-
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.
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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.
-
WSLB 68 Handwritten letter from Schenker to Hertzka (UE), dated October 21, 1910
Schenker reports an encounter with Wilhelm Bopp.
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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.
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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 1A/1-2 Handwritten letter from Schenker to Wilhelm Bopp (Akademie für Musik), dated May 30,
1911
Schenker has been unable to elicit any response from President [von
Wiener].
-
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.
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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 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.
-
OC 52/493 Typewritten letter from Hertzka (UE) to Schenker, dated June 8, 1912
Hertzka makes a firm proposition on payment for the Beethoven last five
sonatas, and seeks clarification on contact with Dr. Harpner.
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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.
-
OJ 11/10, [15] Handwritten letter from Frimmel to Schenker, dated June 17, 1912
In response to Schenker's inquiry as to the locations of autograph manuscripts
of Beethoven's last five piano sonatas, Frimmel refers Schenker to the Berlin Academy's
Urtext edition and to Nottebohm's writings.
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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.
-
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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OC 52/90 Typewritten letter from Hertzka (UE) to Schenker, dated June 28, 1912
Hertzka is unable to complete the contract for Die letzten fünf Sonaten
Beethovens this week; he will send it next week.
-
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.
-
OC 52/92 Typewritten letter from Hertzka (UE) to Schenker, dated July 19, 1912
Hertzka sends the draft contract for Die letzten fünf Sonaten, and will deal
with the Musicians' Organization in the fall.
-
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.
-
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.
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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.
-
OC 52/494 Printed contract, with handwritten entries, between UE and Schenker, dated August
25, 1912
Contract for Schenker's edition of Beethovens letzte fünf Sonaten, with
special clause on correction costs
-
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.
-
OC 52/97 Typewritten letter from Hertzka (UE) to Schenker, dated August 28, 1912
In an important letter on the plan for an organization of composers and
concert musicians, Hertzka declares himself willing to be involved, sets out a timetable,
issues a caution, and raises the issue of finance; in dealings with Hugo Heller, UE's and
his own name should not yet be divulged.
-
OC 52/436 Handwritten note by Schenker, undated [late October, 1912?]
Self-reminder that the requested "supplementary honorarium" of 400 Kronen has
not yet been delivered.
-
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.
-
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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WSLB-Hds 95658 Handwritten postcard from Schenker to Seligmann, postmarked May 11, 1913
Schenker congratulates Seligmann on his latest feuilleton, especially on the
enduring values of the classical and Romantic artists. — His critical edition of Beethoven’s
Op. 109 will appear soon. — He has received a personal request from Hugo Riemann to provide
biographical details for an entry in Riemann’s Musiklexikon.
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BNba 304g, [2] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
December 3, 1913
Schmidt consults Zitelmann as to whether to make photographs of the
first movement of Beethoven Op. 111 for Schenker,
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OJ 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December
1916]
Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to
Universal Edition.
-
OJ 11/35, 4 Handwritten letter from Halm to Schenker, dated March 18, 1917
Halm attempts to identify the fundamental differences between their two views,
with reference to Beethoven, Bruckner and Brahms. He and Karl Grunsky have been estranged for
some years.
-
OJ 11/35, 5 Handwritten letter from Halm to Schenker, dated July 2, 1917
Halm seeks advice on choice of edition for the Beethoven variations, and offers
advice in negotiating with publishers.
-
DLA 69.930/1 Handwritten letter from Schenker to Halm, July 8, 1917
Schenker acknowledges Halm's letter; he discusses the relative merits of editions
of Beethoven variations, and looks forward to seeing Halm's review of his "Beethoven editions";
he is putting the finishing touches to Kontrapunkt 2.
-
WSLB 295 Handwritten postcard from Schenker to Hertzka (UE), dated March 3, 1918
Schenker notifies Hertzka of an unfavorable review of the Beethoven edition in
Lausanne, and asks to see it.
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OC 1 B/35-40 Handwritten draft letter, in Jeanette Kornfeld/Schenker's hand, from Schenker to
Hertzka (UE), undated [June 10, 1919]
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven ... op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art and all manifestations of human life are inextricably
interconnected. He claims that his pronouncements on politics now will prove correct in the long
run. His sole concern is with the truth; he is not interested in pandering to his readers.
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WSLB 303 Handwritten letter from Schenker to Hertzka (UE), dated June 12, 1919
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven, Op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art, life, and politics are inextricably interconnected. He claims
that his pronouncements on politics now will prove correct in the long run. His sole concern is
with the truth; he is not interested in pandering to his readers.
-
OJ 13/10, [7] Handwritten letter from Oppel to Schenker, dated September 7, 1919
Oppel expresses his pessimism in the aftermath of the war and the prospects for
his generation. He sends a chaconne for Schenker's comment, and reports his appointment as a
teacher in theory and composition at the Kiel Conservatory. Alfred Einstein asked him for a
review of the Erläuterungsausgabe, but he declined.
-
OJ 15/5, [4] Handwritten letter from Eberhard von Waechter to Schenker, dated October 1,
1919
Waechter asks for an article on performance for Der Merker, remarking that
analysis takes the performer only so far, after which the latter's feelings must take over. He
praises Schenker's prowess in analysis, and asks again if he may send the manuscript of his
latest book for Schenker's appraisal.
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OC 52/212-213 Typed letter from Hertzka (UE) to Schenker, dated December 1, 1919
Hertzka is pleased to hear that the availability of the autograph manuscript of
Op. 101 means that the series Die letzten fünf Sonaten von Beethoven can go forward, and is in
agreement with Schenker's proposal to edit the remaining twenty-seven Beethoven sonatas. He asks
for a meeting to discuss the honorarium.
-
OC 52/447 Draft Contract between UE and Schenker for the Beethoven Sonatas edition, dated March
23, 1920
Draft contract for the Beethoven Sonatas edition.
-
OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920
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OC 52/448 Typed contract between UE and Schenker for the Beethoven sonatas edition, dated July
10, 1920
Contract between UE and Schenker for the Beethoven sonatas collected edition.
-
OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920
Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp.
109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek
for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's
attentions.
-
OJ 11/35, 19 Handwritten letter from Halm to Schenker, dated July 28, 1921
Halm discusses an "intended gift," and the merits of Matthäus Hentz and K. T. Schmid to
receive it. Halm reports that he has moved from Esslingen to Wickersdorf, and that his Concerto for Large
Orchestra has been performed by Fritz Busch in Stuttgart, and comments on Cotta's hand-over of
Kontrapunkt.
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OJ 11/10, [16] Handwritten letter from Frimmel to Schenker, dated September 26, 1921
Frimmel thanks Schenker for delivery of the latter's elucidatory editions of
Beethoven's piano sonatas Opp. 101 and 111, and expresses admiration.
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OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923
Baroness Fischer responds to Schenker's plan for distribution of issues of Der
Tonwille by suggesting contacts in the Vienna music schools and professional
association.
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OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924
Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111;
he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and
its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a
passage exhibiting non-genius in his or Oppel's music and discuss it in Der
Tonwille.
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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.
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OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927
Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave
the music examples for the second Meisterwerk volume in order to ensure a flawless
reproduction. He also reports that the width of the pages in the supplement will be
expanded, and notifies Schenker of the changes that he will make to the music examples
following this decision. Vrieslander states he has officially enquired with Einstein about
potential problems in the printing process, making clear that Schenker will not be able to
bear any additional costs for printing errors.
-
OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927
Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of
Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to
visit C. S. Terry.
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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.
-
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.
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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.