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OJ 8/1, [5] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated July 10, 1911
Schenker asks why Violin is silent about visiting them.
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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.
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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.
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OC 1 B/41-45 Handwritten draft letter from Schenker to Eberhard von Waechter, dated October 17,
1919
Schenker addresses the misunderstanding that has arisen, explaining his
willingness to contribute articles to Der Merker once his current projects are in print.
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OJ 15/5, [6] Handwritten letter from Eberhard von Waechter to Schenker, dated October 19,
1919
Waechter understands Schenker's wish not to pre-publish his Art of Performance in
article form, and hopes that Schenker will provide a universal solution to the performance
problem; explains the editorial control of Der Merker, encouraging Weisse to submit his two
articles to it; expresses pleasure that he has procured from Halm reviews of Schenker's
Harmonielehre and Kontrapunkt 1; is unable to send his Musikkritik der Gegenwart at present.
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OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928
With thanks for birthday greetings, Schenker expresses how highly he values the
Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. —
Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the
success of the Urlinie through Der Tonwille, he no longer considers himself isolated.
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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.
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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.