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Documents comprising this correspondence:

• WSLB-Hds 191.579 Handwritten letter from Otto Erich Deutsch to Schenker, dated June 25, 1913

  Schenker informs Otto Erich Deutsch of the whereabouts of the collector Meinert.

• OJ 10/3, [1] Part of handwritten letter from Ludwig Scheibler to Otto Erich Deutsch, dated September 6, 1913

  Scheibler states that the pieces contained in Schenker's C. P. E. Bach: Klavierwerke are late works and inferior to the early and middle-period works.

• OJ 10/3, [3] Typewritten postcard from Otto Erich Deutsch to Schenker, dated September 25, 1913

  Deutsch has forwarded Schenker's (non-extant) reply to Ludwig Scheibler, and states that Louis Koch has taken over the autograph manuscripts of Carl Meinert.

• OJ 10/3, [2] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 8, 1913

  Deutsch encloses part of a letter from Ludwig Scheibler, which he says will interest Schenker. He has finished work on two volumes of his documentary biography.

• OJ 10/3, [4] Handwritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1919

  Deutsch announces that he has taken over a book dealership, and seeks custom.

• OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8, 1920

  Deutsch reports that Hertzka wants the music connoisseur edition of the "Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch outlines the basis of the contract (editors will receive 8% of the retail price) and the production timetable. He asks if Schenker would rather take on a different facsimile due to competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in Vienna.

• OJ 10/3, [6] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 9, 1920

  Deutsch is sorry that a customer prevented him for speaking with the Schenkers when they visited his store. Photographic originals will be needed for the connoisseur edition.

• OJ 10/3, [7] Handwritten letter from Otto Erich Deutsch Deutsch to Schenker, dated January 16, 1920

  Deutsch will write to the Beethoven House in Bonn to seek permission to reproduce the manuscript of the "Moonlight" Sonata. He suggests using the first edition as the source for the missing opening and closing bars, and asks Schenker to refrain from polemics in his commentary. Copies of the manuscripts of Beethoven's piano sonatas Opp. 28, 109, 110 and 111 should not be difficult to obtain, and he has made inquiries regarding the manuscripts of Beethoven's Piano Sonata Op. 106 and Mozart's A minor Rondo K. 511.

• OJ 10/3, [8] Handwritten postcard from Otto Erich Deutsch Deutsch to Schenker, dated February 12, 1920

  The Beethoven House will only allow reproduction of the manuscript of the "Moonlight" Sonata in return for a royalty. Deutsch has offered 5% of the retail price.

• OJ 10/3, [9] Handwritten postcard from Otto Erich Deutsch to Schenker, dated March 1, 1920

  Deutsch thanks Schenker for his suggestion of Brahms's Op. 117; Mr. Kalbeck has suggested Brahms's "Sapphische Ode" (Op. 95, No. 4) and "Nachtwandler" (Op. 86, No. 3).

• OJ 10/3, [10] Handwritten postcard from Otto Erich Deutsch to Schenker, dated June 15, 1920

  The Beethoven House has given permission for the reproduction of the "Moonlight" Sonata, and have suggested a photographer. Before arranging for the reproduction, Deutsch asks Schenker to send his existing prints to determine if they are suitable.

• OJ 10/3, [11] Printed birth announcement from Deutsch Family [to Schenker], dated July 11, 1920

  Otto Erich and Hanna Deutsch announce the birth of their son, Franz Peter, on July 11, 1920.

• OJ 10/3, [12] Typewritten postcard from Otto Erich Deutsch to Schenker, dated July 12, 1920

  Deutsch has written to Edward Speyer about the sketchleaf [of the "Moonlight" Sonata], and wishes Schenker success with his contract for the Little Library and Complete Edition.

• OJ 10/3, [13] Typewritten postcard from Otto Erich Deutsch to Schenker, dated August 5, 1920

  The photograph of Speyer's sketchleaves is still forthcoming. Deutsch has discovered that a Dr. Wilhelm Kux possesses a further sketchleaf of the "Moonlight" Sonata, and asks Schenker if he wants Deutsch to try secure a reproduction of it.

• OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16, 1920

  Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight" Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside. Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him to write to the Museum to request a photograph of the sketchleaf.

• OJ 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13, 1920

  Deutsch asks Schenker to clarify whether bars are missing from the start of the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal Edition's intended format for the volume, and ask if Schenker approves of their proposals. Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical Times.

• OJ 10/3, [16] Typewritten letter from Otto Erich Deutsch to Schenker, dated October 1, 1920

  Deutsch encloses images of Wilhelm Kux's sketchleaf of the "Moonlight" Sonata for Schenker to study. He is writing to the [Fitzwilliam] Museum in Cambridge about their sketchleaf of the Sonata.

• OJ 10/3, [17] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 6, 1920

  Deutsch encloses two photographic prints of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaf. Edward Speyer has not yet had his sketchleaf photographed, but has sent a description of its content, which Deutsch passes on.

• OJ 10/3, [18] Typewritten postcard from Otto Erich Deutsch to Schenker, dated November 13, 1920

  Deutsch has obtained a sheet with corrections for Beethoven's "Hammerklavier" Sonata, which he would like to show Schenker. The photographic images of the "Moonlight" Sonata will be made this week.

• OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26, 1920

  Replying to Schenker's postcard of November 20th, Deutsch writes that the connoisseur edition is to be reproduced using photolithography, and repeats the particulars of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111). Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks for sight of the draft of Schenker's Preface.

• OJ 10/3, [21] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 11, 1920

  Deutsch encloses the photographs of Edward Speyer's "Moonlight" Sonata sketchleaves and asks Schenker to revise his Preface accordingly, before forwarding the photographs and Preface to him. The photographic reproduction of the Sonata manuscript in Bonn has been delayed by a chemical and glass shortage. Schenker's corrections were used for the prospectus.

• OJ 10/3, [22] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 23, 1920

  Deutsch confirms receipt of Schenker preface for the "Moonlight" Sonata edition and five photographs of sketchleaves. He will send a formal contract in the next few days.

• OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30, 1921

  The overdue ["Moonlight" Sonata edition] contract is finally ready, and Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready. Schenker should expect to receive an edited version of his commentary, and perhaps also an English translation.

• OC 24/22 Typewritten postcard from Otto Erich Deutsch to Schenker, dated June 28, 1921

  Deutsch thanks Schenker for his postcard of June 26, 1921, and wishes him good luck in his new home and with his summer trip to Galtür. Deutsch has read issue 1 of Tonwille with great interest, and hopes that their connoisseur edition will be as successful.

• OJ 10/3, [24] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 24, 1921

  Deutsch reports that the "Moonlight" Sonata edition is almost finished, but because of translation problems he has asked Dr. Kalmus to show Schenker the latest revision of the English preface. Schenker's photographic reproductions will be returned once a sample print-out of the edition has been prepared and approved. The edition will launch in the autumn, and Schenker's fee will have increased because of the delay.

• OJ 10/3, [25] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1921

  Deutsch notes the advance payments for Vrieslander's and Hoboken's copies of the luxury edition of the "Moonlight" Sonata, both of which are to be delivered to Vrieslander.

• OJ 10/3, [26] Typewritten postcard from Otto Erich Deutsch to Schenker, dated December 28, 1921

  A payment of 1,200 marks from Seidel's Book Dealership, on behalf of Deutsch, has been made to Schenker's Deutsche Bank account.

• OJ 10/3, [28] Typewritten letter from Deutsch to Schenker, dated February 14, 1922

  Deutsch offers to provide several books to Schenker instead of two or three hardback copies of the "Moonlight" Sonata edition, and then details several misprints and factual errors in Romain Rolland's biography of Beethoven.

• OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922

  Deutsch writes that the "Moonlight" Sonata facsimile edition is still being printed, and that he cannot make a decision on the production of a second facsimile edition until the new contract has been agreed with Universal Edition. The contract has been delayed by Universal Edition's dispute with Drei Masken. If they have to abandon plans for the facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute, Deutsch suggests Beethoven's String Quartet Op. 95 as an alternative.

• OJ 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922

  Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven manuscript.

• OJ 10/3, [31] Typewritten letter from Deutsch to Schenker, dated April 18, 1922

  Deutsch informs Schenker that Drei Masken is publishing a facsimile of Beethoven's Piano Sonata in C minor, Op. 111.

• OJ 10/3, [32] Typewritten postcard from Deutsch to Schenker, dated April 20, 1922

  Deutsch thanks Schenker for his suggestions [for further facsimile editions] and has passed them on to Universal Edition.

• OJ 10/3, [33] Typewritten postcard from Deutsch to Schenker, dated April 21, 1922

  Deutsch has already written to Universal Edition about [Schenker's proposal for a facsimile edition of] Beethoven's Piano Sonata Op. 109. Should this plan be realized, he hopes that Schenker will provide a foreword.

• OJ 10/3, [34] Typewritten letter from Deutsch to Schenker, dated April 26, 1922

  Deutsch reports that Universal Edition has agreed to publish facsimile editions of Beethoven's Piano Sonatas Opp. 109 and 110; he asks what sources Schenker could make available. Deutsch would also like to know which Beethoven string quartet Schenker would recommend for a further facsimile edition.

• OJ 10/3, [35] Typewritten letter from Deutsch to Schenker, dated May 12, 1922

  Deutsch has passed Schenker's suggestions for facsimile editions on to Universal Edition, and asks for a reference for the Bekker article that Schenker mentioned.

• OJ 10/3, [36] Typewritten postcard from Deutsch to Schenker, dated May 22, 1922

  Deutsch asks Schenker to visit him in his office in the next few days.

• OJ 10/3, [37] Typewritten postcard from Deutsch to Schenker, dated May 26, 1922

  Deutsch reports that Drei Masken will not publish a facsimile edition of Beethoven's "Spring" Sonata Op. 24, and will instead publish editions of Beethoven's Piano Sonata in F-sharp Op. 78, a string quartet by Haydn, and Schubert's Winterreise and B minor Symphony.

• OJ 10/3, [38] Typewritten postcard from Deutsch to Schenker, dated October 30, 1922

  Deutsch apologizes for the delay to Schenker's payment for the "Moonlight" Sonata facsimile edition, for which Deutsch himself is to blame. Schenker's debt to Seidel's Book Dealership is 301 marks and 300 kronen, which should be balanced by his income from the facsimile edition.

• OJ 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922

  Deutsch provides a full overview of Schenker income from the current sales reported by Universal Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the publication.

• OJ 10/3, [40] Typewritten letter from Deutsch to Schenker, dated May 9, 1924

  Deutsch thanks Schenker for the most recent (sixth) issue of Tonwille. He read Schenker's comments on Schubert's "Gretchen am Spinnrade" (Op. 2) with great interest, although he did not fully understand them. Deutsch encloses an announcement from the publisher Vieweg that may be of interest to Schenker.

• WSLB-Hds 191.557 Handwritten letter from Schenker to Deutsch, dated October 18, 1925

  Responding to Deutsch's request, Schenker sends his text for inclusion in the forthcoming Schubert issue of Moderne Welt, and invites the Deutsches for an afternoon snack.

• OJ 10/3, [41] Typewritten postcard from Deutsch to Schenker, dated October 20, 1925

  Deutsch thanks Schenker for quickly providing his text [for the forthcoming Schubert issue of Moderne Welt]. He has written to Thomas Mann regarding the reference to Schubert's "Der Lindenbaum" in Mann's novel Der Zauberberg. The Deutsches accept Schenker's invitation for an afternoon snack, but can only come on a Sunday after Novemeber 2.

• OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925

  Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven manuscript at Heck's.

• OJ 10/3, [43] Typewritten postcard from Deutsch to Schenker, dated November 7, 1925

  Deutsch thanks Schenker for agreeing to the cuts to his article, and asks to come to the Schenkers on November 22 for the planned snack.

• WSLB-Hds 191.558 Handwritten letter from Schenker to Deutsch, dated November 7, 1925

  Schenker agrees to the cuts to his article, and invites the Deutsches for a snack and chat on November 12 or 15. Schenker is planning to see Heck's Beethoven manuscript.

• OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925

  Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing Deutsch's collection of Schubert first editions.

• OJ 10/3, [45] Typewritten postcard from Deutsch to Schenker, dated December 9, 1925

  Deutsch sends Schenker a dedication copy of the Schubert special issue of Moderne Welt, to which Schenker contributed an article. Deutsch had already requested a copy to be sent to Schenker from the publisher, but this has gone missing.

• OJ 10/3, [46] Typewritten postcard from Deutsch to Schenker, dated December 15, 1925

  Deutsch thanks Schenker for his postcard [not known to survive] and hopes to speak to him soon about the matters raised therein. Deutsch, however, could neither read nor understand a sentence from Schenker's postcard and affixes it to this reply.

• OJ 10/3, [47] Typewritten postcard from Deutsch to Schenker, dated February 15, 1926

  Deutsch has received Schenker's request for a subscription to Die literarische Welt and has dispatched the required payment transfer form.

• OJ 10/3, [49] Handwritten letter from Hanna Deutsch to Schenker, dated March 20, 1926

  Hanna Deutsch invites the Schenkers to afternoon tea on March 28, 1926.

• OJ 10/3, [50] Typewritten letter from Deutsch to Schenker, dated March 26, 1926

  Deutsch requests that the Schenkers' planned visit for afternoon tea be postponed because their children and nanny have contracted flu.

• OJ 10/3, [51] Handwritten letter from Hanna Deutsch to Jeanette Schenker, dated April 8, 1926

  Hanna Deutsch tries to arrange a date for the Schenkers, Hoboken and Vrieslander to visit for afternoon tea.

• OJ 10/3, [52] Typewritten postcard from Deutsch to Schenker, dated January 15, 1927

  Deutsch asks Schenker if a (recent) edition of Beethoven’s Ninth Symphony was based on the facsimile edition. He has sent the manuscript (of Schenker’s second Meisterwerk yearbook) to the publishers. A Haydn facsimile and a Handel print can be discussed later.

• OJ 10/3, [53] Typewritten postcard from Deutsch to Schenker, dated January 16, 1927

  Deutsch asks Schenker what he wrote about Domenico Scarlatti and Chopin as non-German geniuses, for his forthcoming trip to Sweden. He has learned that Schubert was paid for two summers’ teaching for the Esterházy family; he has valued two song manuscripts belonging to the family at 4,000 marks.

• BerkAE 7/898, [4] Handwritten postcard from Schenker to Deutsch, dated January 16, 1927

  Schenker responds to Deutsch’s request for information about the recent facsimile edition of Beethoven’s Ninth Symphony, and the new edition of the symphony published by the Philharmonischer Verlag. He had made changes to the text of the first movement, but subsequently withdrew from the editing.

• OJ 10/3, [54] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January 18, 1927

  Vrieslander would like to give a lecture on Schenker and Beethoven at the centenary celebrations in Vienna; Deutsch asks Schenker to contact Vrieslander directly about this.

• OJ 10/3, [55] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January 18, 1927

  Deutsch asks Schenker not to mention his name in connection with the “curiosity” about Schubert mentioned in his postcard of January 15.

• OJ 5/9, [1] Handwritten draft letter from Schenker to Deutsch, dated February 28, 1927

  Schenker explains to Deutsch why he does not want to be considered for an honor from the Austrian Republic. He thanks Deutsch (and Karl Kobald) for their kind intention to put his name forward.

• OJ 10/3, [56] Typewritten letter from Deutsch to Schenker, dated March 7, 1927

  Deutsch is touched by Schenker’s letter explaining why he doesn’t wish to be considered for an honor (from the Austrian Republic), and will send Karl Kobald a summary of its main points.

• OJ 10/3, [57] Typewritten postcard from Deutsch to Schenker, dated March 13, 1927

  Deutsch asks Schenker to recommend Dr. Willy Kahl (Cologne) to write for the Bonn General-Anzeiger. He reports the arrival of galley proofs (for the second Meisterwerk yearbook).

• OJ 10/3, [58] Typewritten postcard from Deutsch to Schenker, dated March 24, 1927

  Deutsch will probably attend a lecture given by Wolfgang Graeser, and encourages Schenker to do the same.

• OJ 10/3, [59] Typewritten express postcard from Deutsch to Schenker, dated April 14, 1927

  Deutsch invites the Schenkers for afternoon tea at the weekend; Hoboken and Vrieslander will also be there.

• OJ 10/3, [60] Typewritten express postcard from Deutsch to Schenker, dated April 21, 1927

  Deutsch looks forwarded to seeing the Schenkers at Hoboken’s place. The Society of the Friends of Music would like their print of a Haydn sketchleaf to be returned; Eusebius Mandyczewki is unable to find a copy of Scarlatti’s Op. 1 (a collection of six keyboard sonatas).

• OJ 10/3, [61] Typewritten postcard from Deutsch to Schenker, dated May 9, 1927

  Deutsch asks Schenker to lend him the April 1927 issue of Der Schriftsteller. He is grateful for having been introduced to the artist Viktor Hammer. He recommends that Schenker visit the Beethoven exposition in the City Hall, and also the Planetarium, where an “optical organ” is on display.

• OJ 10/3, [62] Typewritten postcard from Deutsch to Schenker, dated May 11, 1927

  Deutsch has been invited to pose for an album of the Beethoven Committee; he enquires whether Schenker has accepted an invitation to do so, in which case he will do the same. He is delighted to learn that the (Photogram) Archive has been agreed.

• OJ 10/3, [63] Typewritten postcard from Deutsch to Schenker, dated June 4, 1927

  Deutsch has found a reference to the autograph manuscript of Beethoven’s Piano Sonata in G, Op. 79, and tells Schenker he can find out more about it from the British Museum. The Hammers are visiting him on Wednesday (June 8), and he hopes that the Schenkers will be able to join them.

• WSLB-Hds 191.559 Handwritten postcard from Schenker to Deutsch, dated June 6, 1927

  Schenker asks Deutsch to make inquiries at the British Museum on his behalf, concerning the autograph manuscript of Beethoven’s Sonata Op. 79. He is annoyed with Hertzka for letting someone else take on the editing of Mozart’s piano sonatas for Universal Edition.

• OJ 10/3, [64] Typewritten letter from Deutsch to Schenker, dated June 24, 1927

  Deutsch has received the second galley proofs to the second Meisterwerk yearbook but did not read them as he did not have a source with which to compare them. He will, however, assist Schenker correcting the page proofs, if necessary.

• OJ 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927

  Deutsch tells Schenker that the second edition of Schindler’s Beethoven biography is available, but not the first. --- He explains at length a misunderstanding over the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and expresses his regret that Drei Masken Verlag have been slow to prepare the second Meisterwerk yearbook for publication.

• OJ 10/3, [66] Typewritten postcard from Deutsch to Schenker, dated August 2, 1927

  Deutsch has obtained a copy of the first edition of Schindler’s Beethoven biography, which he will send to Galtür.

• OJ 10/3, [67] Typewritten letter from Deutsch to Schenker, dated September 8, 1927

  Deutsch has the text of the prospectus for the second Meisterwerk yearbook prepared by Otto Vrieslander, which the publishers say is too long and he thinks is unnecessarily repetitious. He is forwarding it to Schenker for his opinion.

• OJ 10/3, [68] Typewritten letter from Deutsch to Schenker, dated September 12, 1927

  Deutsch has sent Vrieslander’s prospectus of the second Meisterwerk yearbook to the publisher almost unchanged, despite overlength. — He reports 200 new acquisitions [for Hoboken's collection], particularly in Mozart, Haydn, and Chopin.

• OJ 10/3, [69] Typewritten picture postcard from Deutsch to Schenker, dated October 6, 1927

  Deutsch regrets that Drei Masken Verlag has not yet sent Schenker his complimentary copies [of the second Meisterwerk yearbook]; they will send an invoice for the production costs. Hoboken ought to receive an honor from the Austrian state only after the Photogrammarchiv is up and running. Deutsch has much to show Schenker from the first editions of Beethoven sonatas. He wants to arrange a time to go through the corrections to Schubert’s Symphony in B minor.

• OJ 10/3, [70] Typewritten picture postcard from Deutsch to Schenker, dated October 11, 1927

  Deutsch has seen Otto Vrieslander, who surprisingly did not mention the recent publication of his songs. He explains how different early print-runs of Beethoven’s works may display telling differences, and how parallel publications in different cities could sometimes show changes attributable to the composer (as is typically found in Chopin).

• OJ 10/3, [71] Typewritten picture postcard from Deutsch to Schenker, dated October 15, 1927

  Deutsch accepts an invitation to the Schenkers on Wednesday, October 19. – Drei Masken Verlag have told him that they have already paid Schenker’s honorarium and sent him complementary copies [of the second Meisterwerk yearbook] in January and that the second payment came to him from their branch in Vienna. – He has been working on a Beethoven catalogue but must now turn his attention to Mozart, and then to Schubert.

• OJ 10/3, [72] Typewritten picture postcard from Deutsch to Schenker, dated October 24, 1927

  Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished” Symphony. Kalmus said that time was pressing and he was unable to show the two men the changes before the work went to press.

• OJ 10/3, [73] Typewritten postcard from Deutsch to Schenker, dated November 14, 1927

  Deutsch has had a telephone call from Alfred Kalmus, who reported that Schenker’s revised copy of Schubert’s “Unfinished” Symphony has been messed up, that it will be returned to him, with a second, clean copy, and that Kalmus may visit Schenker to apologize for this. – Deutsch will lend Schenker a copy of stories by Balzac, two of which may be of interest from a musical point of view. He also hopes that work can be found for the precocious Gerald Warburg.

• OJ 10/3, [74] Typewritten postcard from Deutsch to Schenker, dated November 22, 1927

  Deutsch suspects that with the typesetters' "messing up" of Schenker’s revised copy of Schubert’s “Unfinished” Symphony the material has been made illegible. — He has been in contact with people regarding a possible radio talk by Schenker, and one by himself on the redesigning of the Mozarteum. — He reports that the pianist Heinz Jolles would like Schenker to prepare an edition of one of Beethoven’s variation sets (WoO 80 or the “Diabelli”), and that Josef Braunstein is gratified to hear of Schenker’s interest in his recent book on the "Leonore" overtures.

• OJ 10/3, [75] Typewritten letter from Deutsch to Schenker, dated December 2, 1927

  Deutsch encloses Schenker’s score of the “Unfinished” Symphony that was used used for the new edition and Alfred Kalmus’s apologetic letter. He mentions the pianist Heinz Jolles’ interest in Schenker’s editorial work, in the hope that Schenker might at some point tackle Beethoven’s “Diabelli” Variations.

• WSLB-Hds 191.560 Handwritten letter from Schenker to Deutsch, dated January 25, 1928

  Schenker comments on the text of Deutsch’s forthcoming radio broadcast about the Photogram Archive, noting in particular that the word “scientific” (wissenschaftlich) has no place in the study of music, which is a unique art form.

• OJ 10/3, [76] Typewritten picture postcard from Deutsch to Schenker, dated January 27, 1928

  Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished” Symphony. Kalmus said that time was pressing and he was unable to show the two men the changes before the work went to press.

• WSLB-Hds 191.561 Handwritten picture postcard from Schenker to Deutsch, postmarked February 6, 1928

  Schenker congratulates Deutsch on his two most recent radio broadcasts, and on his impending appointment as editor of a monthly music journal.

• OJ 10/3, [77] Handwritten letter from Hanna and Otto Erich Deutsch to Schenker, dated March 1, 1928

  The Deutsches accept the Schenkers’ invitation for the afternoon of Wednesday, March 7.

• OJ 10/3, [78] Handwritten letter from Hanna Deutsch to Schenker, dated March 2, 1928

  Hanna asks Schenker to accept her apologies for not being able to visit them on March 7, as Otto Erich has been invited to tea with the President of the Republic..

• OJ 10/3, [79] Handwritten letter from Hanna Deutsch to Schenker, dated March 4, 1928

  The Deutsches will visit the Schenkers on Wednesday, March 14. Hanna reports that Hoboken has been unwell.

• OJ 10/3, [80] Typewritten postcard from Deutsch to Schenker, dated March 19, 1928

  Deutsch reports that Eusebius Mandyczewski, the Archivist at the Gesellschaft der Musikfreunde, would like to prepare a revised edition of Schubert’s “Unfinished” Symphony, and asks Schenker if he would be prepared to make his textual notes on the symphony available to him.

• OJ 10/3, [81] Typewritten postcard from Deutsch to Schenker, dated March 25, 1928

  Deutsch’s plans to give a pre-concert talk on the radio have been messed up by Max Ast at Austrian Radio. -- He asks Schenker to tell him about the authentic copies of Beethoven’s works made for Archduke Rudolph. -- He has been on the track of a German mass for the dead by Schubert (the Deutsche Trauermesse) and would like to show Schenker his work on it.

• OJ 10/3, [82] Typewritten postcard from Deutsch to Schenker, dated March 26, 1928

  Deutsch writes about the sketches for a symphony in E major by Schubert, in the possession of the Royal College of Music in London. He would like to have a copy made so that the work can be published – possibly by Oxford University Press. The costs should be borne by the publisher, not the Photogram Archive, which would nonetheless get a copy of the reproduction.

• OJ 10/3, [83] Typewritten picture postcard from Deutsch to Schenker, dated April 16, 1928

  Deutsch has had sharp words with Max Ast at Austrian Radio. He wants to give a talk on Schubert’s lost “Gastein” (or “Gmunden”) Symphony and hopes that publicity from the broadcasting company will eventually lead to the rediscovery of the manuscript. Eusebius Mandyczewski is preparing a new edition of the “Unfinished” Symphony for Breitkopf & Härtel; the Philharmonia pocket score, with Schenker’s and Deutsch’s revisions, is now in print. Deutsch has discovered that the first edition of Beethoven’s Piano Sonata Op. 90 exists in two versions.

• OJ 10/3, [84] Typewritten picture postcard from Deutsch to Schenker, dated May 1, 1928

  Deutsch has picked up a copy of his and Schenker’s recent edition of the “Unfinished” Symphony; he has made a complaint to Universal Edition and let the publisher know of Schenker’s displeasure with the-- He is going away for a few days, but returning to give a radio broadcast on Schubert’s settings of Walter Scott.

• OJ 10/3, [85] Typewritten picture postcard from Deutsch to Schenker, dated May 15, 1928

  Deutsch thanks Schenker for his kind words (about his recent radio broadcast) and describes the difficulties in preparing things for publication in Radio Wien. He informs Schenker that Brahms’s arrangement of a Schubert song has already been published. He has discovered that the Guitar Quartet believed to be by Schubert is an arrangement, and that an early cantata, Die Advokaten, is also based on the work of another composer.

• WSLB-Hds 191.562 Handwritten letter from Schenker to Deutsch, dated May 17, 1928

  Responding to Deutsch’s previous message, Schenker confirms that the Deutsche Trauermesse must, on musical grounds, be a work by Franz Schubert. He also agrees with Deutsch that the Quartet for guitar, flute, violin, and cello must be an arrangement of a work by a fashionable composer of the time.

• OJ 10/3, [86] Typewritten picture postcard from Deutsch to Schenker, dated May 22, 1928

  Deutsch thanks Schenker for his most recent letter, and is sending him in return the original version of the finale of Schubert’s Divertissement à l’hongroise.

• OJ 10/3, [87] Handwrittenwritten picture postcard from Hanna and Otto Erich Deutsch to Schenker, dated June 10, 1928

  The Deutsches hope to see the Schenkers once before both couples go away for the summer, and they invite them for tea on Tuesday, June 12.

• OJ 10/3, [88] Typewritten picture postcard from Deutsch to Schenker, dated June 14, 1928

  Deutsch can show Schenker the reissue (Titelauflage) of Beethoven’s Sonata Op. 6 if he is interested. -- On the 27th, he is giving a radio broadcast on Schubert’s lost symphony; he has obtained funding ($1,000) for the person who finds it. -- He is giving another radio talk on July 3, on Schubert’s incidental music to Rosamunde.

• OJ 10/3, [89] Typewritten letter from Deutsch to Schenker, dated June 17, 1928

  Deutsch sends Schenker birthday greetings; he hopes that the last volume of his “great work” [i.e. Der freie Satz] will bring satisfaction to him and comfort to the world.

• WSLB-Hds 191.563 Handwritten letter from Schenker to Deutsch, dated June 22, 1928

  Schenker thanks Deutsch for his birthday greetings, explaining that, although he feels alienated from the musical world of the present day, he is convinced that his work will have a lasting effect on future generations.

• OJ 10/3, [90] Typewritten letter from Deutsch to Schenker, dated June 27, 1928

  Touched by Schenker’s response to his birthday greetings, Deutsch quotes a passage from Johann Mayrhofer’s recollections of Schubert. He notes that the Columbia Phonograph Company has sponsored a competition that could be viewed as a kind of Nobel Prize for music.

• WSLB-Hds 191.564 Handwritten picture postcard from Schenker to Deutsch, dated and postmarked June 30, 1928

  Schenker congratulates Deutsch on being granted the title of “Professor”; he makes an ironic comment on a hypothetical Nobel Prize for music.

• OJ 10/3, [91] Typewritten letter from Deutsch to Schenker, dated September 16, 1928

  Deutsch belatedly answers Schenker’s postcard greeting from the summer and invites him to tea on Wednesday, September 19.

• OJ 10/3, [92] Typewritten postcard from Deutsch to Schenker, dated September 27, 1928

  Deutsch gives Schenker information about Brahms’s arrangement of a Schubert song ("Ellens zweiter Gesang") and the guitar quartet attributed to Schubert.

• OJ 10/3, [93] Typewritten letter from Deutsch to Schenker, dated September 29, 1928

  Deutsch arranges to meet Schenker in [Hoboken’s] library on October 2.

• OJ 10/3, [94] Typewritten postcard from Deutsch to Schenker, dated October 3, 1928

  Deutsch apologies for being late to his meeting with Schenker, because his clock was running 10 minutes slow.

• OJ 10/3, [95] Typewritten picture postcard from Deutsch to Schenker, dated October 8, 1928

  Deutsch has received information from Breitkopf & Härtel concerning the three volumes of piano sonatas by Haydn in the collected edition; he thinks that they are very expensive.

• OJ 10/3, [96] Typewritten letter from Deutsch to Schenker, dated December 11, 1928

  Deutsch outlines plans for the publication of catalogues of music manuscripts worldwide and, in particular, new thematic catalogues of the music of Schubert, Mozart and Beethoven. With the intervention of Leopold Richtera, he has been assured of a good working relationship with the director of music at Radio Wien (RAVAG).

• OJ 10/3, [97] Typewritten picture postcard from Deutsch to Schenker, dated February 12, 1929

  Deutsch thanks Schenker for his recent postcard, then describes the circumstances of his recent and forthcoming radio programs, which include a series of concerts given by a “Kammerensemble” (chamber group) which includes professors from the Vienna Academy. He has been to a man named Villers, who has been reconstructing orchestral scores from piano reductions.

• OJ 10/3, [98] Typewritten letter from Deutsch to Schenker, dated , March 22, 1929

  Deutsch sends Schenker a newspaper clipping related to an idea of his concerning the “League of Nations”.

• OJ 10/3, [99] Typewritten picture postcard from Deutsch to Schenker, dated March 27, 1929

  Deutsch asks which edition of the Schubert Minuet in B minor he had consulted when writing an article in Der Kunstwart.

• OJ 10/3, [100] Typewritten picture postcard from Deutsch to Schenker, dated May 6, 1929

  Deutsch invites the Schenkers to their place on Wednesday, May 8, or the following Wednesday.

• OJ 10/3, [101] Typewritten letter from Deutsch to Schenker, dated May 8, 1929

  Deutsch reports that his series of radio concerts with professors from the Vienna Academy is in jeopardy, because of Max Ast’s lack of enthusiasm for them, and that Leopold Richtera has also let him down.

• OJ 10/3, [102] Typewritten picture postcard from Deutsch to Schenker, dated May 13, 1929

  Deutsch informs Schenker that Anthony van Hoboken is still abroad, but is expected towards the end of the week (Friday, May 17).

• OJ 10/3, [103] Typewritten letter from Deutsch to Schenker, dated June 11, 1929

  Deutsch gives Schenker a detailed, comprehensive account of how his royalties on the sale of the third Meisterwerk yearbook are based.

• OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929

  In a long letter, Deutsch thanks Schenker for encouraging him to apply for the post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of play at the Archive, above all on its insecure position. — He also expresses his regret that Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors from the Vienna Academy, and that some of the players are no longer enthusiastic about them; he hopes to start a new initiative of that sort in the autumn. — He is in good standing with Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his recent trip to Italy, and thinks that he might have become an art historian had he gotten to know the country earlier.

• OJ 10/3, [105] Handwritten letter from Deutsch to Schenker, dated August 21, 1929

  In this long letter, Deutsch seeks to explain Vrieslander’s behavior with regard to the purchase of materials from an unscrupulous antiquarian dealer, and also to account for Hoboken’s treatment of Vrieslander as a consequence. --- He accepts that funds to set up a journal linked to the Photogram Archive are not unlimited, but understands why Schenker cannot devote as much of his own time to the project as Hoboken might expect. --- He describes Hoboken as a childish character, with little understanding of the world of ordinary people, who might nevertheless ultimately produce a good piece of scholarship.

• OJ 10/3, [106] Typewritten picture postcard from Deutsch to Schenker, dated September 18, 1929

  Deutsch asks Schenker to name a convenient time to speak with him in private or, alternatively, for the Schenkers to come to his place some afternoon.

• OJ 10/3, [107] Typewritten letter from Deutsch to Schenker, dated October 1, 1929

  Deutsch gives Schenker information and advice about a standing lamp.

• OJ 10/3, [108] Typewritten letter from Deutsch to Schenker, dated October 7, 1929

  Deutsch gives a comprehensive analysis of the prospect of a publication devoted to the Photogram Archive: its content, its editorship, the frequency of its appearance, and the publishing houses who might be interested in taking it on.

• OJ 10/3, [109] Typewritten picture postcard from Deutsch to Schenker, dated October 14, 1929

  Deutsch agrees that there should be momentum associated with the Photogram Archive, but Haas can probably not be persuaded [to approve of Hoboken’s taking the editorial duties]. --- He reports that work on Haydn (with Hoboken) has resumed.

• OJ 10/3, [110] Typewritten picture postcard from Deutsch to Schenker, dated November 8, 1929

  Deutsch has come in second place in the application to the Society of the Friends of Music [for the directorship of its Archive], and will not accept an inferior position there. He proposes a meeting with Schenker on Tuesday [the 12th] or Friday [the 15th].

• OJ 10/3, [111] Handwritten picture postcard from Deutsch to Schenker, dated , November 11, 1929

  Deutsch accepts Schenker’s invitation for Tuesday, November 12, 1929.

• OJ 10/3, [112] Handwritten picture postcard from Hanna Deutsch to Schenker, dated December 24, 1929

  The Deutsches accept Schenker’s invitation for Friday, December 27, 1929. They thank him for his expression of sympathy over their son’s illness.

• OJ 10/3, [113] Handwritten picture postcard from Deutsch to Schenker, dated December 30, 1929

  Deutsch advises Schenker to send the manuscript [of an essay by Gerd Albersheim] to Dr. Alfred Einstein, the editor of the Zeitschrift für Musikwissenschaft.

• OJ 10/3, [114] Typewritten letter from Deutsch to Schenker, dated January 21, 1930

  Deutsch explains that, without a fixed annual budget, the Board of Trustees [of the Photogram Archive] is unable to function properly. Hoboken didn’t always deal efficiently with the foreign contributors to the collection; a catalogue has still not been prepared. And Deutsch has made himself ill by overwork. Hedwig Kraus has taken over the directorship of the Archive of the Gesellschaft der Musikfreunde, with [Karl] Geiringer as her assistant – to whom Deutsch would have greatly preferred Luithlen. He has been exchanging letters with Vrieslander.

• OJ 10/3, [115] Typewritten picture postcard from Deutsch to Schenker, dated January 27, 1930

  Deutsch clarifies one or two misunderstandings in Schenker’s previous postcard: Vrieslander has been contracted by the publisher Strache to bring out some unpublished sonatas by C. P. E. Bach.

• OJ 10/3, [116] Handwritten postcard from Hanna Deutsch to Schenker, dated February 1, 1930

  The Deutsches invite the Schenkers for dinner on Wednesday, February 5, 1930. Hoboken will also be there (without his wife).

• OJ 10/3, [117] Handwritten picture postcard from Hanna Deutsch to Schenker, dated February 3, 1930

  Hanna Deutsch accepts Schenker’s choice of date for supper (February 6).

• OJ 10/3, [118] Handwritten picture postcard from Deutsch to Schenker, dated February 5, 1930

  Deutsch confirms the time of his invitation to the Schenkers for the evening.

• OJ 10/3, [119] Typewritten letter from Deutsch to Schenker, dated February 26, 1930

  In contrast to the uprightness of Schenker’s other pupils, Hans Weisse and Felix Salzer, Hoboken is described by Deutsch as an unsteady, unfocussed person who may yet be able to do some good but whose restlessness gives him grounds to fear for the future of his library, and his own future.

• 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].

• OJ 10/3, [121] Typewritten picture postcard from Deutsch to Schenker, dated March 5, 1930

  Deutsch tells Schenker that Hoboken may stay in Berlin, at least temporarily. His friend Otto Stoessl works for Der Kunstwart but has not invited him to contribute to that periodical. He has found a review in a Stuttgart music journal which contains words of high praise for Schenker’s Erläuterungsausgaben of the late Beethoven sonatas.

• OJ 10/3, [122] Typewritten picture postcard from Deutsch to Schenker, dated March 17, 1930

  Deutsch was unable to hear Weisse’s new composition; he has sympathy for the work of Eduard Beninger.

• OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930

  Deutsch suggests that Schenker should get Breitkopf & Härtel to publish his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will continue to study theory with Schenker while he improves his piano technique in Berlin. -- He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which predates its publication in Op. 75 by about three years, and asks Schenker to compare the two version with a sketch from 1798 that was published by Nottebohm.

• OJ 5/9, [2] Handwritten letter from Schenker to Deutsch, dated April 3, 1930

  Schenker confirms that a Beethoven sketch for "Neue Liebe, neues Leben" is related to the earlier of his two settings of the song. Although he is grateful for Nottebohm’s work on the Beethoven sketches, he transcribed only from the surface, not from the depths of the composition. -- In a postscript, Schenker complains that, in a recent feuilleton, the music critic Julius Korngold has quoted his terminology (e.g. Auskomponierung) but failed to mention his name.

• OJ 10/3, [124] Typewritten letter from Deutsch to Schenker, dated April 4, 1930

  Deutsch thanks Schenker for confirming the relationship of a Beethoven sketch to his song "Neue Liebe, neues Leben," which Gustav Nottebohm had misunderstood.

• OJ 10/3, [125] Typewritten letter from Deutsch to Schenker, dated April 6, 1930

  Deutsch has learned that Hoboken intends to keep his apartment in Vienna at least until 1932; his departure from the city is therefore only temporary.

• OJ 10/3, [126] Handwritten letter from Deutsch to Schenker, dated May 11, 1930

  Deutsch asks for Schenker’s advice on the programming of an evening “Serenade” of orchestral and choral music, to be conducted by Robert Heger.

• OJ 5/9, [3] Handwritten letter from Schenker to Deutsch, dated May 15, 1930

  Discusses Beethoven's song "Neue Liebe, neues Leben" (Op. 75, No. 2). Dr. Rinn will be inviting Deutsch to collaborate.

• OJ 10/3, [127] Handwritten picture postcard from Deutsch to Schenker, dated May 23, 1930

  Deutsch thanks Schenker for his musical illustration relating to Beethoven’s "Neue Liebe, neues Leben" and gives details of the second of two outdoor music events [Leopoldsplatz], scheduled for June 12.

• OJ 10/3, [128] Handwritten picture postcard from Deutsch to Schenker, dated May 25, 1930

  Deutsch is delighted that Schenker is happy with Drei Masken Verlag’s willingness to publish the Eroica monograph as a third Meisterwerk yearbook. He has encountered difficulties with the Vienna Philharmonic Orchestra regarding the program for the first of two Serenades in the Leopoldsplatz in June.

• OC 54/303 Handwritten letter from Deutsch to Schenker, dated May 30, 1930

  Schenker is advised to visit the lithographer Karl Piller concerning the preparation of his music examples and illustrations [for the Eroica monograph]. Deutsch will write immediately to Drei Masken Verlag about the type of paper to be used.

• OJ 10/3, [129] Handwritten letter from Deutsch to Schenker, dated June 6, 1930

  Deutsch has discussed the printing of the music illustrations for Schenker’s "Eroica" monograph with the lithographers Elbemühl. He hopes that Georg Tomay will complete his calligraphic work before Schenker leaves for Galtür.

• OJ 10/3, [130] Handwritten picture postcard from Deutsch to Schenker, dated June 7, 1930

  Deutsch comments on the Beethoven military march (tattoo) he came across; he is still looking for an arranger for Schubert’s marches for piano.

• OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930

  Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about Schenker difficult to read. He advises him to proceed with the printing of his essay on the "Eroica" Symphony, even if it proves possible for another publisher to take it over at a late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for orchestra or wind band].

• OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930

  A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until September, if the "Eroica" monograph is to be published by the end of the year.

• OC 54/307 Typewritten letter from Deutsch to Schenker, dated June 27, 1930

  Deutsch has been in touch with the production team and the publishers of the third Meisterwerk yearbook and transmits to Schenker the estimated costs of producing the book, including details of text printing, lithography and paper. -- In a postscript, he offers to help with the proof corrections of the text.

• OC 54/308 Handwritten picture postcard from Deutsch to Schenker, dated June 28, 1930

  A printer’s sample make-up for the third Meisterwerk yearbook is on its way to Schenker; Deutsch asks Schenker to return it together with his comments.

• OC 54/309 Postal receipt for package sent from Schenker to Deutsch, postmarked July 2, 1930

  Schenker returns Röder's sample brochure [for Meisterwerk III] to Deutsch with Furtwängler letter.

• OC 54/310 Typewritten letter from Deutsch to Schenker, dated July 4, 1930

  Deutsch gives further details of the production costs for the third Meisterwerk yearbook and makes some recommendations, including the printing of the Urlinie-Tafeln of the "Eroica" as a booklet, not as loose pages.

• OC 54/311 Handwritten letter from Deutsch to Schenker, dated July 14, 1930

  Deutsch sends Schenker the contract from Drei Masken Verlag for the third Meisterwerk yearbook, and asks him to sign it and return it to the publishers. He thinks that an edition of the [collected] works of C. P. E. Bach is a worthy cause. He hopes that Hoboken will soon receive the new honor from the Austrian government, for services to scholarship.

• 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.

• OC 54/312 Handwritten picture postcard from Deutsch to Schenker, dated July 21, 1930

  Deutsch is sending the text manuscript of Schenker’s third Meisterwerk yearbook to Drei Masken Verlag.

• OC 54/313 Postal receipt for package sent from Schenker to Deutsch, postmarked July 21, 1930

  Schenker sends a 16-page letter and a clipping.

• OC 54/314 Typewritten picture postcard from Deutsch to Schenker, dated July 28, 1930

  Deutsch asks Schenker not to return any proof corrections (to the text of the third Meisterwerk yearbook) until he has seen his own.

• OC 54/315 Typewritten letter from Deutsch to Schenker, dated July 30, 1930

  Deutsch makes further reports on the anticipated costs of the third Meisterwerk yearbook. -- He has come across an arrangement of Beethoven’s Op. 74 Quartet as a symphony and found some important early editions of the Op. 22 Sonata. -- He would like Schenker to meet his friend [Leopold] Liegler, whose theories about literature resonate with the concept of Urlinie.

• WSLB-Hds 191.566 Handwritten letter from Schenker to Deutsch, dated August 5, 1930

  Replying to Deutsch’s letter of July 30, Schenker warmly recommends his long-standing pupil Marianne Kahn as a teacher for Deutsch’s brother. -- He then comments at length on a newspaper article by Richard Benz (of which Deutsch had sent a clipping), using a medical metaphor to describe the current pathological state of music.

• OC 54/316 Handwritten picture postcard from Deutsch to Schenker, dated August 11, 1930

  Deutsch has received the first proofs [of the third Meisterwerk yearbook] from the printers, and would like to look carefully at them before forwarding them to Schenker.

• WSLB-Hds 191.567 Handwritten letter from Schenker to Deutsch, dated August 15, [1930]

  Schenker thanks Deutsch for his careful, helpful reading of the proofs to the third Meisterwerk yearbook. -- Tomay has assigned the autography of the foreground graphs for the second movement of the "Eroica" Symphony to an apprentice; these are full of mistakes and will have to be done again. But Tomay’s own work, on the third and fourth movements, is excellent. -- In a postscript, he comments on his entry in the most recent Meyers Lexikon, and on a review of the second Meisterwerk yearbook in the Deutsche Tonkünstler-Zeitung.

• WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930

  Schenker is sending Deutsch copies of letters written by Leo Kestenberg praising his theories for their practical application to composition and performance, noting that Furtwängler is championing his cause everywhere. -- He then launches into a tirade against the city of Vienna for snubbing him and his work.

• OC 39/1 Handwritten envelope for proofs sent by Deutsch to Schenker, postmarked August 23, 1930

  Envelope for proofs.

• OC 54/317 Postal receipt, for consignment from Schenker to Deutsch, postmarked August 25, 1930

  Schenker sends letters (from Leo Kestenberg to Hans Weisse) to Deutsch.

• OC 54/318 Typewritten picture postcard from Deutsch to Schenker, dated August 27, 1930

  Deutsch has no objection to Schenker adding a note about a possible source for the “Eroica” Symphony in his notes on the text of the work. -- He is happy that reading the proofs of the third Meisterwerk yearbook has been useful. -- He suggests that the [Austrian] Minister for Education ought to see the letters that Leo Kestenberg has written about Schenker’s work. -- He asks Schenker for a possible journalist contact in Aussig.

• OC 54/319 Typewritten picture postcard from Deutsch to Schenker, dated August 30, 1930

  Deutsch asks Schenker to suggest a time when the two of them can get together in Vienna.

• WSLB-Hds 191.569 Handwritten letter from Schenker to Deutsch, dated September 10, 1930

  Schenker requests a meeting with Deutsch and Robert Haas. -- The page-proofs for the third Meisterwerk yearbook will arrive soon. -- Schenker will also look at the early edition of Beethoven’s Sonata Op. 22, recently acquired by Hoboken, and discuss any outstanding matters between them then.

• OC 54/320 Handwritten letter from Deutsch to Schenker, dated September 11, 1930

  Deutsch asks Schenker to look carefully at two passages in the proofs of the music examples to the third Meisterwerk yearbook and send them to him immediately. He also wants Schenker to change the ending of the final item in the yearbook’s “Miscellanea.”

• OC 54/321 Typewritten picture postcard from Deutsch to Schenker, dated September 15, 1930

  Deutsch wishes Schenker a speedy recovery from an accident or illness.

• OC 54/322 Handwritten letter from Deutsch to Schenker, dated September 19, 1930

  Deutsch cannot see Schenker until Sunday, September 21, 1930.

• OC 54/323 Handwritten picture postcard from Deutsch to Schenker, dated September 26, 1930

  Deutsch has learned that a number of Beethoven items have been transferred from Olmütz [now Olomouc, in the Czech Republic] to the monastery at Kremsier.

• OC 54/324 Typewritten picture postcard from Deutsch to Schenker, dated October 3, 1930

  Deutsch has learned that the sources that may have once been in Archduke Rudolph’s collection in Olmütz were not transferred to Kremsier, and that the last footnote (NB) on p. 87 of the third Meisterwerk yearbook ought to be changed.

• OC 54/325 Handwritten letter from Deutsch to Schenker, dated October 11, 1930

  Deutsch explains to Schenker which proof corrections may be the author’s responsibility, and which the printer’s or publisher’s, and advises him to write back to the publisher but not to get unduly upset about these matters.

• WSLB-Hds 191.570 Letter from Schenker to Deutsch in Jeanette Schenker’s hand, dated October 12, 1930

  Schenker will follow all of Deutsch’s recent suggestions regarding the page formatting of the third Meisterwerk yearbook, for which he is most grateful. -- He then launches a further attack upon Anthony van Hoboken’s character.

• OC 54/326 Typewritten picture postcard from Deutsch to Schenker, dated October 12, 1930

  Deutsch explains to Schenker that it is a publisher’s duty to contact an author in the event of some possible errors, especially of a technical nature, even if it has not actually financed the work itself.

• OC 54/327 Handwritten letter from Deutsch to Schenker, dated October 15, 1930

  Deutsch makes some late corrections to the proofs of the third Meisterwerk yearbook. He also suggests mentioning the supplementary music illustrations and foreground graphs in the table of contents.

• WSLB-Hds 191.571 Letter from Schenker to Deutsch, in Jeanette Schenker’s hand, dated October 17, 1930

  Enclosing two recent letters from Drei Masken Verlag, Schenker asks Deutsch’s advice on what further action to take, if any. His doctor has pronounced him fit.

• OC 54/328 Typewritten letter from Deutsch to Schenker, dated October 19, 1930

  Deutsch suggests a way of placing the loose music illustrations and the bound graphs of the Urlinien inside the third Meisterwerk yearbook. He invites the Schenkers for a visit soon, perhaps on Friday, October 24.

• OC 54/329 Handwritten letter from Deutsch to Schenker, dated October 24, 1930

  Deutsch makes further suggestions about how the musical material for the "Eroica" – the booklet of Urlinie graphs, and other illustrations (“figures”) – should fit into the third Meisterwerk yearbook. He also recommends fully paginating the booklet.

• OC 54/330 Handwritten letter from Deutsch to Schenker, dated October 24, 1930

  Deutsch recommends three modifications to the layout of the supplements for the third Meisterwerk yearbook.

• OJ 10/3, [131] Handwritten letter from Deutsch to Schenker, dated November 5, 1930

  Deutsch advises Schenker to send a sample of proofs of the third Meisterwerk yearbook to the editor of Der Kunstwart. He thanks him for copies of the letters written by Leo Kestenberg.

• OC 54/331 Typewritten picture postcard from Deutsch to Schenker, dated November 24, 1930

  Deutsch has been unable to speak with Mr. Tal [about Roeder’s invoice for the production of the third Meisterwerk yearbook].

• 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.

• OJ 10/3, [132] Typewritten picture postcard from Deutsch to Schenker, dated December 1, 1930

  Deutsch accepts Schenker’s invitation for Friday, December 5 [to attend Hans Weisse’s talk, given in preparation for his lectures on Schenker’s theories in Berlin].

• OJ 10/3, [133] Handwritten picture postcard from Deutsch to Schenker, dated December 3, 1930

  Deutsch has an engagement on Friday evening, December 5, and cannot stay for the whole of Hans Weisse’s talk.

• OJ 10/3, [134] Handwritten picture postcard from Deutsch to Schenker, dated December 14, 1930

  Deutsch thanks Schenker -- and Hans Weisse -- for Weisse’s lecture. Hoboken has recently acquired a second edition of Beethoven’s Sonata Op. 22, which Schenker may wish to consult.

• OJ 10/3, [135] Handwritten letter from Deutsch to Schenker, dated December 25, 1930

  Deutsch’s son Peter has broken a leg ice-skating. He is devastated by the news of Hoboken’s withdrawal of support for the C. P. E. Bach collected edition). He will discuss the terms [of payment] regarding the third Meisterwerk yearbook in person, and advises that review copies be sent out in January.

• OJ 10/3, [137] Typewritten letter from Deutsch to Schenker, dated January 24, 1931

  Deutsch is sorry not to be able to meet with Schenker and Felix Salzer. — He is concerned that others may think that he had a part to play in Hoboken’s withdrawing his financial support for a collected edition of C. P. E. Bach’s works.

• OJ 10/3, [138] Typewritten picture postcard from Deutsch to Schenker, dated February 4, 1931

  Deutsch accepts an invitation to visit the Schenkers on Sunday, February 15.

• OJ 10/3, [139] Typewritten letter from Deutsch to Schenker, dated February 24, 1931

  Deutsch has found the source of a letter, of interest to Schenker, which was cited in a recent newspaper article by Richard Benz.

• OJ 10/3, [141] Handwritten picture postcard from Deutsch to Schenker, dated March 3, 1931

  Deutsch corrects his wife’s previous message, saying that he will meet Schenker at the Café Aspang on Thursday, March 5, around 5 p.m., not in the evening.

• OJ 10/3, [142] Typewritten letter from Deutsch to Schenker, dated March 6, 1931

  Having spoken with a friend in confidence, he advises Schenker to apply to the Ministry of Education for help with the printing costs of the “Eroica book” [i.e. the third Meisterwerk yearbook], and to get Furtwängler and Hoboken to write in support of his receiving an civic honor.

• OJ 10/3, [143] Typewritten letter from Deutsch to Schenker, dated March 8, 1931

  Distraught by the response to his letter of March 6, Deutsch explains the efforts he has made on Schenker’s behalf and asks for further clarification about his friend’s wishes.

• OJ 10/3, [144] Handwritten picture postcard from Deutsch to Schenker, dated March 13, 1931

  In this cryptic message, Deutsch creates a relationship among Beethoven, Schenker, the music critic Julius Korngold, and the writer on music Richard Specht.

• OJ 10/3, [145] Handwritten picture postcard from Deutsch to Schenker, dated April 2, 1931

  Deutsch comments on Schenker’s essay on a “lost Mozart letter,” to be published in Der Kunstwart. He does not himself question its authenticity but advises Schenker to get in touch with Richard Benz in Heidelberg about it.

• WSLB-Hds 191.572 Handwritten letter from Schenker to Deutsch, dated April 13, 1931

  Schenker explains some of the details of the conclusion he has written for an unfinished, untexted Schubert song, D. 555.

• OJ 10/3, [146] Typewritten letter from Deutsch to Schenker, dated April 21, 1931

  Deutsch thanks Schenker for his completion of an untexted Schubert song. He asks Schenker to help him to compare two versions of a set of variations. A deputation from the Ministry of Education will pay a visit to Hoboken’s private library.

• WSLB-Hds 191.573 Handwritten postcard from Schenker to Deutsch, dated April 23, 1931

  Schenker explains to Deutsch how the text (as yet unwritten) of the Schubert song fragment, D. 555, should fit into his completion. He has heard that Ludwig Karpath has referred to him as Austria’s best music theorist.

• OJ 10/3, [147] Typewritten letter from Deutsch to Schenker, dated May 2, 1931

  Deutsch asks Schenker to return the edition of the first version of Beethoven’s Variations WoO 74. Needing a few weeks’ peace and quiet in the summer holidays, he is looking for a place in the Tyrol that is more than 1,500 meters above sea level, and asks Schenker’s advice about accommodation, possibly in Galtür.

• OJ 10/3, [148] Typewritten picture postcard from Deutsch to Schenker, dated May 6, 1931

  Deutsch thanks Schenker for his advice about summer holiday accommodation; he will make inquiries in Ischgl.

• OJ 10/3, [149] Typewritten letter from Deutsch to Schenker, dated June 11, 1931

  Deutsch will not be spending the summer holiday in Ischgl, but with a family in Nauders. He hopes to see Schenker before the Schenkers go on holiday.

• OJ 10/3, [150] Handwritten picture postcard from Deutsch to Schenker, dated July 1, 1931

  Deutsch expresses concern that his last letter may have been misunderstood. The question of textual corruption of musical masterworks may be raised at the Department of International Intellectual Collaboration in Geneva. The Mozart letter on which Schenker elaborated was mentioned in the first edition of Jahn but now survives only in poetic and philosophical biographies of the composer.

• OJ 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931

  Deutsch reports illness in his family over the summer. -- He is glad to see Schenker’s article on the lost Mozart letter in print, and mentions other places in which it was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which have, however, been misrepresented in the press.

• OJ 10/3, [152] Typewritten letter from Deutsch to Schenker, dated August 19, 1931

  Replying to Schenker’s recent letter and postcard, Deutsch says that he will be out of the country in the first half of September (travelling with a choir). He is delighted with the recent review [of the third Meisterwerk yearbook], and is always happy to see Schenker’s work praised. His wife and family have now recovered from illnesses. He is still awaiting a letter from Drei Masken Verlag.

• OJ 10/3, [153] Typewritten picture postcard from Deutsch to Schenker, dated September 25, 1931

  Deutsch is back in Vienna, and hopes to see Schenker the following week.

• OJ 10/3, [154] Typewritten letter from Deutsch to Schenker, dated October 8, 1931

  Deutsch has been in touch with Robert Haas about a civic honor being conferred upon Hoboken in the hopes of keeping him, the Photogram Archive, and his personal library in Vienna. He asks if Schenker might request a letter from Furtwängler recommending this action, and be able to get Julius Korngold to write something about the importance of Hoboken’s collections.

• OJ 10/3, [155] Typewritten picture postcard from Deutsch to Schenker, dated October 9, 1931

  Deutsch has learned, from an 1892 exhibition catalogue, that the Moscheles family owned Beethoven sketch manuscripts and that G. B. Davy owned a number of autographs, and a sketchbook for the Cello Sonata Op. 102, No. 2.

• OJ 10/3, [156] Typewritten letter from Deutsch to Schenker, dated October 13, 1931

  Deutsch reports that Hoboken is probably going to keep his personal library in Vienna. He is not optimistic that “V” [Moriz Violin] will be accorded the title of Professor, which can be conferred only by the Vienna Academy and not to people living [i.e. working] outside it.

• OJ 10/3, [157] Typewritten letter from Deutsch to Schenker, dated October 16, 1931

  In advance of a meeting to discuss the conferral of an honor upon Anthony van Hoboken, Deutsch asks Schenker to sound out Ludwig Karpath cautiously about enlisting his support for this action.

• OJ 10/3, [159] Typewritten letter from Deutsch to Schenker, dated October 23, 1931

  Deutsch enumerates three points arising from his meeting the previous day (October 22, 1931) with Robert Haas and Wilhelm Weckbecker: that the minister (for education) should be approached regarding the conferral of a civic honor upon Anthony Hoboken by the Austrian state; that Hoboken’s character and reputation should in the meantime be “cleaned up,” by appealing to the Vienna police authorities; that Hoboken should invite – separately – Weckbecker and Ludwig Karpath to his home to examine his personal library. He asks Schenker to get in touch with Karpath about this, but to do so tactfully and with reference to these three points.

• OJ 10/3, [160] Typewritten letter from Deutsch to Schenker, dated October 24, 1931

  Deutsch is pleased that his “plotting” to obtain for Hoboken a civic honor from the Austrian state is working so far. He has spoken on the telephone with Ludwig Karpath and will see him next week. Hoboken’s character seems not to have been blotted by an incident in Munich some time ago: whatever misdeed he may have for which he had been accused, and which led to his (brief) incarceration, can never be proved.

• OJ 10/3, [161] Typewritten letter from Deutsch to Schenker, dated December 19, 1931

  Deutsch has a few things to give Schenker and much to tell him about, and gladly accepts an invitation for December 26 or 30.

• OJ 10/3, [163] Handwritten picture postcard from Deutsch to Schenker, in Hanna Deutsch’s hand, dated March 1, 1932

  Having failed so far to write a letter to Schenker, Deutsch asks if he might instead visit him the following week.

• OJ 10/3, [164] Typewritten picture postcard from Deutsch to Schenker, dated March 5, 1932

  Deutsch suggests visiting Schenker on Tuesday, March 9.

• OJ 10/3, [165] Handwritten letter from Deutsch to Schenker, dated April 2, 1932

  Deutsch has learned that Hoboken plans to leave Vienna and move back to Munich; having divorced his first wife and remarried, he now has two women to support. Deutsch hopes that Schenker can use his good influence on Hoboken; he does not know whether Hoboken’s library will stay in Vienna, or whether he will have to assist him with it in Munich.

• OJ 10/3, [166] Handwritten letter from Deutsch to Schenker, dated April 6, 1932

  Deutsch announces that Hoboken will receive the Silver Order of Merit from the Austrian state on Thursday, April 7. He reports Hoboken’s bad behavior and ill humor since returning to Vienna with his new bride. He gives the opening times of the Haydn exhibition in the Vienna City Hall.

• OC 54/363 Typewritten letter from Deutsch to Schenker, dated April 14, 1932

  Deutsch, recovering from hypertension, apologizes for the strong language in the postscript in his last letter. He advises Schenker on the pros and cons of ordinary lithography, photolithography, and photostatic reproduction for the Urlinie graphs for the Fünf Urlinie-Tafeln.

• OC 54/364 Typewritten letter from Deutsch to Schenker, dated April 20, 1932

  Deutsch is happy to learn of progress on Schenker’s forthcoming publication of Urlinie-Tafeln. He would like to see something from Schenker on Anton Bruckner, whose greatness he cannot understand. Rereading an old article by Ludwig Karpath, he notes Schenker’s earlier enthusiasm for Haydn’s Welsh and Scottish folk song settings. He suggests meeting Schenker at the Café Aspang on Tuesday, April 26, at 5 o’clock.

• OJ 10/3, [167] Typewritten letter from Deutsch to Schenker, dated April 29, 1932

  Deutsch has been asked for help in programming a “monster concert,” and thinks that Beethoven’s Wellington’s Victory in its original scoring would be suitable; but he also asks for Schenker’s advice. The translation [of the Foreword] to the Fünf Urlinie-Tafeln will be ready in a week’s time.

• OJ 10/3, [168] Typewritten letter from Deutsch to Schenker, dated May 9, 1932

  Deutsch describes the mood among the women in Hoboken’s life and expresses the hope that he can be separated from his fiancée. His financial circumstances are now more precarious, and his tax burdens will be lessened if he lives in Germany (Munich), not Austria (Vienna).

• OJ 10/3, [169] Typewritten postcard from Deutsch to Schenker, dated May 17, 1932

  Deutsch would like to meet Schenker sometime when Hoboken is next in Vienna.

• OJ 10/3, [170] Handwritten postcard from Deutsch to Schenker, postmarked May 23, 1932

  Deutsch agrees to meet Schenker at the Café Aspang on May 25.

• OJ 10/3, [171] Typewritten postcard from Deutsch to Schenker, dated May 31, 1932

  Deutsch gives Schenker some long-delayed advice on kitchen stoves.

• OJ 10/3, [172] Typewritten postcard from Deutsch to Schenker, dated June 2, 1932

  Deutsch asks Schenker where he will be taking his summer holiday. He has an edition of Beethoven’s Sonata Op. 111 purportedly corrected by Beethoven himself. He hopes Schenker will visit the Haydn exhibition. He thanks Schenker for an edition from Nagels Musikarchiv. His suspicions about the authenticity of Schubert’s Quartet for guitar, flute, viola and cello have been confirmed. Finally, he asks Schenker to look at the introduction and concluding paragraphs of his study of Mozart early editions.

• OC 54/366 Typewritten letter from Deutsch to Schenker, dated June 22, 1932

  Deutsch has received the proofs to the Fünf Urlinie-Tafeln, for which he reckons two days’ work to insure that there are no mistakes. He advises Schenker to have a sample copy of the cover made, and suggests numbering the graphs, even assigning roman numerals to them so that they can be put into the correct folder in case a second set of graphs is published.

• OC 54/367 Postal receipt for consignment from Schenker to Deutsch, postmarked June 25, 1932

  Schenker sends items of the Fünf Urlinie-Tafeln to Otto Erich Deutsch.

• OC 54/368 Typewritten postcard from Deutsch to Schenker, dated June 27, 1932

  Deutsch has been in touch with Hofmeister, the distributor for Universal Edition which has a close relationship with the publishing house; he suggests that Schenker could deal directly with U. E. [over the distribution of the Fünf Urlinie-Tafeln]. He does not yet have any idea of the production cost or the proposed selling price.

• OC 54/369 Typewritten postcard from Deutsch to Schenker, dated July 2, 1932

  Deutsch will meet with Alfred Kalmus on July 5. Hoboken has said goodbye to him, to his architect [Schmid], and to Ernst Fritz Schmid.

• OC 54/370 Typewritten letter from Deutsch to Schenker, dated July 5, 1932

  Deutsch has taken upon himself all the business arrangements with Universal Edition for the publication of the Fünf Urlinie-Tafeln. He finds the pagination inconsistent and confusing, and makes recommendations about it. He says that things seem to have eased at U. E. since Alfred Kalmus took over the directorship from Hertzka. His own short book on Mozart’s Masonic music will be published.

• OC 54/371 Typewritten picture postcard from Deutsch to Schenker, dated July 8, 1932

  Deutsch has spotted a printing error in the Foreword to the Fünf Urlinie-Tafeln. -- He advises Schenker to look at a new edition of Chopin’s music, based on the composer’s handwritten revisions, published by Oxford University Press.

• OC 54/354 Typewritten letter from Deutsch to Schenker, dated July 9, 1932

  Deutsch has received the contract from Universal Edition for the Fünf Urlinie-Tafeln, of which he asks Schenker to make two copies (incorporating his corrections) and send them off. -- He also asks him to look over the commentary to recent concert programs of new music.

• OJ 10/3, [173] Typewritten letter from Deutsch to Schenker, dated July 12, 1932

  Deutsch portrays Hoboken’s current situation and state of mind. Hoboken has made an amicable settlement with his first wife and will probably move to Munich with his bride; his [disposable] income has been substantially reduced. He will give up the second floor of his villa in Vienna but keep his library, on which he works occasionally but without true dedication.

• OJ 10/3, [174] Handwritten letter from Deutsch to Schenker, dated July 21, 1932

  Deutsch advises Schenker on the wording and placement of an advertisement for a private seminar in music theory, to be inaugurated in the autumn of 1932. He notes that Tomay’s invoice for the autography of the Fünf Urlinie-Tafeln was considerably lower than what was originally estimated. He regrets having to decline an invitation to visit Schenker during the summer.

• OJ 10/3, [175] Typewritten postcard from Deutsch to Schenker, dated August 8, 1932

  Deutsch is on holiday with his family, having recently met Oswald Jonas and heard the news of a road accident in which Felix Salzer was a passenger.

• OJ 10/3, [176] Typewritten letter from Deutsch to Schenker, dated August 26, 1932

  Deutsch replies to two letters from Schenker; he has returned from an oppressively hot Salzburg but must now make a business trip to Yugoslavia. He advises against asking Hoboken to increase the tuition fee, in spite of the threat of inflation. He is surprised to hear that the new Oxford edition of Chopin is poor, as it was based on good source material.

• OJ 10/3, [177] Typewritten postcard from Deutsch to Schenker, dated September 4, 1932

  Having returned from Yugoslavia, Deutsch congratulates Schenker on his progress on Der freie Satz and offers his help in matters relating to production.

• OJ 10/3, [178] Typewritten postcard from Deutsch to Schenker, dated September 8, 1932

  Having received a letter from Hoboken, Deutsch would like to meet Schenker in the next few days.

• OJ 10/3, [179] Typewritten postcard from Deutsch to Schenker, dated September 8, 1932

  Having received a letter from Hoboken, Deutsch would like to meet Schenker on Sunday, September 11.

• OJ 10/3, [180] Typewritten letter from Deutsch to Schenker, dated September 15, 1932

  Deutsch asks Schenker to look at a draft letter to Hoboken and suggest changes to it. He wants to leave open the possibility that Hoboken will retract his decision to abandon his activities in Vienna.

• WSLB-Hds 191.574 Handwritten notecard from Schenker to Deutsch, dated September 16, 1932

  Replying to Deutsch’s letter of September 15 and his draft letter to Anthony van Hoboken, Schenker makes further disparaging remarks about Hoboken, to whom he himself will also write a letter.

• OJ 10/3, [181] Typewritten letter from Deutsch to Schenker, dated September 19, 1932

  Deutsch expresses his regret, and surprise, concerning Hoboken’s decision to leave Vienna. He has also been in touch with Kurt Thomasberger at the Ministry of Education, who would be willing to discuss the matter in private.

• OJ 10/3, [182] Typewritten picture postcard from Deutsch to Schenker, dated September 23, 1932

  Deutsch suggests visiting Schenker on Tuesday, March 9.

• OJ 10/3, [183] Typewritten letter from Deutsch to Schenker, dated September 24, 1932

  Hoboken has replied to Deutsch’s politely worded letter inquiring about Hoboken's future intentions. Hoboken is planning to keep his library in Vienna for the time being, where it is “protected” by a regulation prohibiting important cultural property being sold abroad. For the time being, Deutsch will have access to it to further his research.

• OJ 10/3, [184] Typewritten letter from Deutsch to Schenker, dated September 30, 1932

  Deutsch would like to arrange a meeting with Kurt Thomasberger and Anthony van Hoboken to discuss the latter’s plans, possibly including Schenker. He is pessimistic about a future without Hoboken’s support and, consequently, about his future worth as a scholar; he is contemplating moving to the southern part of Europe, possibly the Balearic Islands.

• OJ 10/3, [185] Typewritten picture postcard from Deutsch to Schenker, dated October 4, 1932

  Deutsch apologizes in advance for possibly being late to their afternoon meeting; he has to look at some documents in the state archives relating to his forthcoming research on Mozart.

• OJ 10/3, [186] Typewritten letter from Deutsch to Schenker, dated October 9, 1932

  Deutsch gives an account of a meeting with Hoboken in which the arrangements for his departure from Vienna – status and state of the library, Deutsch’s payment as librarian, disposal of music – were discussed.

• OJ 10/3, [187] Typewritten postcard from Deutsch to Schenker, dated October 21, 1932

  Deutsch asks whether Schenker would have time to meet a Mr. [Bruno] Maischhofer from Basel the following day (October 22). He has looked at a copy of “Auf dem Flusse” from Schubert’s Winterreise, and questions the reading of the final note of the voice part in bar 63.

• OJ 10/3, [188] Typewritten letter from Deutsch to Schenker, dated January 5, 1933

  Deutsch is looking forward to a meeting with Schenker and Robert Haas. He is shocked by the contents of a letter about Hoboken, which has come into Schenker’s hands.

• WSLB-Hds 191.575 Handwritten postcard from Schenker to Deutsch, dated January 25, 1933

  Schenker comments on an English completion of the “Unfinished” Symphony. He is waiting for a decision from a Mr. K. [Alfred Kalmus], concerning a proposed publication.

• OJ 10/3, [189] Typewritten postcard from Deutsch to Schenker, dated April 25, 1933

  Deutsch has seen Schenker’s edition of a Brahms’s manuscript at the Brahms exhibition at the Society of the Friends of Music. He reports that Hoboken is (re)married.

• OJ 10/3, [190] Typewritten postcard from Deutsch to Schenker, dated May 2, 1933

  Deutsch thanks Schenker for receipt of his facsimile edition [Brahms: Oktaven und Quinten u. A.] and his newspaper article [“Was wird aus der Musik?”]. He mentions other newspapers that might reprint his article or publish a review of the edition.

• 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.

• OJ 10/3, [191] Typewritten postcard from Deutsch to Schenker, dated May 19, 1933

  Deutsch has discovered a fourth arrangement [of five] by Brahms of a Schubert song with orchestral accompaniment. He is writing a lot for newspapers, which he enjoys though it diverts him from more important work.

• OJ 10/3, [192] Typewritten postcard from Deutsch to Schenker, dated May 29, 1933

  Deutsch has seen Schenker’s article in the National-Zeitung (Basel). He has also come across some disparaging marginal comments by Beethoven about Gottfried Weber in an article in Cäcilia.

• OJ 10/3, [193] Typewritten postcard from Deutsch to Schenker, dated May 30, 1933

  Deutsch has found a set of metronome markings and a list of printing errors for Beethoven’s Ninth Symphony in Cäcilia, the journal brought out by the symphony’s publisher, Schott. In a postscript, he notes the temporary closure of the Deutsche Allgemeine Zeitung.

• OJ 10/3, [194] Typewritten letter from Deutsch to Schenker, dated June 5, 1933

  Deutsch comments on Brahms’s notation of musical canons. Then, in a wide ranging response to Schenker’s recent communications, he dwells on Hoboken’s decision to live in Germany for the time being, in spite of the implications for Schenker’s teaching and his own bibliographical work.

• OJ 10/3, [195] Typewritten letter from Deutsch to Schenker, dated July 12, 1933

  Deutsch gives his impression of Ernst Fritz Schmid and his relationship with Hoboken. Hoboken has stopped buying editions of music. Deutsch will not take a holiday but will be in Salzburg to cover the festival.

• OJ 10/3, [196] Handwritten picture postcard from Deutsch to Schenker, dated August 16, 1933

  Deutsch, writing from Salzburg, reports a visit from the Hobokens and summarizes his own movements for the rest of the summer.

• OJ 10/3, [197] Typewritten picture postcard from Deutsch to Schenker, dated August 18, 1933

  Deutsch, having had meetings with Hoboken, tells Schenker that the latter's library will probably stay in Vienna.

• WSLB-Hds 191.576 Handwritten letter from Schenker to Deutsch, dated September 29, 1933

  Schenker congratulates Deutsch for all that he has achieved up to his 50th birthday. He hopes that Hoboken will respond positively [by restoring Deutsch’s position as his private librarian in full measure, and making good on other matters of concern to the three men]. -- He reports complimentary words by Julius von Kromer.

• OJ 10/3, [198] Typewritten letter from Deutsch to Schenker, dated October 2, 1933

  Deutsch quotes at length from a letter from Hoboken to his wife Hanna, in which it is reported that his current honorarium has been raised but the rest of Hoboken’s commitment to his library [and to him] will be decided only after he returns from the Netherlands later in the autumn.

• OJ 10/3, [199] Typewritten letter from Deutsch to Schenker, dated November 4, 1933

  Deutsch has heard that Eva van Hoboken is trying to persuade her husband that Deutsch is exploiting him. He fears that the letter his wife has written to Hoboken will have done more harm than good, and that it will hardly be possible for a family of four to live on 600 shillings a month. He fears that Eva will persuade him not to buy the villa in Vienna in which his library is to be housed.

• OJ 10/3, [200] Typewritten postcard from Deutsch to Schenker, dated November 7, 1933

  Deutsch thanks Schenker for his recent communication [of bad news]; he suggests giving single [one-hour] lessons, and hopes that the two will meet again soon.

• OJ 10/3, [201] Typewritten letter from Deutsch to Schenker, dated November 13, 1933

  Deutsch summarizes Hoboken’s present intentions, based on a meeting he has had with Hoboken’s architect [and childhood friend]. Hoboken intends to stay in Vienna and build a villa there, but his financial circumstances have been much reduced. His wife does not like Vienna and is intent on her husband reducing his expenditures.

• OJ 10/3, [202] Typewritten picture postcard from Deutsch to Schenker, dated November 27, 1933

  Deutsch asks Schenker to agree to meet briefly with Hoboken’s architect before their meeting the following afternoon. He hopes that Hoboken, for his own sake, can be persuaded to live in Vienna.

• OJ 10/3, [203] Typewritten letter from Deutsch to Schenker, dated December 12, 1933

  Deutsch is sending some ideas for courses at the Vienna Academy to Karl Kobald, and asks for Schenker’s approval of what he has written. He suggests that a recording be made of Schenker’s piano playing, to be preserved in the Photogram Archive, or in the collection of the Austrian National Library. Ernst Fritz Schmid is applying for, and expects to be given, a post in Graz.

• OJ 10/3, [204] Typewritten picture postcard from Deutsch to Schenker, dated December 18, 1933

  Deutsch thanks Schenker for advice [on giving courses at the Vienna Academy]. He asks him to pass on copies of his recent publications to Hoboken, and informs him of two forthcoming articles which may be of interest.

• OJ 10/3, [205] Typewritten letter from Deutsch to Schenker, dated January 6, 1934

  Deutsch sounds out Schenker on various performance projects he has in mind, including performances of Schubert part-songs in their original setting for four soloists (for which the radio would be an ideal medium) and choruses and arias from his operas that have never been performed.

• OJ 10/3, [206] Typewritten letter from Deutsch to Schenker, dated January 14, 1934

  Deutsch offers clarification of the syllable count in the incomplete, untexted Schubert song D.555. -- He has spoken with Hoboken’s architect and cleared up some misunderstandings.

• WSLB-Hds 191.577 Handwritten letter from Schenker to Deutsch, dated January 15, 1934

  Schenker explains again to Deutsch his proposed syllabification of the incomplete, untexted Schubert song D.555. – He thanks Deutsch for putting him in touch with Hoboken’s architect.

• OJ 10/3, [207] Typewritten letter from Deutsch to Schenker, dated January 16, 1934

  Deutsch apologizes for the unnecessary fuss he has made over the syllable count in Schubert’s incomplete, untexted song D. 555. -- He clarifies some comments made by Hoboken’s architect. On the installation of an elevator [presumably for the apartments in Keilgasse 8], he advises coming to an agreement with other inhabitants, without involving the landlord.

• WSLB-Hds 191.578 Handwritten letter from Schenker to Deutsch, dated January 18, 1934

  Schenker says that the misunderstandings over a slur, marked in red pencil in the manuscript of his completion of the unfinished Schubert song D. 555, have now been resolved. He would also like to meet Hoboken’s architect.

• OJ 10/3, [208] Typewritten picture postcard from Deutsch to Schenker, dated March 24, 1934

  Deutsch is giving a lecture at a Schubert festival, in Basel in the month of May, and would like to speak to Schenker about it. Weingartner is preparing a score based on Schubert’s draft of a symphony in E major.

• OJ 10/3, [209] Typewritten letter from Deutsch to Schenker, dated April 13, 1934

  Deutsch gives details of the reduction of his income as Hoboken’s librarian since 1932, and fears he will have to look for additional employment elsewhere over the coming months. He hopes to publish catalogs of the works of major composers, based on the resources of Hoboken’s library.

• OJ 10/3, [210] Typewritten postcard from Deutsch to Schenker, dated April 27, 1934

  Deutsch asks Schenker’s advice about describing manuscripts of unfinished symphonic works, with reference to Schubert’s E major and B minor symphonies.

• OJ 10/3, [211] Typewritten postcard from Deutsch to Schenker, dated June 11, 1934

  Deutsch apologizes to Schenker for not being in touch with him for several weeks. He has received another unpleasant letter from Hoboken and would like to see Schenker once more before Schenker leaves for his summer holiday.

• OJ 10/3, [212] Typewritten letter from Deutsch to Schenker, dated June 13, 1934

  In this long letter Deutsch recounts events and circumstances concerned with Hoboken’s library and the Photogram Archive, including the attempt by Oswald Jonas to place an article on the Archive in English music journals and a Swiss newspaper, and Hoboken’s intemperate behavior at an antiquarian music shop in London. Deutsch, trying to smooth over points of friction, was himself accused both of neglecting his duties to Hoboken and of being too familiar with new dealers in early music prints, who could be of service to the library.

• OJ 10/3, [213] Typewritten letter from Deutsch to Schenker, dated June 29, 1934

  Deutsch responds to queries about the forthcoming publication of Der freie Satz, making recommendations about the contract, and the way in which Anthony van Hoboken is to be invoiced for his financial support; he offers to proofread the text when the time comes. -- His difficulties with Hoboken continue, this time over the purchase of some inexpensive editions of music which could be replaced with better ones. -- He is to give a course at the Vienna Academy; Hoboken needs to be informed about this, and he would like to be able to tell Hoboken that he is offering this course at Schenker’s prompting.

• OJ 10/3, [214] Typewritten postcard from Deutsch to Schenker, dated July 19, 1934

  Deutsch is concerned that Schenker has not replied to his last letter. He has discovered that a waltz by Johann Strauss the Elder quotes from Beethoven’s “Kreutzer” Sonata.

• OJ 10/3, [215] Typewritten letter from Deutsch to Schenker, dated August 6, 1934

  Deutsch has decided not to give his planned course at the Vienna Academy, citing Hoboken’s insistence that his collection of first editions is off-limits and the fact that remuneration will not be great. -- He will be in Salzburg in the second half of August; Hoboken will probably return to Vienna in mid-September, without visiting Salzburg this year.

• OJ 10/3, [216] Handwritten picture postcard from Deutsch to Schenker, dated August 21, 1934

  Deutsch recommends the place he is staying in Aigen, and also a hotel in Salzburg. Hoboken will be in Salzburg at the beginning of September.

• OJ 10/3, [217] Handwritten postcard from Deutsch to Jeanette Schenker, dated August 28, 1934

  Deutsch gives Jeanette Schenker instructions for getting from Bad Gastein to Aigen near Salzburg, and how to transport the luggage there. He himself will have departed on the last day of the month.

• OC 44/17 Typewritten postcard from Otto Erich Deutsch to Schenker, dated September 20, 1934

  Deutsch reports the launch, in Radio Wien, of the competition to find or create a poem that would suit the untexted Schubert song D. 555.

• OJ 10/3, [218] Typewritten letter from Deutsch to Schenker, dated October 14, 1934

  Deutsch hopes that a planned journal associated with the Photogram Archive might still see the light of day, and hopes that Schenker can use his influence to dissuade Hoboken from giving his wife [Eva] an editorial role; he [Deutsch] would be willing to serve without additional remuneration. He would like Oswald Jonas to write something on Schubert’s Der Lindenbaum, comparing Schubert’s original setting [in Die Winterreise] with Friedrich Silcher’s simplified arrangement for four-voice male chorus and piano.

• OC A/279 Typewritten picture postcard from Deutsch to Schenker, dated November 26, 1934

  Deutsch says that the seconda volta that Schenker composed for the untexted Schubert song will be used when the song is broadcast on the radio on November 28, with the prize-winning text.

• OJ 10/3, [219] Typewritten letter from Deutsch to Jeanette Schenker, dated July 7, 1935

  In this first of two surviving letters written after Schenker’s death in January 1935, Deutsch thanks Jeanette Schenker for the portrait – presumably Viktor Hammer’s 1925 mezzotint – of her husband, and for an inscribed copy of Free Composition.

• OJ 10/3, [220] Typewritten letter (carbon copy) from Deutsch to Jeanette Schenker, dated May 3, 1939

  Deutsch encloses a text, probably a printed note explaining why he is emigrating from Austria; he is unable to advise Jeanette about her future but hopes that they might see each other again. He will stay in Vienna until the end of May, then go to London in June and New York in the autumn. -- This is the final item in the correspondence between the Deutsch and Schenker households.