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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Beethovens Neunte Sinfonie (Vienna: Universal Edition, 1912) Documents associated with this entity: Correspondence Diaries Other material Types work Names Beethovens Neunte Sinfonie (Vienna: Universal Edition, 1912) Beethoven’s Ninth Symphony Relationships Beethovens Neunte Sinfonie (Vienna: Universal Edition, 1912) is authored by Heinrich Schenker Downloads temporarily removed for testing purposes Correspondence WSLB 9 Handwritten letter from Schenker to Hertzka (UE), dated June 23, 1908 Schenker promises a list of people in German to receive complimentary copies of Ornamentik, and a new proposal. 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 65 Handwritten letter from Schenker to Hertzka (UE), dated October 17, 1910 Schenker acknowledges the second honorarium for Chromatic Fantasy & Fugue, and will appear at Hertzka's office on October 20. 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 52/426 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. 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. OC 52/431 Typewritten contract (carbon copy) between UE and Schenker for Beethovens neunte Sinfonie, dated November 6, 1910 Contract for Schenker's monograph Beethovens neunte Sinfonie WSLB 70 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1910 Schenker suggests either a Hertzka-Bopp or a Hertzka-Schenker meeting to discuss the combined release of the last Beethoven piano sonatas and Book 2 of the Well-tempered Clavier. OC 52/61 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1910 Hertzka will speak to Wilhelm Bopp to explore the position over the parallel publication of Beethoven and Bach works, but admits there remains the thorny issue of the need for a subsidy. WSLB 74 Handwritten letter from Schenker to Hertzka (UE), dated December 19, 1910 Affected by his elderly mother's illness, Schenker asks for an advance of 500 Kronen on account of his manuscript, due for imminent delivery. OJ 5/34, [1] Handwritten draft letter from Schenker to Alphons Rothschild, incompletely dated [March 2, 1911] Highly rhetorical letter in which Schenker thanks Alphons Rothschild for the financial support for his first two volumes, and notifies him of the forthcoming monograph on Beethoven's Ninth Symphony. WSLB-Hds 94478 Handwritten letter from Schenker to Seligmann, undated [shortly before May 31, 1911] Schenker reports the completion of work on Beethoven’s Ninth Symphony and enlists Seligmann’s help in placing notices in Viennese newspapers advertising a planned series of lectures on modern music (cacophony). WSLB 75 Handwritten letter from Schenker to Hertzka (UE), dated May 17, 1911 The manuscript of Beethovens Neunte Sinfonie will be handed over complete tomorrow. — Academy Director Wilhelm Bopp still favors the planned Bach-Beethoven editions scheme, and Schenker awaits a summons from President Carl von Wiener.— Schenker argues the case for UE to publish his arrangements of two C. P. E. Bach concertos and a work by Handel. WSLB 76 Handwritten letter from Schenker to Hertzka (UE), dated May 19, 1911 Schenker acknowledges a package from UE.. OC 1A/1-2 Handwritten letter from Schenker to Graf, dated May 30, 1911 Schenker requests Graf to publish an announcement of lectures in the autumn of 1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm that he has often been consulting recently as exceptional. OC 1A/3 Handwritten letter from Schenker to Graf, dated May 30, 1911 Schenker requests Graf to publish an announcement of lectures in the autumn of 1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm that he has often been consulting recently as exceptional. OC 1A/4-5 Handwritten letter, carbon copy, from Schenker to Hans Liebstoeckl, dated May 30, 1911 Schenker asks Liebstöckl to place an announcement [of a lecture series] in the Illustrirtes Wiener Extrablatt. WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911 Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie in time to take on vacation, and inquires as to his proposal for UE to publish the score of the Ninth Symphony with original markings. — No summons to interview with Academy President von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade against von Wiener and the Academy's teachers. OC 52/445 Typewritten letter from Hertzka (UE) to Schenker, dated June 27, 1911 Hertzka explains that the proofs for Schenker's monograph Beethovens neunte Sinfonie will not be ready before August. — He hopes that an agreement can be reached over the Beethoven/Bach project. OJ 14/23, [17] Handwritten lettercard from Seligmann to Schenker, dated July 25, 1911 Seligmann has found a newspaper article that Schenker was looking for. He is recuperating in Ischl. WSLB 81 Handwritten letter from Schenker to Hertzka (UE), dated September 14, 1911 Schenker demands to know whether UE is interested in publishing his planned edition of the last five Beethoven piano sonatas; -- Inquires how the proofs of Beethovens neunte Sinfonie stand; And draws attention to the favorable sales of Kontrapunkt 1. OC 52/492 Typewritten letter from Hertzka (UE) to Schenker, dated September 19, 1911 UE cannot proceed with the Beethoven last five sonatas project absent a grant. Whereas the larger German music publishers might be able to undertake such a work, UE is still too young to have the investment. -- Proofs of Beethovens neunte Sinfonie will be available in the Fall, owing to the delay in Schenker's delivery of his manuscript. -- Hertzka expresses delight at the sales of Kontrapunkt 1. WSLB 83 Handwritten letter from Schenker to Hertzka (UE), dated October 28, 1911 Schenker hotly contests Hertzka's allegation that he delivered the material for Beethovens neunte Sinfonie late, and details the pre-history of the project. OC 52/66 Typewritten letter from Hertzka (UE) to Schenker, dated October 31, 1911 Schenker will receive the [first] proofs of his Beethovens neunte Sinfonie "in the course of November." 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. OC 52/67 Typewritten letter from Hertzka (UE) to Schenker, dated November 24, 1911 Hertzka is unable to take up Schenker's offer of an arrangement of a Mozart piano concerto. -- Proofs of Beethovens neunte Sinfonie are expected any day. 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 52/68 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911 The printers query the absence of "signatures" from music examples in the manuscript of Beethovens neunte Sinfonie. WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911 Schenker explains that the music examples without [key] signatures in Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. -- He approves the use of a quotation from a D'Albert letter for publicity purposes. WSLB 88 Handwritten letter from Schenker to Hertzka (UE), dated December 6, 1911 Schenker gives instructions as to how measure number should be displayed in the analysis sections of his monograph Beethoven's neunte Sinfonie. OC 52/72 Typewritten letter from UE to Schenker, dated December 16, 1911 UE forwards to Schenker a letter from the printers including a music example and ask Schenker to respond. OC 52/73 Typewritten letter from Hertzka (UE) to Schenker, dated December 20, 1911 Hertkza remarks that the corrected proofs of gathering 3 of Beethovens neunte Sinfonie have significant alterations and additions, the costs of which will be passed on to Schenker. WSLB 90 Handwritten letter from Schenker to Hertzka (UE), dated January 1, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and draws attention to errors on the part of the typesetters. OC 52/74 Typewritten letter from Hertzka (UE) to Schenker, dated January 2, 1912 Hertkza sends page-proofs of gathering 3, and asks for return of galley-proofs and the manuscript of Beethovens Neunte Sinfonie. OC 52/75 Typewritten letter from Hertzka (UE) to Schenker, dated January 5, 1912 Hertkza encloses a letter from Breitkopf. WSLB 92 Handwritten letter from Schenker to Hertzka (UE), dated January 10, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected and a letter from Breitkopf &Härtel. WSLB 93 Handwritten letter from Schenker to Hertzka (UE), dated January 11, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected; he points out with labored sarcasm that the printers have omitted the title-pages of each of the four movements, and suggests how this might be rectified. OC 52/76 Typewritten letter from Hertzka (UE) to Schenker, dated January 12, 1912 Hertkza notifies Schenker of the impending delivery of page-proofs of Beethovens Neunte Sinfonie, takes note of Schenker's recent comments, and asks him to consider making structural diagrams for movements 2-4. WSLB 94 Handwritten letter from Schenker to Hertzka (UE), dated January 15, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie with imprimatur. -- He conditionally accepts Hertzka's proposal that he create structural diagrams for movements 2 to 4, giving his justification for intially providing only that for the first movement. OC 52/77 Typewritten postcard from Hertzka (UE) to Schenker, dated January 16, 1912 Emil Hertka confirms that UE wants Schenker to produce structural diagrams for movements 2-4 of Beethoven's Ninth Symphony for his monograph on that work. OC 52/78 Typewritten letter from Hertzka (UE) to Schenker, dated January 26, 1912 Hertzka notifies Schenker of the impending delivery of page-proofs of his Beethovens Neunte Sinfonie monograph and asks for speedy return of previous galley-proofs. WSLB 95 Handwritten letter from Schenker to Hertzka (UE), dated January 28, 1912 Schenker returns page-proofs of Beethovens Neunte Sinfonie, granting imprimatur providing one problem can be overcome. WSLB 96 Handwritten letter from Schenker to Hertzka (UE), dated February 3, 1912 Schenker returns page-proofs of Beethovens Neunte Sinfonie and the structural diagram for movement 2. OC 52/79 Typewritten letter from Hertzka (UE) to Schenker, dated February 6, 1912 Hertzka acknowledges receipt of the formal diagram of movement 2 for, and gathering 8 of the Beethovens Neunte Sinfonie monograph, and has sent galley-proofs of gatherings 5 and 6 to Schenker for imprimatur. WSLB 97 Handwritten express postcard from Schenker to Hertzka (UE), dated February 7, 1912 Schenker complains at the printers' disregard of his earlier words. He asks for assurance that he will receive a complete set of proofs to check the cross-citations of page-numbers. OC 52/80 Typewritten postcard from Hertzka (UE) to Schenker, dated February 7, 1912 Hertzka assures Schenker that he will receive a full set of page-proofs for checking. OJ 12/9, [5] Handwritten letter from Karpath to Schenker, dated March 3, 1912 Karpath expresses approval of Schenker's Kontrapunkt I and Moriz Violin's book on the continuo. —He thinks highly of Violin and of Hans Weisse as a composer. WSLB 98 Handwritten letter from Schenker to Hertzka (UE), dated March 4, 1912 Schenker returns page-proofs for gatherings 10 and 11 of Beethovens Neunte Sinfonie and the formal diagram for movement 3. OC 52/432 Typewritten letter from Hertzka (UE) to Schenker, dated March 7, 1912 Hertzka invites Schenker to meet him to discuss the plan for an edition of the Beethoven Ninth Symphony score and other matters. WSLB 100 Handwritten postcard from Schenker to Hertzka (UE), dated March 13, 1912 Schenker proposes that his book Beethovens neunte Sinfonie and the edited full orchestral score be published as separate volumes, and promises the additional revised text of his Instrumentations-Tabelle the next day. OC 52/82 Typewritten letter from Hertzka (UE) to Schenker, dated March 15, 1912 Hertzka gives Schenker assurances on the arrival of further gatherings. OJ 15/15, [G] Handwritten letter from Weisse to Schenker, dated March 16, [1912] Weisse sends a newspaper clipping for Schenker's possible use in his Ninth Symphony monograph. WSLB 102 Handwritten letter from Schenker to Hertzka (UE), dated March 17, 1912 Schenker returns proofs of gather 16 of his monograph Beethovens neunte Sinfonie. OC 52/403 Typewritten letter from Hertzka (UE) to Schenker, dated March 18, 1912 Second proofs of gatherings 11 and 12 of Schenker's monograph Beethovens neunte Sinfonie are on their way to him. Hertzka issues a warning on correction costs. Payment has been authorized for the additional material for his Instrumentations-Tabelle. WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912 Schenker responds combatively to Hertzka's warning about correction costs. OC 52/84 Typewritten letter from Hertzka (UE) to Schenker, dated March 26, 1912 Gatherings are received and others sent out. Hertzka reiterates his demand for the complete manuscript and outstanding first proofs. 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. OC 52/86 Typewritten letter from B. Rothe (UE) to Schenker, dated April 15, 1912 Acknowledging proofs and prelims for Beethovens neunte Sinfonie, UE recommends adding a subtitle for clarification. OC 52/87 Typewritten express postcard from UE to Schenker, dated April 16, 1912 Hertzka acknowledges receipt of the Preface to Beethovens neunte Sinfonie. WSLB 108 Handwritten letter from Schenker to Hertzka (UE), dated April 19, 1912 Schenker returns proofs for his Instrumentations-Tabelle and five gatherings of Beethovens neunte Sinfonie, pointing out a serious error. He also responds on the title of the latter. WSLB 109 Handwritten letter from Schenker to Hertzka (UE), dated April 29, 1912 Schenker sends first and second proofs with comments. OC 52/88 Typewritten letter from Hertzka (UE) to Schenker, dated May 4, 1912 Hertzka asks Schenker to call on him to discuss Beethovens neune Sinfonie. OC 52/433 Handwritten letter from Hertzka (UE) to Schenker, dated May 7, 1912 Hertzka explains the reason for his need to see Schenker in person: it concerns the numbering of bars in the second movement of Beethoven's Ninth Symphony in Schenker's monograph on that work, and the planned edition of the score of the symphony; but Hertzka will be away for up to ten days. WSLB 112 Handwritten letter from Schenker to Hertzka (UE), dated May 11, 1912 Schenker responds to Hertzka's suggestions on bar numbering in the Scherzo of Beethoven's Ninth Symphony as reflected in Schenker's monograph and the proposed new edition of the score, and offers a counter-proposal; he also responds on the formal terminology. -- He inquires as to the number of copies of the new edition of the Niloff Instrumentations-Tabelle so far released. 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. OC 52/89 Typewritten letter from Kalmus (UE) to Schenker, dated May 16, 1912 UE sends the final gatherings of Beethovens neunte Sinfonie for Schenker's approval and reports the total author correction costs. WSLB 113 Handwritten letter from Schenker to Hertzka (UE), dated May 18, 1912 Schenker asks to see the entire volume of his monograph on Beethoven's Ninth Symphony again for a final check, and urges that the work be published in time for the Vienna Music Festival Week, and that UE be advertizing the book now in Germany. WSLB-Hds 94477 Handwritten letter from Schenker to Seligmann, dated May 22, 1912 Schenker congratulates Seligmann on the recent exhibition of his paintings. He is about to send him a copy of his Beethoven’s Ninth Symphony and asks him to read the section on the secondary literature and consider whether the same might be applied to the literature on painting. 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. OC 52/434 Typewritten letter from Hertzka (UE) to Schenker, with holograph insertions, dated May 28, 1912 Hertzka invites Schenker to his home for a discussion of the monograph Beethovens neunte Sinfonie. 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. WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912 Schenker inquires about the print-run and retail cost of his Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for clarity on a payment he has just received, stressing his probity. 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. 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 122 Handwritten telegram draft from Schenker to Hertzka (UE), dated June 24, 1912 Schenker asks why Beethovens neunte Sinfonie has not yet appeared. WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912 Schenker reports improved agreement among the supporters of the planned Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for the fee for correcting proofs of Beethovens neunte Sinfonie. OJ 15/16, [5] Handwritten letter from Weisse to Schenker, dated June 27, 1912 Weisse asks to be informed of Schenker's contact with Emil Hertzka; Mahler's Ninth Symphony is "filth"; Schenker's Beethovens Neunte Sinfonie has just appeared and he will study it. 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. 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. 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 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. 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. OJ 15/6, [10] Handwritten letter from Fritz Wahle to Schenker, dated July 26, 1912 Fritz Wahle thanks Schenker profusely for sending him his book on Beethoven’s Ninth Symphony, which he will read through quickly. He has acquired a copy of the score of the work. OJ 15/15,[I] Handwritten letter from Weisse to Schenker, dated August 4, [1912] Weisse reports of progress with his string quintet; expresses his delight at Schenker's monograph on Beethoven's Ninth Symphony, and speaks of "a bridge between art and theory"; and expresses misgivings about Moriz Violin's pamphlet on the Vienna Academy. He appeals to Schenker to give him piano lessons, and reports other matters. WSLB 129 Handwritten letter from Schenker to Hertzka (UE), dated August 6, 1912 Schenker informs Hertzka that he has been approached by the Gesellschaft der Musikfreunde with a view to his teaching a course at the Society's new "free high school" beginning in October, and inquires whether Hertzka will meet his demands so that he can proceed with Die letzen fünf Sonaten Beethovens. OJ 15/16, [8] Handwritten letter from Weisse to Schenker, dated August 10, 1912 Weisse speaks of Schenker's monograph on Beethoven's Ninth Symphony and progress with his own string quintet; — reiterates his desire to transfer from Violin to Schenker for piano lessons; — refers to lectures that he is about to take with Guido Adler, and quotes from Florence May's biography of Brahms. — He will write to Lorle Meissner; — gives his address in Pontresina. OC 52/437 Typewritten letter from Hertzka (UE) to Schenker, dated August 12, 1912 Die letzten fünf Sonaten: Hertzka finds Schenker's suggested rewording too general; Beethovens neunte Sinfonie: Hertzka will pay the supplementary fee demanded by Schenker, but only after 500 copies have been sold. WSLB 130 Handwritten letter from Schenker to Hertzka (UE), dated August 14, 1912 In the most aggressive letter yet on Hertzka's approach over honoraria and correction costs, Schenker asserts that UE ought to subsidize his works through the takings on the lucrative works of others. UE acquires Schenker's works for a fraction of their true value, yet is held responsible for UE's costs. Schenker refuses to sign the draft contract for his Die letzten fünf Sonaten Beethovens with an implied threat of withdrawal. OC 52/95-96 Typewritten letter from Hertzka (UE) to Schenker, dated August 22, 1912 Die letzten fünf Sonaten: Hertzka backs down on the contested contract clause; Beethovens neunte Sinfonie: Hertzka refuses to budge on his proposal for the supplementary honorarium, but assures Schenker of his good will toward him. 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. WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26, 1912] Recounting the backstory of the move to found an [Austrian] organization of musicians, and painting it as a rearguard action by performers against the dominance of Neue freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he complains at the timid tone of Universal Edition's advertising of his own works. 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. OJ 15/6, [12] Handwritten notecard from Fritz Wahle to Schenker, dated September 25, 1912 Fritz Wahle thanks Schenker for his book on Beethoven’s Ninth Symphony and expresses his agreement about the concept of program music. He hopes that the two of them could get together for a few hours, and sends his greetings to their mutual friend Moriz Violin. OJ 9/30, [4] Handwritten letter from Tony Colbert to Schenker, dated September 27, 1912 Mrs. Colbert suggests works she might study. -- She is enjoying Schenker's (newly published) monograph on Beethoven's Ninth Symphony. WSLB 138 Handwritten postcard from Schenker to Hertzka (UE), dated September 30, 1912 Ludwig Karpath has complained at not having received a review copy of Schenker's Beethovens neunte Sinfonie. — Schenker prompts Hertzka on the often demanded supplementary honorarium for proof correction of the monograph. OC 52/101 Typewritten postcard from UE to Schenker, dated October 1, 1912 As instructed, UE has sent Schenker's Beethovens neunte Sinfonie to Ludwig Karpath. WSLB 139 Handwritten letter from Schenker to Hertzka (UE), dated October 3, 1912 Schenker forwards a letter from Hugo Heller [from Germany] and asks how he should handle the matter [of the proposed Organisation], pointing out that a comparable movement has already be launched in Germany. WSLB 140 Handwritten letter from Schenker to Hertzka (UE), dated October14, 1912 Dr. Harpner is recovered; Schenker hopes to see Hugo Heller shortly. -- He prompts yet again for the "supplementary honorarium." 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 12/9, [6] Handwritten letter from Karpath to Schenker, dated April 3, 1913 Karpath exchanges newspaper clippings with Schenker. — Announces a forthcoming review of Schenker's monograph on Beethoven's Ninth Symphony (1912). — Tells of a potential new pupil for Schenker who is currently studying with Schreker. — Complains at being persecuted by supporters of Schoenberg. OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913 Hammer approaches Schenker regarding piano lessons for his wife. OJ 5/27, [2] Handwritten letter from Schenker to Evelina Pairamall, dated November 12, 1913 Schenker thanks Evelina Pairamall warmly for sending him an article by Saint-Saens on manuscripts in Berlin, which covers an autograph manuscript of Beethoven's Ninth Symphony, and reports to her his own work on another autograph of that work. -- He asks if she is returning to Vienna soon, and promises to show her his discoveries, concluding with a joke employing musical technical terms. BNba 304g, [1] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated November 27, 1913 Schenker asks the Beethoven-Haus to prepare and supply him with photographs of the autograph manuscript of the first movement of Beethoven's Piano Sonata in C minor, Op. 111, and announces the publication of his Erläuterungsausgabe of Op. 109 and monograph on Beethoven's Ninth Symphony. OC B/204 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December 3, 1913 Schmidt suggests Schenker commission the Beethoven-Haus photographer, Heinrich Rose, direct in ordering photographs of the autograph manuscript of the first movement of Beethoven's Op. 111. He asks Schenker to supply a copy of his monograph on the Ninth Symphony to the Beethoven-Haus library. 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. OC B/203 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December 13, 1913 Schmidt thanks Schenker for the copy of his monograph Beethovens neunte Sinfonie, and raises points of detail about the photography of the three requested works. BNba 304g, [3] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated December 14, 1913 Schmidt consults Zitelmann as to whether Schenker should be granted permission for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28; then proceeds to other Beethoven-Haus business. BNba 304g, [4] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to an unknown colleague, dated December 14, 1913 Schmidt suggests that permission for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28 should be granted to Schenker; and deals with other Beethoven-Haus business. OJ 15/16, [24] Handwritten letter from Weisse to Schenker, dated September 17, 1914 Commenting on an article by Paumgartner, Weisse asks to come and play some new compositions, and warns that he may be called up for war service. WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916 Schenker explains why he is reluctant to produce a critical edition with commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could be freed from some of his teaching obligations, and also the autograph manuscript and other sources are missing. He also defends his sharp tongue in discussions of the secondary literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical editions of the late Beethoven piano sonatas). OJ 11/35, 7 Handwritten letter from Halm to Schenker, dated January 20, 1918 Acknowledges DLA 69.930/2, January 17, 1918. Schenker has accused him of a contradiction, and he concedes it, referring to several of his publications. UE has not responded to his request for review copies of Schenker's works, so suggests a reciprocal exchange. OJ 6/6, [7] Handwritten letter from Schenker to Moriz Violin, dated March 20, 1918 [50th Festschrift:] Schenker intends not to influence anyone in their decision to contribute or not. — [Personal issues:] Schenker agrees to draw a line under issues discussed in OJ 6/6, [6]; however, he accounts for his epistolary silence regarding Valerie Violin, including the possible contact with Seligmann; he attempts to explain the matter of the jars of jam and the absence of visits to Schönbrunn, describing vividly how tirelessly Jeanette works and how dependent they both are on Sunday for work time; he expresses outrage that he and Jeanette live so poorly while his pupils live lives of luxury, commenting bitterly on state of play over the Sofie Deutsch stipend; he wishes the Violins well for their 6-month stay in Marburg. OJ 11/30, [1] Handwritten postcard from Wilibald Gurlitt to Schenker, dated October 7, 1918 Gurlitt expresses admiration for Schenker's Beethovens Neunte Sinfonie, and inquires whether his "Formenlehre" or "Kunst des Vortrags" has yet been published. WSLB 301 Handwritten postcard from Schenker to Hertzka (UE), dated December 22, 1918 Schenker asks for a copy of his Neunte Sinfonie to be sent to Bernhard Seidmann. WSLB 306 Handwritten postcard from Schenker to Hertzka (UE), dated November 2, 1919 Schenker requests a copy of his Ninth Symphony monograph, stipulating conditions; he will decide shortly whether to resume work for UE. OC 52/210 Typed letter from Hertzka (UE) to Schenker, dated November 8, 1919 Hertzka has arranged for a copy of his monograph Beethovens Neunte Sinfone to be sent, and welcomes Schenker's remarks about resuming work for UE. PS: He is sending the first issue of Musikblätter des Anbruch. WSLB 307 Handwritten letter from Schenker to Hertzka (UE), dated November 13, 1919 Schenker teases Hertzka over his offical's price calculation for Beethovens Neunte Sinfonie; asks for Die letzten fünf Sonaten ... op. 111 for Dolfi Baudrexel; comments caustically on the first issue of Musikblätter des Anbruch. WSLB 308 Handwritten letter from Schenker to Hertzka (UE), dated November 22, 1919 Schenker sends adjusted payment for two items received; his Kleine Bibliothek will shake up the contributors to Musikblätter des Anbruch. OJ 12/11, [6] Handwritten letter from Klenau to Schenker, dated December 28, 1923 Klenau praises Schenker's monograph Beethovens Neunte Sinfonie; regrets being unable to visit Schenker and Schenker's being unable to attend his performance of the Missa solemnis. OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924 Schenker responds to Klenau's remarks on atonal composers and a coming Renaissance; invites him to visit on a Wednesday. OC 54/16-18 Draft letter from Schenker to Drei Masken Verlag, dated January 28, 1925 Schenker agrees to the idea of a yearbook, entitled "Das Meisterwerk in der Musik," as put forward by Drei Masken Verlag, and now asks for a draft contract to be sent, and for them to typeset some of his work so that he has an idea how long the manuscript for the yearbook should be. He also vents his hostility towards Emil Hertzka at Universal Edition. OC 82/27-28 Handwritten letter from Georg Dohrn to Schenker, dated April 2, 1926 Dohrn inquires as to the performance of the opening of the second movement of Beethoven's Ninth Symphony. OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928 Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses associated newspaper article; also on recent lecturing and composition activity. He is unlikely to visit Schenker this year; recalls people at Galtür. 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." Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19, 1930 Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with other publishers and plans for future publications. 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. OJ 6/8, [14] Handwritten letter, with envelope, from Schenker to Violin, dated December 19, 1932 In this characteristically long end-of-year letter to his friend, Schenker mentions his forthcoming edition of Brahms’s study of consecutive octaves and fifths, Jonas’s book on his achievements as a theorist, Zuckerkandl’s book on opera, and the possibility of an English translation of his Theory of Harmony. OJ 89/7, [2] Handwritten letter from Schenker to Hoboken, dated January 13, 1934 Schenker encourages Hoboken to continue to live in Vienna, praising its racial diversity; — Der freie Satz is near completion; — sales of Beethovens Neunte Sinfonie are going well. OJ 5/34, [2] Handwritten revised draft letter from Schenker to Alphons Rothschild, in Jeanette Schenker's hand, undated [August 3‒6, 1934] Draft accompanying letter for a copy of Oswald Jonas's Das Wesen ... — Schenker reiterates his gratitude for previous financial support, and reports that he now has 11 published works, many articles, and entries on him in several general encyclopedias. — Only in Vienna is he unrecognized. — He describes Wilhelm Furtwängler's faith in his theories and the support he has given him. — He mentions his earlier proposal for a Rothschild orchestra. Diaries Diary entry by Schenker for 1 June 1910 Diary entry by Schenker for 27 November 1910 Diary entry by Schenker for 2 March 1911 Diary entry by Schenker for 18 May 1911 Diary entry by Schenker for 15 January 1912 Diary entry by Schenker for 18 January 1912 Diary entry by Schenker for 28 January 1912 Diary entry by Schenker for 2 February 1912 Diary entry by Schenker for 3 February 1912 Diary entry by Schenker for 11 February 1912 Diary entry by Schenker for 14 February 1912 Diary entry by Schenker for 3 March 1912 Diary entry by Schenker for 4 March 1912 Diary entry by Schenker for 5 March 1912 Diary entry by Schenker for 31 May 1912 Diary entry by Schenker for 22 July 1912 Diary entry by Schenker for 30 September 1912 Diary entry by Schenker for 5 October 1912 Diary entry by Schenker for 21 October 1912 Diary entry by Schenker for 6 November 1912 Diary entry by Schenker for 25 November 1912 Diary entry by Schenker for 10 January 1913 Diary entry by Schenker for 28 February 1913 Diary entry by Schenker for 7 April 1913 Diary entry by Schenker for 11 April 1913 Diary entry by Schenker for 19 April 1913 Diary entry by Schenker for 29 April 1913 Diary entry by Schenker for 30 April 1913 Diary entry by Schenker for 31 May 1913 Diary entry by Schenker for 31 May 1913 Diary entry by Schenker for 30 July 1913 Diary entry by Schenker for 21 October 1913 Diary entry by Schenker for 9 December 1913 Diary entry by Schenker for 1 January 1914 Diary entry by Schenker for 8 May 1914 Diary entry by Schenker for 16 September 1914 Diary entry by Schenker for 19 October 1914 Diary entry by Schenker for 24 December 1914 Diary entry by Schenker for 20 April 1915 Diary entry by Schenker for 15 October 1915 Diary entry by Schenker for 4 November 1915 Diary entry by Schenker for 7 December 1915 Diary entry by Schenker for 8 January 1916 Diary entry by Schenker for 25 March 1916 Diary entry by Schenker for 7 September 1916 Diary entry by Schenker for 4 December 1916 Diary entry by Schenker for 5 April 1917 Diary entry by Schenker for 13 April 1917 Diary entry by Schenker for 15 April 1917 Diary entry by Schenker for 19 April 1917 Diary entry by Schenker for 23 May 1917 Diary entry by Schenker for 13 September 1917 Diary entry by Schenker for 16 October 1918 Diary entry by Schenker for 12 December 1918 Diary entry by Schenker for 26 December 1918 Diary entry by Schenker for 27 January 1919 Diary entry by Schenker for 4 February 1919 Diary entry by Schenker for 23 June 1919 Diary entry by Schenker for 5 October 1919 Diary entry by Schenker for 2 November 1919 Diary entry by Schenker for 6 November 1919 Diary entry by Schenker for 10 November 1919 Diary entry by Schenker for 13 November 1919 Diary entry by Schenker for 17 November 1919 Diary entry by Schenker for 11 December 1919 Diary entry by Schenker for 22 March 1920 Diary entry by Schenker for 26 May 1920 Diary entry by Schenker for 1 March 1924 Diary entry by Schenker for 4 March 1924 Diary entry by Schenker for 10 April 1924 Diary entry by Schenker for 29 September 1924 Diary entry by Schenker for 6 October 1924 Diary entry by Schenker for 27 February 1925 Diary entry by Schenker for 3 March 1925 Diary entry by Schenker for 30 March 1925 Diary entry by Schenker for 1 April 1925 Diary entry by Schenker for 8 June 1928 Diary entry by Schenker for 13 September 1929 Diary entry by Schenker for 19 January 1930 Diary entry by Schenker for 8 April 1932 Diary entry by Schenker for 3 November 1934 Other material ML100 .R52 1919, [1] Schenker entry in Hugo Riemanns Musiklexikon, 9th edition, ed. Alfred Einstein (1919)