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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.
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OC B/273 Typewritten letter from Louis Koch to Schenker, dated October 23, 1913
Koch lists the Beethoven manuscript items in his possession.
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OC B/272 Typewritten letter from Louis Koch to Schenker, dated October 28, 1913
Koch agrees to supply photographs of Op. 110.
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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.
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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.
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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.
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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.
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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.
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OJ 13/10, [6] Handwritten letter from Oppel to Schenker, dated February 19, 1919
Oppel thanks Schenker for EA, Opp. 110 and 111, which he has enjoyed, inquires
after EA, Opp. 101 and 106, and Kontrapunkt 2, and raises a possible thematic link between two
movements of Op. 110 (music example). His plan to study with Schenker has to be deferred; he
will soon send compositions, and asks for unsparing criticism.
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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.
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OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14,
1920
The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit
them?
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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.
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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.
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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.
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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.
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PhA/Ar 56, [2] Handwritten letter from Schenker to Haas, dated December 7, 1927
Schenker sends Haas photographic copies of five Beethoven
works.
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PhA/Ar 56, [9] Typewritten letter of confirmation from Schenker to Kromer, dated December 12,
1928
Schenker acknowledges receipt of Beethoven photograms.
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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.
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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.