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OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930
Furtwängler encloses a letter from Karl Straube, and cautions Schenker against
publishing with Breitkopf.
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OC 54/297 Handwritten letter from Furtwängler to Schenker, dated April 19, 1930
Furtwängler has forwarded Schenker's letter on to Straube for direct
reply.
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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.
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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.
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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.
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OJ 15/15, [46] Handwritten postcard from Weisse to Schenker, dated April 14, 1930
Weisse expresses his unease about the dedication to Furtwängler of an article
on the "Urlinie," by Walter Riezler. He thinks that Furtwängler, who does not really
understand the term, may have put Riezler up to writing it.
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OJ 5/32, [2] Postal receipt from Schenker to Rinn, dated April 8, 1930
Schenker returns the galley-proofs of Vrieslander's article about
him.
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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.
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Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19,
1930
Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to
Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with
other publishers and plans for future publications.