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CA 115 Handwritten letter from Schenker to Cotta, dated July 4, 1910
Schenker encloses manuscript of all prelims for Kontrapunkt 1. He mentions
recent publication of his edition of J. S. Bach's Chromatic Fantasy and Fugue, and speaks of
his plans for a Handbibliothek, for which he will present a proposal to Cotta. He announces
his departure and gives his summer address.
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CA 116 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated July
6, 1910
Cotta acknowledges receipt of the manuscript prelims of Kontrapunkt 1 and
reiterates its request for material for its publicity blurb.
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WSLB 63 Handwritten letter from Schenker to Hertzka (UE), dated August 8, 1910
Schenker has dispatched the second proof of his Chromatic Fantasy & Fugue
edition from Karerpass to Vienna, and outlines his travel plans for the remaining
summer.
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CA 118 Handwritten letter from Schenker to Cotta, dated August 19, 1910
A fire at his hotel causes Schenker to ask whether Cotta has sent him final
proofs recently. — He inquires whether he might travel to Stuttgart to present his plan for
the Handbibliothek in person.
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OJ 6/4, [51] Handwritten letter from Schenker to Violin, dated August 19, 1910
Schenker sends Violin 50 florins in partial repayment of a debt, expressing
anxieties about his financial situation. — No word yet from Cotta. — The effect of the hotel
fire on hotel businesses. — Emil Kornfeld arrives today.
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OJ 9/31, [26] Stenographically handwritten letter from Cotta to Schenker, dated August [20?],
1910
In response to CA 118, Cotta advises Schenker to send his proposal for a
Handbibliothek in advance of a possible visit to Stuttgart to present it in
person.
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CA 121-122 Handwritten letter from Schenker to Cotta, dated September 10, 1910
Schenker explains the basis for his "Handbibliothek," suggests an overarching
title and a separate title for the proposed first booklet, on Beethoven's Ninth Symphony. He
promises to return the manuscript of vol. II/1.
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OJ 12/27, [12] Stenographically handwritten letter from Cotta to Schenker, dated September 14,
1910
In response to Schenker's outline of his prospective Handbibliothek, Cotta
advise against its publication before that of vol. III [Niedergang]; and would not be able
to entertain the project until after publication of vol. III.
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OJ 12/27, [13] Stenographically handwritten letter from Cotta to Schenker, dated September 21,
1910
Cotta reasserts its unwillingness to consider publication of the
[Handbibliothek] project until after publication of vol. III.
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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."
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OJ 5/45, [1] Copy letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated June 17,
1915
In a six-page letter, and following harsh exchanges the previous day, Schenker
castigates Weisse for trying to avoid paying for four lessons, speaking of his own difficulties
in managing the profession of private teacher, and the unfair ways in which artists are treated
financially.
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DLA 69.930/3 Handwritten letter from Schenker to Halm, dated February 7, 1918
Schenker writes scathingly of UE's business practices; describes his
counter-tactics, and his experiences over Niloff, Instrumentations-Tabelle. He will read all of
Halm's writings and asks for a reading-list
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OC 52/559 Typed letter from Hertzka (UE) to Schenker, dated March 5, 1918
Hertzka will inquire about a review published in Lausanne; has dispatched Op. 111
to Steglich and encloses invoice and payment order; in light of Brest-Litovsk, he inquires about
Kontrapunkt2 and the Kleine Bibibliothek.
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WSLB 296 Handwritten letter from Schenker to Hertzka (UE), dated March 8, 1918
Schenker thanks Hertzka for dispatching Op. 111 to Steglich, but baulks at paying
the specified amount and sends less. -- Must finish Kontrapunkt 2 and will then return to the
Kleine Bibliothek.
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OC 52/923 Typed letter from Hertzka (UE) to Schenker, dated June 6, 1919
Hertzka acknowledges receipt of WSLB 302; he cannot entertain early publication
of Weisse's work but wishes to get to know it now. — He hopes to have work from Schenker's pen
as soon as work for Cotta is finished. — He proposes that the Foreword to Die letzten fünf
Sonaten von Beethoven ... op. 111 be omitted [in an future edition].
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OC 1 B/35-40 Handwritten draft letter, in Jeanette Kornfeld/Schenker's hand, from Schenker to
Hertzka (UE), undated [June 10, 1919]
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven ... op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art and all manifestations of human life are inextricably
interconnected. He claims that his pronouncements on politics now will prove correct in the long
run. His sole concern is with the truth; he is not interested in pandering to his readers.
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WSLB 303 Handwritten letter from Schenker to Hertzka (UE), dated June 12, 1919
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven, Op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art, life, and politics are inextricably interconnected. He claims
that his pronouncements on politics now will prove correct in the long run. His sole concern is
with the truth; he is not interested in pandering to his readers.
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OC 1 B/41-45 Handwritten draft letter from Schenker to Eberhard von Waechter, dated October 17,
1919
Schenker addresses the misunderstanding that has arisen, explaining his
willingness to contribute articles to Der Merker once his current projects are in print.
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WSLB 308 Handwritten letter from Schenker to Hertzka (UE), dated November 22, 1919
Schenker sends adjusted payment for two items received; his Kleine Bibliothek
will shake up the contributors to Musikblätter des Anbruch.
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WSLB 309 Handwritten letter from Schenker to Hertzka (UE), dated November 22, 1919
Schenker outlines a production schedule of his work for UE, which includes Die
letzten fünf Sonaten ... op. 101, the Kleine Bibliothek, and the complete edition of Beethoven
piano sonatas. He makes stipulations about production, and asks questions about honoraria.
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OJ 8/3, [73] Handwritten postcard from Heinrich Schenker to Moriz Violin, December 15,
1919
Schenker reports on his meeting with Emil Hertzka and the latter's offers on Die
letzten fünf Sonaten ... op. 101 and the Kleine Bibliothek, about which Schenker wishes to talk
with Violin.
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WSLB 310 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1919
Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs
while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine
Bibliothek and other tasks.
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OC 52/507-508 Typed letter from Hertzka (UE) to Schenker, dated December 19, 1919
Hertzka is pleased that Louis Koch has given his consent [for Op. 101]; he
suggests that UE obtain certain sources from the Gesellschaft der Musikfreunde Archive on loan
at the office for Schenker to work on; and offers a larger fee for Op. 101, and cautions
Schenker about growing costs of photographic work.
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WSLB 305 Handwritten letter from Schenker to Hertzka (UE), dated December 21, 1919
Schenker informs Hertzka that he has ordered two more Beethoven sketchbooks in
connection with Op. 101, and asks him for some other "apportionment," which will protect him
from long-term deterioration of the exchange rate.
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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.
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OJ 11/35, 15 Handwritten letter from Halm to Schenker, dated January 11, 1920
Halm expresses reservations about Kleine Bibliothek plan; wishes Schenker might
write history of music. —PS: Advises Sschenker to insure a regular income before moving to
Germany.
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OC 52/446 Typed letter from Hertzka (UE) to Schenker, dated January 14, 1920
Hertzka has not yet gone to Frankfurt.—- He wants to publish the "Moonlight"
Sonata in a series edited by Otto Erich Deutsch. — Would like to do new edition of complete
Beethoven sonatas, but without wholesale reengraving. — Discusses financial arrangements for the
latter, and for the Kleine Bibliothek. — Encloses the contract for Die letzten fünf Sonaten von
Beethoven ... op. 101.
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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.
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DLA 69.930/9 Handwritten letter from Schenker to Halm, dated January 18, 1920
Schenker acknowledges receipt of OJ 11/35, 14 and 15, thanking Halm for the
opportunity to see the two contracts, now enclosed. Schenker has been exploited by UE regarding
EA 101 and the "Little Library," and must now protect himself and extract better working
conditions. —Kontrapunkt 2 will show the world that his "Semper idem" motto applies at every
level from strict counterpoint through to free composition. In a musical garden of Eden of
genius, the rest of the world behaves like Adam and Eve. — Schenker congratulates Halm on his
successes and thanks him for his support.
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OC 52/215 Typed letter from Hertzka (UE) to Schenker, dated January 23, 1920
Hertzka is sending the publisher's copy of the contract for Die letzten fünf
Sonaten von Beethoven ... op. 101 and the first tranche of honorarium, discusses the facsimile
edition of the "Moonlight" Sonata, raises issues regarding the prospective Beethoven collected
sonatas edition and Kleine Bibliothek, and expresses pleasure that he and Schenker are again in
accord.
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OC 52/218 Typed letter from Fischmann (UE) to Schenker, dated February 19, 1920
Acting for the Schutzverband deutscher Schriftsteller in Wien, Fischmann offers
Schenker advice on the draft contract for the Kleine Bibliothek.
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OC 52/220 Typed letter from Hertzka (UE) to Schenker, dated March 13, 1920
Hertzka thanks Schenker for commiserations, expresses pleasure that the
photographs [of Op. 101] have arrived, and seeks a meeting to discuss the Kleine Bibliothek.
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OC 52/223 Handwritten draft contract, in Jeanette Schenker's hand, between UE and Schenker for
the Kleine Bibliothek and Beethoven sonatas edition, undated [March 17,?] 1920
Handwritten draft contract jointly for the Kleine Bibliothek and Beethoven
sonatas edition.
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OC 52/547 Typed letter from Hertzka (UE) to Schenker, dated March 22, 1920
Hertzka sends contracts for the Kleine Bibliotek and Beethoven complete sonatas,
explains the alterations that have been made to these since their recent conversation, and asks
for their signed return. Marginal calculations by Schenker.
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OC 52/560 Draft Contract between UE and Schenker for the Kleine Bibliothek, dated March 23,
1920
Draft contract for the Kleine Bibliothek.
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OC 52/224 Typed letter from Fischmann (UE) to Schenker, dated April 3, 1920
Fischmann gives advice on Schenker's contracts for the Kleine Bibliothek and the
collected Beethoven piano sonatas.
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OC 52/409 Typed letter from Hertzka (UE) to Schenker, dated April 12, 1920
Hertzka encloses the contracts for the Kleine Bibliothek and collected Beethoven
sonatas, hoping that it will meet with approval. -- He explains the rise in price of the
Instrumentations-Tabelle.
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OC 52/227 Typed letter from Fischmann (UE) to Schenker, dated April 17, 1920
Fischmann sees two points still outstanding over the contracts for the Kleine
Bibliothek and Beethoven sonatas, and advises him how to handle them.
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OJ 8/3, [86] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated May 5, 1920
Schenker writes scathingly about his brother Moriz's attitude to Schenker's
problems.
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OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920
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OC 52/448 Typed contract between UE and Schenker for the Beethoven sonatas edition, dated July
10, 1920
Contract between UE and Schenker for the Beethoven sonatas collected edition.
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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.
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OC 52/517 Typed contract from between UE and Schenker for the Kleine Bibliothek, dated July 10,
1920
Contract between UE and Schenker for the Kleine Bibliothek.
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OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920
Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp.
109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek
for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's
attentions.
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OC 52/231 Typed letter from Kalmus and Detoni (UE) to Schenker, dated September 8,
1920
Kalmus encloses print samples of type-sizes for the Kleine Bibliothek, and
promises samples of the engraving, and copies requested.
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OC 52/411 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 14, 1920
Kalmus is glad Schenker approves of the type samples and gives estimates for the
extent per page, has not yet heard from Wellesz re the "Appassionata" Sonata, is contacting
Hertzka about the "Waldstein" Sonata photography, will send documentary evidence regarding a
1912 payment, and sends copies of Beethoven sonatas.
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OC 52/233 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 23,
1920
UE is sending over large and small engraving samples of the Kleine Bibliothek for
Schenker's approval, and confirms receipt of the documentary evidence and Schenker's previous
letter.
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OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October
16, 1920
Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking
a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit
Wally next Sunday.
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OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920
Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the
publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about
the autograph manuscript for which Schenker is waiting.
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OC 52/241 Typed letter from Kalmus (UE) to Schenker, dated December 21, 1920
UE acknowledges receipt of the manuscript of "Beethoven's Fifth Symphony" and
notifies Schenker that he will be receiving proofs of Die letzten fünf Sonaten von Beethoven ...
op. 101.
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OJ 10/1, [59] Handwritten letter from Dahms to Schenker, dated December 22, 1920
Dahms sends the Schenkers best wishes for Christmas and the New Year; speaks of
Schenker as "our great leader"; inquires about progress on publication of three Schenker works
and whether Schenker has sufficient fuel and other necessities.
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OJ 10/1, [60] Handwritten letter from Dahms to Schenker, dated December 29, 1920
Dahms thanks Schenker for his assessment of the three of his books that he has
sent him; gives a chapter synopsis of his next book, concerning Nietzsche and music; reports on
his movement in the coming months.
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OC 54/16-18 Draft letter from Schenker to Drei Masken Verlag, dated January 28, 1925
Schenker agrees to the idea of a yearbook, entitled "Das Meisterwerk in der
Musik," as put forward by Drei Masken Verlag, and now asks for a draft contract to be sent,
and for them to typeset some of his work so that he has an idea how long the manuscript for
the yearbook should be. He also vents his hostility towards Emil Hertzka at Universal
Edition.