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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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OC B/277 Handwritten calling card from Carl Krebs to Schenker, dated April 27,
1913
Krebs gives information about the whereabouts of Beethoven's Piano Sonata Op.
101, but not of Op. 106.
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OC B/280 Handwritten letter from Max Meinert to Schenker, dated December 1, 1913
Max Meinert does not know the whereabouts of the autograph manuscripts of Op.
101 and Op. 106.
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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.
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OC 52/507-508 Typed letter from Hertzka (UE) to Schenker, dated December 19, 1919
Hertzka is pleased that Louis Koch has given his consent [for Op. 101]; he
suggests that UE obtain certain sources from the Gesellschaft der Musikfreunde Archive on loan
at the office for Schenker to work on; and offers a larger fee for Op. 101, and cautions
Schenker about growing costs of photographic work.
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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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OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22,
1920
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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.
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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.
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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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OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26,
1923
Not having heard from him for a long time, Schenker’s asks for news of Violin and
his family.
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OJ 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9,
1923
Having settled into country life in the Tyrol, Schenker returns to his work, in
particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks
Violin’s opinion about a subscription plan for a periodical that would appear four times a year
(instead of the current two), and hopes that his friend might spare a few days to visit him in
Galtür.
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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.
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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.
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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.
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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.
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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.
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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."
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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.
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WSLB-Hds 191.566 Handwritten letter from Schenker to Deutsch, dated August 5, 1930
Replying to Deutsch’s letter of July 30, Schenker warmly recommends his
long-standing pupil Marianne Kahn as a teacher for Deutsch’s brother. -- He then
comments at length on a newspaper article by Richard Benz (of which Deutsch had sent
a clipping), using a medical metaphor to describe the current pathological state of
music.
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OJ 12/6, [11] Typewritten letter from Jonas to Schenker, dated March 24, 1932
Furtwängler liked his essay; Jonas describes his lectures at the Conservatory;
the situation with Einstein over publishing his review of Meisterwerk 3; asks about
permission to consult Brahms's arrangement of Saul.