-
BNba Frimmel Nachl, [4] Handwritten letter from Schenker to Frimmel, dated June 13, 1912
Schenker asks for guidance on the location of autograph manuscripts of
Beethoven's last five piano sonatas, in particular that of Op. 109.
-
BNba Frimmel Nachl, [5] Handwritten letter from Schenker to Frimmel, dated August 4, 1912
Schenker reports that he has heard from Mandyczewski that the autograph of
Beethoven's piano sonata Op. 109 is owned by Poldy Wittgenstein. He will need to go to
Berlin for the remaining manuscripts.
-
GdM Exh.332, [2] Handwritten letter from Schenker to Carl Lafite (Gesellschaft der Musik), dated
September 16, 1912
Schenker declines Lafite's invitation to discuss in person the topic, date and
fee of his proposed lectures to the Society, and asks him to put suggestions in
writing.
-
GdM Exh.332, [3] Handwritten letter from Schenker to Carl Lafite (Gesellschaft der Musikfreunde), dated
September 20, 1912
Schenker turns down Lafite's proposal in polemical manner.
-
GdM Exh.332, [4] Handwritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 20, 1912
Lafite rejects Schenker's rebukes and regrets that because of the tone of
Schenker's letter he is unable to pursue any further a yearlong course that he had had in
mind for the next season.
-
OC 1 B/15 Handwritten draft letter from Schenker to Carl Colbert, dated September 15,
1912
Schenker explains why he deprecates strongly giving a student only one lesson a
week and positively recommends two or three; he leaves the matter to Colbert, but gives him a
difficult choice.
-
OC 52/100 Typewritten letter from Hertzka (UE) to Schenker, dated September 27,
1912
Hertzka has tried and failed to telephone Dr. Harpner because he is
ill.
-
OC 52/101 Typewritten postcard from UE to Schenker, dated October 1, 1912
As instructed, UE has sent Schenker's Beethovens neunte Sinfonie to Ludwig
Karpath.
-
OC 52/102 Typewritten letter from Hertzka (UE) to Schenker, dated October 3, 1912
Hertzka gives his reaction to a letter from Hugo Heller to
Schenker.
-
OC 52/103 Handwritten and typewritten postcard from UE to Schenker, dated October 15,
1912
Hertzka is out of town.
-
OC 52/104 Typewritten letter from Hertzka (UE) to Schenker, dated October 23, 1912
Hertzka will speak with Harpner next week.
-
OC 52/105 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1912
Hertzka returns the compositions by Hans Weisse submitted for consideration,
giving reasons. — He has to stand aside for a time from the "Alliance" [recte Organization]
on health grounds.
-
OC 52/403 Typewritten letter from Hertzka (UE) to Schenker, dated March 18, 1912
Second proofs of gatherings 11 and 12 of Schenker's monograph Beethovens
neunte Sinfonie are on their way to him. Hertzka issues a warning on correction costs.
Payment has been authorized for the additional material for his
Instrumentations-Tabelle.
-
OC 52/404 Typewritten letter from Hertzka (UE) to Schenker, dated June 4, 1912
UE sends 100 Kronen in payment for the Instrumentations-Tabelle 2nd
edition.
-
OC 52/405 Notice of bank transaction, UE to Schenker, dated June 5, 1912
The Austrian Provincial Bank notifies Schenker of 100 Kronen sent to him on
behalf of Universal Edition.
-
OC 52/406 Typewritten letter from Hertzka (UE) to Schenker, dated June 10, 1912
Hertzka explains UE's recent 100 Kronen payment, and answers Schenker's
question on the edition number and retail price of his
Instrumentations-Tabelle.
-
OC 52/427 Typewritten letter from Hertzka (UE) to Schenker, dated June 3, 1912
Hertzka addresses Schenker's request for an honorarium for correcting proofs
of Beethovens neunte Sinfonie; he counters that the total author corrections have run to 600
Kronen. He is sending the volume to the printers today. -- He commits in principle to the
editing of the last five Beethoven piano sonatas [Erläuterungsausgabe], but on the basis of
the Chromatic Fantasy and Fugue sales he cannot accede to Schenker's demands; he makes a
counter-proposal.
-
OC 52/432 Typewritten letter from Hertzka (UE) to Schenker, dated March 7, 1912
Hertzka invites Schenker to meet him to discuss the plan for an edition of the
Beethoven Ninth Symphony score and other matters.
-
OC 52/433 Handwritten letter from Hertzka (UE) to Schenker, dated May 7, 1912
Hertzka explains the reason for his need to see Schenker in person: it
concerns the numbering of bars in the second movement of Beethoven's Ninth Symphony in
Schenker's monograph on that work, and the planned edition of the score of the symphony; but
Hertzka will be away for up to ten days.
-
OC 52/434 Typewritten letter from Hertzka (UE) to Schenker, with holograph insertions, dated
May 28, 1912
Hertzka invites Schenker to his home for a discussion of the monograph
Beethovens neunte Sinfonie.
-
OC 52/435 Typewritten postcard from Hertzka (UE) to Schenker, dated May 31, 1912
Hertzka asks Schenker to collect him from his office on June 1 for their
meeting.
-
OC 52/436 Handwritten note by Schenker, undated [late October, 1912?]
Self-reminder that the requested "supplementary honorarium" of 400 Kronen has
not yet been delivered.
-
OC 52/437 Typewritten letter from Hertzka (UE) to Schenker, dated August 12, 1912
Die letzten fünf Sonaten: Hertzka finds Schenker's suggested rewording too
general; Beethovens neunte Sinfonie: Hertzka will pay the supplementary fee demanded by
Schenker, but only after 500 copies have been sold.
-
OC 52/493 Typewritten letter from Hertzka (UE) to Schenker, dated June 8, 1912
Hertzka makes a firm proposition on payment for the Beethoven last five
sonatas, and seeks clarification on contact with Dr. Harpner.
-
OC 52/494 Printed contract, with handwritten entries, between UE and Schenker, dated August
25, 1912
Contract for Schenker's edition of Beethovens letzte fünf Sonaten, with
special clause on correction costs
-
OC 52/495 Typewritten letter from Hertzka (UE) to Schenker, dated November 28, 1912
Hertzka is sending another copy of Beethoven Op. 109, and is pleased to hear
of Schenker's discoveries. -- He asks for a discussion regarding the proposed "Alliance"
[recte "Organization"], on which he has some new ideas. -- He may look again at Hans
Weisse's music in 1913.
-
OC 52/74 Typewritten letter from Hertzka (UE) to Schenker, dated January 2, 1912
Hertkza sends page-proofs of gathering 3, and asks for return of galley-proofs
and the manuscript of Beethovens Neunte Sinfonie.
-
OC 52/75 Typewritten letter from Hertzka (UE) to Schenker, dated January 5, 1912
Hertkza encloses a letter from Breitkopf.
-
OC 52/76 Typewritten letter from Hertzka (UE) to Schenker, dated January 12, 1912
Hertkza notifies Schenker of the impending delivery of page-proofs of
Beethovens Neunte Sinfonie, takes note of Schenker's recent comments, and asks him to
consider making structural diagrams for movements 2-4.
-
OC 52/77 Typewritten postcard from Hertzka (UE) to Schenker, dated January 16,
1912
Emil Hertka confirms that UE wants Schenker to produce structural diagrams for
movements 2-4 of Beethoven's Ninth Symphony for his monograph on that work.
-
OC 52/78 Typewritten letter from Hertzka (UE) to Schenker, dated January 26, 1912
Hertzka notifies Schenker of the impending delivery of page-proofs of his
Beethovens Neunte Sinfonie monograph and asks for speedy return of previous
galley-proofs.
-
OC 52/79 Typewritten letter from Hertzka (UE) to Schenker, dated February 6, 1912
Hertzka acknowledges receipt of the formal diagram of movement 2 for, and
gathering 8 of the Beethovens Neunte Sinfonie monograph, and has sent galley-proofs of
gatherings 5 and 6 to Schenker for imprimatur.
-
OC 52/80 Typewritten postcard from Hertzka (UE) to Schenker, dated February 7,
1912
Hertzka assures Schenker that he will receive a full set of page-proofs for
checking.
-
OC 52/81 Typewritten letter from Hertzka (UE) to Schenker, dated March 9, 1912
Hertzka agrees to the suggested meeting time and place; second proofs of
gatherings 9 and 10 are being dispatched to Schenker.
-
OC 52/82 Typewritten letter from Hertzka (UE) to Schenker, dated March 15, 1912
Hertzka gives Schenker assurances on the arrival of further
gatherings.
-
OC 52/83 Typewritten letter from Hertzka (UE) to Schenker, dated March 20, 1912
Hertzka suggests a fold-out for a particularly large music
example.
-
OC 52/84 Typewritten letter from Hertzka (UE) to Schenker, dated March 26, 1912
Gatherings are received and others sent out. Hertzka reiterates his demand for
the complete manuscript and outstanding first proofs.
-
OC 52/85 Typewritten letter from B. Rothe (UE) to Schenker, dated April 1, 1912
Miss Rothe assures Schenker that his manuscript of Beethovens neunte Sinfonie
will be returned to him after use, and asks for it to be sent as well as any other proofs in
Schenker's hands.
-
OC 52/86 Typewritten letter from B. Rothe (UE) to Schenker, dated April 15, 1912
Acknowledging proofs and prelims for Beethovens neunte Sinfonie, UE recommends
adding a subtitle for clarification.
-
OC 52/87 Typewritten express postcard from UE to Schenker, dated April 16, 1912
Hertzka acknowledges receipt of the Preface to Beethovens neunte
Sinfonie.
-
OC 52/88 Typewritten letter from Hertzka (UE) to Schenker, dated May 4, 1912
Hertzka asks Schenker to call on him to discuss Beethovens neune
Sinfonie.
-
OC 52/89 Typewritten letter from Kalmus (UE) to Schenker, dated May 16, 1912
UE sends the final gatherings of Beethovens neunte Sinfonie for Schenker's
approval and reports the total author correction costs.
-
OC 52/90 Typewritten letter from Hertzka (UE) to Schenker, dated June 28, 1912
Hertzka is unable to complete the contract for Die letzten fünf Sonaten
Beethovens this week; he will send it next week.
-
OC 52/91 Typewritten letter from Hertzka (UE) to Schenker, dated July 13, 1912
The Chromatic Fantasy edition and Ninth Symphony monograph will be sent as
requested; the [contract for the] Letzen fünf Sonaten edition will be dealt
with.
-
OC 52/92 Typewritten letter from Hertzka (UE) to Schenker, dated July 19, 1912
Hertzka sends the draft contract for Die letzten fünf Sonaten, and will deal
with the Musicians' Organization in the fall.
-
OC 52/94 Handwritten and typewritten postcard from UE to Schenker, dated July 23,
1912
Hertzka is out of town.
-
OC 52/95-96 Typewritten letter from Hertzka (UE) to Schenker, dated August 22, 1912
Die letzten fünf Sonaten: Hertzka backs down on the contested contract clause;
Beethovens neunte Sinfonie: Hertzka refuses to budge on his proposal for the supplementary
honorarium, but assures Schenker of his good will toward him.
-
OC 52/97 Typewritten letter from Hertzka (UE) to Schenker, dated August 28, 1912
In an important letter on the plan for an organization of composers and
concert musicians, Hertzka declares himself willing to be involved, sets out a timetable,
issues a caution, and raises the issue of finance; in dealings with Hugo Heller, UE's and
his own name should not yet be divulged.
-
OC 52/98 Typewritten letter from Hertzka (UE) to Schenker, dated September 16,
1912
In sending the first installment of Schenker's honorarium for the Last Five
Sonatas of Beethoven, Hertzka apologizes for its delay. — He asks for a meeting about the
Organization.
-
OJ 52/99 Notification of payment, from the Austrian Provincial Bank to Schenker, dated September
18, 1912
Payment notification of 600 Kronen [from UE].
-
OC B/179 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 31, 1912
Kopfermann informs Schenker which late Beethoven piano sonatas the Library has
autograph pages of, and the arrangements for making photographs.
-
OJ 11/10, [15] Handwritten letter from Frimmel to Schenker, dated June 17, 1912
In response to Schenker's inquiry as to the locations of autograph manuscripts
of Beethoven's last five piano sonatas, Frimmel refers Schenker to the Berlin Academy's
Urtext edition and to Nottebohm's writings.
-
OJ 11/17, [2] Handwritten letter from Eduard Gärtner to Schenker, dated July 14, 1912
Eduard Gärtner regrets that he is unable to help.
-
OJ 11/22, [1] Envelope from the Gesellschaft der Musikfreunde to Schenker, dated March[?] 16, 1912
-
OJ 11/22, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Marchet, Krause) to
Schenker, dated June 21, 1912
The writers announce plans to institute a regular program of lectures under the
auspices of the Gesellschaft der Musikfreunde, and invite Schenker to participate by offering a
lecture or lecture series.
-
OJ 11/22, [3] Envelope from the Gesellschaft der Musikfreunde to Schenker, dated September 9,
1912
-
OJ 12/21, [1] Handwritten letter from Carl Krebs to Schenker, dated August 30, 1912
Krebs is unable to give Schenker information as to the whereabouts of the
autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109
-
OJ 12/29, [4] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated July 27, 1912
Lafite acknowledges OJ 5/14, [1] and Schenker's assent to taking part in the
planned series of lectures.
-
OJ 12/29, [5] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 14, 1912
Lafite invites Schenker to call on him to discuss the conditions of the
lectures.
-
OJ 12/29, [6] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 18, 1912
The Gesellschaft der Musikfreunde can accommodate a series of only three
lectures for Schenker; Lafite proposes days and times, asks Schenker for a revised topic,
and proposes a fee.
-
OJ 12/29, [7] Draft letter from Schenker to Carl Lafite, undated [September 20, 1912]
Draft of GdM Exh. 332, [3], in which Schenker turns down Lafite's proposal in
polemical manner.
-
OJ 12/29, [8] Typewritten postcard from Carl Lafite to Schenker, dated September 25,
1912
Since several letters to Schenker have been returned unopened, Lafite regrets
that the Gesellschaft der Musikfreunde must renounce its collaboration with Schenker in the
lecture series.
-
OJ 12/9, [5] Handwritten letter from Karpath to Schenker, dated March 3, 1912
Karpath expresses approval of Schenker's Kontrapunkt I and Moriz Violin's book on
the continuo. —He thinks highly of Violin and of Hans Weisse as a composer.
-
OJ 13/29, [8] Handwritten letter from Rosenthal to Schenker, dated November 10, 1912
Rosenthal apologizes for mishandling of ticket issue, and raises the matter of
forming an artists' organization.
-
OJ 13/29, [9] Handwritten postcard from Moriz Rosenthal, Wilhelmine and Jacob Klein to Schenker,
undated, postmarked November 13, 1912
Greetings
-
OJ 13/37, 14 Handwritten letter from Rudorff to Schenker, dated July 18, 1912
Rudorff writes admiringly of Schenker's new book, Beethovens Neunte Sinfonie;
— He responds to Schenker's question about the whereabouts of the autograph manuscript of
Beethoven's Piano Sonata in E major, Op. 109, speaking also of his own former editorial
work.
-
OJ 13/37, 15 Handwritten notecard from Rudorff to Schenker, dated August 7, 1912
Rudorff is convinced the autograph of Op. 109 was acquired from the Joachim
estate by Mrs. Wittgenstein.
-
OJ 15/15, [G] Handwritten letter from Weisse to Schenker, dated March 16, [1912]
Weisse sends a newspaper clipping for Schenker's possible use in his Ninth
Symphony monograph.
-
OJ 15/15,[I] Handwritten letter from Weisse to Schenker, dated August 4, [1912]
Weisse reports of progress with his string quintet; expresses his delight at
Schenker's monograph on Beethoven's Ninth Symphony, and speaks of "a bridge between art and
theory"; and expresses misgivings about Moriz Violin's pamphlet on the Vienna Academy. He
appeals to Schenker to give him piano lessons, and reports other matters.
-
OJ 15/16, [10] Handwritten letter from Weisse to Schenker, dated August 27, 1912
Weisse has been studying an example of rondo form in Mozart; he is enjoying the
culture of Basel; gives his return date to Bad Ischl.
-
OJ 15/16, [11] Handwritten letter from Weisse to Schenker, dated October 6, 1912
Weisse has heard nothing from Moriz Violin and is anxious to transfer to Schenker
for piano lessons.
-
OJ 15/16, [12] Handwritten letter from Weisse to Schenker, dated December 18, 1912
Diatribe by Weisse against Otto Vrieslander's plan to produce a simplified
version of Schenker's Harmonielehre, impugning Vrieslander's motives.
-
OJ 15/16, [3] Handwritten letter from Weisse to Schenker, dated January 13, 1912
Weisse thanks Schenker for having taught him to make fine adjustments in his
compositions, and for imbuing him with greater clarity; he marvels at the subtlety of Schenker's
musical sensibility, and speaks of his joy at being Schenker's pupil.
-
OJ 15/16, [4] Handwritten letter from Weisse to Schenker, dated June 1, 1912
Weisse is concerned that Schenker will turn his attention from himself to Felix
Hupka, whom Schenker has just taken on as a pupil.
-
OJ 15/16, [5] Handwritten letter from Weisse to Schenker, dated June 27, 1912
Weisse asks to be informed of Schenker's contact with Emil Hertzka; Mahler's
Ninth Symphony is "filth"; Schenker's Beethovens Neunte Sinfonie has just appeared and he will
study it.
-
OJ 15/16, [6] Handwritten letter from Weisse to Schenker, dated July 7, 1912
Weisse asks Schenker a technical question about musical form; reports that Julia
Culp is considering singing his Mädchen-Lieder.
-
OJ 15/16, [7] Handwritten letter from Weisse to Schenker, dated July 21, 1912
Weisse reports on progress with his string quintet.
-
OJ 15/16, [8] Handwritten letter from Weisse to Schenker, dated August 10, 1912
Weisse speaks of Schenker's monograph on Beethoven's Ninth Symphony and progress
with his own string quintet; — reiterates his desire to transfer from Violin to Schenker for
piano lessons; — refers to lectures that he is about to take with Guido Adler, and quotes from
Florence May's biography of Brahms. — He will write to Lorle Meissner; — gives his address in
Pontresina.
-
OJ 15/16, [9] Handwritten letter from Weisse to Schenker, dated August 15, 1912
Weisse asks detailed question on musical form for the Scherzo of his string
quintet.
-
OJ 15/6, [10] Handwritten letter from Fritz Wahle to Schenker, dated July 26, 1912
Fritz Wahle thanks Schenker profusely for sending him his book on Beethoven’s
Ninth Symphony, which he will read through quickly. He has acquired a copy of the score of
the work.
-
OJ 15/6, [11] Handwritten letter from Fritz Wahle to Schenker, dated August 10, 1912
Fritz Wahle explains how he came to acquire Schenker’s book on Beethoven’s
Ninth Symphony. He has read Moriz Violin’s pamphlet about the leadership of the Vienna
Academy and hopes that some good will come of it. In response to a letter from Schenker, he
expresses his agreement with what Schenker has to say about Wagner, and again praises his
friend for the serious intent of his writings.
-
OJ 15/6, [12] Handwritten notecard from Fritz Wahle to Schenker, dated September 25,
1912
Fritz Wahle thanks Schenker for his book on Beethoven’s Ninth Symphony and
expresses his agreement about the concept of program music. He hopes that the two of them
could get together for a few hours, and sends his greetings to their mutual friend Moriz
Violin.
-
OJ 5/14, [1] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated June 29,
1912
Schenker responds the the Gesellschaft der Musikfreunde's invitation to give a
lecture or series of lectures on a topic of his own choosing; commenting on the reasons behind
the proposal, and the style of lecture expected, he expresses his willingness, proposes a
subject, and states his fee.
-
OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der
Musikfreunde), dated September 27, 1912
Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav
Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he
lodges his complaint at the way in which he has been treated, which he considers impolite and
publicly demeaning, and withdraws his offer of lectures.
-
OJ 6/5, [5] Handwritten letter from Weisse to Schenker, dated January 29, 1912
Weisse gives his suggested order of the compositions by him to be included in the
February 22, 1912 concert.
-
OJ 9/30, [2] Handwritten letter from Tony Colbert to Schenker, dated August 23, [1912]
Mrs. Colbert pleads to resume piano lessons with Schenker.
-
OJ 9/30, [3] Handwritten letter from Tony Colbert to Schenker, undated [September 16,
1912]
Mrs. Colbert begs to be accepted back as a pupil on one lesson a week. She has
asked Sofie Deutsch whether she would give over one of her two lessons to her and Mrs. Deutsch
has declined; she now asks whether Mrs. Stirling might agree to do the same.
-
OJ 9/30, [4] Handwritten letter from Tony Colbert to Schenker, dated September 27, 1912
Mrs. Colbert suggests works she might study. -- She is enjoying Schenker's (newly
published) monograph on Beethoven's Ninth Symphony.
-
OJ 9/6, [55] Handwritten letter from Eugen d’Albert to Schenker, dated February 12,
1912
Eugen d'Albert asks Schenker's opinion of his opera "Verschenkte
Frau."
-
OJ 9/6, [55a] Handwritten letter from Eugen d’Albert to Schenker, undated [?May 10,
1912]
Eugen d'Albert proposes that Schenker take on a 15-year old
musician.
-
OJ 9/6, [56] Handwritten postcard from Eugen d’Albert to Schenker, postmarked May 11,
1912
Eugen d'Albert has instructed Felix Hupka to call on Schenker, and asks
Schenker to listen to his compositions.
-
OJ 9/6, [57] Handwritten letter from Eugen d’Albert to Schenker, dated June 11,
1912
Eugen d'Albert suggests they attend a concert together on June
24.
-
OJ 9/6, [57a] Handwritten postcard from Eugen d’Albert to Schenker, undated [July/August
1912]
Schenker has sent Eugen d'Albert a text as a possible basis for an opera
libretto, and d'Albert explains his reasons for rejecting it.
-
OJ 9/6, [58] Handwritten letter from Eugen d’Albert to Schenker, dated December 4,
1912
Eugen d'Albert thanks Schenker for his communication, and hopes to meet
with him, perhaps in mid-December.
-
WSLB 100 Handwritten postcard from Schenker to Hertzka (UE), dated March 13, 1912
Schenker proposes that his book Beethovens neunte Sinfonie and the edited full
orchestral score be published as separate volumes, and promises the additional revised text
of his Instrumentations-Tabelle the next day.
-
WSLB 101 Handwritten letter from Schenker to Hertzka (UE), dated March 14, 1912
Schenker sends the four new paragraphs for the 1912 edition of his
Instrumentations-Tabelle.
-
WSLB 102 Handwritten letter from Schenker to Hertzka (UE), dated March 17, 1912
Schenker returns proofs of gather 16 of his monograph Beethovens neunte
Sinfonie.
-
WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912
Schenker responds combatively to Hertzka's warning about correction
costs.
-
WSLB 104 Handwritten letter from Schenker to Hertzka (UE), dated March 22, 1912
Schenker agrees with a suggestion for handling an oversize music
example.
-
WSLB 105 Handwritten letter from Schenker to Hertzka (UE), dated March 28, 1912
Schenker will send the complete manuscript only on receipt of written
assurance that it be returned to him later -- He speaks of being not only to "procreator" of
his work but also "a manufacturer, hence a busieness man." -- He implies his refusal to pay
any correction costs. He points out a placement error in gathering 16.
-
WSLB 106 Handwritten letter from Schenker to Hertzka (UE), dated April 14, 1912
Schenker returns proofs for his Instrumentations-Tabelle and Beethovens neunte
Sinfonie, and prelims and Foreword of the latter, with comments. He raises the issue of
English and French translations for the monograph.
-
WSLB 107 Handwritten express postcard from Schenker to Hertzka (UE), dated April 16,
1912
Schenker asks for confirmation that UE has received the Preface to his
Beethovens neunte Sinfonie.
-
WSLB 108 Handwritten letter from Schenker to Hertzka (UE), dated April 19, 1912
Schenker returns proofs for his Instrumentations-Tabelle and five gatherings
of Beethovens neunte Sinfonie, pointing out a serious error. He also responds on the title
of the latter.
-
WSLB 109 Handwritten letter from Schenker to Hertzka (UE), dated April 29, 1912
Schenker sends first and second proofs with comments.
-
WSLB 110 Handwritten express postcard from Schenker to Hertzka (UE), dated May 5,
1912
Schenker is unable to comply with Hertzka's invitation on account of teaching
commitments.
-
WSLB 111 Handwritten letter from Schenker to Hertzka (UE), dated May 16, 1912
Schenker points to inconsistent usage of "Sinfonie" and "Symphonie" in the
type-setting of his monograph Beethovens neunte Sinfonie and suggests adherence to the
former; he submits the Foreword, and asks for one copy of each of his previous UE
publications.
-
WSLB 112 Handwritten letter from Schenker to Hertzka (UE), dated May 11, 1912
Schenker responds to Hertzka's suggestions on bar numbering in the Scherzo of
Beethoven's Ninth Symphony as reflected in Schenker's monograph and the proposed new edition
of the score, and offers a counter-proposal; he also responds on the formal terminology. --
He inquires as to the number of copies of the new edition of the Niloff
Instrumentations-Tabelle so far released.
-
WSLB 113 Handwritten letter from Schenker to Hertzka (UE), dated May 18, 1912
Schenker asks to see the entire volume of his monograph on Beethoven's Ninth
Symphony again for a final check, and urges that the work be published in time for the
Vienna Music Festival Week, and that UE be advertizing the book now in
Germany.
-
WSLB 114 Handwritten postcard from Schenker to Hertzka (UE), dated May 24, 1912
Schenker puts another proposal on how to present the bar numbering of the
Scherzo of Beethoven's Ninth Symphony in the text and diagram of his
monograph.
-
WSLB 115 Handwritten letter from Schenker to Hertzka (UE), dated May 29, 1912
Schenker accepts Hertzka's invitation to his home on June 1, and declares his
willingness to cooperate. He acknowledges receipt of a set of his previous UE
publications.
-
WSLB 116 Handwritten letter from Schenker to Hertzka (UE), dated June 2, 1912
Schenker observes acidly that the Ninth Symphony score project has been
dropped. He asks [in the face of the threat of author correction cost demands] for an
honorarium for correcting the proofs of his monograph Beethovens neunte Sinfonie. He demands
to know whether Hertzka is serious about the plan for an edition of the last five Beethoven
sonatas. He repeats his inquiry as to the number of copies of his Instrumentations-Tabelle,
2nd edition, that have so far been released.
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WSLB 117 Handwritter letter from Schenker to Hertzka (UE), dated June 3, 1912
Schenker returns the [complete] proof copy of his Beethovens neunte Sinfonie
with corrections. He asks about the placement of the Table of Contents in the
volume.
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WSLB 118 Handwritten letter from Schenker to Hertzka (UE), date June 4, 1912
Schenker urges Hertzka to contact Dr. Harpner in connection with the planned
Organization. He reiterates his demands regarding payment for the planned last five
Beethoven sonata edition, specifying the sums, and disputes Hertzka's
counterargument.
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WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912
Schenker inquires about the print-run and retail cost of his
Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for
clarity on a payment he has just received, stressing his probity.
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WSLB 120 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1912
A long letter, biblical in tone, in which Schenker prophesies that a "Flood of
the moderns" will come to pass, and in Noah's ark his works will "occupy the place of
honor," and that a "bright new light" will establish Universal Edition as superior to the
German publishers. He accepts Hertzka's terms for the Beethoven Last Five Sonatas edition
for now. He again urges Hertzka to contact Dr. Harpner regarding the planned Organization of
Creative and Performing Musicians. He encourages Hertzka to deal more generously with Hans
Weisse.
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WSLB 121 Handwritter letter from Schenker to Hertzka (UE), dated June 13[?], 1912
Schenker reports the state of play [on the Organisation] and again urges
Hertzka to contact Dr. Harpner.
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WSLB 122 Handwritten telegram draft from Schenker to Hertzka (UE), dated June 24,
1912
Schenker asks why Beethovens neunte Sinfonie has not yet
appeared.
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WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912
Schenker reports improved agreement among the supporters of the planned
Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for
the fee for correcting proofs of Beethovens neunte Sinfonie.
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WSLB 124 Handwritter letter from Schenker to Hertzka (UE), dated June 27, 1912
Schenker asks for copies of his Beethovens neunte Sinfonie to be sent to
himself and others. -- He reports that the Gesellschaft der Musikfreunde has invited him to
teach.
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WSLB 125 Handwritten letter from Schenker to Hertzka (UE), dated July 5, 1912
Schenker provides his summer address and looks forward to working on the
musicians' organization when be returns.
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WSLB 126 Handwritten letter from Schenker to Hertzka (UE), dated July 11, 1912
Schenker has referred a textual anomaly in Beethoven Op. 109 to Ernst Rudorff,
and asks for the contract for Die letzten fünf Sonaten to be sent to him.
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WSLB 127 Handwritten postcard from Schenker to Hertzka (UE), dated July 12, 1912
Schenker asks for a copy of his edition of the Chromatic Fantasy and Fugue, to
forward to a "colleague."
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WSLB 128 Handwritten letter from Schenker to Hertzka (UE), dated July 21, 1912
Beethovens neunte Sinfonie: Schenker justifies the higher number of proof
corrections and reiterates his demand for a supplementary honorarium. -- Die letzten fünf
Sonaten: he objects to a clause in the draft contract concerning correction costs, and
emphasizes the expenses that he himself is incurring in preparing the
edition.
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WSLB 129 Handwritten letter from Schenker to Hertzka (UE), dated August 6, 1912
Schenker informs Hertzka that he has been approached by the Gesellschaft der
Musikfreunde with a view to his teaching a course at the Society's new "free high school"
beginning in October, and inquires whether Hertzka will meet his demands so that he can
proceed with Die letzen fünf Sonaten Beethovens.
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WSLB 130 Handwritten letter from Schenker to Hertzka (UE), dated August 14, 1912
In the most aggressive letter yet on Hertzka's approach over honoraria and
correction costs, Schenker asserts that UE ought to subsidize his works through the takings
on the lucrative works of others. UE acquires Schenker's works for a fraction of their true
value, yet is held responsible for UE's costs. Schenker refuses to sign the draft contract
for his Die letzten fünf Sonaten Beethovens with an implied threat of
withdrawal.
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WSLB 131 Telegram from Schenker to Hertzka (UE), dated August 22, 1912
Schenker requests a decision [on contract terms].
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WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912
Schenker returns the contract for Die letzten fünf Sonaten von Beethoven
signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to
Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that
tradition, which will spawn a new generation of composers superior to the present
"cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau
der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der
Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of
Musicians project in the fall.
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WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26,
1912]
Recounting the backstory of the move to found an [Austrian] organization of
musicians, and painting it as a rearguard action by performers against the dominance of Neue
freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an
approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to
the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he
complains at the timid tone of Universal Edition's advertising of his own
works.
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WSLB 134 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912
Schenker asks for the first installment of his honorarium for Die letzten fünf
Sonaten Beethovens to be sent, now that he is back in Vienna. — He reports on the
Organization plan, and on progress on Op. 109. — He reiterates his claim for a supplementary
honorarium for proof correction of Beethovens neunte Sinfonie.
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WSLB 135 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912
Schenker insistently reiterates his request for the first half honorarium for
Die letzten fünf Sonaten Beethovens. — He alludes to an announcement by the Gesellschaft der
Musikfreunde.
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WSLB 136 Handwritten letter from Schenker to Hertzka (UE), dated September 21,
1912
Schenker reports the stormy end to the prospect of his teaching in the
Gesellschaft der Musikfreunde's "Hochschule."
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WSLB 137 Handwritten letter from Schenker to Hertzka (UE), dated September 24,
1912
Schenker reports developments on the Organization front and also the
Gesellschaft der Musikfreunde's "Hochschule" front.
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WSLB 138 Handwritten postcard from Schenker to Hertzka (UE), dated September 30,
1912
Ludwig Karpath has complained at not having received a review copy of
Schenker's Beethovens neunte Sinfonie. — Schenker prompts Hertzka on the often demanded
supplementary honorarium for proof correction of the monograph.
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WSLB 139 Handwritten letter from Schenker to Hertzka (UE), dated October 3, 1912
Schenker forwards a letter from Hugo Heller [from Germany] and asks how he
should handle the matter [of the proposed Organisation], pointing out that a comparable
movement has already be launched in Germany.
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WSLB 140 Handwritten letter from Schenker to Hertzka (UE), dated October14, 1912
Dr. Harpner is recovered; Schenker hopes to see Hugo Heller shortly. -- He
prompts yet again for the "supplementary honorarium."
-
WSLB 141 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1912
In a satyrical letter, Schenker asks Hertzka to make up his mind about the
compositions of Hans Weisse submitted for publication.
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WSLB 142 Handwritten letter from Schenker to Hertzka (UE), dated November 10, 1912
Schenker responds to Hertzka's claim of overwork and strained nerves,
remarking that everybody [on the matter of the proposed Organization] is "holding back,"
even he himself.
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WSLB 143 Handwritten letter from Schenker to Hertzka (UE), dated November 27[–28],
1912
Schenker requests another copy of Beethoven Op. 109, and lists the sources he
has now consulted, the communications with scholars, the cost and time involved, proclaims
the "spectacular" findings made, and the incompetence of all previous editors
unmasked.
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WSLB 90 Handwritten letter from Schenker to Hertzka (UE), dated January 1, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and draws
attention to errors on the part of the typesetters.
-
WSLB 91 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and expresses
dismay at the inaccurate work of the typesetters, notably in type-size, marginal numbers,
and alignment within figures.
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WSLB 92 Handwritten letter from Schenker to Hertzka (UE), dated January 10, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected and a letter
from Breitkopf &Härtel.
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WSLB 93 Handwritten letter from Schenker to Hertzka (UE), dated January 11, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected; he points out
with labored sarcasm that the printers have omitted the title-pages of each of the four
movements, and suggests how this might be rectified.
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WSLB 94 Handwritten letter from Schenker to Hertzka (UE), dated January 15, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie with imprimatur. -- He
conditionally accepts Hertzka's proposal that he create structural diagrams for movements 2
to 4, giving his justification for intially providing only that for the first
movement.
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WSLB 95 Handwritten letter from Schenker to Hertzka (UE), dated January 28, 1912
Schenker returns page-proofs of Beethovens Neunte Sinfonie, granting
imprimatur providing one problem can be overcome.
-
WSLB 96 Handwritten letter from Schenker to Hertzka (UE), dated February 3, 1912
Schenker returns page-proofs of Beethovens Neunte Sinfonie and the structural
diagram for movement 2.
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WSLB 97 Handwritten express postcard from Schenker to Hertzka (UE), dated February 7,
1912
Schenker complains at the printers' disregard of his earlier words. He asks
for assurance that he will receive a complete set of proofs to check the cross-citations of
page-numbers.
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WSLB 98 Handwritten letter from Schenker to Hertzka (UE), dated March 4, 1912
Schenker returns page-proofs for gatherings 10 and 11 of Beethovens Neunte
Sinfonie and the formal diagram for movement 3.
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WSLB 99 Handwritten express postcard from Schenker to Hertzka (UE), dated March 9,
1912
Schenker accepts Hertzka's invitation to a meeting.
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WSLB-Hds 94477 Handwritten letter from Schenker to Seligmann, dated May 22, 1912
Schenker congratulates Seligmann on the recent exhibition of his paintings. He
is about to send him a copy of his Beethoven’s Ninth Symphony and asks him to read the
section on the secondary literature and consider whether the same might be applied to the
literature on painting.