisse: lesson: March 27, 1915 OC 3/3: Oct 1915-Jun 1916 Angi Elias: lessons: Oct 1915 OC 3/3: Oct 1915-Jun 1916 Frau Kaposi: lessons: Oct 1915 OC 3/3: Oct 1915-Jun 1916 Fräulein König: lessons: Oct 1915 OC 3/3: Oct 1915-Jun 1916 Toni Colbert: lessons: Nov 1915 OC 3/3: Oct 1915-Jun 1916 Angi Elias: lessons: Nov 1915 OC 3/3: Oct 1915-Jun 1916 Frau Kaposi: lessons: Nov 1915 OC 3/3: Oct 1915-Jun 1916 Fräulein Selig: lessons: Nov 1915 OC 3/3: Oct 1915-Jun 1916 Robert Brünauer: lessons: Jan-Feb 1916 OC 3/3: Oct 1915-Jun 1916 Toni Colbert: lessons: Jan-Feb 1916 OC 3/3: Oct 1915-Jun 1916 Angi Elias: lessons: Jan-Feb 1916 OC 3/3: Oct 1915-Jun 1916 Frau Kaposi: lessons: Jan-Feb 1916 OC 3/3: Oct 1915-Jun 1916 Fräulein Selig: lessons: Jan-Feb 1916 OC 3/3: Oct 1915-Jun 1916 Toni Colbert: lessons: March 1-15, 1916 OC 3/3: Oct 1915-Jun 1916 Marianne Kahn: lessons: c.March 16-April 30, 1916 OC 3/3: Oct 1915-Jun 1916 Fräulein König: lessons: c.March 16-April 30, 1916 OC 3/3: Oct 1915-Jun 1916 Robert Brünauer: lessons: First half of May, 1916 OC 3/3: Oct 1915-Jun 1916 Toni Colbert: lessons: First half of May, 1916 OC 3/3: Oct 1915-Jun 1916 Sofie Deutsch: lessons: First half of May, 1916 OC 3/3: Oct 1915-Jun 1916 Angi Elias: lessons: First half of May, 1916 OC 3/3: Oct 1915-Jun 1916 Marianne Kahn: lessons: First half of May, 1916 OC 3/3: Oct 1915-Jun 1916 Fräulein König: lessons: First half of May, 1916 OC 3/3: Oct 1915-Jun 1916 Fräulein Selig: lessons: First half of May, 1916 OC 3/3: 1916/17 Robert Brünauer: lessons: October-November [1916] OC 3/3: 1916/17 Sofie Deutsch: lessons: October-November [1916] OC 3/3: 1916/17 Angi Elias: lessons: October-November [1916] OC 3/3: 1916/17 Fräulein König: lessons: October-November [1916] OC 3/3: 1916/17 Robert Brünauer: lessons: December 1916‒March 1917 OC 3/3: 1916/17 Fräulein König: lessons: December 1916‒March 1917 OC 3/3: 1916/17 Felix Hupka: lessons: December 1916‒March 1917 OC 3/3: 1916/17 Robert Brünauer: lessons: April‒June 1917 OC 3/3: 1916/17 Marianne Kahn: lessons: April‒June 1917 OC 3/3: 1916/17 Fräulein König: lessons: April‒June 1917 OC 3/3: 1917/18 Robert Brünauer: lessons: 1st semester 1917/18 OC 3/3: 1917/18 Marianne Kahn: lessons: 1st semester 1917/18 OC 3/3: 1917/18 Frau Kaposi: lessons: 1st semester 1917/18 OC 3/3: 1917/18 Herr Blum: lessons: 2nd semester 1917/18 OC 3/3: 1917/18 Robert Brünauer: lessons: 2nd semester 1917/18 OC 3/3: 1917/18 Angi Elias: lessons: 2nd semester 1917/18 OC 3/3: 1917/18 Lilly Freund: lessons: 2nd semester 1917/18 OC 3/3: 1917/18 Marianne Kahn: lessons: 2nd semester 1917/18 OC 3/3: 1917/18 Frau Kaposi: lessons: 2nd semester 1917/18 OC 3/3: 1917/18 Fräulein König: lessons: 2nd semester 1917/18 OC 3/3: 1917/18 Evelina Pairamall: lessons: 2nd semester 1917/18 OC 3/3: 1917/18 Fräulein Selig: lessons: 2nd semester 1917/18 OC 3/3: 1918/19 Felix Hupka: lessons: 1918/19 OC 3/3: 1918/19 Trude Kaff: lessons: 1918/19 OC 3/3: 1918/19 Marianne Kahn: lessons: 1918/19 OC 3/3: 1918/19 Frau Kaposi: lessons: 1918/19 OC 3/3: 1918/19 Fräulein Moscisker: lessons: 1918/19 OC 3/3: 1918/19 Evelina Pairamall: lessons: 1918/19 OC 3/3: 1918/19 Hans Weisse: lessons: 1918/19 OC 3/3: Oct 1919-Jun 1920 Fräulein Fried: lessons: Oct 1919-Jan 1920 OC 3/3: Oct 1919-Jun 1920 Felix Hupka: lessons: Oct 1919-Jan 1920 OC 3/3: Oct 1919-Jun 1920 Oswald Jonas: lessons: Oct 1919-Jan 1920 OC 3/3: Oct 1919-Jun 1920 Marianne Kahn: lessons: Oct 1919-Jan 1920 OC 3/3: Oct 1919-Jun 1920 Frau Kaposi: lessons: Oct 1919-Jan 1920 OC 3/3: Oct 1919-Jun 1920 Mond: lessons: Oct 1919-Jan 1920 OC 3/3: Oct 1919-Jun 1920 Hans Weisse: lessons: Oct 1919-Jan 1920 OC 3/3: Oct 1919-Jun 1920 Angi Elias: lessons: Feb 1920-Jun 1920 OC 3/3: Oct 1919-Jun 1920 Richard Figdor: lessons: Feb 1920-Jun 1920 OC 3/3: Oct 1919-Jun 1920 Marianne Kahn: lessons: Feb 1920-Jun 1920 OC 3/3: Oct 1919-Jun 1920 Fräulein Schaab: lessons: Feb 1920-Jun 1920 OC 3/3: Oct 1919-Jun 1920 Hans Weisse: lessons: Feb 1920-Jun 1920 OC 3/3: Oct 1919-Jun 1920 Mond: lessons: Feb 1920-Jun 1920 OC 3/3: 1920/21 Carl Bamberger: lessons: 1920/21 OC 3/3: 1920/21 Robert Brünauer: lessons: 1920/21 OC 3/3: 1920/21 Angi Elias: lessons: 1920/21 OC 3/3: 1920/21 Richard Figdor: lessons: 1920/21 OC 3/3: 1920/21 Fräulein Fried: lessons: 1920/21 OC 3/3: 1920/21 Marianne Kahn: lessons: 1920/21 OC 3/3: 1920/21 Klammerth [jnr]: lessons: 1920/21 OC 3/3: 1920/21 Mond: lessons: 1920/21 OC 3/3: 1920/21 Fräulein Mosčisker: lessons: 1920/21 OC 3/3: 1920/21 Evelina Pairamall: lessons: 1920/21 OC 3/3: 1920/21 Fräulein Schaab: lessons: 1920/21 OC 3/3: 1920/21 Theodor Schreier: lessons: 1920/21 OC 3/3: 1920/21 Hans Gärtner: lessons: 1920/21 OC 3/3: 1923/24 Fräulein Gergely: lessons: 1923/24 OC 3/3: 1923/24 Frau Hähnl: lessons: 1923/24 OC 3/3: 1923/24 Marianne Kahn: lessons: 1923/24 OC 3/3: 1923/24 Maria Komorn: lessons: 1923/24 Other material OC 2/p. 60, [3] Review: Bekker, "Musiker-Faksimiles"