-
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.
-
OJ 6/8, [7] Handwritten letter from Schenker to Violin, dated October 17, 1931
Schenker offers Violin words of comfort in the light of a misappropriation of
the title “Professor.” He also describes progress on Chopin’s Op. 10, No. 12, and the Bach
Prelude in C major for the Five Analyses in Sketchform, and his work on a document of Anton
Schindler purporting to convey Beethoven’s instructions on the performance of the Op. 14
sonatas.
-
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 54/342 Handwritten note from Waldheim to Schenker, dated April 19, 1932
Waldheim-Eberle gives number of sheets, format, and price-per-print-run for
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.
-
OC 54/343 Handwritten letter from George Tomay to Schenker, dated May 4, 1932
Tomay submits his bill for Urlinie graphs, asks two questions, and promises
the J. S. Bach graphs on May 6; his son receipts the bill.
-
OJ 6/8, [13] Handwritten letter, with envelope, from Schenker to Violin, dated June 12,
1932
Schenker refers to his “betrayal” by Herman Roth and shares with Vrieslander’s
letter on the subject. He updates Violin on the forthcoming publication of the Fünf
Urlinie-Tafeln, accusing the Mannes School of getting more publicity and profits from the
sale of the work than it deserves.
-
OC 54/348 Handwritten delivery note from Waldheim to Schenker, dated June 14, 1932
Waldheim-Eberle delivers the proofs and manuscripts of the German-language
title-page and Foreword of the Fünf Urlinie-Tafeln.
-
OC 54/351 Typewritten postcard from Waldheim to Schenker, postmarked June 21, 1932
Waldheim-Eberle has sent copies of the Urlinie-Tafeln to Otto Erich
Deutsch.
-
OJ 15/16, [86] Handwritten letter from Hans Weisse to Schenker, dated June 21, 1932
Weisse acknowledges receipt of two letters from Schenker, but has been
burdened by visa problems at the American consulate in Vienna. He will reply at greater
length when he arrives in Grundlsee, in a few days’ time.
-
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 54/370 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 54/356 Typewritten letter from Waldheim to Schenker, dated July 12, 1932
Waldheim-Eberle are sending Schenker a second proof of the Foreword of his
Fünf Urlinie-Tafeln and a print of the title-page for the European market, and submitting to
Universal Edition a print of the latter. They enclose a print pull of the grapahs and
request guidance on the page numbering.
-
OC 54/357-358 Typewritten letter and invoice from Waldheim to Schenker, dated July 14,
1932
Waldheim-Eberle submits its pre-invoice for 1,000 copies of Schenker's Fünf
Urlinie-Tafeln.
-
OJ 12/6, [13] Handwritten letter from Jonas to Schenker, dated July 14, 1932
Jonas reports on his visit to Berlin, where he failed to meet with Furtwängler; —
discusses Brahms-Handel Saul and Beethoven Op. 109. — He has heard about the Fünf Urlinie-Tafeln
from Hoboken and Salzer; — discusses plans for publishing his Das Wesen des musikalischen
Kunstwerkes. — Has received books from Alfred Einstein.
-
FS 40/1, [10] Handwritten postcard from Schenker to Salzer, dated July 16, 1932
Salzer will receive four copies of Fünf Urlinie-Tafeln, and is asked to
distribute them.
-
OC 54/360 Typewritten letter from Waldheim to Schenker, dated July 18, 1932
Waldheim-Eberle acknowledge receipt of a proof of the wrapper for the Fünf
Urlinie-Tafeln and will proceed with printing; they list the distribution of
copies.
-
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 89/5, [3] Handwritten letter from Schenker to Hoboken, dated July 31, 1932
Schenker welcomes a visit from Hoboken and Miss Boy, and encloses a clipping of
an article.
-
OJ 15/22, [3] Handwritten letter from Willfort to Schenker, dated August 6, 1932
Willfort reports that Salzer has escaped with only minor injuries; — is thrilled
by the Five Analyses in Sketch-Form, of which he has just seen a copy.
-
OJ 15/16, [87] Handwritten letter from Hans Weisse to Schenker, dated September 14, 1932
After a long silence, for which he apologizes, Weisse congratulates Schenker
on the completion of Der freie Satz and reports that he has composed a violin sonata, which
retains the neo-Bachian style of his three-voiced piano pieces of 1931. He gives Schenker
the dates of his sailing to America and his address in New York.
-
OJ 15/16, [89] Handwritten letter from Weisse to Schenker, dated February 15, 1933
Weisse has received a copy of Otto Vrieslander's recently published songs and
has written Vrieslander a long, critical letter. — He reports on initiatives to have some of
Schenker's writings translated into English, and on the success of his analysis of the Bach
C major Prelude. Their having purchased copies of the Five Analyses in Sketchform/Fünf
Urlinie-Tafeln, published by the David Mannes School, is further testimony of Schenker's
success on American soil.
-
OJ 8/5, [16] Handwritten postcard from Schenker to Violin, dated February 26, 1933
Schenker reports on Hans Weisse’s phenomenal success as a teacher in New York,
and complains about Joseph Marx’s duplicitous behavior.
-
OeNB H Autogr.856/20-4 Handwritten letter from Schenker to Josef Marx, dated March 4, 1933
Schenker speaks of his work having been proscribed in Vienna for 25 years, and
also allusively about a certain father and son. He compares the situation in Vienna
adversely with the size of Hans Weisse's lecture audience and his remuneration in New York.
Schenker asks for another meeting.
-
OJ 15/16, [90] Handwritten letter from Hans Weisse to Schenker, dated March 17, 1933
Weisse reports the success of his lecture on the C minor prelude from the
Well-Tempered Clavier, Book 1. — He is currently giving two lectures on a Haydn's sonata. —
He inquires about the possibility of having Schenker's foreground graphs for the "Eroica"
Symphony printed separately and sold to his pupils, for a series of lectures planned for the
following year; the profits entirely to Schenker. — He sees little prospect visiting Europe
in the summer, as his financial situation has worsened: the Mannes School has been forced to
reduce his teaching for the next season. — He expresses his doubts about Vrieslander's
ability to reshape Schenker's Harmonielehre as a school textbook, and about the value of
Harmonielehre itself in the light of his teacher's most advanced theoretical
ideas.
-
OJ 5/18, 24 Handwritten letter from Schenker to Jonas, dated March 22, 1933
Schenker recounts Joseph Marx's requirements for adapting his Harmonielehre
for teaching purposes, and the involvement of Alfred Kalmus at UE. — Refers to Vrieslander's
adaptation of Kontrapunkt and Jonas's of Harmonielehre. — Reports Hans Weisse's success;
alludes to the Handel-Schenker Saul project.
-
OJ 15/16, [92] Handwritten letter from Hans Weisse to Schenker, dated May 23, 1933
Weisse thanks Schenker for Brahms's Oktaven u. Quinten, which he finds too
specialist a work to be of use to the uninitiated in Schenker's approach, and therefore does
not recommend for translation into English or use as a textbook. He reports a brief meeting
with Alfred Kalmus and a recent concert of his works, including a new violin sonata. He
gives Schenker his summer holiday address.
-
OJ 5/7a, [49] (formerly vC 49) Handwritten postcard from Schenker to Cube, dated May 8, 1934
Schenker congratulates Cube on the graph he has sent, and reports on Der freie
Satz and the continuation of the Urlinie-Tafeln.
-
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 5/18, 49 Handwritten letter from Schenker to Jonas, dated August 2, 1934
Schenker expresses heartfelt thanks to Jonas for his book; their project is
fundamentally one of "present-day Jewry." — An excerpt from Der freie Satz is to appear in
Der Kunstwart. —Schenker has had to give up Willfort and Kraus because of their negligence
regarding the planned Urlinie-Tafeln vol. II.
-
OJ 5/7a, [51] (formerly vC 51) Handwritten letter from Schenker to Cube, dated October 26, 1934
Acknowledges OC 9/34, [42], and its contents; comments on the "youth of today" – organic
connection is the best thing for them; asks publisher of Schäfke book. Once Der freie Satz is in
print, he will give his mind to the continuation of the Urlinie-Tafeln. Schenker's name is included in
the Spanish Enciclicopedia universale.