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OJ 11/42, [15] Handwritten postcard from Maximilian Harden to Schenker, undated; postmarked June
14, 1894
Harden says he will look over an article by Schenker soon; he wonders whether
Brahms or Rosenthal will contribute anything on Bülow to Die Zukunft; and he encourages
Schenker to send him more articles in the future.
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OJ 11/42, [16] Handwritten postcard from Maximilian Harden to Schenker, dated July 15,
1894
Harden agrees in principle to Schenker's publishing elsewhere some material on
which Harden had some claim; he advises Schenker that he has no following among the audience
of Die Neue Review; he has heard nothing from Brahms or Rosenthal about contributing
something about Bülow to Die Zukunft.
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OJ 13/29, [B] Handwritten letter from Rosenthal to Schenker, undated
Rosenthal is ready to write an article ‒ evidently about Mozart ‒ but wishes
to discuss it first.
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OJ 11/42, [21] Handwritten letter from Maximilian Harden to Schenker, dated November 24,
1894
Harden encourages Schenker to write articles on the string quartet and on
[Johann] Strauß and Humperdinck, but not on Brahms. — He explains why he lost his temper
with Schenker in an earlier letter (see OJ 11/42, [19]). — He urges Schenker to procure some
corresondence between Rosenthal and Rubenstein for publication in Die Zukunft; and he casts
aspersion on Die Zeit.
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OJ 13/29, [1] Handwritten letter from Rosenthal to Schenker, dated December 14, 1894
Rosenthal has placed an article elsewhere than Die Zukunft.
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OJ 11/42, [22] Handwritten letter from Maximilian Harden to Schenker, dated December 20,
1894
Harden rejects one of Schenker's submissions; he is resigned to Rosenthal's
refusal to publish in Die Zukunft, but tells Schenker that Rosenthal has maligned him; he
requests a referral via Gelber to someone, perhaps Viktor Adler, who would write about
Austrian social relations for the journal.
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OJ 11/42, [23] Handwritten letter from Maximilian Harden to Schenker, dated May 30, 1895
Harden tells Schenker that a submission from d'Albert would be welcomed; he
encourages Schenker to send him a copy of a previously published lecture which he will
consider publishing despite usual practise; and he asks whether Brahms or Rosenthal will
contribute any Bülow letters to Die Zukunft.
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OJ 13/29, [2] Handwritten letter from Rosenthal to Schenker, dated May 26, 1896
Rosenthal thanks Schenker for his words of friendship.
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OJ 13/29, [3] Handwritten letter from Rosenthal to Schenker, dated March 18, [1899?]
Rosenthal is eager to see Schenker's promised Fantasy, Op. 2.
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Sbb B II 4430 Handwritten letter with envelope from Schenker to Busoni, dated January 7,
1900
Schenker has played his Syrische Tänze to Eduard Hanslick and reports the
favorable remarks Hanslick made about Busoni. The first public performance of the Dances has
been postponed because of illness.
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OJ 13/29, [4] Handwritten letter from Rosenthal to Schenker, dated December 31, 1901
Rosenthal responds to Schenker regarding the effect of "habit and prejudice"
on the performer; wishes to discuss phrasing-slurs in Chopin with him.
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OJ 13/29, [5] Calling card from Rosenthal with handwritten note to Schenker, dated November 18,
1902
Rosenthal has reserved a ticket for Schenker. — He recommends Frl. Fritzi
Neumann.
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OJ 13/29, [6] Handwritten letter from Rosenthal to Schenker, dated December 14, 1902
Rosenthal identifies Fritzi Neumann, and explains the background to her
application.
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OJ 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903
Rosenthal inquires about Schenker's being performed in
Berlin.
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WSLB 118 Handwritten letter from Schenker to Hertzka (UE), date June 4, 1912
Schenker urges Hertzka to contact Dr. Harpner in connection with the planned
Organization. He reiterates his demands regarding payment for the planned last five
Beethoven sonata edition, specifying the sums, and disputes Hertzka's
counterargument.
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WSLB 120 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1912
A long letter, biblical in tone, in which Schenker prophesies that a "Flood of
the moderns" will come to pass, and in Noah's ark his works will "occupy the place of
honor," and that a "bright new light" will establish Universal Edition as superior to the
German publishers. He accepts Hertzka's terms for the Beethoven Last Five Sonatas edition
for now. He again urges Hertzka to contact Dr. Harpner regarding the planned Organization of
Creative and Performing Musicians. He encourages Hertzka to deal more generously with Hans
Weisse.
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WSLB 121 Handwritter letter from Schenker to Hertzka (UE), dated June 13[?], 1912
Schenker reports the state of play [on the Organisation] and again urges
Hertzka to contact Dr. Harpner.
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WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912
Schenker reports improved agreement among the supporters of the planned
Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for
the fee for correcting proofs of Beethovens neunte Sinfonie.
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WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26,
1912]
Recounting the backstory of the move to found an [Austrian] organization of
musicians, and painting it as a rearguard action by performers against the dominance of Neue
freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an
approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to
the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he
complains at the timid tone of Universal Edition's advertising of his own
works.
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OC 52/97 Typewritten letter from Hertzka (UE) to Schenker, dated August 28, 1912
In an important letter on the plan for an organization of composers and
concert musicians, Hertzka declares himself willing to be involved, sets out a timetable,
issues a caution, and raises the issue of finance; in dealings with Hugo Heller, UE's and
his own name should not yet be divulged.
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OJ 13/29, [8] Handwritten letter from Rosenthal to Schenker, dated November 10, 1912
Rosenthal apologizes for mishandling of ticket issue, and raises the matter of
forming an artists' organization.
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WSLB 142 Handwritten letter from Schenker to Hertzka (UE), dated November 10, 1912
Schenker responds to Hertzka's claim of overwork and strained nerves,
remarking that everybody [on the matter of the proposed Organization] is "holding back,"
even he himself.
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OJ 13/29, [9] Handwritten postcard from Moriz Rosenthal, Wilhelmine and Jacob Klein to Schenker,
undated, postmarked November 13, 1912
Greetings
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OJ 10/1, [65] Handwritten letter from Dahms to Schenker, dated August 21, 1921
Dahms is unable to visit the Schenkers in Galtür. — He criticizes Berlin and its
artists and critics.
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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.
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OJ 70/3, [1] Handwritten draft of a letter from Moriz Violin to Moriz Rosenthal, undated,
probably dating from c. January 20, 1935]
Violin regrets having failed to honor an agreement with Rosenthal to write an
"outpouring from the heart" regarding Schenker's theory, and proceeds to draft a statement
on the "presuppositions of the Urlinie," which he will re-draft in light of Rosenthal's
comments.