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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.
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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.
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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.
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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.
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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.
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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.
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BNba Frimmel Nachl, [5] Handwritten letter from Schenker to Frimmel, dated August 4, 1912
Schenker reports that he has heard from Mandyczewski that the autograph of
Beethoven's piano sonata Op. 109 is owned by Poldy Wittgenstein. He will need to go to
Berlin for the remaining manuscripts.
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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.
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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.
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OJ 12/21, [1] Handwritten letter from Carl Krebs to Schenker, dated August 30, 1912
Krebs is unable to give Schenker information as to the whereabouts of the
autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109
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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.
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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.
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OC 52/495 Typewritten letter from Hertzka (UE) to Schenker, dated November 28, 1912
Hertzka is sending another copy of Beethoven Op. 109, and is pleased to hear
of Schenker's discoveries. -- He asks for a discussion regarding the proposed "Alliance"
[recte "Organization"], on which he has some new ideas. -- He may look again at Hans
Weisse's music in 1913.
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OC B/279 Typewritten letter from Leo Liepmannssohn to Schenker, dated November 29,
1913
Liepmannssohn has none of the manuscripts Schenker seeks.
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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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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.
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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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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.
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OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927
Violin reports on his son Karl's continued health problems and also his
affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in
Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for
comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for
two pianos by C. P. E. Bach in an arrangement by Schenker.
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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, [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.
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OJ 12/6, [13] Handwritten letter from Jonas to Schenker, dated July 14, 1932
Jonas reports on his visit to Berlin, where he failed to meet with Furtwängler; —
discusses Brahms-Handel Saul and Beethoven Op. 109. — He has heard about the Fünf Urlinie-Tafeln
from Hoboken and Salzer; — discusses plans for publishing his Das Wesen des musikalischen
Kunstwerkes. — Has received books from Alfred Einstein.
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OJ 5/18, 11 Handwritten letter from Schenker to Jonas, dated July 18, 1932
Schenker tries to account for Furtwängler's unavailability for a conference over
the Handel Saul score. — He does not need the copy of [Beethoven] Op. 109 offered by Mr. Kromer.
— An introduction to his theory would be "in order," but its marketing might be problematic and
require a benefactor; he regrets that Anthony van Hoboken is not such a person.