OJ 6/4, [46] Handwritten letter from Schenker to Moriz Violin, dated June 22, 1909

Schenker reports a successful deal with Hertzka at Universal Edition, and refers to monetary matters between them.

OC 52/422 Typewritten letter from Hertzka (UE) to Schenker, dated June 24, 1909

Hertzka confirms the agreed edition of the Chromatic Fantasy & Fugue, and will send the required editions.

WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July 1909]

Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks it worthy of publication, to send a letter of reference to one or other Viennese newspaper. He also expresses his satisfaction at how his career is shaping: he has requested and received generous fees for the editions he has prepared for Universal Edition, and his theoretical writings for Cotta are also moving along.

WSLB 42 Handwritten postcard from Schenker to Hertzka (UE), dated September 20, 1909

The Chromatic Fantasy & Fugue is ready to deliver. Proposes a meeting to discuss printing.

OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10, 1909

Schenker, on receipt of the score of a Rudorff choral work, praises its textural clarity and melodic articulation, comparing them favorably to the writing of the current generation. — He reports the success of his own recent theory works, and inroads made into the Vienna Academy for Music and Performance Art.

OC 52/39 Typewritten letter from Hertzka (UE) to Schenker, dated October 15, 1909

Hertzka encloses a contract for the Chromatic Fantasy & Fugue edition for signature and return.

OC 52/423 Printed contract, with handwritten entries, between Schenker and UE, dated October 17, 1909

Contract for Schenker's edition of Bach's Chromatic Fantasy & Fugue

OC 52/41 Typewritten letter from Hertzka (UE) to Schenker, dated October 26, 1909

Hertzka asks for a meeting to discuss the Chromatic Fantasy & Fugue edition.

WSLB 46 Handwritten letter from Schenker to Hertzka (UE), dated October 30, 1909

Schenker warns that he may be delayed or unable to attend the agreed meeting because of a dental appointment.

OC 52/43 Typewritten letter from Hertzka (UE) to Schenker, dated November 10, 1909

Hertzka attempts to reassure Schenker that the topics he wanted to discuss did not involve "changes", only technical matters.

WSLB 48 Handwritten letter from Schenker to Hertzka (UE), November 12, 1909

Schenker thanks Hertzka for the latest information on the Chromatic Fantasy & Fugue.

WSLB-Hds 95656 Handwritten postcard from Schenker to Seligmann, dated December 3, 1909

Schenker congratulates Seligmann on his latest feuilleton in the Neue Freie Presse, and asks for clarification about a matter concerning an essay on Byron’s Manfred and his friend Moriz Violin.

WSLB 49 Handwritten postcard from Schenker to Hertzka (UE), dated December 20, 1909

Schenker asks for proofs of his Chromatic Fantasy & Fugue edition over the Christmas holiday.

OC 52/44 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1909

Hertzka regrets that since printing has not yet begun Schenker cannot have proofs over Christmas; — He asks for a meeting during the holidays.

WSLB 51 Handwritten letter from Schenker to Hertzka (UE), dated February 6, 1910

Schenker complains that others have been allowed to see his Chromatic Fantasy & Fugue, whereas he has not yet received proofs.

WSLB 52 Handwritten letter from Schenker to Hertzka (UE), dated February 7, 1910

Schenker's Chromatic Fantasy edition is an exception: other Bach works can be published with less editorial detail. — He accuses Universal Edition of favoring "anti-musical music." — With heavy irony, he suggests handing other Bach editing work to others so as to promote UE's commercial interests.

OC 52/424 Typewritten letter from Hertzka (UE) to Schenker, dated February 7, 1910

While informing Schenker that his edition of the Chromatic Fantasy & Fugue has not yet gone to the printers/engravers, Hertzka rebuts Schenker's allegation that he has shown the edition to Godowsky, Robert and others. He raises the possibility of Schenker's editing other works by J. S. Bach.

OC 52/45 Typewritten letter from Hertzka (UE) to Schenker, dated February 11, 1910

Refuting Schenker's accusations, particularly that UE emphasizes "anti-musical music," Hertzka says he will print the proposed Bach works as Schenker suggests, and informs him that the Chromatic Fantasy & Fugue edition will go to press in early March.

OC 52/47 Typewritten letter from Hertzka (UE) to Schenker, dated March 12, 1910

Proofs of the Chromatic Fantasy & Fugue edition will not be available by Easter [March 27]. Hertzka hopes Schenker will be able to correct them in April.

WSLB 54 Handwritten letter from Schenker to Hertzka (UE), dated March 12, 1910

Schenker asks for proofs of his edition of the Chromatic Fantasy & Fugue, so that he can correct them over the Easter holidays.

OC 52/48 Typewritten letter from Hertzka (UE) to Schenker, dated April 9, 1910

There is now no hope of the Chromatic Fantasy & Fugue edition being available for proof-correcting by the middle of April, hence UE may be forced to send the work to Breitkopf & Härtel. — Hertzka asks for a report on other projects under discussion.

WSLB 56 Handwritten letter from Schenker to Hertzka (UE), dated April 10, 1910

Schenker accuses Hertzka of failing to keep his word over delivery of proofs of his Chromatic Fantasy & Fugue edition, quoting Hertzka's words from a previous letter.

OC 52/49 Typewritten letter from Hertzka (UE) to Schenker, dated April 11, 1910

Hertzka is unable to return, as requested, Schenker's copy of a volume of the Bach Gesellschaft Edition [vol. 36], and offers an alternative. — He denies having promised Schenker that the Chromatic Fantasy & Fugue edition would go to engraving in the Spring.

WSLB 60 Handwritten postcard from Schenker to Hertzka (UE), dated April 20, 1910

Schenker asks that proofs of his Chromatic Fantasy & Fugue edition reach him by May 1, and outlines a plan for production of the work. He will not be able to correct them during the summer.

OC 52/51 Typewritten letter from Hertzka (UE) to Schenker, dated June 2, 1910

Hertzka notifies Schenker that the proofs of the Chromatic Fantasy & Fugue edition are about to be delivered.

OJ 7/4, [63] Handwritten postcard from Schenker to Violin, dated June 3, 1910

Proofs of the Chromatic Fantasy & Fugue have arrived.

WSLB 61 Handwritten letter from Schenker to Hertzka (UE), dated June 3, 1910

Schenker acknowledges receipt of the first proofs his Chromatic Fantasy & Fugue edition, and comments on the high number of errors.

WSLB 62 Handwritten letter from Schenker to Hertzka (UE), dated June 10, 1910

Schenker reports that he is busy correcting proofs of his Chromatic Fantasy & Fugue edition, and hopes to have returned them by the end of June, and even to correct and approve the second proofs if available.

OC 52/52 Typewritten letter from Hertzka (UE) to Schenker, dated June 20, 1910

Hertzka acknowledges return of first proofs of the Chromatic Fantasy & Fugue edition, and promises to look out the contracts Schenker has requested.

CA 115 Handwritten letter from Schenker to Cotta, dated July 4, 1910

Schenker encloses manuscript of all prelims for Kontrapunkt 1. He mentions recent publication of his edition of J. S. Bach's Chromatic Fantasy and Fugue, and speaks of his plans for a Handbibliothek, for which he will present a proposal to Cotta. He announces his departure and gives his summer address.

OC 52/53 Typewritten memorandum from Barbara Rothe (UE) to Schenker, dated July 4, 1910

Miss Rothe encloses copies of two requested contracts.

OJ 7/4, [64] Handwritten postcard from Schenker to Violin, dated July 4, 1910

Schenker has sent all materials to Cotta and is about to depart [for Karerpass].

OJ 6/4, [49] Handwritten letter from Schenker to Violin, dated [July] 9, 1910

Schenker announces his arrival in the Karerpass, speaks of the costs, and outlines his concerns over money, including money he has to send to his mother on August 1. — He will write a letter to a female patron. — He describes the magnificence of the mountain views.

OC 52/54 Handwritten postcard from UE to Schenker, dated July 28, 1910

Second proofs of the Chromatic Fantasy & Fugue edition are ready for correcting: UE asks to which address to send them.

OJ 7/4, [66] Handwritten picture postcard from Schenker to Violin, dated August 2, 1910

Schenker awaits impatiently a letter from Violin; second proofs of the Chromatic Fantasy are imminent.

WSLB 63 Handwritten letter from Schenker to Hertzka (UE), dated August 8, 1910

Schenker has dispatched the second proof of his Chromatic Fantasy & Fugue edition from Karerpass to Vienna, and outlines his travel plans for the remaining summer.

OC 52/55 Handwritten postcard from UE to Schenker, dated August 17, 1910

UE acknowledge return of the [second] proofs of the Chromatic Fantasy & Fugue edition, but request that Schenker return the "original."

CA 118 Handwritten letter from Schenker to Cotta, dated August 19, 1910

A fire at his hotel causes Schenker to ask whether Cotta has sent him final proofs recently. — He inquires whether he might travel to Stuttgart to present his plan for the Handbibliothek in person.

OJ 9/31, [26] Stenographically handwritten letter from Cotta to Schenker, dated August [20?], 1910

In response to CA 118, Cotta advises Schenker to send his proposal for a Handbibliothek in advance of a possible visit to Stuttgart to present it in person.

OC 52/56 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 9, 1910

Wöß invites Schenker to call on him to discuss aspects of the Chromatic Fantasy & Fugue edition.

OC 52/57 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 15, 1910

Wöß asks a question concerning the abbreviations list in the Chromatic Fantasy & Fugue edition.

OC 52/58 Typewritten postcard from UE to Schenker, dated September 15, 1910

Since further issues have arisen in the final proofs of the Chromatic Fantasy & Fugue edition, Josef von Wöß asks for a visit from Schenker.

WSLB 64 Handwritten letter from Schenker to Hertzka (UE), dated October 10, 1910

Schenker asks for one copy of the Chromatic Fantasy & Fugue.

OJ 13/37, 11 Handwritten postcard from Ernst Rudorff to Schenker, dated October 11, 1910

Rudorff asks Schenker to send his two packages to Lauenstein, not Großlichterfelde.

OC 52/425 Typewritten letter from UE to Schenker, dated October 14, 1910

UE is transferring Schenker's second honorarium for the Chromatic Fantasy & Fugue edition, and enclose the publisher's blurb for the monograph Beethoven's Ninth Symphony.

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.

OC 52/59 Typewritten postcard from Hertzka (UE) to Schenker, dated October 28, 1910

UE is sending out complimentary copies to Schenker's recipient list, and two copies to himself. It asks Schenker to call in at the office.

OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910

Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice. — He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a grant from the Ministry of Education.

WSLB 69/71 Handwritten letter + inclosure from Schenker to Hertzka (UE), dated November 1, 1910

Text of flyer for Chromatic Fantasy & Fugue edition, with covering note discussing plan for last five Beethoven piano sonatas in combination with Well-tempered Clavier, Book 2.

OC 52/60 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1910

Hertzka is pleased that Schenker's conversation with Wilhelm Bopp has gone promisingly, and that Schenker is agreeable to the alternating publication of Beethoven and Bach. — He is sending a new draft contract for Beethovens neunte Sinfonie.

OJ 15/6, [9] Handwritten letter from Fritz Wahle to Schenker, dated November 10, 1910

Fritz Wahle thanks Schenker for sending him a copy of his critical edition of Bach’s Chromatic Fantasy and Fugue. He agrees with all of Schenker’s remarks on performance, adding that all serious musicians will learn a great deal from the performance markings of the masters.

WSLB 72 Handwritten letter from Schenker to Hertzka (UE), dated November 11, 1910

Schenker asks for copies of his Beitrag zur Ornamentik and Chromatische Fantasie & Fuge to be sent to Wanda Ladowska.

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.

WSLB 73 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1910

Schenker has received gratitude from abroad for his edition of the Chromatic Fantasy & Fugue, and asks for a copy to be sent to Otto Vrieslander. — He accuses the Viennese of hostility and intellectual theft.

WSLB 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911

Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies his editorial stance with reference to Rodin and architecture, and suggests it might be published in Germany as retribution against Bopp and Wiener. —He is working now on Counterpoint II for Cotta.

OC 52/63 Typewritten postcard from UE to Schenker, dated July 27, 1911

UE confirms sending Schenker's edition of the Chromatic Fantasy and Fugue to Gottfried Galston. Hertzka is on holiday, and will reply on his return.

WSLB 84 Handwritten letter from Schenker to Hertzka (UE), dated November 19, 1911

Schenker offers UE an arrangement of the Mozart A major piano concerto, arguing the case for its publication despite existing editions. -- He is impatiently awaiting proofs of his monograph Beethovens neunte Sinfonie.

OJ 9/6, [52] Handwritten letter from Eugen d’Albert to Schenker, dated November 27, 1911

Eugen d'Albert inquires whether Schenker would be interested in taking on a female pupil.

WSLB 86 Handwritten letter from Schenker to Hertzka (UE), dated November 30, 1911

Schenker acknowledges receipt of the first galley-proofs of Beethovens neunte Sinfonie and asks for return of his copy of Grove's book on the Beethoven symphonies.

OC 52/69 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911

Hertkza encloses a letter from Eugen d'Albert and is having the requested book returned to Schenker.

WSLB 106 Handwritten letter from Schenker to Hertzka (UE), dated April 14, 1912

Schenker returns proofs for his Instrumentations-Tabelle and Beethovens neunte Sinfonie, and prelims and Foreword of the latter, with comments. He raises the issue of English and French translations for the monograph.

WSLB 111 Handwritten letter from Schenker to Hertzka (UE), dated May 16, 1912

Schenker points to inconsistent usage of "Sinfonie" and "Symphonie" in the type-setting of his monograph Beethovens neunte Sinfonie and suggests adherence to the former; he submits the Foreword, and asks for one copy of each of his previous UE publications.

WSLB 114 Handwritten postcard from Schenker to Hertzka (UE), dated May 24, 1912

Schenker puts another proposal on how to present the bar numbering of the Scherzo of Beethoven's Ninth Symphony in the text and diagram of his monograph.

WSLB 116 Handwritten letter from Schenker to Hertzka (UE), dated June 2, 1912

Schenker observes acidly that the Ninth Symphony score project has been dropped. He asks [in the face of the threat of author correction cost demands] for an honorarium for correcting the proofs of his monograph Beethovens neunte Sinfonie. He demands to know whether Hertzka is serious about the plan for an edition of the last five Beethoven sonatas. He repeats his inquiry as to the number of copies of his Instrumentations-Tabelle, 2nd edition, that have so far been released.

OC 52/427 Typewritten letter from Hertzka (UE) to Schenker, dated June 3, 1912

Hertzka addresses Schenker's request for an honorarium for correcting proofs of Beethovens neunte Sinfonie; he counters that the total author corrections have run to 600 Kronen. He is sending the volume to the printers today. -- He commits in principle to the editing of the last five Beethoven piano sonatas [Erläuterungsausgabe], but on the basis of the Chromatic Fantasy and Fugue sales he cannot accede to Schenker's demands; he makes a counter-proposal.

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.

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.

WSLB 127 Handwritten postcard from Schenker to Hertzka (UE), dated July 12, 1912

Schenker asks for a copy of his edition of the Chromatic Fantasy and Fugue, to forward to a "colleague."

OC 52/91 Typewritten letter from Hertzka (UE) to Schenker, dated July 13, 1912

The Chromatic Fantasy edition and Ninth Symphony monograph will be sent as requested; the [contract for the] Letzen fünf Sonaten edition will be dealt with.

OJ 15/6, [11] Handwritten letter from Fritz Wahle to Schenker, dated August 10, 1912

Fritz Wahle explains how he came to acquire Schenker’s book on Beethoven’s Ninth Symphony. He has read Moriz Violin’s pamphlet about the leadership of the Vienna Academy and hopes that some good will come of it. In response to a letter from Schenker, he expresses his agreement with what Schenker has to say about Wagner, and again praises his friend for the serious intent of his writings.

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.

OJ 15/16, [19] Handwritten letter from Weisse to Schenker, dated August 12, 1913

Weisse reports on progress with his string quintet, and lists his travel plans for late September.

WSLB 292 Handwritten letter from Schenker to Hertzka (UE), dated January 30, 1918

Schenker complains that Halm's request to receive review copies of others of his works has been ignored by UE, threatens to pay for them himself, and asks to be notified when they are dispatched.

OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920

OJ 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921

Schenker gives an account of the move into Keilgasse 8 and describes his study in the apartment. He outlines his holiday plans, and explains how he is raising the fees for lessons in the autumn.

OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922

Schenker offers to lend Violin his performing materials for two keyboard concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most recent work, continues to despair of his financial situation.

OJ 11/36, [5] Handwritten letter from Hammer to Schenker dated March 23, 1922

Hammer praises Schenker's edition of Bach's Chromatic Fantasy & Fugue, raising an issue about fingering on the clavichord.— He inquires after Tonwille 2, and hopes to visit Schenker in Vienna soon.

JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922

Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to read Fiedler and Hildebrand.

OJ 12/50, [3] Handwritten letter from Bernhard Martin to Schenker, dated July 3, 1929

Bernhard Martin is working on Schenker's graphings of the E-flat major piano sonata of Haydn in connection with his class teaching. He has obtained a copy of Schenker's facsimile of the "Moonlight" Sonata and is seeking his edition of the Chromatic Fantasy and Fugue. He inquires after the [projected] Erläuterungsausgabe of Op. 106 and Schenker's periodical articles.

WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930

In this 16-page response to a letter from Deutsch, Schenker thanks his correspondent for his unstinting assistance (in relation to the third Meisterwerk yearbook) and underlines the importance of a collected edition of the works of C. P. E. Bach. — He then launches a long and detailed denunciation of Anthony van Hoboken’s character, referring in particular to his treatment of Otto Vrieslander, his ambivalence towards projects associated with the Photogram Archive, and his absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is thoroughly undeserving of a high honor conferred by the Austrian state.

Diary entry by Schenker for 6 April 1908

Diary entry by Schenker for 31 August 1910

Diary entry by Schenker for 27 November 1910

Diary entry by Schenker for 12 June 1913

Diary entry by Schenker for 9 December 1913

Diary entry by Schenker for 4 March 1914

Diary entry by Schenker for 25 May 1914

Diary entry by Schenker for 26 November 1915

Diary entry by Schenker for 13 April 1917

Diary entry by Schenker for 28 August 1919

Diary entry by Schenker for 29 November 1926

Diary entry by Schenker for 2 December 1926

ML100 .R52 1919, [1] Schenker entry in Hugo Riemanns Musiklexikon, 9th edition, ed. Alfred Einstein (1919)