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WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916
Schenker explains why he is reluctant to produce a critical edition with
commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could
be freed from some of his teaching obligations, and also the autograph manuscript and other
sources are missing. He also defends his sharp tongue in discussions of the secondary
literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical
editions of the late Beethoven piano sonatas).
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OC B/168 Typewritten postcard from Wilhelm Altmann to Schenker, dated February 5,
1920
The photographs of Op. 101 are ready and will be sent.
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OJ 6/7, [22] Handwritten letter from Schenker to Moriz Violin, dated May 30, 1925
Schenker thanks Violin for his latest efforts to account for subscriptions to Der
Tonwille. He sends him the smaller version of the bronze medallion designed by Alfred
Rothberger.
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JOB 94-3, [12] Handwritten letter from Schenker to Hammer, dated August 23, [1925]
Heinrich and Jeanette consider the test proof of the Schenker mezzotint
finished and urge him to finalize it. Heinrich tells Hammer about Anthony van
Hoboken.
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OJ 11/36, [19] Handwritten letter from Hammer to Schenker, dated September 1, 1925
Hammer explains why he can't just take the test print of his Schenker
mezzotint as the final product. -- He speaks of money difficulties.
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OJ 11/36, [23] Handwritten letter from Hammer to Schenker, dated October 6, 1925
Hammer encloses as a gift two prints of his mezzotint of Schenker; Weisse will
convey to Schenker a print from which the printing block of the mezzotint can be made for
Die Musik's purposes. -- The Albertina has just purchased one of the
proofs.
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OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926
In a wide-ranging letter responding to Moriz Violin's previous letter,
Schenker asks his friend to confide in him his personal troubles. He offers his support in
the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to
find a way of getting the Hammer portrait to him safely, possibly by having it sent directly
from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil
Agnes Becker, recently arrived from Hamburg where Violin had been teaching
her.
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OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928
Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the
approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him
to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties
he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and
speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.
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OJ 10/3, [88] Typewritten picture postcard from Deutsch to Schenker, dated June 14,
1928
Deutsch can show Schenker the reissue (Titelauflage) of Beethoven’s Sonata Op.
6 if he is interested. -- On the 27th, he is giving a radio broadcast on Schubert’s lost
symphony; he has obtained funding ($1,000) for the person who finds it. -- He is giving
another radio talk on July 3, on Schubert’s incidental music to Rosamunde.