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Documents comprising this correspondence:

• OC 54/11 Typewritten postcard from Otto Vrieslander to Schenker, dated January 19, 1925

  Vrieslander thanks Schenker for Tonwille 10, remarks about negotiations with Universal Edition and Drei Masken Verlag, and promises to send him an offprint of his recent essay on C. P. E. Bach.

• OC 54/13 Postal receipt for documents sent by Schenker to Otto Vrieslander, dated January 21, 1925

  Postal receipt for unknown item

• OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24, 1925

  Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred Einstein, whose character he rates highly and who assured him that he was looking forward to publishing Schenker's work.

• OC 54/124 Typed letter from Otto Vrieslander to Schenker, dated January 20, 1927

  Vrieslander has received the Urlinie graphs for two essays in the second Meisterwerk Yearbook, and explains to Schenker that he will exercise the utmost care in preparing them for publication.

• OC 54/127 Postal receipts for letters to Otto Vrieslander and Drei Masken Verlag (Munich), dated January 31, 1927

  Postal receipts for letters concerning the second Meisterwerk Yearbook.

• OC 54/128 Postal receipt for a letter to Otto Vrieslander, dated February 3, 1927

  Postal receipt for corrections to the second Meisterwerk volume.

• OC 54/129 Typed letter from Otto Vrieslander to Schenker, dated February 10, 1927

  Vrieslander assures Schenker that he has prepared the graphs for Mozart’s Symphony in G minor with the utmost care, with due regard to his instructions.

• OC 54/131 Typed postcard from Otto Vrieslander to Schenker, postmarked February 14, 1927

  Vrieslander explains the way he has dealt with Schenker’s detailed comments on the graph of Mozart’s Symphony in G minor.

• OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927

  Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave the music examples for the second Meisterwerk volume in order to ensure a flawless reproduction. He also reports that the width of the pages in the supplement will be expanded, and notifies Schenker of the changes that he will make to the music examples following this decision. Vrieslander states he has officially enquired with Einstein about potential problems in the printing process, making clear that Schenker will not be able to bear any additional costs for printing errors.

• OC 54/133 Copy of a letter from Otto Vrieslander to Alfred Einstein (DMV), dated February 15, 1927

  Following Einstein’s determination to have the Urlinie graphs engraved, not hand-drawn, Vrieslander asks that the engraver pays particular attention to the shape of the large slurs, and suggests a meeting with the engraver to go over further problems. If the graphs were relegated to an appendix, they could be as wide as necessary, for sake of clarity.

• OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927

  Vrieslander, at pains to ensure that the music illustrations in the second Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are having difficulty interpreting Schenker’s music examples. He is putting his own work to one side in order to work exclusively on creating clear and elegant graphs; he proposes to come to Vienna in mid-March to go through all his work with Schenker.

• OC 54/140 Typed postcard from Otto Vrieslander to Schenker, dated March 24, 1927

  Vrieslander, in Vienna, makes arrangements to meet Schenker on March 25 to go over the music illustrations for the second Meisterwerk Yearbook, leaving the following day available if necessary.

• OJ 89/3, [11] Typewritten letter (typed copy) from Vrieslander to Schenker, dated October 23, 1929

  Vrieslander reports that Hoboken has given him notice to vacate, and rehearses the course of events leading up to this situation, events that intertwine with Vrieslander's obligations to the Photogrammarchiv.