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OJ 6/3, [13] Handwritten letter with envelope from Schenker to Moriz Violin, dated February 8,
1900
When Violin returns from Berlin, Schenker will send him his Zweistimmige
Inventionen, Op. 5: he inquires whether Busoni has said anything about them. -- He raises the
substitute lessons he is giving to the Wiener and Leiner families: Violin has failed to instruct
him on the fee to be charged. Can he ask 10 Florins? -- He disagrees with Mahler's performance
of the "Eroica."
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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.
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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.
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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.
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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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OJ 12/11, [1] Handwritten letter from Klenau to Schenker, dated September 17, 1923
First approach from Klenau: asks to visit Schenker.
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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.
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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.
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OJ 12/11, [5] Handwritten letter from Klenau to Schenker, dated October 21, 1923
Klenau thanks Schenker for advice on performing the "Eroica"
Symphony.
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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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OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928
Hertzka welcomes Schenker's intention now to produce [his elucidatory edition
of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the
"Eroica" study and Der freie Satz but cannot schedule them until after
1929.
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OJ 5/38, [53] Handwritten letter from Heinrich to Wilhelm Schenker, dated January 27,
1929
Schenker explains that his involvement with a Schubert festival and conference
has prevented him from writing sooner. He speaks about his blood-sugar level, about
listening to the radio, and about visits from their brother Mozio before finishing with two
Jewish jokes.
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OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929
Schenker thanks Violin for his concerns, describes how they survived the cold
weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished
and that he has written an article about the Photogram Archive, which has acquired over
seven thousand pages of manuscripts. He looks forward to seeing his friend in the
summer.
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OJ 5/38, [54] Handwritten letter from Heinrich to Wilhelm Schenker, dated March 14,
1929
Schenker asks how Wilhelm is coping with the cold weather and sends him a copy
of his article on textual criticism recently published in Der Kunstwart.
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OJ 5/38, [57] Handwritten letter from Heinrich to Wilhelm Schenker, dated June 14, 1929
Heinrich tells Wilhelm that their younger brother has returned some of the
money that had been in Heinrich’s account with him. Jeanette is thoroughly exhausted and
looks forward to resting on their holiday. They hope to visit Wilhelm on their return from
the Tyrol.
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OJ 5/7a, [24] (formerly vC 24) Handwritten postcard from Schenker to Cube, dated July 6, 1929
Schenker has heard again from Erich Voß about lessons and shows signs of
annoyance. Has completed his "Eroica" study, and Der freie Satz looms.
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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.
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OJ 6/7, [43] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1929
Urging his friend to write only when he feels up to it, Schenker gives Violin
some news of his own: that the Eroica Symphony monograph is finished but a publisher who is
capable of dealing with the numerous music examples must be found; that Schenker will work
unceasingly on Der freie Satz once the Eroica is out of the way; that the Photogram Archive
has grown in size in two years, and that so many requests for information have been received
that a yearbook is planned, with critical reports, new editions, and the like; that Hoboken
and Vrieslander have fallen out (over money matters); that Schenker's brother Mozio (Moses)
has separated from his wife after 25 years of marriage and that he his has been giving music
lessons to Mozio’s son, a cellist in the Baden city orchestra.
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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.
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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].
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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.
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OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930
Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed
Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie
Satz.
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OJ 5/38, [66] Handwritten letter from Heinrich to Wilhelm Schenker, dated August 14,
1930
Heinrich has heard that their brother Moriz has been granted a mortgage on his
property and will be able to repay him his money. — He describes the changeable weather the
Tyrol and says he and Jeanette are busy correcting the proofs [of the third Meisterwerk
yearbook].
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OJ 5/38, [67] Handwritten postcard from Heinrich to Wilhelm Schenker, dated August 31,
1930
Heinrich tells his brother Wilhelm that many things will prevent him and Jeanette
from visiting him at the end of the summer. — He reports Hans Weisse’s invitation to lecture on
Schenkerian theory in Berlin.
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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.
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OJ 15/15, [53] Handwritten postcard from Weisse to Schenker, dated December 27, 1930
Weisse thanks Schenker for his support; he has sent off the manuscripts (of
his lectures) to Drei Masken Verlag. He commends his teacher for the clarity of the
analytical graphing of the "Eroica" Symphony.
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OJ 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931
Hearing that Schenker expects to complete Der freie Satz by early spring,
Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on
Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of
a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the
author against Schenker.
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OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931
Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he
emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice;
comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of
C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be
available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete
rest.
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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.
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OJ 9/34, [35] Handwritten letter from Cube to Schenker, dated December 7, 1932
Cube reports on his current state of mind, his work on a Bach graph (commenting
on a graph by Angi Elias), promises to send an article on Schenker that has appeared in the
Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl
Violin.
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WSLB-Hds 116.935 Handwritten postcard from Schenker to Deutsch, dated May 7, 1933
Schenker is sending Deutsch an article and catalog. -- He answers a question
about the Finale of the "Eroica" symphony.
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LC ASC 27/45, [30] Handwritten letter from Moriz Violin to Schoenberg, dated April 5, 1945
Violin conveys his desperation over his job situation, and asks Schoenberg to
write to Pierre Monteux to request an interview.