GdM Briefe HS, [1] Handwritten letter from Schenker to Ludwig Bösendorfer, undated [1889/1890]

Schenker asks for hire of a better piano.

OJ 11/42, [1] Handwritten letter from Maximilian Harden to Schenker, dated October 11, 1892

Since there has been no response to an earlier letter requesting major revisions in a submitted article, Harden has made the changes himself; he asks Schenker to write a second article on the omitted material; and he begs Schenker's pardon for having to act unilaterally.

OJ 11/42, [2] Handwritten postcard from Maximilian Harden to Schenker, dated November 29, 1892

One of Schenker's articles will be published in an upcoming issue of Die Zukunft; Harden asks for further submissions; agrees with Schenker's positive assessment of the Italian soprano Gemma Bellincioni.

OJ 11/42, [3] Handwritten postcard from Maximilian Harden to Schenker, dated May 22, 1893

Harden asks Schenker to write a review of Verdi's Falstaff in time for the Berlin opening of the opera.

OJ 11/42, [4] Handwritten postcard from Maximilian Harden to Schenker, dated June 27, 1893

Harden thanks Schenker for an article on Smetana; encourages him to write on the Viennese appetite for Italian operas; and sends greetings to [Adolph?] Gelber.

OJ 11/42, [5] Handwritten postcard from Maximilian Harden to Schenker, dated September 29, 1893

Harden encourages articles from Schenker on Leoncavallo and Bruckner.

OJ 11/42, [6] Handwritten postcard from Maximilian Harden to Schenker, dated October 19, 1893

Harden thanks Schenker for sending an [unidentified] article with a lighter tone than some of Schenker's other work.

OJ 71/42, [1] Handwritten message from Harden to Schenker, on handwritten letter from Hermann Woff to Harden, dated October 20, 1893

Wolff encourages Harden to find him a collaborator for an article on music and concert life; having read Schenker's article on Bruckner, he praises Schenker for his clear and accurate understanding of Bruckner's music. Harden commends Wollf's praise to Schenker, and suggests that he write an article about "conductors."

OJ 11/42, [8] Handwritten postcard from Maximilian Harden to Schenker, dated November 9, 1893

Harden asks after Schenker's health and encourages him to write an article on prominent conductors and an article on music education.

OJ 11/42, [9] Handwritten postcard from Maximilian Harden to Schenker, dated February 16, 1894

Harden asks for Schenker's permission to put off publishing Schenker's article on prominent conductors until Harden himself writes something personal about Hans von Bülow, who had died four days earlier.

OJ 11/42, [10] Handwritten postcard from Maximilian Harden to Schenker, dated March 1, 1894

Harden sends greetings to Schenker and [Adolph?] Gelber; he encourages Schenker to add mention of Hans von Bülow to his upcoming article on conductors, and asks Schenker to perform a thorough revision because the draft was not entirely clear.

OJ 11/42, [11] Handwritten postcard from Maximilian Harden to Schenker, dated April 13, 1894

Harden wonders whether it is worth publishing an article by Schenker on Verdi's Falstaff now that the production has moved on from Berlin to Paris.

OJ 11/42, [12] Handwritten letter from Maximilian Harden to Schenker, undated [probably post-April 13, 1894, certainly pre-May 5, 1894]

Harden thanks Schenker for his submissions, especially "Konzertdirigenten," and asks him again to consider writing an article on Verdi's Falstaff.

OJ 11/42, [13] Handwritten postcard from Maximilian Harden to Schenker, dated May 1, 1894

"The road is clear."

OJ 11/42, [14] Handwritten letter from Maximilian Harden to Schenker, dated May 11, 1894

Harden urges Schenker to ask Brahms to write something for Die Zukunft about the recently deceased Hans von Bülow.

OJ 11/42, [15] Handwritten postcard from Maximilian Harden to Schenker, undated; postmarked June 14, 1894

Harden says he will look over an article by Schenker soon; he wonders whether Brahms or Rosenthal will contribute anything on Bülow to Die Zukunft; and he encourages Schenker to send him more articles in the future.

OJ 11/42, [16] Handwritten postcard from Maximilian Harden to Schenker, dated July 15, 1894

Harden agrees in principle to Schenker's publishing elsewhere some material on which Harden had some claim; he advises Schenker that he has no following among the audience of Die Neue Review; he has heard nothing from Brahms or Rosenthal about contributing something about Bülow to Die Zukunft.

OJ 13/29, [B] Handwritten letter from Rosenthal to Schenker, undated

Rosenthal is ready to write an article ‒ evidently about Mozart ‒ but wishes to discuss it first.

OJ 11/42, [17] Handwritten letter from Maximilian Harden to Schenker, dated September 8, 1894

Harden welcomes an article by Schenker on Eugen d'Albert, and encourages Schenker to get d'Albert to revise an autobiographical sketch that will precede Schenker's article.

OJ 11/42, [18] Handwritten postcard from Maximilian Harden to Schenker, dated October 4, 1894

Harden urges Schenker to press Brahms [for material on Bülow]; he thinks that d'Albert will benefit from Schenker's article about him in Die Zukunft; he reports cordial impressions of Humperdinck from Cosima and Siegfried Wagner; and he asks whether an article he wrote was any good.

OJ 11/42, [19] Handwritten letter from Maximilian Harden to Schenker, dated October 11, 1894

Harden rebuffs accusations by Schenker that seem to involve a delay in Harden's response to a submission that Schenker hopes to move to another publication, and he accuses Schenker of reneging on a promise to write about [Johann] Strauss's operetta Jabuka.

OJ 11/42, [20] Handwritten postcard from Maximilian Harden to Schenker, dated October 13, 1894

Harden denies that he will try prevent Schenker from publishing his material wherever he chooses; and he commiserates with Schenker over a presumed slight by Hermann Bahr of Die Zeit.

OJ 11/42, [A] Handwritten letter from Maximilian Harden to Schenker, undated [probably October or November 1894]

Harden casts aspersions on Hermann Bahr. — Advises that he probably won't have room to publish one of Schenker's articles, but requests that Schenker send it for his review.

OJ 11/42, [21] Handwritten letter from Maximilian Harden to Schenker, dated November 24, 1894

Harden encourages Schenker to write articles on the string quartet and on [Johann] Strauß and Humperdinck, but not on Brahms. — He explains why he lost his temper with Schenker in an earlier letter (see OJ 11/42, [19]). — He urges Schenker to procure some corresondence between Rosenthal and Rubenstein for publication in Die Zukunft; and he casts aspersion on Die Zeit.

OJ 13/29, [1] Handwritten letter from Rosenthal to Schenker, dated December 14, 1894

Rosenthal has placed an article elsewhere than Die Zukunft.

OJ 11/42, [22] Handwritten letter from Maximilian Harden to Schenker, dated December 20, 1894

Harden rejects one of Schenker's submissions; he is resigned to Rosenthal's refusal to publish in Die Zukunft, but tells Schenker that Rosenthal has maligned him; he requests a referral via Gelber to someone, perhaps Viktor Adler, who would write about Austrian social relations for the journal.

OJ 11/42, [23] Handwritten letter from Maximilian Harden to Schenker, dated May 30, 1895

Harden tells Schenker that a submission from d'Albert would be welcomed; he encourages Schenker to send him a copy of a previously published lecture which he will consider publishing despite usual practise; and he asks whether Brahms or Rosenthal will contribute any Bülow letters to Die Zukunft.

OJ 9/10a, [1] Handwritten letter from Hermann Bahr to Schenker, dated July 4, 1895

Article can be split across two issues, though with disadvantages.

OJ 9/10a, [2] Handwritten letter from Hermann Bahr to Schenker, dated July 25, 1895

Bahr apologizes for misunderstanding Schenker, and requests an article by him on music education.

OJ 11/42, [24] Handwritten letter from Maximilian Harden to Schenker, dated October 29, 1895

Harden suggests that Schenker make substantial revisions in an unidentified submission.

OJ 11/42, [25] Handwritten postcard from Maximilian Harden to Schenker, dated November 2, 1895

Harden advises that one of Schenker's ideas for an article cannot be published because Harden's printer does not have musical notation.

OJ 11/25, [1] Handwritten letter from Max Graf to Schenker, undated [c. 1896]

Encouraged by Hermann Bahr, Graf requests a (first) meeting and discussion with Schenker.

OJ 11/42, [26] Handwritten postcard from Maximilian Harden to Schenker, dated March 27, 1896

Harden welcomes Schenker's submission of a review of Karl Goldmark's Das Heimchen am Herd.

OJ 13/29, [2] Handwritten letter from Rosenthal to Schenker, dated May 26, 1896

Rosenthal thanks Schenker for his words of friendship.

OJ 12/47, [1] Handwritten postcard from Ernst Mach to Schenker, dated December 2, 1896

Mach essentially agrees with Schenker, and gives Wallaschek's address.

OJ 11/42, [27] Handwritten letter from Maximilian Harden to Schenker, dated December 23, 1896

Harden rejects the notion of publishing an article by Schenker anonymously; he agrees with Schenker that a frontal attack on modernism is necessary; he says he does not know Hofmannsthal's poetry, but hears he has great talent.

OJ 11/42, [28] Handwritten postcard from Harden to Schenker, postmarked April 7, 1897

Harden has already accepted an article.

OJ 11/42, [29] Handwritten postcard from Harden to Schenker, dated April 18, 1897

Harden asks whether Schenker's article on Brahms is still available.

OJ 11/42, [30] Handwritten letter from Maximilian Harden to Schenker, dated December 2, 1897

Harden rejects a submission by Schenker. — He tells him that his glowing review of Goldmark's Das Heimchen am Herd, which turned out to be a terrible work, has compromised the integrity of Die Zukunft; and he informs Schenker that a collaboration between the two of them is now virtually unthinkable.

OJ 13/29, [3] Handwritten letter from Rosenthal to Schenker, dated March 18, [1899?]

Rosenthal is eager to see Schenker's promised Fantasy, Op. 2.

OJ 13/32, [A] Calling card from Albert von Rothschild with recommendation for Schenker, undated

Albert von Rothschild recommends Schenker as a practising musician and theorist.

OJ 13/32, [B] Calling card from Alphons von Rothschild to Schenker, undated

Alphons is keen to resume piano lessons, and sends a New Year souvenir.

OJ 13/32, [D] Calling card from Alphons von Rothschild to Schenker, undated

Alphons rergrets having been unable to attend Schenker's concert, and hopes to see him soon.

OJ 15/12, [A] Handwritten calling card from Weinberger to Schenker[?], undated

Message regarding song[?] compositions.

OJ 15/12, [B] Handwritten calling card from Weinberger to Schenker, undated

Thanks (unspecified)

OJ 15/12, [C] Handwritten calling card from Weinberger to Schenker, undated

Weinberger offers his services to Schenker.

OJ 15/12, [4] Handwritten letter from Weinberger to Schenker, dated January 5, 1900

Requests publicity for his firm in concert program.

OC 52/386 Handwritten letter from Josef Weinberger to Schenker, dated March 23, 1901

Thanks Schenker for mediating with Julius Röntgen, and confirms acceptance of the C. P. E. Bach keyboard edition.

OC 52/1 Handwritten postcard from Josef Weinberger (UE) to Schenker, dated May 30, 1901

Weinberger summons Schenker to finalize details over C. P. E. Bach edition.

OC 52/2 Handwritten letter from Josef Weingartner and Adolf Robitschek (UE), to Schenker, dated November 9, 1901

Inquires when Schenker's C. P. E. Bach keyboard edition can be expected.

OC 52/387 Handwritten letter from Josef Weinberger and Hugo Winter (UE) to Schenker, dated December 28, 1901

Acknowledges receipt of manuscript of C. P. E. Bach Klavierwerke, and has transferred honorarium.

OC 52/3 Receipt for payment from Universal Edition to Schenker, dated December 31, 1901

Receipt signed by Schenker for payment of honorarium by Universal Edition

OJ 13/29, [4] Handwritten letter from Rosenthal to Schenker, dated December 31, 1901

Rosenthal responds to Schenker regarding the effect of "habit and prejudice" on the performer; wishes to discuss phrasing-slurs in Chopin with him.

OJ 13/26, [1] Handwritten postcard from Richard Robert to Schenker, dated January 10, 1902

Robert has only the first edition of C. P. E. Bach's Versuch; he offers keyboard scores of Bach cantatas.

OJ 9/3, [2] Handwritten letter from Guido Adler to Schenker, dated July 2, 1902

Adler inquires whether Schenker is willing give his lecture for the [Vienna chapter of the] International Music Society in the coming season.

OC 52/4 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902

Asks for the manuscript copy of C. P. E. Bach Klavierwerke to be returned.

OC 52/5 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902

Annotation on p. VII is impossible.

OC 52/380 Typewritten letter from Weinberger and Winter (UE) to Schenker, dated July 15, 1902

UE has agreed to issue the introduction to Schenker's edition of C. P. E. Bach keyboard works as a separate publication [Ein Beitrag zur Ornamentation], requests the manuscript, and transfers the remainder of the honorarium.

OC 52/6 Typewritten letter from Winter and Artaria (UE) to Schenker, dated August 26, 1902

Asks for the manuscript of the Beitrag zur Ornamentik.

OC B/218 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker, dated September 13, 1902

Gives publication details of Haydn's Scottish Airs.

OJ 11/10, [1] Handwritten picture postcard from Frimmel to Schenker, postmarked September 24, 1902

Frimmel makes an in-joke.

OJ 12/29, [1] Handwritten calling card from Carl Lafite to Schenker, October 2, 1902

Lafite invites Schenker to visit him.

OJ 12/29, [1] Handwritten calling card from Carl Lafite to Schenker, October 2, 1902

Lafite invites Schenker to visit him.

OJ 9/3, [3] Handwritten letter from Guido Adler to Schenker, dated October 5, 1902

Adler inquires whether Schenker is willing give a further lecture for the [Vienna chapter of the] International Music Society in the coming season.

OC 52/381 Typewritten letter from Winter and Weinberger (UE) to Schenker, dated October 6, 1902

UE has transferred the honorarium for the Beitrag zur Ornamentik, apologizes for the delay, and sends the contract for signing.

OJ 11/10, [2] Handwritten picture postcard from Frimmel to Schenker, postmarked October 19, 1902

Frimmel sends greetings.

OJ 13/29, [5] Calling card from Rosenthal with handwritten note to Schenker, dated November 18, 1902

Rosenthal has reserved a ticket for Schenker. — He recommends Frl. Fritzi Neumann.

OJ 12/19, [1] Handwritten calling card from Julius Korngold to Schenker, dated November 21, 1902

Korngold requests access to the score of a Bach arrangement by Schenker.

OJ 11/10, [3] Handwritten lettercard from Frimmel to Schenker, dated November 29, 1902

Frimmel issues an invitation to tea.

OJ 13/29, [6] Handwritten letter from Rosenthal to Schenker, dated December 14, 1902

Rosenthal identifies Fritzi Neumann, and explains the background to her application.

OJ 11/10, [4] Handwritten postcard from Frimmel to Schenker, dated February 1, 1903

Frimmel expresses pleasure at Schenker's new edition.

OC 52/8 Typewritten letter from Steder(?) (UE) to Schenker, dated July 11, 1903

Weinberger is away; Haydn trios are covered; still welcomes Schenker's choice of work to edit.

OC 52/9 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 23, 1903

UE offers Schenker the arrangement of Handel organ concertos.

OC 52/10 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 28, 1903

Contract for Handel Organ Concertos received; distribution of complimentary copies of Beitrag zur Ornamentik.

OJ 11/10, [5] Handwritten letter from Frimmel to Schenker, dated August 8, 1903

Commenting on Schenker's edition of C. P. E. Bach keyboard works and Beitrag zur Ornamentik, Frimmel largely agrees with Schenker's remarks on ornaments.

OC 52/11 Typewritten letter from Steder(?) (UE) to Schenker, dated September 4, 1903

Weinberger will respond re: the Syrian Dances when back.

OJ 14/15, [1] Handwritten letter from Schoenberg to Schenker, dated September 12, 1903

Schoenberg reports his progress on orchestrating Schenker's Syrische Tänze, and raises the matter of his fee for the work. He has approached Busoni about having his own symphonic poem performed.

OJ 14/15, [2] Handwritten letter from Schoenberg to Schenker, undated [September 15, 1903?]

Schoenberg accepts Schenker's offer [unspecified], and hopes to see him in Vienna two days later.

OJ 14/15, [3] Handwritten letter from Schoenberg to Schenker, undated [September 21, 1903?]

Schoenberg will visit Schenker the next day.

OJ 11/46, [1] Handwritten letter from Josef Hellmesberger jun. to Schenker, dated September 22, [1903]

Hellmesberger informs Schenker of the likely tryout date with the Vienna Philharmonic, and asks him to send the parts of his work punctually.

OJ 14/15, [4] Handwritten letter from Schoenberg to Schenker, undated [September 29, 1903?]

Schoenberg has delivered No. 3 of the Syrische Tänze and hopes to deliver No. 4 the next day.

OJ 14/15, [5] Handwritten letter from Schoenberg to Schenker, undated [c. September 30, 1903?]

Schoenberg will deliver No. 4 of Schenker's Syrische Tänze the next day.

OJ 15/12, [5] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October 6, 1903

Weinberger sends the newly copied orchestral parts of Syrian Dance No. 3.

OJ 15/12, [6] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October 6, 1903

Copying of parts for Syrian Dances is delayed.

OJ 14/15, [6] Handwritten letter from Schoenberg to Schenker, undated [October 13, 1903?]

Schoenberg inquires whether Schenker has yet sent the [orchestral] materials to Busoni.

OJ 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903

Rosenthal inquires about Schenker's being performed in Berlin.

OC B/216 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker, dated October 30, 1903

Gives the Museum's holdings of Thomson's books of Scottish and Welsh songs.

OJ 14/15, [7] Handwritten letter from Schoenberg to Schenker, undated [November 10, 1903?]

Schoenberg needs to speak with Schenker.

OJ 15/12, [7] Handwritten letter from Weinberger to Schenker, dated November 17, 1903

Weinberger asks for a report on the performance of the Syrian Dances, and for the return of the orchestral material.

OC 52/13 Typewritten letter from Weinberger and Hardmuth (UE) to Schenker, dated February 3, 1904

UE sends Schenker the bill for British Museum research.

OJ 14/15, [9] Printed invitation with handwritten entries from the Ansorge-Verein to Schenker, dated February 11, 1904

Invitation to an "Ansorge-Grube-Schönberg evening."

OJ 14/15, [13] Handwritten letter from Schoenberg to Schenker, undated [February 12, 1904?]

Schoenberg expresses disappointment, and tells Schenker the time and place of the next subcommittee meeting [of the Vereinigung schaffender Tonkünstler].

OJ 14/15, [10] Handwritten letter from Schoenberg to Schenker, undated [February 16, 1904?]

Schoenberg specifies why he considers Schenker's participation [in the Vereinigung schaffender Tonkünstler] essential.

OJ 14/15, [11] Handwritten letter from Schoenberg to Schenker, dated February 25, 1904

Schoenberg encourages Schenker to attend the next meeting [concerning the Vereinigung schaffender Tonkünstler], and invites him to his home for supper on Friday.

OJ 14/15, [12] Handwritten letter from Schoenberg to Schenker, undated [1904?]

Schoenberg tries to clarify his position vis-à-vis Schenker, and urges him to attend the Thursday sub-committee [of the Vereinigung schaffender Tonkünstler].

OJ 12/29, [2] Handwritten postcard from Carl Lafite to Schenker, postmarked May 26, 1904

Lafite acknowledges receipt of Schenker's chorus "Agnes."

OC 52/391 Typewritten letter from Weinberger and Herzmansky (UE) to Schenker, dated June 20, 1904

UE refuses to raise Schenker's honorarium for vol. II of the Handel Organ Concertos.

OC 52/393 Typewritten letter from Robitschek and Weinberger (UE) to Schenker, dated June 22, 1904

UE confirms transfer of revised honorarium for Handel Organ Concertos, vol. I.

OJ 12/29, [3] Handwritten calling card from Carl Lafite to Schenker, undated, probably fall/winter 1904/1905

The Damenchor-Verein has deferred performance of Schenker's choral work until March [1905].

OC 52/394 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated October 18, 1904

UE sends proofs of Handel Organ Concertos, vol. I.

OJ 11/10, [6] Handwritten postcard from Frimmel to Schenker, postmarked November 10, 1904

Frimmel sends congratulations for Schenker's (and Violin's) great success.

OC 52/15 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated December 3, 1904

UE sends Schenker a set of orchestral scores by Richard Strauss as a gift.

OJ 15/12, [8] Handwritten postcard from Weinberger to Schenker, dated December 5, 1904

Weinberger archive has no wind music by Haydn.

OC 52/16 Typewritten letter from Weinberger (UE) to Schenker, dated March 1, 1905

UE sends five complimentary copies of Handel Organ Concertos and transfers honorarium.

OC 52/17 Typewritten letter from Weinberger (UE) to Schenker, dated March 11, 1905

List of recipients of complimentary copies of the Handel Organ Concertos

BNba Frimmel Nachl, [1] Handwritten letter from Schenker to Frimmel, dated March 13, 1905

Schenker sends a copy of his Handel Organ Concertos as a memento of past music-making with Frimmel, and tells him of his work on his Harmonielehre.

OJ 11/10, [7] Handwritten postcard from Frimmel to Schenker, dated March 14, 1905

The promised Handel Organ Concertos volume has not yet arrived. — Frimmel asks for the score of the C. P. E. Bach concerto that Schenker played the previous fall. Tickets for his Beethoven lectures will be sent soon.

BNba Frimmel Nachl, [2] Handwritten letter from Schenker to Frimmel, dated March 18, 1905

Schenker explains the delay in sending Frimmel the C. P. E. Bach concerto, thanks Frimmel for the ticket to his lectures, and gives Violin's address.

OJ 11/10, [8] Handwritten postcard from Frimmel to Schenker, postmarked March 18, 1905

Frimmel acknowledges receipt of Schenker' Handel Organ Concertos volume and says the latter's C. P. E. Bach keyboard words edition will feature in his forthcoming lecture series.

OJ 11/10, [9] Handwritten postcard from Frimmel to Schenker, postmarked March 20, 1905

Frimmel acknowledges loan [of C. P. E. Bach Klavierwerke]. He offers a discount for his Beethoven lecture course to Schenker's pupils.

OJ 11/10, [10] Handwritten letter from Frimmel to Schenker, dated March 21, 1905

Frimmel has had to postpone his lecture series on Beethoven until the Fall. — He invites Schenker to afternoon tea at a date to be settled.

OC 52/442 Handwritten letter from Weinberger (UE) to Schenker, dated April 13, 1905

UE is unable to accept an item offered for publication.

OC 52/443 Typewritten letter from Weinberger (UE) to Schenker, dated October 21, 1905

UE is prepared to look at Harmonielehre.

CA 1-2 Handwritten letter from Schenker to Cotta, dated November 8, 1905

This is Schenker's initial approach to Cotta: he asks the firm to consider publishing volume I of his Neue Musikalische Theorien und Phantasien, explains his anonymity, points out the book's attacks of certain composers, explains his choice of preferred publisher.

OJ 9/31, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 9, 1905

Cotta regrets that it is unable to undertake Schenker's book.

OJ 9/31, [2] Stenographically handwritten letter from Cotta to Eugen d’Albert, dated November 14, 1905

Following Eugen d'Albert's intervention on Schenker's behalf, Cotta is asking to see the manuscript of Harmonielehre.

OJ 9/31, [3] Stenographically handwritten letter from Cotta to Schenker, dated November 15, 1905

Cotta will consider Schenker's proposal further, and asks for sight of the manuscript.

OC 52/18 Typewritten letter from UE to Schenker, dated November 20, 1905

UE is besieged with inquiries about Handel Organ Works, volume II.

CA 5-6 Handwritten letter from Schenker to Cotta, dated November 22, 1905

Schenker submits the manuscript of Harmonielehre; asks Cotta not to show it to potential rivals.

OC 52/19 Typewritten letter from Weinberger (UE) to Schenker, dated November 30, 1905

Weinberger asks when Handel Organ Concertos volume II will be received.

OJ 9/31, [4] Stenographically handwritten letter from Cotta to Schenker, dated December 5, 1905

Cotta agrees to publish Harmonielehre. — It estimates the extent of the book, the cost to Schenker, and his likely takings.

CA 9 Handwritten letter from Schenker to Cotta, dated December 10, 1905

Schenker returns his contract signed, and promises the Afterword soon.

OJ 9/31, [5] Stenographically handwritten letter from Cotta to Schenker, dated December 12, 1905

Cotta sends Schenker a copy of the contract with their signature; they estimate publication at c.March 1906.

OJ 14/11, [1] Handwritten calling card from Ferdinand Scherber to Schenker, dated January 17, 1906

The manuscript that Schenker has requested will not be available because of the relocation of the Music Collection.

OJ 9/31, [6] Stenographically handwritten letter from Cotta to Schenker, dated January 27, 1906

Cotta sends a list of music examples that are missing from Schenker's material.

CA 12-13 Handwritten letter from Schenker to Cotta, dated February 5, 1906

Schenker discusses the pros and cons of placement of music examples in Harmonielehre and of the captions; he asks to receive in future galley-proofs.

OJ 9/31, [7] Stenographically handwritten letter from Cotta to Schenker, dated February 7, 1906

Cotta will in future send galley-proofs.

CA 15 Handwritten letter from Schenker to Cotta, dated February 15, 1906

Covering letter enclosing sheets and examples.

CA 16 Handwritten letter from Schenker to Cotta, dated February 26, 1906

Covering letter enclosing manuscript pages and music examples, and summarizing the state of play.

CA 17 Handwritten letter from Schenker to Cotta, dated March 2, 1906

Covering letter enclosing proofs of gathering 3.

CA 18 Handwritten letter from Schenker to Cotta, dated April 2, 1906

Covering letter enclosing batch of music examples with text commentaries.

CA 19 Handwritten letter from Schenker to Cotta, dated April 3, 1906

Schenker asks for two marginal rubrics to be corrected.

CA 21 Handwritten letter from Schenker to Cotta, dated May 2, 1906

Schenker follows up on his telegram (CA 20) and makes a suggestion about numbering.

CA 22 Handwritten letter from Schenker to Cotta, dated May 16, 1906

Schenker sends more manuscript and proofs of Harmonielehre.

CA 23 Handwritten letter from Schenker to Cotta, dated May 25, 1906

About numbering of music examples. — Schenker asks for more postal wrappers.

CA 25 Handwritten letter from Schenker to Cotta, dated May 29, 1906

Schenker suggests that Harmonielehre be published in two volumes, indicating that the Afterword has grown in size. — He asks for further galley-proofs.

OJ 9/31, [8] Stenographically handwritten letter from Cotta to Schenker, dated May 31, 1906

Cotta advises against splitting Harmonielehre into two volumes, and recommends restriction of the size of the Nachwort.

CA 27 Handwritten letter from Schenker to Cotta, dated June 4, 1906

Schenker accepts Cotta's advice to keep Harmonielehre as one volume. — He will publish the Nachwort separately. — He pleads for proofs of Part II of Harmonielehre before the summer vacation.

OJ 9/31, [9] Stenographically handwritten letter from Cotta to Schenker, dated June 5, 1906

Cotta advises against publishing the Nachwort simultaneously with the Harmoneilehre.

OC 52/395 Typewritten letter from UE to Schenker, dated July 5, 1906

UE asks again for manuscript of Handel Organ Concertos, vol. II, and threatens to reassign.

OC 52/20 Typewritten letter from UE to Schenker, dated June 13, 1906

UE inquires further about Handel Organ Works, volume II, with threat.

CA 29 Handwritten letter from Schenker to Cotta, dated June 25, 1906

Schenker is correcting proofs of the remaining text, and asks for the missing music examples.

OJ 9/31, [10] Stenographically handwritten letter from Cotta to Schenker, dated June 27, 1906

Cotta asks for return of proofs as soon as possible; setting of music examples is delayed.

CA 31 Handwritten letter from Schenker to Cotta, dated June 30, 1906

Schenker returns proofs, and draws two things to the attention of the type-setter.

CA 32 Handwritten letter from Schenker to Cotta, dated July 2, 1906

Schenker explains Ex. 173 of Harmonielehre and makes suggestions as to the layout.

CA 33 Handwritten postcard from Schenker to Cotta, dated July 9, 1906

Schenker gives his summer address.

CA 34 Handwritten letter from Schenker to Cotta, dated August 18, 1906

Schenker returns final proofs of gatherings 17 and 18 of Harmonielehre, and asks for gathering 20.

CA 35 Handwritten postcard from Schenker to Cotta, dated August 23, 1906

Schenker asks for mailings to be sent to his Vienna.

CA 36 Handwritten postcard from Schenker to Cotta, dated August 29, 1906

Schenker asks for ties.

OJ 9/31, [11] Stenographically handwritten letter from Cotta to Schenker, dated August 30, 1906

Cotta promises further proofs of Harmonielehre, and asks Schenker not to makes large additions.

CA 38 Handwritten postcard from Schenker to Cotta, dated September 1, 1906

Schenker's wishes are those of Cotta.

CA 39 Handwritten postcard from Schenker to Cotta, dated September 19, 1906

Schenker reports an error in the numbering of music examples in the Harmonielehre proofs.

OC 52/396 Typewritten letter from UE to Schenker, dated September 28, 1906

UE asks for the score of the Handel organ concertos back; Schenker's name will not appear on the published arrangements.

CA 41-42 Handwritten letter from Schenker to Cotta, dated October 1, 1906

Schenker goes back on his earlier agreement with Cotta, and makes an impassioned case for including the "Nachwort" as Section 3 of Part II of Harmonielehre.

CA 44 Handwritten letter from Schenker to Cotta, dated October 6, 1906

Schenker accepts Cotta's case that his "Nachwort" should not be included within Harmonielehre, promises to enable the book to be published on time, and plans to have the "Nachwort" follow by the time of the Easter book fair.

CA 46 Handwritten postcard from Schenker to Cotta, dated October 11, 1906

Revised proofs of the final gatherings of Harmonielehre have been sent, and title-page will be sent shortly.

CA 47 Handwritten letter from Schenker to Cotta, dated October 13, 1906

Schenker submits his synopsis of Harmonielehre with one stipulation, and also copy of the title-page.

CA 48 Handwritten postcard from Schenker to Cotta, dated October 15, 1906

Schenker asks for more postal ties.

CA 49 Handwritten letter from Schenker to Cotta, dated October 26, 1906

Schenker submits the index to Harmonielehre.

CA 51 Telegram draft or carbon copy from Cotta to Schenker, dated November 3, 1906

Cotta requests duplicate of gathering 28.

CA 50 Handwritten letter from Schenker to Cotta, dated November 3, 1906

Schenker submits further final proofs for Harmonielehre.

CA 54-55 Stenographically handwritten letter(carbon copy) and account from Cotta to Schenker, dated November 10, 1906

Cotta informs Schenker that Harmonielehre is printed, sends complimentary copies, and encloses its account.

CA 56 Handwritten letter from Schenker to Cotta, dated November 22, 1906

Cotta should by now have received the sum covering the publishing and marketing costs of Harmonielehre. Schenker lists five recipients of review copies.

CA 58 Handwritten letter from Schenker to Cotta, dated November 24, 1906

Schenker lists the journals for which the five music critics (as listed in CA 56) to receive review copies write.

OJ 12/27, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 26, 1906

Cotta acknowledges receipt of money for [printing and marketing of] Harmonielehre.

OJ 12/38, [1] Handwritten letter from Hans Liebstöckl to Schenker, November 29, [1906]

Liebstöckl regrets having annoyed Schenker by unwantedly disclosing his name as author of Harmonielehre in the Illustrirtes Wiener Extrablatt, promises to write about it "conscientiously," and disclaims being a Reger adherent.

CA 60 Handwritten letter from Schenker to Cotta, dated December 3, 1906

Schenker asks for a further review copy to be sent to Richard Robert.

OJ 12/27, [2] Stenographically handwritten letter from Cotta to Schenker, dated December 4, 1906

Cotta has carried out wishes expressed in CA 60.

CA 61 Handwritten letter from Schenker to Cotta, dated December 27, 1906

Schenker asks for a copy to be sent to Eugen d'Albert.

OJ 12/27, [3] Stenographically handwritten letter from Cotta to Schenker, dated December 29, 1906

Cotta has sent a complimentary copy of Harmonielehre to Eugen d'Albert.

OJ 12/27, [4] Stenographically handwritten letter from Cotta to Schenker, dated January 7, 1907

Cotta inquires whether Schenker's name may be divulged.

CA 64 Handwritten letter from Schenker to Cotta, dated January 8, 1907

Schenker replies that anonymity re Harmonielehre must be maintained.

OJ 14/15, [14] Handwritten letter from Schoenberg to Schenker, undated [c. February 1, 1907]

Schoenberg expresses disappointment at Schenker's non-attendance, and hopes he can attend the performances of his String Quartet [No. 1] and [First] Chamber Symphony on February 5 and 8.

CA 65 Handwritten letter from Schenker to Cotta, dated March 8, 1907

Schenker asks for a copy of Harmonielehre to be sent to Karl Goldmark.

CA 66 Handwritten letter from Schenker to Cotta, dated March 30, 1907

Schenker asks for a review copy of Harmonielehre to be sent to Max Graf.

CA 67 Stenographically handwritten letter (carbon copy) from Cotta to Schenker, dated April 2, 1907

Cotta report that they sent a copy for review to the Österreichische Rundschau in February.

OJ 12/48, [1] Handwritten note from Gustav Mahler to Schenker, undated [May 23?, 1907]

Mahler thanks Schenker for his good wishes.

OJ 11/10, [11] Handwritten letter from Frimmel to Schenker, dated August 10, 1907

Frimmel invites Schenker to contribute to the Beethoven-Jahrbuch, and suggests topics. — He hopes to meet up with him in Steinach.

OJ 12/27, [5] Stenographically handwritten letter from Cotta to Schenker, dated September 5, 1907

Cotta encloses 1906 sales report for Harmonielehre.

CA 68 Handwritten letter from Schenker to Cotta, dated September 13, 1907

Schenker expects the press to be enthusiastic about Harmonielehre. — He comments of the "Riemann school."

OJ 9/31, [16] Stenographically handwritten letter from Cotta to Schenker, dated September 16, 1907

Cotta hopes for the manuscript of Kontrapunkt [I] soon, and asserts that the same terms of contract will apply as those for Harmonielehre.

OJ 14/15, [15] Printed invitation from Schoenberg to Schenker, undated [c. November 1, 1907]

Invitation to a concert of music by pupils of Schoenberg.

CA 71 Handwritten letter from Schenker to Cotta, dated December 16, 1907

Schenker proscribes the release yet of his name to Karl Grunsky. He comments on a review of his Harmonielehre by Max Burkhardt. He will be sending Kontrapunkt shortly.

OJ 9/31, [17] Stenographically handwritten letter from Cotta to Schenker, dated December 18, 1907

Cotta note the review of Harmonielehre by Max Burkhart, and look forward to receiving the manuscript of Kontrapunkt shortly.

OJ 12/38, [A-B] Handwritten letter and envelope from Hans Liebstöckl to Schenker, undated

Liebstöckl returns Schenker's score of Das Rheingold with apologies for lateness.

CA 73 Handwritten postcard from Schenker to Cotta, dated January 3, 1908

Schenker asks for the review of his Harmonielehre by Karl Grunsky to be sent to him.

CA 74 Handwritten postcard from Schenker to Cotta, dated January 16, 1908

Schenker asks for a copy of his Harmonielehre to be sent to Busoni.

OJ 13/37, 1 Handwritten letter from Ernst Rudorff to Schenker, dated January 23, 1908

Grunsky replies to Schenker's inquiry about a passage in Chopin's Ballade No. 2, and welcomes Schenker's advocacy of the Urtext principle.

CA 75 Handwritten letter from Schenker to Cotta, dated February 8, 1908

Schenker asks for a copy of his Harmonielehre to be sent to Theodor Frimmel.

OJ 11/10, [12] Handwritten picture postcard from Frimmel to Schenker, dated February 20, 1908

Frimmel thanks Schenker for his complimentary copy of the latter's Harmonielehre.

OC 52/383 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26, 1908

UE welcomes Schenker's additions to the Beitrag zur Ornamentik and asks for them as soon as possible.l

WSLB 1 Handwritten postcard from Schenker to Hertzka (UE), dated March 25, 1908

Schenker welcomes the opportunity to make additions to Beitrag zur Ornamentik.

OC 52/384 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26, 1908

UE asks for additions to Beitrag zur Ornamentik by the beginning of the following week.

OC 52/385 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 1, 1908

UE stresses the urgency of supplying additional material for Beitrag zur Ornamentik.

OC 52/22 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 6, 1908

Hertzka threatens to re-issue the first edition of Ornamentik if revisions don't arrive by the next day.

WSLB 3 Handwritten postcard from Schenker to Hertzka (UE), dated April 9, 1908

Schenker promises more material next day, and extols the work.

CA 76 Handwritten letter from Schenker to Cotta, dated April 24, 1908

Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch, explaining the delay on Kontrapunkt I.

OJ 11/10, [13] Handwritten postcard from Frimmel to Schenker, dated April 25, 1908

Frimmel draws Schenker's attention to an article in the Musikalisches Wochenblatt.

OJ 9/31, [18] Stenographically handwritten letter from Cotta to Schenker, dated April 25, 1908

Cotta has sent a copy of Harmonielehre to the Gesellschaft der Musikfreunde, and thinks that pre-publication excerpting of Kontrapunkt would be advantageous.

OJ 11/29, [1] Handwritten letter from Grunsky to Schenker, dated May 3, 1908

Grunsky thanks Schenker for revealing his identity as author of Harmonielehre. — He asks Schenker's views on Bruckner, and on his own views of musical form.

WSLB 6 Handwritten letter from Schenker to Hertzka (UE), dated May 27, 1908

Because of an error in typesetting, Schenker needs to retain to two gatherings of proofs.

OJ 9/31, [19] Stenographically handwritten letter from Cotta to Schenker, dated June 2, 1908

Cotta asks if they may divulge Schenker's name to Rudolf Breithausen.

CA 79 Handwritten letter from Schenker to Cotta, dated June 5, 1908

Schenker gives permission to divulge his name as author of Harmonielehre to Breithaupt.

OJ 11/29, [2] Handwritten postcard from Grunsky to Schenker, postmarked June 5, 1908

Grunsky will reply as soon as possible.

WSLB 7 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1908

Schenker returns all remaining proofs of Ornamentik and calls for a third proof.

WSLB 8 Handwritten letter from Schenker to Hertzka (UE), dated June 16, 1908

Schenker sends the text of his Foreword for Ornamentik.

WSLB 9 Handwritten letter from Schenker to Hertzka (UE), dated June 23, 1908

Schenker promises a list of people in German to receive complimentary copies of Ornamentik, and a new proposal.

WSLB 10 Handwritten letter from Schenker to Hertzka (UE), dated June 26, 1908

Schenker accepts an offer and asks for a contract for the Instrumentation Table.

OC 52/23 Typewritten letter from Hertzka (UE) to Schenker, dated June 30, 1908

Hertzka asks Schenker to visit him to clear up a matter over payment.

WSLB 11 Handwritten postcard from Schenker to Hertzka (UE), dated June 30, 1908

Schenker asks for his honorarium to be sent promptly because of difficulties with the post service to the Tyrol.

WSLB 12 Handwritten postcard from Schenker to Hertzka (UE), dated July 22, 1908

Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Karl Grunsky.

OC 52/397 Typewritten letter from Hertzka (UE) to Schenker, dated August 11, 1908

Hertzka agrees to sending of complimentary copies of Beitrag zur Ornamentik. — Gives progress report on Table of Instrumentation, predicting October publication.

WSLB 13 Handwritten postcard from Schenker to Hertzka (UE), dated August 13, 1908

Schenker reluctantly agrees to October for publishing the Instrumentation Table.

WSLB 14 Handwritten letter from Schenker to Hertzka (UE), dated August 19, 1908

Schenker gives list of those to receive a copy of Beitrag zur Ornamentik.

WSLB 15 Handwritten postcard from Schenker to Hertzka (UE), dated August 22, 1908

Schenker regrets that printing of Beitrag zur Ornamentik is delayed.

OC 52/24 Typewritten letter from Hertzka (UE) to Schenker, dated August 25, 1908

Hertzka explains that the last-minute change to Beitrag zur Ornamentik requested by Schenker would be exorbitantly expensive.

OC 52/25 Typewritten letter from Hertzka (UE) to Schenker, dated August 26, 1908

Hertzka advises that the last-minute corrections for Beitrag zur Ornamentik will be made by corrigenda sheet. — Complimentary copies will be going out in the next three days, so Schenker should dispatch any personal notes to the recipients.

WSLB 16 Handwritten letter from Schenker to Hertzka (UE), dated August 26, 1908

Schenker favors a corrigenda sheet for last-minute corrections to his Beitrag zur Ornamentik, and makes it a matter of conscience whether UE complies.

WSLB 18 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908

Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Karl von Wiener.

WSLB 17 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908

Schenker reminds Hertzka to insert the corrigenda slip in the complimentary copies going out to Schenker's recipients.

OJ 9/32, [4] Invoice from Cotta to Schenker, dated September 1, 1908

Invoice for copies of Harmonielehre to Busoni, the Gesellschaft der Musikfreunde, and Löwe.

OJ 12/27, [6] Cover letter for sales report from Cotta to Schenker, dated September 9, 1908

Cotta encloses 1907 sales report for Harmonielehre and notifies him of his share of the sales profits.

OJ 11/29, [3] Handwritten letter from Grunsky to Schenker, dated September 10, 1908

Grunsky acknowledges receipt of Schenker's Beitrag zur Ornamentik and two letters; — He recognizes that he and Schenker hold "opposite views" on Bruckner's music but welcomes Schenker's openness to discussion; — He counters Schenker's arguments on Bruckner's approach to form, rhythm, theme, and musical character; — He admits his own "antipathy" toward the music of Brahms.

OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12, 1908

Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in agreement.

WSLB 19 Handwritten postcard from Schenker to Hertzka (UE), dated September 16, 1908

Schenker asks for a complimentary copy of his Beitrag zur Ornamentik to be sent to Ludwig Karpath.

CA 80 Handwritten letter from Schenker to Cotta, dated September 13 and 17, 1908

Schenker promises Counterpoint soon and speculates on publication by Christmas; — Asks for a copy of Harmonielehre to be sent to his sister Sophie.

OJ 12/27, [7] Stenographically handwritten letter from Cotta to Schenker, dated September 18, 1908

Cotta looks forward to receiving Kontrapunkt, and has sent copies of Harmonielehre to Sophie Guttmann and Ernst Rudorff.

OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?mid-late September 1908?]

Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf. Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than Haydn, Brahms, and other masters.

CA 82 Handwritten postcard from Schenker to Cotta, dated September 23, 1908

Schenker has dispatched the manuscript for Kontrapunkt.

OJ 12/38, [C] Handwritten letter from Hans Liebstoeckl to Schenker, dated September 24, no year

Liebstöckl thanks Schenker for a critical communication, and invites Schenker to meet him.

OJ 13/37, 3 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated September 24, 1908

Grunsky thanks Schenker for the copy of his Harmonielehre and praises it; in particular he approves of its attacks on Wagner, whom he speaks of as a malign force.

OJ 12/27, [8] Stenographically handwritten letter from Cotta to Schenker, dated September 26, 1908

Cotta acknowledges receipt of the manuscript of Kontrapunkt.

CA 84 Handwritten postcard from Schenker to Cotta, dated September 27, 1908

Schenker promises the remainder of Kontrapunkt in a few days.

OJ 5/35, [3] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, dated September 28, 1908

Schenker comments on Wagner's alterations to Beethoven's Ninth Symphony, and outlines his own plans, wishing to see Wagner reduced to the same subordinate place as Gluck [unaware of the provocation this will be to Rudorff!]. — He takes issue with Beyschlag's interpretation of the turn in Haydn's music.

WSLB 20 Handwritten letter from Schenker to Hertzka (UE), dated September 28, 1908

Schenker asks for a copy of his C. P. E. Bach keyboard works to be sent to Julius Röntgen. — He inquires about the corrigenda sheet for the Beitrag zur Ornamentik, and the publication date of the Instrumentations-Tabelle.

OC 52/26 Typewritten letter from Hertzka (UE) to Schenker, dated September 29, 1908

Hertzka has instructed that Schenker's C. P. E. Bach edition be sent to Julius Röntgen. — He explains the situation over the corrigenda for Beitrag zur Ornamentik. — The Instrumentations-Tabelle will be published in the next two weeks.

WSLB 21 Handwritten letter from Schenker to Hertzka (UE), dated September 30, 1908

Schenker asks for a copy of his C. P. E. Bach Klavierwerke to be sent to Julius Röntgen, and of the Beitrag zur Ornamentik, 2nd edition, to Daniel de Lange, since the work is a rival to the newly-published Beyschlag Die Ornamentik der Musik. — He reports encountering Willem Andriessen.

OC 52/27 Typewritten letter from Hertzka (UE) to Schenker, dated October 1, 1908

Hertzka confirms arrangements over Beitrag zur Ornamentik, and asks for proofing of the Foreword to the Instrumentationstabelle.

OJ 13/37, 4 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated October 1, 1908

Grunsky expresses his opinions on the turn in Haydn's music and the status of Gluck in relation to Mozart and Wagner.

WSLB 22 Handwritten letter from Schenker to Hertzka (UE), dated October 2, 1908

Schenker thanks Hertzka, and will call on him soon.

CA 85 Handwritten letter from Schenker to Cotta, dated October 8, 1908

Schenker proposed that Kontrapunkt be divided into two half-volumes.

OJ 12/27, [9] Stenographically handwritten letter from Cotta to Schenker, dated October 9, 1908

Cotta advises against splitting Kontrapunkt into two half-volumes.

CA 87 Handwritten letter from Schenker to Cotta, dated October 13, 1908

Schenker accepts Cotta's verdict against splitting Kontrapunkt into two.

WSLB 23 Handwritten letter from Schenker to Hertzka (UE), dated October 14, 1908

Lesson schedule prohibits visit to new UE office; Schenker asks for the matter to be dealt with by correspondence.

OJ 9/31, [20] Stenographically handwritten letter from Cotta to Schenker, dated October 15, 1908

Cotta states that Kontrapunkt will be produced under the terms of the contract for Harmonielehre.

CA 89 Handwritten letter from Schenker to Cotta, dated October 17, 1908

Schenker confirms the terms of the Harmonielehre contract as applying to Kontrapunkt.

OC 52/398 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1908

The Instrumentations-Tabelle is now published. — Hertzka is negotiating an English translation of Beitrag zur Ornamentik.

WSLB 24 Handwritten letter from Schenker to Hertzka (UE), dated October 31, 1908

The prospect of an English translation of Beitrag zur Ornamentik pleases Schenker. — He wants to guide UE toward being a global enterprise. — Proofs of Counterpoint [I] have started arriving from Cotta.

OJ 11/10, [14] Handwritten picture postcard from Frimmel to Schenker, undated [1908]

Frimmel informs Schenker that a contribution from him [to the Beethoven Jahrbuch] is now too late for inclusion in vol. II.

OJ 11/29, [4] Handwritten postcard from Grunsky to Schenker, postmarked November 5, 1908

Grunsky hopes to meet Schenker at the Haydn festival in Vienna. He urges Schenker to read Halm on Bruckner.

OC 52/444 Typewritten letter from Hertzka (UE) to Schenker, dated November 7, 1908

Hertzka details the distribution of first copies of the Instrumentations-Tabelle. — He makes a bid to publish Kontrapunkt.

WSLB 25 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1908

Schenker asks for copies of the Instrumentations-Tabelle to be sent to Violin and Gärtner. — He has bought two copies of the Beitrag zur Ornamentik at the Gutmann music store.

OC 52/28 Typewritten letter from Hertzka (UE) to Schenker, dated November 11, 1908

Hertzka has had copies of the Instrumentations-Tabelle sent to Violin and Gärtner. — He chides Schenker for buying copies at the Gutmann music store.

OJ 13/37, 5 Handwritten letter from Ernst Rudorff to Schenker, dated November 21, 1908

Rudorff's poor health is restricting his activities. — He praises Schenker's Harmonielehre, especially its views on the church modes. — He also endorses Schenker's condemnation of Wagner's musical influence.

OC 52/29 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated November 23, 1908

The Instrumentations-Tabelle is going into a larger edition, and Hertzka asks for a meeting.

WSLB 26 Handwritten letter from Schenker to Hertzka (UE), dated November 24, 1908

Schenker reluctantly agrees to a meeting.

WSLB 27 Handwritten postcard from Schenker to Hertzka (UE), dated November 27, 1908

Schenker asks for a copy of the Instrumentations-Tabelle.

WSLB 28 Handwritten postcard from Schenker to Hertzka (UE), dated December 9, 1908

Schenker promises an "elaboration" regarding the Instrumentations-Tabelle.

OC 52/30 Typewritten postcard from Hertzka (UE) to Schenker, date December 16, 1908

Ultimatum: if not delivered by Friday, "supplementary remarks" will be omitted.

WSLB 29 Handwritten letter from Schenker to Hertzka (UE), dated December 16, 1908

Schenker assures Hertzka that his new material for the Instrumentations-Tabelle will occupy only six pages. — He makes claims for the new material as an instrumentation treatise, and suggests that the retail price might be raised accordingly.

WSLB 30 Handwritten letter from Schenker to Hertzka (UE), dated December 18, 1908

Schenker encloses some items [for the Instrumentations-Tabelle]. — In the event that UE does not raise the retail price as he proposed in WSLB 29, he asks for his introductory material back.

OC 52/399-401 Typewritten letter from Hertzka (UE) to Schenker, dated December 18, 1908

Hertzka complains at the embarrassment that Schenker has caused him over the Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes that Schenker edit Book II of the Well-tempered Clavier in the manner of Busoni.

OC 52/31 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1908

Hertzka sends a copy of Mahillon's guide to instrumentation.

WSLB 31 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1908

Schenker agrees to the Instrumentations-Tabelle being published without his newly written Introduction. — He declines the proposal to edit the Well-tempered Clavier Book II for the new Akademie, offerin alternative suggestions and observations on Busoni's editing.

OC 52/32 Typewritten letter from Barbara Rothe (UE) to Schenker, dated December 23, 1908

Ms Rothe returns Schenker's introductory materials for the Instrumentations-Tabelle.

OJ 5/16, [2] Handwritten draft letter from Schenker to Hertzka (UE), dated December 25, 1908

Schenker justifies his selection and treatment of instruments in the Instrumentations-Tabelle, with acid comments about the English, and dismissal of French contributions.

OJ 9/31, [21] Stenographically handwritten letter from Cotta to Schenker, dated December 30, 1908

Cotta urge Schenker to return galley-proofs of Kontrapunkt.

WSLB 33 Handwritten letter from Schenker to Hertzka (UE), undated [December 31, 1908 or January 1, 1909]

Schenker defends his Introduction to the Instrumentations-Tabelle and the exclusion of the heckelphone.

CA 92 Handwritten letter from Schenker to Cotta, dated January 4, 1909

Schenker directs Cotta to divulge his name on the title-page of the 2nd edn of Harmonielehre; — He has meanwhile added a long polemic to the Introduction of Kontrapunkt [I].

CA 91 Handwritten letter from Schenker to Cotta, dated January 4, 1909

Schenker explains delay in returning proofs.

WSLB 34 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1909

Schenker returns proof and is willing to correct another.

OC 52/33 Typewritten letter from Hertzka (UE) to Schenker, dated January 7, 1909

Hertzka hopes for detailed discussions with Schenker on the Instrumentations-Tabelle and the Well-tempered Clavier proposal.

WSLB 35 Handwritten letter from Schenker to Hertzka (UE), January 8, 1909

In a letter "ironic in tone" Schenker offers alternative editors for WTC Bk II. He outlines the work that he has in hand, and regrets his unhappy experience with UE over Beitrag zur Ornamentik.

OC 52/919 Typewritten letter from Hertzka (UE) to Schenker, dated January 11, 1909

Hertzka still hopes to persuade Schenker to take on editing the Well-tempered Clavier Book II.

OJ 13/36, [1] Handwritten letter from Elisabeth Rudorff to Schenker, dated January 11, 1909

Elisabeth Rudorff asks Schenker's advice on choice of a C. P. E. Bach collected edition as a present for her father.

OC 52/34 Typewritten postcard (book slip) from UE (unidentified sign) to Schenker, dated January 14, 1909

UE confirms sending two items to Elise Rudorff.

OJ 9/31, [22] Stenographically handwritten letter from Cotta to Schenker, dated January 14, 1909

Cotta agrees to reset the title-page of Harmonielehre with Schenker's name as author, and to distribute the second edition coincident with the release of Kontrapunkt I.

OJ 13/37, 6 Handwritten letter from Elisabeth Rudorff to Schenker, dated January 15, 1909

Elisabeth Rudorff thanks Schenker for having UE send copies of his editions of C. P. E. Bach keyboard pieces and Handel organ concertos for her father's birthday present.

OJ 13/37, 7 Handwritten letter from Ernst Rudorff to Schenker, dated January 25, 1909

Rudorff thanks Schenker for the help he gave his daughter in choosing a birthday present of Bach and Handel, and for his recent letter; — Laments the death of Robert Hausmann.

OJ 7/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated January 26, 1909

Schenker has news to tell him regarding Richard Heuberger and Wilhelm Bopp; reminds of forthcoming attendance at [a recital by] Artur Schnabel.

WSLB 36 Handwritten letter from Schenker to Hertzka (UE), January 29, 1909

Schenker requests two copies of his Instrumenten-Tabelle, one for Alphons Rothschild.

OC 52/35 Typewritten letter from Hertzka (UE) to Schenker, dated January 30, 1909

Copies of the Instrumentations-Tabelle will be delived in three days. Hertzka calls for a meeting.

OC 52/402 Typewritten letter from Hertzka (UE) to Schenker, dated March 21, 1909

Hertzka raises several possibilities for amplifying the Instrumentations-Tabelle, and calls for a meeting.

WSLB 37 Handwritten letter from Schenker to Hertzka (UE), March 28, 1909

Schenker suggests a meeting at Robert Brünauer's home.

OC 52/36 Typewritten letter from Hertzka (UE) to Schenker, dated March 29, 1909

Hertzka welcomes the prospect of a discussion at the home of Robert Brüunauer.

OC 52/920 Typewritten letter from Hertzka (UE) to Schenker, dated April 1, 1909

Hertzka summarizes the discussion earlier that day.

WSLB 38 Handwritten letter from Schenker to Hertzka (UE), dated April 2, 1909

Schenker thanks Hertzka for his latest letter.

BNba Frimmel Nachl, [3] Handwritten letter from Schenker to Frimmel, dated April 8, 1909

Schenker thanks Frimmel for his copy of Beethoven-Jahrbuch vol. II, and expresses admiration at Frimmel's editing of the authors' contributions, remarking how slowly he is proceeding with his own Kontrapunkt. He comments on two of the contributions.

CA 94 Handwritten postcard from Schenker to Cotta, dated April 8, 1909

Schenker inquires whether a batch of proofs has gone astray, and draws attention to a review.

OJ 12/27, [11] Stenographically handwritten letter from Cotta to Schenker, dated April 10, 1909

Cotta promises the next batch of proofs shortly.

CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909

Schenker raises again the splitting of Kontrapunkt into two half-volumes, or even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the Academy of Music, despite his being in a constant state of feud with all officialdom. — The Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading work" on the subject; he argues the case for splitting the work on "psychological" and "technical" grounds.

OJ 9/31, [23] Stenographically handwritten letter from Cotta to Schenker, dated June 1, 1909

Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a publication schedule for the first half-volume.

CA 102 Handwritten letter from Schenker to Cotta, dated June 3, 1909

Schenker has sent final proofs of gatherings 10 and 12, but has mislaid those for 11 and asks for another copy.

OJ 7/4, [52] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909

Schenker is in Steinach, awaiting Moriz Violin's arrival.

OJ 7/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909

Schenker must miss seeing an Ibsen play, because the latest batch of proofs of Kontrapunkt I have to be finished.

OJ 6/4, [46] Handwritten letter from Schenker to Moriz Violin, dated June 22, 1909

Schenker reports a successful deal with Hertzka at Universal Edition, and refers to monetary matters between them.

WSLB 39 Handwritten letter from Schenker to Hertzka (UE), June 23, 1909

Schenker asks Hertzka to send him two editions of the Bach Chromatic Fantasy & Fugue that are unknown to him.

OC 52/422 Typewritten letter from Hertzka (UE) to Schenker, dated June 24, 1909

Hertzka confirms the agreed edition of the Chromatic Fantasy & Fugue, and will send the required editions.

WSLB 40 Handwritten postcard from Schenker to Hertzka (UE), dated June 26, 1909

Schenker asks for the Röntgen edition of the Chromatic Fantasy & Fugue to be sent to him.

WSLB 41 Handwritten postcard from Schenker to Hertzka (UE), dated July 1, 1909

Schenker asks for the three previously requested editions to be sent as soon as possible so as to arrive before he departs for vacation.— He also asks for Richard Stöhr's Harmonielehre.

OJ 5/6, [3] Note by Schenker, dated July 5, 1909

Reflection on giving and taking in general and in art

CA 103 Handwritten postcard from Schenker to Cotta, dated July 7, 1909

Schenker gives his summer address and asks for proofs to be sent there.

OJ 7/4, [53] Handwritten postcard from Schenker to Moriz Violin, dated August 26, 1909

Schenker leaves Steinach on Sunday [29th].

CA 104 Handwritten postcard from Schenker to Cotta, dated August 30, 1909

Schenker has returned to Vienna.

OJ 9/32, [5] Invoice from Cotta to Schenker, dated September 1, 1909

Invoice for copies of Harmonielehre to Sofie Guttmann and Ernst Rudorff.

OC 52/37 Typewritten postcard from UE (unidentified signatory) to Schenker, dated September 20, 1909

Hertzka is currently away.

WSLB 42 Handwritten postcard from Schenker to Hertzka (UE), dated September 20, 1909

The Chromatic Fantasy & Fugue is ready to deliver. Proposes a meeting to discuss printing.

OJ 7/4, [54] Handwritten picture postcard from Jenny Kornfeld to Moriz Violin, dated September 23, 1909

Jenny Kornfeld sends Moriz Violin best wishes for recovery, and greetings to Fanny Violin; — her husband (Emil Kornfeld) adds his greetings.

OC 52/38 Typewritten letter from Hertzka (UE) to Schenker, dated September 25, 1909

Hertzka asks for a visit from Schenker.

WSLB 43 Handwritten postcard from Schenker to Hertzka (UE), dated October 2, 1909

Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Fritz Wahle.

OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10, 1909

Schenker, on receipt of the score of a Rudorff choral work, praises its textural clarity and melodic articulation, comparing them favorably to the writing of the current generation. — He reports the success of his own recent theory works, and inroads made into the Vienna Academy for Music and Performance Art.

OC 52/39 Typewritten letter from Hertzka (UE) to Schenker, dated October 15, 1909

Hertzka encloses a contract for the Chromatic Fantasy & Fugue edition for signature and return.

OC 52/423 Typewritten contract (carbon copy) between Schenker and UE, dated October 17, 1909

Contract for Schenker's edition of Bach's Chromatic Fantasy & Fugue

WSLB 44 Handwritten letter from Schenker to Hertzka (UE), dated October 18, 1909

Schenker tells Hertzka of the Academy's plans to present a "historical" concert of works edited by himself.

OC 52/40 Typewritten letter from Hertzka (UE) to Schenker, dated October 20, 1909

UE will search for the Handel organ concerto score.

OC 52/41 Typewritten letter from Hertzka (UE) to Schenker, dated October 26, 1909

Hertzka asks for a meeting to discuss the Chromatic Fantasy & Fugue edition.

CA 105 Handwritten postcard from Schenker to Cotta, dated October 27, 1909

The wrong proofs have been sent to Schenker by mistake.

WSLB 45 Handwritten postcard from Schenker to Hertzka (UE), dated October 27, 1909

Schenker is unable to make a meeting before November 2.

WSLB 46 Handwritten letter from Schenker to Hertzka (UE), dated October 30, 1909

Schenker warns that he may be delayed or unable to attend the agreed meeting because of a dental appointment.

OC 52/42 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1909

Hertzka insists that a face-to-face meeting is necessary.

OJ 7/4, [55] Handwritten postcard from Schenker to Moriz Violin, dated November 5, 1909

Schenker on the delusion of progress; epigonism versus progress-art.

OJ 6/4, [47] Handwritten letter from Schenker to Moriz Violin, dated November 7, 1909

Schenker has Mittelmann coming, and hopes to complete proofs of Introduction to the Instrumentationstabelle today and 9th.

WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909

Schenker resists attending a meeting with Hertzka and von Wöß regarding the printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an author to control over his own material; and makes claims for the introduction to his Instrumentations-Tabelle, which was not accepted for inclusion in 1908 reprinting.

OC 52/43 Typewritten letter from Hertzka (UE) to Schenker, dated November 10, 1909

Hertzka attempts to reassure Schenker that the topics he wanted to discuss did not involve "changes", only technical matters.

WSLB 48 Handwritten letter from Schenker to Hertzka (UE), November 12, 1909

Schenker thanks Hertzka for the latest information on the Chromatic Fantasy & Fugue.

OJ 13/37, 8 Handwritten letter from Ernst Rudorff to Schenker, dated November 14, 1909

Rudorff apologizes for his publisher's treating Schenker as a conductor; — laments that Germany's conductors ignore his music; — asks for help in a matter concerning an overture of his.

OJ 13/37, 9 Handwritten postcard from Ernst Rudorff to Schenker, dated November 15, 1909

Rudorff asks Schenker not to give Jakob Fischer the score of his Herbstlied if asked.

OJ 6/4, [48] Handwritten letter from Schenker to Moriz Violin, dated November 22, 1909

Schenker proposes program order for forthcoming concert.

OJ 12/23, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 27, 1909

Adolf Kröner thanks Schenker for his contribution to the Cotta Album.

CA 106-107 Handwritten letter from Schenker to Cotta, dated December 2, 1909

Schenker explains the necessity for some late interpolations into Kontrapunkt I. — He may be able to include the title "Professor of Composition and Theory" against his name on the title-pages of his works, and debates the advantages of such an appointment at the Vienna Academy against the loss of independence. — Only anonymity has prevented Harmonielehre from success so far.

OJ 7/4, [56] Handwritten postcard from Schenker to Moriz Violin, dated December 3, 1909

Schenker reports a conversation with "G." re conducting the "Kreuzstab" Cantata.

OJ 9/31, [24] Stenographically handwritten letter from Cotta to Schenker, dated December 8, 1909

Cotta welcomes the recognitions that Schenker has been accorded recently, and hopes they will affect his work propitiously.

OJ 7/4, [57] Handwritten postcard from Schenker and others to Moriz Violin, dated December 13, 1909

Schenker and others ask if Violin can obtain free tickets for a Pugno recital.

OJ 13/37, 10 Handwritten letter from Ernst Rudorff to Schenker, dated December 17, 1909

Rudorff reports on situation with his "Eckbert" Overture, and comments adversely on publishers.

WSLB 49 Handwritten postcard from Schenker to Hertzka (UE), dated December 20, 1909

Schenker asks for proofs of his Chromatic Fantasy & Fugue edition over the Christmas holiday.

OC 52/44 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1909

Hertzka regrets that since printing has not yet begun Schenker cannot have proofs over Christmas; — He asks for a meeting during the holidays.

OJ 15/15, [F] Handwritten letter from Weisse to Schenker, undated

Weisse apologizes that was unable to attend on December 22, and asks Schenker to reschedule so that he can discuss his latest piano pieces and an "Elfenlied."

WSLB 50 Handwritten postcard from Schenker to Hertzka (UE), dated December 22, 1909

Schenker agrees to visit Hertzka, but stipulates no criticism.

CA 110 Handwritten postcard from Schenker to Cotta, dated February 6, 1910

Schenker asks for proof-ties.

WSLB 52 Handwritten letter from Schenker to Hertzka (UE), dated February 7, 1910

Schenker's Chromatic Fantasy edition is an exception: other Bach works can be published with less editorial detail. — He accuses Universal Edition of favoring "anti-musical music." — With heavy irony, he suggests handing other Bach editing work to others so as to promote UE's commercial interests.

WSLB 51 Handwritten letter from Schenker to Hertzka (UE), dated February 6, 1910

Schenker complains that others have been allowed to see his Chromatic Fantasy & Fugue, whereas he has not yet received proofs.

OC 52/424 Typewritten letter from Hertzka (UE) to Schenker, dated February 7, 1910

While informing Schenker that his edition of the Chromatic Fantasy & Fugue has not yet gone to the printers/engravers, Hertzka rebuts Schenker's allegation that he has shown the edition to Godowsky, Robert and others. He raises the possibility of Schenker's editing other works by J. S. Bach.

OC 52/45 Typewritten letter from Hertzka (UE) to Schenker, dated February 11, 1910

Refuting Schenker's accusations, particularly that UE emphasizes "anti-musical music," Hertzka says he will print the proposed Bach works as Schenker suggests, and informs him that the Chromatic Fantasy & Fugue edition will go to press in early March.

WSLB 53 Handwritten letter from Schenker to Hertzka (UE), dated February 15, 1910

Schenker advocates Moriz Violin's pamphlet "Über das sogenannte 'Continuo'" for publication and explains its connection with a planned "historical concert."

OC 52/47 Typewritten letter from Hertzka (UE) to Schenker, dated March 12, 1910

Proofs of the Chromatic Fantasy & Fugue edition will not be available by Easter [March 27]. Hertzka hopes Schenker will be able to correct them in April.

WSLB 54 Handwritten letter from Schenker to Hertzka (UE), dated March 12, 1910

Schenker asks for proofs of his edition of the Chromatic Fantasy & Fugue, so that he can correct them over the Easter holidays.

OJ 7/4, [60] Handwritten postcard from Schenker to Violin, dated March 14, 1910

Schenker will see Violin tomorrow. He has been "pumped" by Robert Hirschfeld.

OJ 7/4, [61] Handwritten postcard from Schenker to Violin, dated March 23, 1910

Schenker suggests they return the due borrowed items to the Archive together.

WSLB 55 Handwritten letter from Schenker to Hertzka (UE), dated April 5, 1910

Schenker presses again for proofs of the Chromatic Fantasy & Fugue edition, so as to coordinate them with his work on Kontrapunkt 1.

OJ 7/4, [62] Handwritten postcard from Schenker to Violin, dated April 8, 1910

Schenker gives Violin his opinion, and has a draft letter to show him.

OC 52/48 Typewritten letter from Hertzka (UE) to Schenker, dated April 9, 1910

There is now no hope of the Chromatic Fantasy & Fugue edition being available for proof-correcting by the middle of April, hence UE may be forced to send the work to Breitkopf & Härtel. — Hertzka asks for a report on other projects under discussion.

WSLB 56 Handwritten letter from Schenker to Hertzka (UE), dated April 10, 1910

Schenker accuses Hertzka of failing to keep his word over delivery of proofs of his Chromatic Fantasy & Fugue edition, quoting Hertzka's words from a previous letter.

OC 52/49 Typewritten letter from Hertzka (UE) to Schenker, dated April 11, 1910

Hertzka is unable to return, as requested, Schenker's copy of a volume of the Bach Gesellschaft Edition [vol. 36], and offers an alternative. — He denies having promised Schenker that the Chromatic Fantasy & Fugue edition would go to engraving in the Spring.

WSLB 57 Handwritten letter from Schenker to Hertzka (UE), dated April 11, 1910

Schenker asks for the return of his copy of the Bach Gesellschaft edition vol. 36, which he needs for teaching purposes.

WSLB 58 Handwritten letter from Schenker to Hertzka (UE), dated April 12, 1910

Schenker thanks Hertzka for his help

WSLB 59 Handwritten postcard from Schenker to Hertzka (UE), dated April 16, 1910

Schenker reasserts his claim that his Chromatic Fantasy & Fugue edition will be seriously delayed. — He urges Hertzka to give more attention to his work.

OC 52/50 Typewritten letter from Hertzka (UE) to Schenker, dated April 19, 1910

Hertzka hopes to have the galley-proofs of the Chromatic Fantasy & Fugue edition very soon.

WSLB 60 Handwritten postcard from Schenker to Hertzka (UE), dated April 20, 1910

Schenker asks that proofs of his Chromatic Fantasy & Fugue edition reach him by May 1, and outlines a plan for production of the work. He will not be able to correct them during the summer.

CA 111 Handwritten postcard from Schenker to Cotta, dated May 1, 1910

Schenker asks urgently for remaining galley-proofs of Counterpoint 1.

OJ 11/25, [2] Handwritten letter from Graf to Schenker, dated May 17, 1910

Graf justifies his request for a discussion, refused by Schenker, about some details in Beethoven's "Leonora" overtures.

OC 52/51 Typewritten letter from Hertzka (UE) to Schenker, dated June 2, 1910

Hertzka notifies Schenker that the proofs of the Chromatic Fantasy & Fugue edition are about to be delivered.

OJ 7/4, [63] Handwritten postcard from Schenker to Violin, dated June 3, 1910

Proofs of the Chromatic Fantasy & Fugue have arrived.

WSLB 61 Handwritten letter from Schenker to Hertzka (UE), dated June 3, 1910

Schenker acknowledges receipt of the first proofs his Chromatic Fantasy & Fugue edition, and comments on the high number of errors.

WSLB 62 Handwritten letter from Schenker to Hertzka (UE), dated June 10, 1910

Schenker reports that he is busy correcting proofs of his Chromatic Fantasy & Fugue edition, and hopes to have returned them by the end of June, and even to correct and approve the second proofs if available.

CA 112 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated June 16, 1910

Cotta asks Schenker for manuscript of the prelims and any supplements for Kontrapunkt I, and for a publicity blurb.

OC 52/52 Typewritten letter from Hertzka (UE) to Schenker, dated June 20, 1910

Hertzka acknowledges return of first proofs of the Chromatic Fantasy & Fugue edition, and promises to look out the contracts Schenker has requested.

OJ 9/31, [25] Stenographically handwritten letter from Cotta to Schenker, dated June 27, 1910

Cotta reiterates the requests made in CA 112.

CA 114 Handwritten letter from Schenker to Cotta, dated June 30, 1910

Schenker promises manuscript of prelims for Kontrapunkt 1.

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.

OC 52/53 Typewritten memorandum from Barbara Rothe (UE) to Schenker, dated July 4, 1910

Miss Rothe encloses copies of two requested contracts.

OJ 7/4, [64] Handwritten postcard from Schenker to Violin, dated July 4, 1910

Schenker has sent all materials to Cotta and is about to depart [for Karerpass].

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.

OJ 6/4, [49] Handwritten letter from Schenker to Violin, dated [July] 9, 1910

Schenker announces his arrival in the Karerpass, speaks of the costs, and outlines his concerns over money, including money he has to send to his mother on August 1. — He will write a letter to a female patron. — He describes the magnificence of the mountain views.

OJ 7/4, [65] Handwritten picture postcard from Schenker and Jenny Kornfeld to Violin, dated July 12, 1910

Heinrich asks Violin to bring tarot cards; Jenny Kornfeld asks for sunshine.

CA 117 Handwritten letter and publicity material from Schenker to Cotta, dated July 17, 1910

Covering letter with draft publicity material for Kontrapunkt 1. Schenker promises to return proof of Preface.

OJ 15/15,[D] Handwritten letter from Weisse to Schenker, dated July 20, [1910]

Weisse has ‒ unfairly, in his view ‒ been failed in Latin. He is spending the summer in Ischl, and asks Schenker if he could visit him in the Dolomites, even if for a short time, to prove that he is not as immature as some of his schoolteachers seem to think.

OJ 6/4, [50] Handwritten letter from Schenker to Violin, dated July 22, 1910

Joking about some humorous rhyming verse of Violin's, Schenker reports that he has sent off an important letter, and asks Violin to send him 12 swim-bladders. — He has defied the cost of laundry in the Karerpass, being still worried about money. — He comments on Max Graf's recent support of Schoenberg.

OC 52/54 Handwritten postcard from UE to Schenker, dated July 28, 1910

Second proofs of the Chromatic Fantasy & Fugue edition are ready for correcting: UE asks to which address to send them.

OJ 7/4, [66] Handwritten picture postcard from Schenker to Violin, dated August 2, 1910

Schenker awaits impatiently a letter from Violin; second proofs of the Chromatic Fantasy are imminent.

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.

OJ 7/4, [67] Handwritten postcard from Schenker to Violin, dated August 11, 1910

Schenker has had an ear blockage removed and can hear again.

OC 52/55 Handwritten postcard from UE to Schenker, dated August 17, 1910

UE acknowledge return of the [second] proofs of the Chromatic Fantasy & Fugue edition, but request that Schenker return the "original."

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.

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.

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.

OJ 9/32, [6] Invoice from Cotta to Schenker, dated September 4, 1910

Invoice for the printing and publishing costs of Kontrapunkt 1.

CA 120 Handwritten postcard from Schenker to Cotta, dated September 6, 1910

Schenker asks whether Counterpoint [1] will be published in September, and promises his "plans" soon.

OJ 9/32, [13] Handwritten letter and sales report for 1909 for Harmonielehre from Cotta, dated September 6, 1910

1909 sales report for Harmonielehre, with covering letter

OC 52/56 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 9, 1910

Wöß invites Schenker to call on him to discuss aspects of the Chromatic Fantasy & Fugue edition.

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.

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.

CA 125 Handwritten letter from Schenker to Cotta, dated September 15, 1910

Schenker asks Cotta to correct the page-count for Kontrapunkt 1.

OC 52/57 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 15, 1910

Wöß asks a question concerning the abbreviations list in the Chromatic Fantasy & Fugue edition.

CA 127 Handwritten letter from Schenker to Cotta, dated September 20, 1910

Schenker asks for a copy of Kontrapunkt 1 to be sent to Ernst Rudorff and copies of that and Harmonielehre to be sent to Jenny Kornfeld at her Aussig address.

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.

OJ 7/4, [68] Handwritten postcard from Schenker to Violin, dated September 21, 1910

Schenker reports a proposition that Robert Hirschfeld has put to him, and suggests lunch in Vienna.

OJ 6/4, [52] Handwritten letter from Schenker to Violin, dated September 23, 1910

Schenker gives Violin his reactions to Wilhelm Bopp's cancelation of a planned "historical" concert of music by C.P.E. and J.S. Bach and Handel at the Akademie, and urges that they adhere to their original plan.

CA 128 Handwritten letter from Schenker to Cotta, dated September 29, 1910

Schenker asks for a review copy of Kontrapunkt 1 to be sent to Ludwig Karpath.

OJ 14/44, [1] Handwritten letter from the Vereinigung Wiener Musikreferenten (Theodor Antropp and Paul Stauber) to Schenker, dated September 30, 1910

The Association invites Schenker to give a lecture series on Beethoven's Ninth Symphony.

CA 129 Handwritten postcard from Schenker to Cotta, dated October 3, 1910

Schenker redirects the copies of Harmonielehre and Kontrapunkt I destined for Jenny Kornfeld to his own address in Vienna.

OJ 9/31, [27] Stenographically handwritten letter from Cotta to Schenker, dated October 4, 1910

Publication of Kontrapunkt 1 having taken place this day, Cotta confirms the orders of complimentary and review copies to Jenny Kornfeld, Ernst Rudorff, Ludwig Karpath, and Schenker himself.

WSLB 64 Handwritten letter from Schenker to Hertzka (UE), dated October 10, 1910

Schenker asks for one copy of the Chromatic Fantasy & Fugue.

OJ 13/37, 11 Handwritten postcard from Ernst Rudorff to Schenker, dated October 11, 1910

Rudorff asks Schenker to send his two packages to Lauenstein, not Großlichterfelde.

CA 132 Handwritten letter from Schenker to Cotta, dated October 13, 1910

Schenker incloses a reaction to the Preface of Kontrapunkt 1 by Adalbert Seligmann. —He assures Cotta that their printing and production costs bill will be paid promptly.

OJ 13/26, [2] Handwritten postcard from Richard Robert to Schenker, dated October 13, 1910

Robert acknowledges receipt of Kontrapunkt I, and expresses his admiration for it.

OJ 9/18, [1] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated October 13, 1910

Bopp is pleased that matters have been settled, and hopes to make Schenker's acquaintance.

OC 52/425 Typewritten letter from UE to Schenker, dated October 14, 1910

UE is transferring Schenker's second honorarium for the Chromatic Fantasy & Fugue edition, and enclose the publisher's blurb for the monograph Beethoven's Ninth Symphony.

OJ 9/31, [28] Stenographically handwritten letter from Cotta to Schenker, dated October 15, 1910

Cotta has already sent a copy of vol. II/1 to Ernst Rudorff.

WSLB 65 Handwritten letter from Schenker to Hertzka (UE), dated October 17, 1910

Schenker acknowledges the second honorarium for Chromatic Fantasy & Fugue, and will appear at Hertzka's office on October 20.

WSLB 66/67 Handwritten letter from Schenker to Hertzka (UE) + list of names, dated October 19, 1910

Schenker cancels their Thursday meeting. — He argues for sweeping changes to the draft contract for Beethovens neunte Sinfonie. — He defends his own free speech in the face of Universal Edition's commercial interests. As with his Chromatic Fantasy & Fugue edition, UE will never regret publishing the Ninth Symphony monograph. — He also lauds the prospective editions of the last five Beethoven piano sonatas and volume of J. S. Bach toccatas in a lofty vision for future publications. — He appends a list of recipients of complimentary copies of the Chromatic Fantasy & Fugue.

OJ 13/37, 12 Handwritten letter from Ernst Rudorff to Schenker, dated October 20, 1910

Rudorff tells Schenker of Heinemann's book against Wagner; — Simrock is sending Schenker Rudorff's Third Symphony.

CA 134-135 Handwritten letter from Schenker to Cotta, dated October 21, 1910

Schenker divulges the identity of his benefactor, explains why there has been a delay in payment by the Rothschild Bank, and promises payment by sometime in January.

WSLB 68 Handwritten letter from Schenker to Hertzka (UE), dated October 21, 1910

Schenker reports an encounter with Wilhelm Bopp.

CA 136 Handwritten letter from Schenker to Cotta, dated October 23, 1910

Schenker asks that a review copy of Kontrapunkt 1 be sent to Max Graf; incloses a review.

OJ 9/31, [29] Stenographically handwritten letter from Cotta to Schenker, dated October 24, 1910

Cotta hopes that Schenker will honor his contract to pay the publishing costs [of Kontrapunkt 1] in January.

CA 139 Handwritten postcard from Schenker to Cotta, dated October 25, 1910

Schenker asks for a copy of his Harmonielehre to be sent to Prof. Robert Fuchs at the Vienna Academy.

OJ 9/31, [30] Stenographically handwritten letter from Cotta to Schenker, dated October 26, 1910

Cotta has sent a review copy [of Kontrapunkt 1] to Max Graf and welcomes a recent favorable notice of that work.

OJ 12/27, [14] Stenographically handwritten postcard from Cotta to Schenker, dated October 27, 1910

Cotta has sent a complimentary copy of Harmonielehre to Robert Fuchs.

OC 52/59 Typewritten postcard from Hertzka (UE) to Schenker, dated October 28, 1910

UE is sending out complimentary copies to Schenker's recipient list, and two copies to himself. It asks Schenker to call in at the office.

OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910

Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice. — He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a grant from the Ministry of Education.

WSLB 69/71 Handwritten letter + inclosure from Schenker to Hertzka (UE), dated November 1, 1910

Text of flyer for Chromatic Fantasy & Fugue edition, with covering note discussing plan for last five Beethoven piano sonatas in combination with Well-tempered Clavier, Book 2.

OC 52/60 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1910

Hertzka is pleased that Schenker's conversation with Wilhelm Bopp has gone promisingly, and that Schenker is agreeable to the alternating publication of Beethoven and Bach. — He is sending a new draft contract for Beethovens neunte Sinfonie.

WSLB 70 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1910

Schenker suggests either a Hertzka-Bopp or a Hertzka-Schenker meeting to discuss the combined release of the last Beethoven piano sonatas and Book 2 of the Well-tempered Clavier.

OC 52/61 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1910

Hertzka will speak to Wilhelm Bopp to explore the position over the parallel publication of Beethoven and Bach works, but admits there remains the thorny issue of the need for a subsidy.

WSLB 72 Handwritten letter from Schenker to Hertzka (UE), dated November 11, 1910

Schenker asks for copies of his Beitrag zur Ornamentik and Chromatische Fantasie & Fuge to be sent to Wanda Ladowska.

OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16, 1910

Rudorff approves of the [highly controversial] Introduction to Schenker's Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and Fugue, raising some technical matters.

OJ 11/29, [5] Handwritten letter from Grunsky to Schenker, dated December 1, 1910

Grunsky thanks Schenker for the gift of his Chromatische Phantasie und Fuge, and criticizes it for excessive polemic.

OJ 7/4, [69] Handwritten postcard from Jenny Kornfeld and Heinrich Schenker to Violin, dated December 9, 1910

Jenny Kornfeld asks to speak with Moriz Violin re her divorce petition. Heinrich gives his availability and reports on his mother's situation.

WSLB 73 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1910

Schenker has received gratitude from abroad for his edition of the Chromatic Fantasy & Fugue, and asks for a copy to be sent to Otto Vrieslander. — He accuses the Viennese of hostility and intellectual theft.

WSLB 74 Handwritten letter from Schenker to Hertzka (UE), dated December 19, 1910

Affected by his elderly mother's illness, Schenker asks for an advance of 500 Kronen on account of his manuscript, due for imminent delivery.

OJ 9/18, [2] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated January 14, 1911

Bopp regrets that he was unable to attend Schenker's chamber music concert.

OJ 9/30, [1] Handwritten letter from Tony Colbert to Schenker, undated [January 1911?]

Mrs. Colbert regrets that she will not be able to take piano lessons during February.

OJ 12/9, [3] Handwritten letter from Karpath to Schenker, dated March 10, 1911

Karpath answers Schenker's reproaches that neither Violin's Über das sogenannte Continuo nor the first half-volume of his Kontrapunkt have been announced or reviewed in the Neues Wiener Tagblatt.

OJ 9/18, [3] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 24, 1911

Bopp asks for a meeting with Schenker.

OJ 9/18, [4] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 27, 1911

Bopp warns Schenker of his unavailability one day.

OJ 9/18, [5] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated May 16, 1911

Bopp sends Schenker an invitation to a concert.

OJ 12/9, [4] Handwritten postcard from Karpath to Schenker, dated May 29, 1911

Karpath promises Schenker he will publish an announcement [about the lecture series "The Decline of the Art of Music"].

OC 1A/1-2 Handwritten letter from Schenker to Wilhelm Bopp (Akademie für Musik), dated May 30, 1911

Schenker has been unable to elicit any response from President [von Wiener].

OJ 8/1, [3] Handwritten picture postcard from Jenny Kornfeld and Heinrich Schenker to Moriz Violin, dated June 11, 1911

Heinrich Schenker and Jenny Kornfeld report the delights of the Vienna Woods.

OC 52/445 Typewritten letter from Hertzka (UE) to Schenker, dated June 27, 1911

Hertzka explains that the proofs for Schenker's monograph Beethovens neunte Sinfonie will not be ready before August. — He hopes that an agreement can be reached over the Beethoven/Bach project.

OJ 15/15, [J] Handwritten letter from Weisse to Schenker, dated July 9, [1911]

On summer holiday with little in the way of fixed plans, Weisse will be working on some new piano pieces and asks Schenker's advice about form in the Ballade, Fantasy, and Rondo.

OJ 8/1, [5] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated July 10, 1911

Schenker asks why Violin is silent about visiting them.

OJ 8/1, [6] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated July 22, 1911

Violin has written an unclear letter: Schenker presses him to say why he isn't coming to visit; and Jenny Kornfeld urges him not to be so poor a correspondent.

WSLB 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911

Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies his editorial stance with reference to Rodin and architecture, and suggests it might be published in Germany as retribution against Bopp and Wiener. —He is working now on Counterpoint II for Cotta.

OJ 8/1, [7] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated August 4, 1911

Schenker inquires after Violin's location and company; — reports his work on Riemann's theories.

OJ 15/16, [1] Handwritten letter from Weisse to Schenker, dated August 6, 1911

Weisse reports that he has reworked his fifth waltz and composed two other piano pieces. He will now switch to composing songs, and asks a question about setting poems with more than three stanzas.

OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated August 18, 1911

Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes about his planned refutation of the theories of Hugo Riemann and the need to establish his own theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes more somberly about the coming autumn and its difficulties.

OJ 6/5, [2] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated August 26, 1911

With Heinrich and Jenny Kornfeld still in Sulden (Tyrol), Heinrich alludes to the uncertainty about their return on account of a recent storm and destruction to the road; — they have decided that, on return to Vienna, Jenny shall stay in a hotel until an apartment is found for her; — Violin is asked to mail a letter to Schenker's attorney which concerns Jenny's maintenance payments; Jenny reports that she is unrecognized in Sulden.

OJ 8/1, [8] Handwritten picture postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz Violin, dated August 27, 1911

Schenker and Jeanette vie with short stanzas. — Heinrich reports a walk to Gomagoi.

OJ 8/1, [9] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated September 8, 1911

Schenker asks if a letter has arrived at Violin's address, and asks for it to be forwarded to him if so.

OJ 8/1, [10] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated September 11, 1911

Schenker complains that Violin has failed to turn up for an agreed meeting at the right place. He comments favorably on a new composition by Violin. He is going to the Pollaks in the evening.

OJ 6/5, [3] Handwritten letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated September 26, 1911

Seemingly in response to a cry for companionship, Heinrich and Jenny Kornfeld express their willingness to help, and ask what would be best.

OJ 8/1, [11] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 9, 1911

In promising to visit Violin, Schenker gives details of the lessons he has to give over three days; — reports pending visit by Vrieslander.

OJ 8/1, [12] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 10, 1911

Citing Hebbel, and referring to the mystery "Frau O.," Schenker speaks of Violin's unreliability, and also of Jenny Kornfeld's financial difficulties.

OJ 8/1, [13] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 29, 1911

Schenker has booked four seats for the theater [for Wedekind: Erdgeist].

OJ 8/1, [14] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 3, 1911

Schenker complains of Violin's dilatoriness, and asks to meet him..

OJ 8/1, [15] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated November 5, 1911

Schenker reports a difficult encounter with "Frau O."; also reports a first victory in Jenny Kornfeld's divorce application.

OJ 8/1, [16] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 7, 1911

Schenker urges Violin to request Hertzka send a copy of his Continuo essay.

OJ 8/1, [17] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated November 27, 1911

Schenker reports the impossibility of Jenny Kornfeld's defending herself in her divorce plea; and Jenny writes that she has had to send an inventory of all her chattels to Emil Kornfeld.

OJ 15/16, [2] Handwritten letter from Weisse to Schenker, dated December 8, 1911

Weisse has a new piano piece to show Schenker, and asks to come the next day.

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 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 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 15/16, [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.

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.

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 11/22, [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 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 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 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 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 15/16, [7] Handwritten letter from Weisse to Schenker, dated July 21, 1912

Weisse reports on progress with his string quintet.

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.

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.

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 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 15/16, [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 9/30, [2] Handwritten letter from Tony Colbert to Schenker, dated August 23, [1912]

Mrs. Colbert pleads to resume piano lessons with Schenker.

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 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, [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.

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.

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.

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 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.

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.

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.

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 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 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 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.

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 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 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, [13] Handwritten letter from Weisse to Schenker, dated February 11, 1913

Weisse proposes composing a completely new first movement for his string quintet.

OJ 15/15, [E] Handwritten lettercard from Weisse to Schenker, undated, [February 1913]

Weisse reports that Bruno Walter, whom he encountered in the street, does not know the difference between counterpoint and fugue.

OJ 15/16, [14] Handwritten letter from Weisse to Schenker, dated March 29, 1913

Weisse apologizes for having interrupted Robert Brünauer's lesson, and declares his allegiance to Schenker effusively. He asks to call on March 31 (his birthday).

OJ 12/9, [6] Handwritten letter from Karpath to Schenker, dated April 3, 1913

Karpath exchanges newspaper clippings with Schenker. — Announces a forthcoming review of Schenker's monograph on Beethoven's Ninth Symphony (1912). — Tells of a potential new pupil for Schenker who is currently studying with Schreker. — Complains at being persecuted by supporters of Schoenberg.

OJ 15/16, [15] Handwritten letter from Weisse to Schenker, dated April 15, 1913

Weisse comments on Brahms's juxtaposition of the diatonic and chromatic and use of modal mixture in his Waltz in C# major, Op. 36, No. 6, and asks Schenker to write about this.

OC B/205 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated April 26, 1913

Schmidt identifies the autograph manuscript material of Beethoven Op. 111 held by the Beethoven-Haus, and the extent to which photography of it has been carried out.

OC B/277 Handwritten calling card from Carl Krebs to Schenker, dated April 27, 1913

Krebs gives information about the whereabouts of Beethoven's Piano Sonata Op. 101, but not of Op. 106.

OJ 15/16, [16] Handwritten letter from Weisse to Schenker, dated June 9, 1913

Weisse reports receipt of a letter from Moriz Violin.

WSLB-Hds 191.579 Handwritten letter from Otto Erich Deutsch to Schenker, dated June 25, 1913

Schenker informs Otto Erich Deutsch of the whereabouts of the collector Meinert.

OJ 15/16, [17] Handwritten letter from Weisse to Schenker, dated July 8, 1913

Weisse sends a copy of a book [unidentified] and thanks Schenker again for his teaching.

OJ 15/16, [18] Handwritten letter from Weisse to Schenker, dated July 16, 1913

Weisse asks for guidance on technical questions in his rewriting of the first movement of his string quintet.

OJ 15/16, [19] Handwritten letter from Weisse to Schenker, dated August 12, 1913

Weisse reports on progress with his string quintet, and lists his travel plans for late September.

OJ 15/15, [1] Handwritten postcard from Weisse to Schenker, dated September 1, 1913

At the end of a relatively unproductive summer, Weisse is looking forward to seeing his teacher.

OJ 10/3, [1] Part of handwritten letter from Ludwig Scheibler to Otto Erich Deutsch, dated September 6, 1913

Scheibler states that the pieces contained in Schenker's C. P. E. Bach: Klavierwerke are late works and inferior to the early and middle-period works.

OJ 15/15, [2] Handwritten postcard from Weisse to Schenker, dated October 10?, 1913

Weisse asks for advice about modal mixture.

OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913

Hammer approaches Schenker regarding piano lessons for his wife.

OJ 15/16, [20] Handwritten letter from Weisse to Schenker, dated September 13, 1913

Weisse reports a conversation with Franz Steiner about Richard Strauss and his alleged interest in Schenker's work. — Weisse looks forward to having three lessons a week with Schenker.

OC 1A/16-17 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 16, 1913

Schenker regrets that he is unable to offer Newlov lessons in the coming season.

OJ 11/36, [2] Handwritten letter from Hammer to Schenker dated September 17, [1913]

Hammer cannot afford Schenker's fee; he dislikes the modern piano and has a Stein grand piano, a Hammerklavier copy, and a clavichord.

OJ 15/15, [H] Handwritten letter from Weisse to Schenker, dated [September] 23, [1913]

Weisse expresses his delight at the approach just made to his teacher from publishing house of C. F. Peters. He affirms his indebtedness to his teacher for all that he has learned and, regarding himself more a son than a mere pupil of Schenker’s, he asks to be addressed in future by the familiar "Du," though he would want to continue to use "Sie" when addressing his teacher.

OC 1A/25-26 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 24, 1913

Schenker says he has not received an alleged letter from Newlov; — he asks about payment outstanding from 1912/13 season.

OJ 12/9, [7] Typewritten letter from Karpath to Schenker, dated September 24, 1913

Karpath is pleased to have introduced Paul Breisach to Schenker as a new pupil. He wants to send another young man ‒ whose mother is divorced and could pay only a reduced fee ‒ to him for instruction.

OC 1A/27-29 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 25, 1913

Angry letter in which Schenker defends himself against the accusation that he is demanding a fee that has already been paid: he has all her letters, copies of his own, and all her payment slips. He describes her unorthodox payment system, comparing it with that of other pupils. He details her payment record for 1912/13 and insists on payment for June 1913.

OJ 10/3, [3] Typewritten postcard from Otto Erich Deutsch to Schenker, dated September 25, 1913

Deutsch has forwarded Schenker's (non-extant) reply to Ludwig Scheibler, and states that Louis Koch has taken over the autograph manuscripts of Carl Meinert.

OJ 11/36, [3] Handwritten letter from Hammer to Schenker undated [September 26, 1913]

Hammer regrets Schenker's refusal to teach his wife.

OC B/276 Typewritten letter from Louis Koch to Schenker, dated October 3, 1913

Koch will send required information.

OJ 15/16, [21] Handwritten letter from Weisse to Schenker, dated October 7, 1913

Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op. 109.

OJ 12/9, [8] Handwritten letter from Karpath to Schenker, dated October 9, 1913

Karpath had asked Schenker for support for Mittelmann and complains at Schenker's rude reaction.

OC B/178 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated October 21, 1913

The Library's photographer has been inundated with work and unable to start on Schenker's order.

OJ 15/15, [L] Handwritten letter from Weisse to Schenker, undated [October 22, 1913]

Weisse reiterates his congratulations on the approach from C. F. Peters, and sends his teacher two newspaper clippings of Johannes Messchaert's recital, given the day before.

OC B/273 Typewritten letter from Louis Koch to Schenker, dated October 23, 1913

Koch lists the Beethoven manuscript items in his possession.

OC B/272 Typewritten letter from Louis Koch to Schenker, dated October 28, 1913

Koch agrees to supply photographs of Op. 110.

OC B/177 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated October 30, 1913

Kopfermann notifies Schenker of the dispatch of photographs and of the cost.

OJ 15/15,[C] Handwritten letter from Weisse to Schenker, undated [October 31, 1913]

Returning home from a lesson with Schenker, Weisse makes observations on the second part of the Brahms's Waltz in B minor, Op. 39, No. 11, and seeks his teacher's approval of his interpretation.

OJ 10/1, [1] Handwritten letter from Dahms to Schenker, dated November 9, 1913

Dahms acknowledges receipt of Schenker's letter of September 27 and the Erläuterungsausgabe of Op. 109, is reading other work of Schenker's, and is glad to be disseminating his work.

OJ 15/15, [K] Handwritten letter from Weisse to Schenker, undated [November 1913]

This communication consists of three parts: p. 1 offers an interpretation of a passage from Brahms's Horn Trio, first movement; p. 2 is a quotation from Schopenhauer concerning the ethical status of a search for artistic truth; p. 3 offers an interpretation of the Waltz No. 12 from Brahms's Op. 39.

OC B/176 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated November 18, 1913

Kopfermann provides an estimate for the photography of Beethoven's Ninth Symphony that Schenker has requested; and notifies him of another source of this work in the Library's holdings.

OC B/275 Handwritten letter from Louis Koch to Schenker, dated November 22, 1913

Koch gives the provenance of the Op. 110 manuscript in his possession, and other information.

BNba 304g, [1] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated November 27, 1913

Schenker asks the Beethoven-Haus to prepare and supply him with photographs of the autograph manuscript of the first movement of Beethoven's Piano Sonata in C minor, Op. 111, and announces the publication of his Erläuterungsausgabe of Op. 109 and monograph on Beethoven's Ninth Symphony.

OC B/279 Typewritten letter from Leo Liepmannssohn to Schenker, dated November 29, 1913

Liepmannssohn has none of the manuscripts Schenker seeks.

OC B/280 Handwritten letter from Max Meinert to Schenker, dated December 1, 1913

Max Meinert does not know the whereabouts of the autograph manuscripts of Op. 101 and Op. 106.

BNba 304g, [2] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated December 3, 1913

Schmidt consults Zitelmann as to whether to make photographs of the first movement of Beethoven Op. 111 for Schenker,

OC B/204 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December 3, 1913

Schmidt suggests Schenker commission the Beethoven-Haus photographer, Heinrich Rose, direct in ordering photographs of the autograph manuscript of the first movement of Beethoven's Op. 111. He asks Schenker to supply a copy of his monograph on the Ninth Symphony to the Beethoven-Haus library.

BNba 318, [1] Handwritten letter from Schenker to Heinrich Rose, dated December 9, 1913

Schenker places an order for photographs of Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28.

BNba 318, [2] Handwritten letter from Schenker to F. A. Schmidt, dated December 9, 1913

Schenker states that he is writing a letter placing an order for photographs of Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28, and hoping that Schmidt will extend his permission to cover the latter two manuscripts.

OC B/203 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December 13, 1913

Schmidt thanks Schenker for the copy of his monograph Beethovens neunte Sinfonie, and raises points of detail about the photography of the three requested works.

BNba 304g, [3] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated December 14, 1913

Schmidt consults Zitelmann as to whether Schenker should be granted permission for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28; then proceeds to other Beethoven-Haus business.

BNba 304g, [4] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to an unknown colleague, dated December 14, 1913

Schmidt suggests that permission for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28 should be granted to Schenker; and deals with other Beethoven-Haus business.

OC B/281 Handwritten letter from Max Meinert to Schenker, dated December 16, 1913

Meinert has been unable to obtain further information.

OC B/175 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated December 20, 1913

Kopfermann inquires after Schenker's photographic requirements.

OC B/174 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated December 22, 1913

Kopfermann sends five photographic prints.

OJ 15/15, [M] Handwritten postcard from Weisse to Schenker, undated [December 24?, 1913?]

Photograph of Hans Weisse with inscription..

BNba 304g, [5]-[6] Handwritten letter and declaration from Schenker to Ernst Zitelmann, dated February 28, 1914

Schenker submits a declaration on his usage of photographic materials received.

BNba 304g, [7] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated March 2, 1914

Schmidt forwards Schenker's "Declaration" to Zitelmann.

OJ 10/1, [2] Handwritten letter from Dahms to Schenker, dated March 27, 1914

Dahms wishes to start his musical studies afresh in Schenker's "shool," asks whether there is anyone in Berlin who can teach him, also explores the possibility of coming to Vienna.

OJ 10/1, [3] Handwritten letter from Dahms to Schenker, dated April 13, 1914

Schenker outlines his financial situation and rehearses alternative plans for study with Schenker.

OJ 15/15, [3] Handwritten postcard from Weisse to Schenker, dated April 17, 1914

Weisse gives Schenker the ancient Greek term for the German verb "anschauen."

UG 32/5, [1] Handwritten letter from Schenker to Guido Adler, dated April 21, 1914

Letter of recommendation for Hans Weisse

OJ 10/1, [4] Handwritten letter from Dahms to Schenker, dated June 2, 1914

Dahms says he is not well liked in some Berlin quarters for opposing "fashionable music." — He plans to study Schenker's theory autodidactically in Berlin, then come to Vienna in the winter.

OC B/172 Printed form-letter with handwritten additions, from Wilhelm Altmann (Königliche Bibliothek zu Berlin) to Schenker, dated June 19, 1914

Altmann sends three early editions of Op. 111 on lean.

BNba 304g, [8] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated June 19, 1914

Schenker asks if the Beethoven-Haus Archive has a copy of the Cappi & Diabelli early edition of Op. 111.

OJ 10/1, [5] Handwritten letter from Dahms to Schenker, dated June 26, 1914

Dahms inquires after Schenker's study of Op. 110, and hopes to review it. He is sure there will come a day when Schenker's work is fully appreciated.

OJ 15/16, [22] Handwritten letter from Weisse to Schenker, dated July 7, 1914

Weisse reports that he is engrossed in reading Jean-Paul, is resting, practising piano, and studying Brahms's Second Symphony.

OJ 10/1, [6] Handwritten letter from Dahms to Schenker, dated July 15, 1914

Dahms communicates from the Black Forest, commiserating over Schenker's experiences with the Vienna Konzerthausgesellschaft.

OJ 15/16, [23] Handwritten letter from Weisse to Schenker, dated July 16, 1914

Weisse thanks Schenker for clippings of two articles from the Münchener Zeitung. Returning them, he critiques Alexander Berrsche's references there to the theory of the trill as expounded in Schenker's Beitrag zur Ornamentik.

OJ 9/30, [5] Handwritten letter from Tony Colbert to Schenker, undated [September 13, 1914]

Mrs. Colbert pleads for reduction of lessons to once every other week on account of the war work she is doing and the difficulties that she and her husband are facing.

OJ 15/16, [24] Handwritten letter from Weisse to Schenker, dated September 17, 1914

Commenting on an article by Paumgartner, Weisse asks to come and play some new compositions, and warns that he may be called up for war service.

OJ 13/26, [3] Handwritten postcard from Richard Robert to Schenker, dated September 18, 1914

Robert asks Schenker meet with him, prefereably to visit him, on Saturday or Sunday.

OJ 15/34, [1] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, dated September 23, [1914]

Zuckerkandl asks to call on Schenker.

OJ 9/30, [6] Handwritten letter from Tony Colbert to Schenker, dated November[?] 2[?], 1914

Mrs. Colbert has done no piano practice, and explains her circumstances; but she asks Schenker to fit her in for a lesson every two weeks.

OJ 12/9, [9] Typewritten letter from Karpath to Schenker, dated November 14, 1914

Karpath invites Schenker to contribute to the periodical Der Merker, of which he has recently become the editor-in-chief.

OJ 12/9, [10] Typewritten letter from Karpath to Schenker, dated November 21, 1914

Karpath describes his editorial policy for the periodical Der Merker and asks Schenker for contributions.

OJ 10/1, [7] Handwritten field postcard from Dahms to Schenker, dated April 5, 1915

Dahms has been conscripted and writes from the battle front. He has submitted an article on Schenker's edition of Op. 110.

OJ 10/1, [8] Handwritten field postcard from Dahms to Schenker, dated April 25, 1915

Dahms writes of the "fatherland" and of Hindenburg's "voice-leading."

OJ 10/1, [9] Handwritten field postcard from Dahms to Schenker, dated June 4, 1915

Dahms echoes Schenker: The German character must prevail over others.

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.

OJ 15/34, [2] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, undated [August 20, 1915]

Zuckerkandl reports on life in the military.

OJ 10/1, [10] Handwritten field postcard from Dahms to Schenker, dated October 2, 1915

Dahms is unable to describe his [wartime] experiences. He has had to revise his opinions.

OJ 10/1, [11] Handwritten field postcard from Dahms to Schenker, dated October 13, 1915

Dahms is sick.

OJ 10/1, [12] Handwritten field postcard from Dahms to Schenker, dated October 29, 1915

Dahms inquires why Schenker singled out Strauss's Alpine Symphony.

OJ 10/1, [13] Handwritten letter from Dahms to Schenker, undated but presumably November 1, 1915

Dahms acknowledges Schenker's letter with joy; he is committed to the struggle against the "other side."

OC B/270 Typewritten letter from Louis Koch to Schenker, dated November 29, 1915

Koch thanks Schenker for a copy of his elucidatory edition of Op. 111, and reports his Chopin holdings.

OJ 10/1, [14] Handwritten field postcard from Dahms to Schenker, dated January 8, 1916

Dahms is able to do some work, longs for peace, looks forward to Op. 111.

OJ 12/9, [12] Handwritten letter from Karpath to Schenker, dated January 13, 1916

Karpath accepts an article of Schenker's [for Der Merker] and asks for a modification.

OJ 10/1, [15] Handwritten field postcard from Dahms to Schenker, dated January 15, 1916

Dahms cannot write openly because of censorship.

OJ 12/9, [13] Handwritten letter from Karpath to Schenker, dated January 26, 1916

Karpath is worried about the disappearance of Aron Mittelmann, and asks Schenker to help him search.

OJ 12/9, [14] Handwritten lettercard from Karpath to Schenker, dated January 28, 1916

Karpath reports a summons to appear before a military court with respect to Aron Mittelmann.

OJ 12/9, [15] Handwritten postcard from Karpath to Schenker, postmarked February 1, 1916

After attendance at the court [regarding Mittelmann], Karpath asks Schenker to be in touch with him.

OJ 12/9, [16] Handwritten letter from Karpath to Schenker, dated February 2, 1916

Following an unanounced and abortive visit by Schenker, Karpath asks Schenker to call him by telephone.

OJ 12/9, [17] Handwritten letter from Karpath to Schenker, dated February 6, 1916

Karpath sends an unidentified letter [from Mittelmann]. — He asks Schenker before his attendance at court to take on jointly with himself the surety for Mittelmann.

OJ 12/9, [19] Handwritten letter from Karpath to Schenker, dated February 8, 1916

Karpath reports attorney Kammerer's assessment and recommendations on the Mittelmann case.

OJ 10/1, [16] Handwritten field postcard from Dahms to Schenker, dated February 21, 1916

Visit to Vienna has to be deferred.

OJ 71/19a, [1] Fragment of a typewritten letter from Emil Kammerer to Ludwig Karpath, undated; Handwritten letter from Ludwig Karpath to Schenker, dated March 6, 1916

Karpath forwards a letter from the attorney Kammerer's office saying that the conclusion of the case against Mittelmann is expected soon.

OJ 11/22, [5] Handwritten postcard from the Gesellschaft der Musikfreunde (Bella) to Schenker, dated March 8[?], [1916]

Mandyczewski invites Schenker to the Archive for March 10.

OJ 10/1, [18] Handwritten letter from Dahms to Schenker, dated March 31, 1916

Dahms acknowledges Op. 111; Schenker's achievement will outlive the "moderns". — Reports on a Brahms concert attended. — He is in a rest home and working.

OJ 15/16, [25] Handwritten letter from Weisse to Schenker, dated April 7, 1916

Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op. 111, but expresses reservations about the political footnotes. He asks to bring a new song to Schenker, since he is about to go to the battlefield.

OJ 10/1, [19] Handwritten letter from Dahms to Schenker, undated but presumably May 1, 1916

Dahms laments the state of music and criticism in Berlin. — When the war is over he plans to draw a line under his life so far and start again.

OJ 10/1, [20] Handwritten letter from Dahms to Schenker, dated June 15, 1916

Dahms may be transferred to Wilna. — Has reviewed Op. 111 for the Kreuz-Zeitung.

OJ 10/1, [21] Handwritten letter from Dahms to Schenker, dated June 30, 1916

Dahms holds out hope for the position of music critic at Der Abend of Vienna, about which Schenker has inquired.— He reviews his past work; coming to Vienna is imperative.

OJ 15/16, [26] Handwritten letter, with original poetry, from Weisse to Schenker, dated July 3, 1916

As a sign of his recovery, Weisse sends Schenker two poems while stationed in Berezhany, “Der alte Jude” and “Die Dirne."

OJ 9/30, [6a] Handwritten letter from Tony Colbert to Schenker, dated July 13

Mrs. Colbert thanks Schenker for flowers sent while she was in the sanatorium.

OJ 15/16, [27] Handwritten letter from Weisse to Schenker, dated August 3, 1916

Weisse hopes to see Kontrapunkt II soon. — He reflects on the state of humanity in the light of being in the midst of the war. — He incloses a cutting of an article [about sources of Saint-Saëns's music.]

OJ 10/1, [22] Handwritten postcard from Dahms to Schenker, dated November [recte August] 9, 1916

Dahms hopes to be going to Wilna.

OJ 10/1, [23] Handwritten letter from Dahms to Schenker, dated August 27, 1916

Dahms may be posted to Wilna, or may be discharged. He asks about the position of music critic at the Vienna Der Abend.

OC 1 B/13 Handwritten draft letter from Schenker to Carl Colbert, dated September 18, 1916

Schenker excuses the raising of the name of Walter Dahms in connection with an inquiry by Tony Colbert.

OJ 10/1, [24] Handwritten letter from Dahms to Schenker, dated October 13, 1916

Dahms reacts to the news that the music-critic position at Der Abend is taken; laments continued lack of opportunity to work.

OJ 10/1, [25] Handwritten letter from Dahms to Schenker, dated November 26, 1916

Dahms reports on his situation, and seeks Schenker's interest in a forthcoming lecture in Vienna by Willi von Möllendorf.

OJ 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December 1916]

Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to Universal Edition.

OJ 15/16, [28] Handwritten letter from Weisse to Schenker, dated December 1, 1916

Weisse is looking forward to leave in mid-December and to seeing Schenker.

OJ 15/16, [31] Handwritten letter from Weisse to Schenker, dated November 9, 1917

Weisse now has a piano in his army lodgings, plays in the evenings, expects to send Schenker an analysis of Brahms Intermezzo, Op. 119, No. 2, shortly. The Italian defeat is near. He has sent a pamphlet by Walther Rathenau.

OJ 12/26, [2] Typewritten letter from the Rothschild Artists' Foundation to Schenker, dated December 3, 1916

The Rothschild Artists' Foundation invites Schenker to serve on a panel of jurors with Guido Adler and Alfred Grünfeld.

OJ 11/58, [1] Typewritten letter from the Israelitische Kultusgemeinde to Schenker, dated December 17, 1916

President Alfred Stern expresses his regret at Schenker's refusal to serve as a juror alongside Guido Adler for the Rothschild Artists' Foundation.

OJ 11/35, 1 Handwritten letter from Halm to Schenker, dated January 4, 1917

Halm reports on his recent and forthcoming publications

OJ 15/16, [29] Handwritten lettercard from Weisse to Schenker, dated January 16, 1917

Back in military service after Christmas leave, Weisse reflects on the nature of duty, and recommends F. W. Foerster’s Lebensführung to Schenker.

OJ 11/35, 2 Handwritten letter from Halm to Schenker, dated January 27, 1917

Halm reports on his current piano and chamber music publishing plans, and employment.

OJ 11/35, 9a Handwritten postcard from Halm to Schenker, dated February 3, 1917

Halm acknowledges Schenker's letters, and will write.

OJ 15/16, [30] Handwritten lettercard from Weisse to Schenker, dated February 3, 1917

Weisse asks if Schenker has not received his previous message; he is reading Kontrapunkt I.

OJ 10/1, [26] Handwritten letter from Dahms to Schenker, dated March 2, 1917

Dahms's nerves are bad and he has difficulty doing any serious reading. — Moellendorf has sent a review of the quarter-tone harmonium, and Dahms comments.

OJ 10/1, [27] Handwritten letter from Dahms to Schenker, dated March 18, 1917

Dahms reacts to Schenker's suggestion of a stipendium for study in Vienna.

OJ 11/35, 4 Handwritten letter from Halm to Schenker, dated March 18, 1917

Halm attempts to identify the fundamental differences between their two views, with reference to Beethoven, Bruckner and Brahms. He and Karl Grunsky have been estranged for some years.

OJ 10/1, [28] Handwritten letter from Dahms to Schenker, dated April 20, 1917

Dahms comments on the political situation and decries widespread corruption.

OJ 10/1, [29] Handwritten letter from Dahms to Schenker, dated June 8, 1917

Dahms hopes for a posting to Berlin; he is gaining strength from reading Kierkegaard.

OJ 11/35, 5 Handwritten letter from Halm to Schenker, dated July 2, 1917

Halm seeks advice on choice of edition for the Beethoven variations, and offers advice in negotiating with publishers.

DLA 69.930/1 Handwritten letter from Schenker to Halm, July 8, 1917

Schenker acknowledges Halm's letter; he discusses the relative merits of editions of Beethoven variations, and looks forward to seeing Halm's review of his "Beethoven editions"; he is putting the finishing touches to Kontrapunkt 2.

OJ 10/1, [30] Handwritten letter from Dahms to Schenker, dated July 10, 1917

Dahms decries democracy's reliance on the "common man" and deplores its disregard of intellectuals and artists.

OJ 11/35, 9b Handwritten postcard from Halm to Schenker, dated July 21, 1917

Halm thanks Schenker for arranging that Cotta send him NMTP vols. I and II/1.

OJ 8/3, [49] Handwritten postcard from Schenker to Moriz Violin, dated October 7, 1917

Heinrich and Jeanette are unable to visit. Remarks on parliaments of the regions.

OJ 15/15, [4] Handwritten field postcard from Weisse to Schenker, dated October 16, 1917

Back in military service, Weisse thanks Schenker profusely for his teaching.

OJ 10/1, [31] Handwritten letter from Dahms to Schenker, dated November 9, 1917

Dahms is now with the War Ministry in Berlin. He comments on Korngold and Bruckner.

OJ 8/3, [50] Handwritten postcard from Schenker to Valerie Violin, dated November 16, 1917

Schenker requests Moriz's full army address; pressure of work precludes a visit; a parcel has gone astray.

OJ 8/3, [51] Handwritten postcard from Schenker to Moriz Violin, dated November 23, 1917

Schenker thinks the worst is over [in World War I]; accepts promised jam.

OJ 10/1, [32] Handwritten letter from Dahms to Schenker, dated December 27, 1917

Dahms is expecting peace soon. Refers to Schenker's remarks on Bruckner.

OJ 6/6, [5] Handwritten letter from Schenker to Valerie Violin, dated December 30, 1917

In response to the Violins' condolences on the death of his mother, Schenker reflects sadly on her life and needs between 1890 and the late 1910s, attributing blame largely to his younger brother Moriz, less to his older brother Wilhelm; — He explains why he and Jeanette are unable to visit the Violins in the cold and without adequate clothing.

OJ 15/16, [32] Handwritten letter from Weisse to Schenker, dated January 2, 1918

Weisse, in a fieldpost letter, writing in Sütterlinschrift, copies out a passage from Goethe quoted in Chamberlain's "Grundlagen des neunzehnten Jahrhunderts," and informs Schenker of his imminent change of address.

OJ 15/34, [3] Handwritten letter from Viktor Zuckerkandl to Schenker, dated January 14, [1918]

Acknowledges one postcard; the other reaches him while writing the letter. Reports and comments on article by Hans Friedrich in Der Merker. Remarks on the nature of hatred, national and personal, in wartime.

OJ 11/35, 7 Handwritten letter from Halm to Schenker, dated January 20, 1918

Acknowledges DLA 69.930/2, January 17, 1918. Schenker has accused him of a contradiction, and he concedes it, referring to several of his publications. UE has not responded to his request for review copies of Schenker's works, so suggests a reciprocal exchange.

OC 52/203 Typed letter from Hertzka (UE) to Schenker, dated February 5, 1918

Hertzka acknowledges WSLB 292 and apologizes for late reply; he knows nothing of August Halm's request for review copies of Schenker's other works, but has ordered a complete set to be sent to him.

OJ 14/45, [10] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 5, 1918

Schenker, Violin alleges, has accused him of a dearth of subject matter in letter writing; Violin defends himself on grounds that his life has been disrupted by military service and the impact of that on his physical and mental state. He accuses Schenker of insensitivity, and treating him like his pupils. He defends his wife for giving food to the Schenkers, and explains her motivation for so doing.

OJ 5/38, [2] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm and Dodi Schenker, dated February 5, 1918

Heinrich relays back the price of transferring Julia Schenker's body from Waidhofen to Vienna, and would hope to get a discount on that price via the Jewish Religious Community. He reports on the planned Festschrift for his 50th birthday, and his current troubles with UE. Jeanette characterizes their life as "farcical," and asks Dodi's advice in obtaining twine for repairing shirts. She comments on the Versailles Council of War as confirming Heinrich's warnings.

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

OJ 11/35, 8 Handwritten letter from Halm to Schenker, dated February 12, 1918

Halm acknowledges receipt of item from Schenker's publisher, and plans to reciprocate, but has little time in which to order items. Copies of his essay about Schenker have been misdirected.

OJ 14/33, [3] Handwritten letter from Steglich to Schenker, dated February 15, 1918

Steglich accepts Schenker's offer of a copy of the Op. 111 Erläuterungsausgabe; he is a Riemann pupil, and has a keen interest in analyses.

OJ 15/16, [33] Handwritten letter from Weisse to Schenker, dated February 18, 1918

Weisse apologizes profusely for not having paid his condolences to Schenker upon the death of his mother.

OJ 15/16, [34] Handwritten letter from Weisse to Schenker, dated February 26, 1918

Weisse expresses his concerns about a proposed Festschrift in celebration of Schenker's fiftieth birthday, fearing that the work will be written largely by eminent people and journalists who have little knowledge of his teaching and so will not do justice to him as a theorist; asks Schenker for his own opinion of the matter.

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.

OJ 14/33, [4] Handwritten field postcard from Steglich to Schenker, dated March 25, 1918

Steglich, on the battlefront in the Ukraine, acknowledges receipt of Schenker's Erläuterungsausgabe Op. 111, and hopes to study it when things are quieter.

OC 52/205 Typed letter from Hertzka (UE) to Schenker, dated April 10, 1918

Hertzka returns the Bekker review with thanks, and reflects on Schenker's remarks concerning Urtext editions; he encloses the requested copy of the Gazette de Lausanne.

OC 52/206 Typed postcard from Hertzka (UE) to Schenker, dated April 18, 1918

Hertzka acknowledges return of Gazette de Lausanne article and concurs with Schenker's view on editing.

OJ 15/15, [5] Handwritten postcard from Weisse to Schenker, dated April 20, 1918

Weisse apologizes for not having written recently, expresses his frustration that the war continues.

OJ 15/16, [35] Handwritten letter from Weisse to Schenker, dated May 5, 1918

Weisse reports his renewed interest in counterpoint through the rereading of the first volume of Schenker's Kontrapunkt; he has also come across Bussler's Freier Satz and has heard mainly positive things about Ernst Kurth's Linearer Kontrapunkt, a book which he will order and report on to his teacher.

OJ 15/15, [6] Handwritten postcard from Weisse to Schenker, dated May 27, 1918

Weisse, on three-month leave (June-August 1918) to finish work towards his doctoral degree, asks Schenker for tuition in counterpoint and thoroughbass.

OJ 10/1, [33] Handwritten letter from Dahms to Schenker, dated June 15, 1918

Dahms sends 50th birthday wishes [and encloses a published article].

OJ 12/9, [22] Handwritten postcard from Karpath to Schenker, dated July 18, 1918

Karpath regrets that Schenker's letter came too late, and he was unable to act on it.

OJ 14/33, [5] Handwritten letter from Steglich to Schenker, dated July 22, 1918

Steglich has studied the Op. 111 Erläuterungsausgabe. Rejecting the polemic as redundant, he makes detailed suggestions concerning the relationship of the Arietta to the coda of the first movement.

OJ 14/5, [5] Handwritten postcard from Moriz Schenker to Heinrich Schenker, dated July 22, 1918

Moriz Schenker has received Heinrich's letter and will visit him in a few days' time.

OJ 12/9, [23] Typewritten letter from Karpath to Schenker, dated July 28, 1918

Karpath contests Schenker's argument that failing to write an obituary for Eduard Gärtner was a neglect of duty, defends the position of the music critic, and draws attention to a commemorative article on Gärtner.

OJ 10/1, [34] Handwritten letter from Dahms to Schenker, dated July 29, 1918

Dahms thanks Schenker for his long letter; reports on his vacation in Munich and visit with Vrieslander; he is looking forward to studying with Schenker in Vienna.

OJ 14/5, [6] Handwritten fieldpostcard from Moriz Schenker and Hans Guttmann to Heinrich Schenker, dated August 8, 1918

Moriz Schenker regrets not having spoken to Heinrich but hopes to be in Vienna again soon; he has Hans Guttmann staying, and has written to Sophie Guttmann; note by Hans Guttmann.

OJ 15/5, [1] Handwritten letter from Eberhard von Waechter to Schenker, dated August 21, 1918

Waechter asks for a copy of Schenker's Kontrapunkt 2, because he is making a critique of the Neue Musuikalische Theorien und Phantasien; he requests an article for Das Neue Oesterreich from Schenker, and hopes for regular contributions in future.

OJ 14/5, [8] Handwritten letter from Moriz Schenker to Sophie and Salo Guttmann, dated August 28, 1918

Moriz Schenker promises Sophie and Salo Guttmann that he will help them by writing to a senior official and guaranteeing their war loan, and asks for details. — He will be traveling on business and hopes to see Hans Guttmann and Heinrich Schenker.

OJ 14/5, [7] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated August 28, 1918

Moriz Schenker reports that he has received a letter from Sophie and Salo Guttmann; he has dispatched flour to Heinrich's Vienna address; he will be in Vienna soon and hopes to call on Heinrich.

OJ 14/5, [10] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 15, 1919

Moriz Schenker found Schenker not at home; can come Thursday; Heinrich's money is available for collection.

OJ 15/5, [2] Handwritten letter from Eberhard von Waechter to Schenker, dated September 17, 1918

Waechter tries again to elicit contributions from Schenker to Das Neue Oesterreich, and asks Schenker's opinion on an analysis of a Schubert song. Schenker's honorarium for lessons is too high.

OJ 15/16, [36] Handwritten letter from Weisse to Schenker, dated September 30, 1918

Still in military service, Weisse asks Schenker for advice regarding the interpretation of the ritardandos in the first movement of Beethoven's Eighth Symphony.

OJ 11/30, [1] Handwritten postcard from Wilibald Gurlitt to Schenker, dated October 7, 1918

Gurlitt expresses admiration for Schenker's Beethovens Neunte Sinfonie, and inquires whether his "Formenlehre" or "Kunst des Vortrags" has yet been published.

OJ 10/1, [35] Handwritten postcard from Dahms to Schenker, dated December 13, 1918

Dahms and his wife have moved to Wasserburg, and he is beginning work again.

OJ 11/35, 9c Handwritten postcard from Halm to Schenker, dated December 13, 1918

Halm acknowledges DLA 69.930/4 and help, and promises to write soon.

OJ 11/35, 10 Handwritten letter from Halm to Schenker, dated December 14, 1918

Halm thanks Schenker for assistance over stipend; asks if Schenker has received compositions sent to him; Halm's post-War prospects may be better.

OJ 15/16, [37] Handwritten letter from Weisse to Schenker, dated December 24, 1918

Weisse sends Schenker a volume [Handel keyboard works] as a Christmas present.

OJ 14/40, [1a] Typed letter from Türkel to Schenker, dated December 27, 1918

Acknowledges letter of December 25, 1918 [not surviving]; Türkel distances himself from Schenker's recent actions [over stipends]; Schenker cannot count on restitution of money overspent; these matters have nothing to do with Türkel or the Deutsch estate. Encloses[?] copy of earlier "disclaimer" [= OJ 14/40, [1b]].

DLA 69.930/6 Printed/typed bank authorization to Halm, dated December 28, 1918

856 Marks transferred to Halm.

OJ 11/35, [10a] Handwritten letter from Halm to Schenker, dated December 31, 1918

Halm acknowledges DLA 69.930/6; asks for payment to be made to his Esslingen bank a/c; comments on effects of currency changes; refers to assistance offered by Schenker.

OJ 11/35,9d Handwritten postcard from Halm to Schenker, dated January 12, 1919

Halm acknowledges receipt of 856 Mk.

OJ 13/10, [6] Handwritten letter from Oppel to Schenker, dated February 19, 1919

Oppel thanks Schenker for EA, Opp. 110 and 111, which he has enjoyed, inquires after EA, Opp. 101 and 106, and Kontrapunkt 2, and raises a possible thematic link between two movements of Op. 110 (music example). His plan to study with Schenker has to be deferred; he will soon send compositions, and asks for unsparing criticism.

OJ 12/9, [24] Typewritten letter from Karpath to Schenker, dated March 11, 1919

The amount [for Hammerschlag] was 500, not 400, Kronen.

OJ 10/1, [36] Handwritten letter from Dahms to Schenker, dated March 15, 1919

Dahms is spending time with Otto Vrieslander, working through Schenker's Harmonielehre with him and preparing himself for study with Schenker. He rejoices at the crushing of German militarism.

OJ 12/9, [25] Handwritten letter from Karpath to Schenker, dated March 27, 1919

Mittelmann refused Schenker's 100 Kronen. Karpath has terminated Mittelmann's working relationship with him.

OC 52/207 Typed postcard from Ernst Roth (UE) to Schenker, dated May 20, 1919

Hertzka is away and expected back in 8-10 days.

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].

OJ 10/1, [37] Handwritten letter from Dahms to Schenker, dated June 11, 1919

Dahms sends greetings on Schenker's birthday, finds solace in Nietzsche and Kierkegaard, and is studying counterpoint with Vrieslander.

OC 52/924 Typed letter from Hertzka (UE) to Schenker, dated June 16, 1919

Hertzka acknowledges WSLB 303 and seeks a meeting; the Foreword [to Op. 111] will remain unchanged.

OJ 15/16, [38] Handwritten letter from Weisse to Schenker, dated July 15, 1919

On hearing that Schenker is already on holiday, and being not far from him (In Bad Ischl), Weisse inquires about the possibility of paying a visit.

OJ 10/1, [38] Handwritten postcard from Dahms to Schenker, dated July 22, 1919

Dahms thanks Schenker for his postcard and letter, hopes to visit Schenker, and asks how long he will be staying at Schloss Tantalier.

OJ 15/16, [39] Handwritten letter from Weisse to Schenker, dated August 2, 1919

Weisse accepts Schenker's invitation to visit him while on holiday.

OJ 10/1, [39] Handwritten letter from Dahms to Schenker, dated August 9, 1919

Dahms is busy writing; hopes to visit Schenker around August 25.

OJ 10/1, [40] Handwritten letter from Dahms to Schenker, dated August 23, 1919

Dahms gives his travel plans.

OJ 10/1, [43] Handwritten postcard from Dahms to Schenker, dated August 31, 1919

Dahms reports on his journey home and sends thanks for an unforgettable experience.

OJ 15/16, [40] Handwritten letter from Weisse to Schenker, dated September 1, 1919

Weisse thanks Schenker for his hospitality, and is glad to learn that he and Jeanette will be able to remain on holiday at Klammerth's castle.

OJ 15/5, [3] Handwritten letter from Eberhard von Waechter to Schenker, dated September 2, 1919

Waechter is sending copy of his Schubert study, and offers to send the manuscript of his forthcoming book for Schenker's assessment.

OJ 14/5, [9] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 3, 1919

Moriz Schenker assures Heinrich that his deposited money is safe, and expresses delight that all impediment to the marriage has been rescinded.

OJ 13/10, [7] Handwritten letter from Oppel to Schenker, dated September 7, 1919

Oppel expresses his pessimism in the aftermath of the war and the prospects for his generation. He sends a chaconne for Schenker's comment, and reports his appointment as a teacher in theory and composition at the Kiel Conservatory. Alfred Einstein asked him for a review of the Erläuterungsausgabe, but he declined.

OJ 10/3, [2] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 8, 1913

Deutsch encloses part of a letter from Ludwig Scheibler, which he says will interest Schenker. He has finished work on two volumes of his documentary biography.

OJ 10/1, [44] Handwritten letter from Dahms to Schenker, dated September 10, 1919

Dahms thanks the Schenker's for his time with them, and reports what he is doing currently; he endorses Nietzsche's view of Germany and the Germans, and speaks of the unprincipledness that its legal system and officialdom fosters.

OJ 10/1, [45] Handwritten letter from Dahms to Schenker, dated September 26, 1919

Dahms responds to Schenker's letter (non-extant). He reflects on Prussian militarism. He declares that there is no such things as "military genius"; Germany was as guilty as the Entente Powers for the war; soldiers were treated as slaves by their officers, with Wilhelm II bearing the ultimate guilt. He rejects all political parties. England does not treat its people as Germany does. He believes only in the German spirit, which he regards as the spirit of the world. He cannot wait to leave Germany, and wants only to immerse himself in Schenker's work.

OJ 15/5, [4] Handwritten letter from Eberhard von Waechter to Schenker, dated October 1, 1919

Waechter asks for an article on performance for Der Merker, remarking that analysis takes the performer only so far, after which the latter's feelings must take over. He praises Schenker's prowess in analysis, and asks again if he may send the manuscript of his latest book for Schenker's appraisal.

OJ 15/18, [2] Credit slip from Wiener Bank-Verein, dated October 10, 1919

Credits Schenker with 346.92 Marks and converts them to 1,121.40 Kronen.

OJ 15/18, [3] Account from Wiener Bank-Verein, dated October 10, 1919

Statement of account, balance 1,121.40 Kronen.

OJ 15/5, [5] Handwritten note from Eberhard von Waechter to Schenker, dated October 11, 1919

Waechter regrets Schenker's refusal to agree to write articles for Der Merker, and expresses doubts about his "prophetic zeal."

OJ 10/1, [46] Handwritten postcard from Dahms to Schenker, dated October 17, 1919

Dahms reports on the present whereabouts of the autograph manuscript of Beethoven Op. 101.

OJ 15/5, [6] Handwritten letter from Eberhard von Waechter to Schenker, dated October 19, 1919

Waechter understands Schenker's wish not to pre-publish his Art of Performance in article form, and hopes that Schenker will provide a universal solution to the performance problem; explains the editorial control of Der Merker, encouraging Weisse to submit his two articles to it; expresses pleasure that he has procured from Halm reviews of Schenker's Harmonielehre and Kontrapunkt 1; is unable to send his Musikkritik der Gegenwart at present.

OJ 11/16, [A] Handwritten letter from Furtwängler to Schenker, undated

Furtwängler asks if he can call on Schenker that evening.

OJ 11/16, [B] Handwritten letter from Furtwängler to Schenker, undated

Furtwängler asks if he can call on Schenker the coming Friday.

OJ 11/16, [C] Handwritten letter from Furtwängler to Schenker, undated

Furtwängler asks if he can call on Schenker the coming Sunday.

OJ 11/16, [D] Handwritten letter from Furtwängler to Schenker, undated

Furtwängler hopes to visit Schenker in about a week's time.

OJ 11/16, [E] Handwritten letter from Furtwängler to Schenker, undated [1928‒30]

Furtwängler cancels meeting on account of illness.

OJ 11/16, [F] Handwritten letter from Furtwängler to Schenker, undated

Furtwängler asks for a meeting this evening at Meißl.

OC 16/37v-36v Typed letter from Türkel to Schenker, dated November 3, 1919

Tükel reports the contents of a letter he has received from Dr. Friedmann.

OJ 11/35, 11 Handwritten letter from Halm to Schenker, dated November 3, 1919

Acknowledges DLA 69.930/8, October 27, 1919, sends a serenade and asks for comments. Sends best wishes for relocation to Germany and inquires as to city.

OC 52/210 Typed letter from Hertzka (UE) to Schenker, dated November 8, 1919

Hertzka has arranged for a copy of his monograph Beethovens Neunte Sinfone to be sent, and welcomes Schenker's remarks about resuming work for UE. PS: He is sending the first issue of Musikblätter des Anbruch.

OC 52/211 Typed letter from Hertzka (UE) to Schenker, dated November 14, 1919

Hertzka will correct the price of Beethovens Neunte Sinfonie and send a copy of Die letzten fünf Sonaten von Beethoven ... op. 111 to Dolfi Baudrexel. He hopes that Schenker will contribute to Musikblätter des Anbruch.

OJ 10/3, [4] Handwritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1919

Deutsch announces that he has taken over a book dealership, and seeks custom.

OJ 11/16, [1] Handwritten letter from Furtwängler to Schenker, dated November [18 or 19,] 1919

Furtwängler prizes Schenker's approval higher than that of others; he is uncertain what role he is destined to play in the musical life of Vienna; he hopes to talk with Schenker.

OJ 11/16, [2] Handwritten letter from Furtwängler to Schenker, dated November 27, 1919

Furtwängler proposes that they meet in a restaurant on Saturday evening.

OJ 10/1, [47] Handwritten letter from Dahms to Schenker, dated November 28, 1919

Dahms discusses his future prospects for study, particular where to study (he discusses conditions in several cities), and with whom. He asks Schenker's advice. He is resolved to leave Vrieslander because of the latter's pessimism.

OC 52/212-213 Typed letter from Hertzka (UE) to Schenker, dated December 1, 1919

Hertzka is pleased to hear that the availability of the autograph manuscript of Op. 101 means that the series Die letzten fünf Sonaten von Beethoven can go forward, and is in agreement with Schenker's proposal to edit the remaining twenty-seven Beethoven sonatas. He asks for a meeting to discuss the honorarium.

OC 52/214 Typed postcard from Hertzka (UE) to Schenker, dated December 9, 1919

Hertzka agrees to place and time of a meeting on Friday May 12.

OC B/268 Typewritten letter from Louis Koch to Schenker, dated December 10, 1919

Koch asks about the format of the required photography.

OC 16/38v Typed letter from Türkel to Schenker, dated December 13, 1919

Türkel acknowledges letter and requests explanation.

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.

OJ 10/1, [48] Handwritten letter from Dahms to Schenker, dated December 21, 1919

Dahms thanks Schenker for his advice on the next stage of instruction. He wrote to Halm, who confirmed what Schenker had said. He congratulates Schenker on the superhuman work that he is doing under current adverse circumstances.

OJ 10/1, [49] Handwritten letter from Dahms to Schenker, dated December 27, 1919

Thanking Schenker for his kindness, he agrees that Schenker should delay the payment of a sum of money to him, and asks if he might stay near Schenker for a few weeks during the summer of 1920.

OC B/170 Typewritten letter from Wilhelm Altmann to Schenker, dated January 5, 1920

Altmann will have photographs [of sketches of Beethoven, Op. 101] prepared upon receipt of application form.

OJ 11/35, 14 Handwritten letter from Halm to Schenker, dated January 5, 1920

Halm offers advice on securing satisfactory contractual terms, favoring percentages over one-time payments.

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.

OJ 10/3, [6] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 9, 1920

Deutsch is sorry that a customer prevented him for speaking with the Schenkers when they visited his store. Photographic originals will be needed for the connoisseur edition.

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.

OJ 8/3, [80] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 12, 1920

Schenker comments acerbically on the settlement with Emil Kornfeld. — Reports on a contract Halm has shown him. — Inquires about the children's health and reports that Wilhelm has been taken ill.

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.

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.

OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22, 1920

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.

OC 16/39v-40v Typed letter from Türkel to Schenker, dated January 26, 1920

Following affirmative reaction from Fritz Mendel, Türkel asks Schenker to call on him.

OJ 8/3, [81] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 31, 1920

Schenker asks Violin to inquire about availability of the apartment of one of the Rosé String Quartet members.

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.

OJ 10/3, [8] Handwritten postcard from Otto Erich Deutsch Deutsch to Schenker, dated February 12, 1920

The Beethoven House will only allow reproduction of the manuscript of the "Moonlight" Sonata in return for a royalty. Deutsch has offered 5% of the retail price.

OJ 8/3, [82] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated February 13, 1920

Amount of divorce settlement and its investment. — Op. 101/3 sketches arrived.

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.

OJ 11/35, 16 Handwritten letter from Halm to Schenker, dated February 10, 1920

Halm acknowledges 69.930/9 and return of contracts. H is looking for a new publisher for his compositions, and wonders whether Schenker would put in a good word to UE on his behalf, or whether Schenker knows of a small press that might be suitable. Wishes Furtwängler would perform something of his.

OC B/168 Typewritten letter from Wilhelm Altmann to Schenker, dated February 25, 1920

Altmann is glad Schenker hopes to visit the Library; photography of Chopin Etudes Op. 10 is in progress.

OC B/267 Typewritten letter from Louis Koch to Schenker, dated February 27, 1920

Koch is sending photographs separately.

OJ 10/3, [9] Handwritten postcard from Otto Erich Deutsch to Schenker, dated March 1, 1920

Deutsch thanks Schenker for his suggestion of Brahms's Op. 117; Mr. Kalbeck has suggested Brahms's "Sapphische Ode" (Op. 95, No. 4) and "Nachtwandler" (Op. 86, No. 3).

OJ 10/1, [50] Handwritten picture postcard from Dahms to Schenker, dated March 6, 1920

Dahms sends greetings from Berlin.

OJ 8/3, [83] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 8, 1920

Tonschl's report on conversation with Moriz Schenker, and advice.

OC 52/219 Typed postcard from Rothe (UE) to Schenker, dated March 9, 1920

Vol. II of the Beethoven sonatas is being dispatched to Schenker.

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.

OJ 8/3, [84] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 16, 1920

Moriz Schenker extends invitation to meet, confirms sum of 68,080 Kronen. — Meeting with Hertzka scheduled for next day.

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.

OC 52/221 Typed letter from Hertzka (UE) to Schenker, dated March 26, 1920

Hertzka seeks a meeting to discuss the letter of agreement about the Beethoven sonatas edition, and laments their difficulty in meeting.

OC 52/222 Typed letter from Fischmann to Schenker, dated March 26, 1920

Fischmann asks Schenker to call on him on March 31.

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.

OC 16/41v-42v Typed letter from Türkel to Schenker, dated April 6, 1920

Türkel corrects Schenker and suggests he make inquiries with Friedmann.

OC 52/225 Typed postcard from Hertzka/Rothe (UE) to Schenker, dated April 7, 1920

Hertzka agrees to meet Schenker.

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.

OJ 8/3, [85] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 12, 1920

Schenker inquires about Furtwängler, and reports progress with Hertzka.

OJ 11/35, 17 Handwritten letter from Halm to Schenker, dated April 13, 1920

Halm acknowledges receipt of DLA 69.930/9; voices misgivings about publishing with UE and discusses publishers' unscrupulous tactics and the difficulty of legal redress.

OC 52/226 Typed letter from Hertzka (UE) to Schenker, dated April 16, 1920

Hertzka agrees to pay extra costs for photography [of Op. 53], but sets conditions.

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.

OC B/162 Typewritten letter from Wilhelm Altmann to Schenker, dated April 19, 1920

Altmann advises Schenker on the early sources of Beethoven piano sonatas in the Library's possession.

OC 52/228 Typed postcard from Hertzka (UE) to Schenker, dated April 22, 1920

Hertzka regrets the difficulties that Schenker has made over the letter of agreement, and will be away for several weeks.

OC 32/29v-27v Typed letter from Friedmann to Schenker, dated April 23, 1920

Friedmann asks Schenker if he might explain the situation in person.

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.

OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920

OJ 10/1, [52] Handwritten letter from Dahms to Schenker, dated June 9, 1920

Reflecting on the difficulty of finding housing and provisions, and on the recent German federal elections, Dahms asks whether mastery of chorale and fugue is to be obtained solely by exercises in the manner of [E. F.] Richter and others. — He inquires whether Schenker knows Kurth's Grundlagen des linearen Kontrapunkts, and whether there are any worthwhile [musical] people in Salzburg.

OJ 10/1, [53] Handwritten letter from Dahms to Schenker, dated June 15, 1920

Dahms sends birthday greetings and reflects on the sorry conditions for the arts prevailing in the current political climate.

OJ 10/3, [10] Handwritten postcard from Otto Erich Deutsch to Schenker, dated June 15, 1920

The Beethoven House has given permission for the reproduction of the "Moonlight" Sonata, and have suggested a photographer. Before arranging for the reproduction, Deutsch asks Schenker to send his existing prints to determine if they are suitable.

OC 52/229 Typed letter from Hertzka (UE) to Schenker, dated June 24, 1920

Hertzka will meet with Schenker on Friday July 2 to receive the manuscript of Schenker's Op. 101 monograph and photographs of the "Moonlight" Sonata.

OJ 15/16, [41] Handwritten letter from Weisse to Schenker, dated "end of June, 1920"

Taking his leave of Schenker as a pupil, Weisse expresses his gratitude for all that Schenker has done for his artistic and human development, and declares himself ready to continue in the service of his teacher's highest ideals.

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.

OJ 15/16, [42] Handwritten letter from Weisse to Schenker, dated July 11, 1920

Weisse wishes Schenker an enjoyable summer holiday, and looks forward to visiting him. He inquires about the possibility of moving into Reisnerstraße 38, in the event that the Schenkers move elsewhere, and informs his teacher about the organization of a lecture series at the Vienna Urania. He concludes with some remarks about literary works, Wedekind's Schloß Wetterstein and Jean Paul's Levana.

OJ 10/1, [54] Handwritten postcard from Dahms to Schenker, dated July 12, 1920

Dahms is pleased that Schenker is in the mountains, and hopes for a meeting with him in Munich on Schenker's way to Stuttgart.

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.

OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14, 1920

The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit them?

OJ 15/16, [43] Handwritten letter from Weisse to Schenker, dated July 19, 1920

Weisse reports his arrival for the summer in Ischl, and the grave illness that has befallen his grandfather there. He sends Schenker three excerpts from Jean Paul's review of Mme. de Staël's "On Germany" (1810), which he expects his teacher will find useful as cultural and political ammunition against the French.

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.

OJ 10/1, [55] Handwritten letter from Dahms to Schenker, dated July 30, 1920

Dahms finds the Berlin musicians on vacation to be ignorant – "artistic bolshevism." — He now understands Kurth's work better for Schenker's comments.

OJ 8/3, [88] Handwritten postcard from Heinrich & Jeanette Schenker to Moriz Violin, dated July 30, 1920

Schenker reports that the attempt to procure an apartment in Reisnerstraße 17 has failed, and complains about the corrupt circumstances.

OJ 10/3, [13] Typewritten postcard from Otto Erich Deutsch to Schenker, dated August 5, 1920

The photograph of Speyer's sketchleaves is still forthcoming. Deutsch has discovered that a Dr. Wilhelm Kux possesses a further sketchleaf of the "Moonlight" Sonata, and asks Schenker if he wants Deutsch to try secure a reproduction of it.

OJ 15/16, [44] Handwritten letter from Weisse to Schenker, dated August 10, 1920

Weisse explains that his grandfather's death prevents him from visiting Schenker in Seefeld, but hopes that he might nonetheless visit him elsewhere before the end of the summer holidays.

OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16, 1920

Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight" Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside. Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him to write to the Museum to request a photograph of the sketchleaf.

OJ 10/1, [56] Handwritten letter from Dahms to Schenker, dated August 19, 1920

Dahms is having difficulty obtaining a passport, but still hopes to see Schenker this summer, perhaps in Munich. — He sends his three biographical books to Schenker, but is apprehensive of the latter's reaction to their hemeneutic elements; he hopes to writes something more fitting.

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.

OJ 11/35,18a Handwritten postcard from Halm to Schenker, dated August 21, 1920

Halm advises Schenker on choice of carbon copy systems.

OJ 8/3, [89] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 23, 1920

Gives date of return to Vienna, and confirms Tuesday meeting.

OJ 10/1, [57] Handwritten postcard from Dahms to Schenker, dated August 25, 1920

Dahms understands that he cannot meet with Schenker; the three books are about to be dispatched.

OJ 10/1, [58] Handwritten postcard from Dahms to Schenker, dated September 2, 1920

Dahms explains the sources of the three books. — Vrieslander gave him an enthusiastic account of his time in Seefeld.

OJ 9/30, [7] Handwritten letter from Carl Colbert to Schenker, dated September 6, 1920

Carl Colbert invites Schenker to submit an article to Der Abend for the 150th anniversary of Beethoven's birth.

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.

OJ 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13, 1920

Deutsch asks Schenker to clarify whether bars are missing from the start of the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal Edition's intended format for the volume, and ask if Schenker approves of their proposals. Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical Times.

OC B/159 Typewritten postcard from Wilhelm Altmann to Schenker, dated September 20, 1920

The photographs of Beethoven's Fifth Symphony, first movement, should be dispatched next week.

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.

OC B/158 Handwritten postcard from Wilhelm Altmann to Schenker, dated September 25, 1920

Altmann notifies Schenker of the cost of photographic work done.

OJ 10/3, [16] Typewritten letter from Otto Erich Deutsch to Schenker, dated October 1, 1920

Deutsch encloses images of Wilhelm Kux's sketchleaf of the "Moonlight" Sonata for Schenker to study. He is writing to the [Fitzwilliam] Museum in Cambridge about their sketchleaf of the Sonata.

OC 52/234 Typed postcard from Nella Balassa (UE) to Schenker, dated October 4, 1920

Schenker is asked to send the figure back with messenger.

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.

OJ 8/3, [90] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, undated, postmarked [October] 17, 1920

The Schenkers are unable to visit Wally this Sunday, but will do so the following Sunday.

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.

OJ 15/15, [8] Handwritten postcard from Weisse to Schenker, dated November 2, 1920

Weisse asks for help in explaining the development section of the first movement of Brahms's Piano Trio No. 1 in B major, Op. 8; asks for the address of Fräulein Fried.

OC 52/237 Typed letter from Kalmus (UE) to Schenker, dated November 5, 1920

Kalmus confirms that the "Secondary Literature" section of Op. 101 will be set in small type; he is writing to Paris about the "Appassionata."

OJ 10/3, [17] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 6, 1920

Deutsch encloses two photographic prints of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaf. Edward Speyer has not yet had his sketchleaf photographed, but has sent a description of its content, which Deutsch passes on.

OJ 10/3, [18] Typewritten postcard from Otto Erich Deutsch to Schenker, dated November 13, 1920

Deutsch has obtained a sheet with corrections for Beethoven's "Hammerklavier" Sonata, which he would like to show Schenker. The photographic images of the "Moonlight" Sonata will be made this week.

OJ 10/3, [19] Typewritten postcard from Leo Fischmann to Schenker, dated November 22, 1920

Leo Fischmann (legal attorney) invites Schenker to visit him at home.

OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26, 1920

Replying to Schenker's postcard of November 20th, Deutsch writes that the connoisseur edition is to be reproduced using photolithography, and repeats the particulars of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111). Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks for sight of the draft of Schenker's Preface.

OJ 11/16, [3] Handwritten letter from Furtwängler to Schenker, dated November 26, 1920

Furtwängler proposes that they meet on Tuesday [November 30, 1920].

OC 52/238 Typed letter from Rothe (UE) to Schenker, dated December 6, 1920

UE are delivering [first] proofs of Op. 111 and second proofs of figures [for "Schubert: Ihr Bild"].

OJ 10/3, [21] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 11, 1920

Deutsch encloses the photographs of Edward Speyer's "Moonlight" Sonata sketchleaves and asks Schenker to revise his Preface accordingly, before forwarding the photographs and Preface to him. The photographic reproduction of the Sonata manuscript in Bonn has been delayed by a chemical and glass shortage. Schenker's corrections were used for the prospectus.

OC 52/485 Contract between Otto Erich Deutsch and Schenker, dated December 16, 1920

Contract between Otto Erich Deutsch and Schenker for the facsimile edition of Beethoven, "Moonlight" Sonata.

OC 52/239-240 Typed letter from Hertzka (UE) to Schenker, dated December 18, 1920

Hertzka and Schenker will discuss the Niloff Instrumentations-Tabelle; Hertzka offers two alternative solutions to UE's taking over of Kontrapunkt 2.

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.

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.

OJ 10/3, [22] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 23, 1920

Deutsch confirms receipt of Schenker preface for the "Moonlight" Sonata edition and five photographs of sketchleaves. He will send a formal contract in the next few days.

OC B/155 Typewritten letter from Wilhelm Altmann to Schenker, dated December 28, 1920

Altmann reports extra cost of photographic work.

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.

OC 52/561 Typed letter from Hertzka (UE) to Schenker, dated December 30, 1920

Hertzka wishes to discuss the transfer of Kontrapunkt 2 in person. He also wishes urgently to discuss "The Mission of German Genius." [This crucial letter marks the beginning of the deterioration of relations between Schenker, Hertzka, and UE between 1920 and 1925.]

OJ 11/35, 18b Handwritten letter from Halm to Schenker, dated December 30, 1920

Halm acknowledges letter, sends one newly-published composition, and tells Schenker of a forthcoming performance of a concerto by him, and three compositions turned down for publication.

OC 52/242 Typed postcard from Hertzka (UE) to Schenker, dated January 3, 1921

Hertzka confirms day and time of meeting.

OJ 10/1, [61] Handwritten letter from Dahms to Schenker, dated January 5, 1921

Dahms thanks Schenker for a photograph.

OJ 8/4, [1] Handwritten postcard from Schenker to Moriz Violin, dated January 10, 1921

Schenker asks Violin to arrange for payments and currency conversion.

OC 52/244 Typed letter from Hertzka (UE) to Schenker, dated January 12, 1921

Hertzka sends contracts for NMTP and Kontrapunkt 2, and discusses the take-over from Cotta, requesting Schenker's estimate of remaining stocks, and asking whether changes would be required in a second edition of Kontrapunkt I.

OC B/156 Typewritten postcard from Wilhelm Altmann to Schenker, postmarked January 18, 1921

Photographing of movements 2-4 of Beethoven's Fifth Symphony will be delayed until February.

OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30, 1921

The overdue ["Moonlight" Sonata edition] contract is finally ready, and Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready. Schenker should expect to receive an edited version of his commentary, and perhaps also an English translation.

OJ 8/4, [2] Handwritten postcard from Schenker to Moriz Violin, dated February 6, 1921

Schenker congratulates Violin on obtaining a teaching post in Hamburg and reports on progress on his written work and publications.

OJ 8/4, [3] Handwritten postcard from Schenker to Valerie Violin, dated February 8, 1921

Schenker accepts an invitation to lunch from Valerie Violin.

OJ 8/4, [4] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, dated February 26, 1921

Schenker inquires about a series of payments from Miss Reich for lessons.

OJ 10/1, [62] Handwritten letter from Dahms to Schenker, dated April 4, 1921

Dahms asks Schenker to recommend him to Cotta re: the book he is writing on Italian opera.

OJ 8/4, [5] Handwritten postcard from Schenker to Moriz Violin, dated April 29, 1921

Schenker describes some of the last-minute activities prior to their moving to a new apartment, at No. 8 Keilgasse, lists his works that are about to be published, and reports that Buxbaum has been dismissed as cellist of the Arnold Rosé Quartet.

OC B/151 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 10, 1921

Altmann sends Schenker Beethoven Op. 31, No. 3 in the Simrock edition on loan.

OJ 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921

Schenker gives an account of the move into Keilgasse 8 and describes his study in the apartment. He outlines his holiday plans, and explains how he is raising the fees for lessons in the autumn.

OJ 10/1, [63] Handwritten letter from Dahms to Schenker, dated June 17, 1921

Dahms sends birthday greetings. — Cotta has turned down his book proposal. — He will soon obtain a passport and hopes to visit the Schenkers during the summer.

OC 24/22 Typewritten postcard from Otto Erich Deutsch to Schenker, dated June 28, 1921

Deutsch thanks Schenker for his postcard of June 26, 1921, and wishes him good luck in his new home and with his summer trip to Galtür. Deutsch has read issue 1 of Tonwille with great interest, and hopes that their connoisseur edition will be as successful.

OC B/152 Handwritten postcard from Wilhelm Altmann to Schenker, dated June 30, 1921

Altmann reports on holdings of Handel keyboard works edition (1702).

OJ 8/4, [6] Handwritten picture postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated June 30, 1921

On holiday (for the first time) in Galtür in the Paznaun Valley, Schenker composes two short verses in local dialect, and Jeanette a third, to convey something of the Tyrolean atmosphere.

OJ 8/4, [7] Handwritten picture postcard from Schenker to Moriz Violin, dated July 6, 1921

In anticipation of preparing an edition of Handel's keyboard works, Schenker asks Violin for the address of a library in Hamburg that would be likely to have an early print or handwritten copy of Handel's first book of Suites.

OJ 10/1, [64] Handwritten letter from Dahms to Schenker, dated July 14, 1921

Dahms has to go to Berlin, after which he will explore visiting the Schenkers in Galtür.

OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921

Weisse has completed a string quartet, the parts of which are being copied out, after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept because his knowledge of English is insufficient. He enquires about the progress of Schenker's current projects.

OJ 11/35, 19 Handwritten letter from Halm to Schenker, dated July 28, 1921

Halm discusses an "intended gift," and the merits of Matthäus Hentz and K. T. Schmid to receive it. Halm reports that he has moved from Esslingen to Wickersdorf, and that his Concerto for Large Orchestra has been performed by Fritz Busch in Stuttgart, and comments on Cotta's hand-over of Kontrapunkt.

OC 24/20 Handwritten letter from Frimmel to Schenker, dated August 1, 1921

Frimmel acknowledges receipt of a complimentary copy of Tonwille 1, comments neutrally on Schenker's incursions into politics, imagines something rather different by the concept of "Tonwille," and while agreeing with the criticism of Riemann thinks it could have been done more gently. — He asks for review copies of Schenker's editions of Beethoven Op. 110 and 101.

OC 24/4-5 Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 3, 1921

Violin expresses his awe concerning the first issue of Der Tonwille, and declares himself ready to offer his services in making Schenker's work better understood.

OJ 10/1, [65] Handwritten letter from Dahms to Schenker, dated August 21, 1921

Dahms is unable to visit the Schenkers in Galtür. — He criticizes Berlin and its artists and critics.

OJ 15/15, [9] Handwritten postcard from Weisse to Schenker, postmarked August 22, 1921

Weisse is taking a very late summer holiday and so cannot visit Schenker in Galtür. He has finished composing a sonata and is writing out a fair copy.

OJ 14/45, [11] Handwritten letter from Moriz Violin to Schenker, dated September 1, 1921

Violin announces the formation of a piano trio ensemble with a violinist named Wolfsthal and the cellist Friedrich Buxbaum, inquires about the proposed edition of Handel's keyboard works, and reports on the incipient civil unrest in the wake of a national movement in Germany.

OC B/148 Typewritten letter from Wilhelm Altmann to Schenker, dated September 9, 1921

Altmann reports on holdings of Handel keyboard works; and on progress in photographing Beethoven's Symphony No. 5; and thanks Schenker for sending Tonwille 1 and Op. 101.

OJ 15/15, [10] Handwritten postcard from Weisse to Schenker, dated September 12, 1921

Nearing the end of a two-week holiday in Bad Ischl, Weisse hopes to see Schenker in Vienna the following Sunday.

OJ 10/1, [66] Handwritten picture postcard from Margarete and Walter Dahms to Schenker, dated September 22, 1921

Dahms and his wife send greetings from Munich.

OJ 8/4, [8] Handwritten postcard from Schenker to Moriz Violin, dated September 23, 1921

Schenker alerts Violin to the imminent arrival of a payment.

OJ 10/3, [24] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 24, 1921

Deutsch reports that the "Moonlight" Sonata edition is almost finished, but because of translation problems he has asked Dr. Kalmus to show Schenker the latest revision of the English preface. Schenker's photographic reproductions will be returned once a sample print-out of the edition has been prepared and approved. The edition will launch in the autumn, and Schenker's fee will have increased because of the delay.

OJ 11/10, [16] Handwritten letter from Frimmel to Schenker, dated September 26, 1921

Frimmel thanks Schenker for delivery of the latter's elucidatory editions of Beethoven's piano sonatas Opp. 101 and 111, and expresses admiration.

OJ 14/45, [105] Handwritten postcard from Moriz Violin to Heinrich Schenker, dated October 6, 1921

Violin acknowledges receipt of payment, inquires about reviews of Der Tonwille.

OJ 10/1, [67] Handwritten postcard from Dahms to Schenker, dated October 12, 1921

Dahms reports on his Italian sojourn and work.

OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921

Violin reports on his work, and on musicians in Hamburg, and congratulates Schenker on his (publication) successes.

OJ 10/3, [25] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1921

Deutsch notes the advance payments for Vrieslander's and Hoboken's copies of the luxury edition of the "Moonlight" Sonata, both of which are to be delivered to Vrieslander.

OJ 10/1, [68] Handwritten letter from Dahms to Schenker, dated November 22, 1921

Rome has been overtaken by commerce. — [material missing] — Berlin regards Dahms as stuck in the past.

OJ 15/15, [11] Handwritten postcard from Hertha and Hans Weisse to Schenker, dated December 1, 1921

Weisse has returned a score to Universal Edition and written to Moriz Violin. He has, with some reluctance, raised his lesson fee.

OJ 11/36, [4] Handwritten letter from Hammer to Schenker, dated December 9, 1921

Hammer owns several of Schenker's books and is beginning to understand their concepts.

JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921

Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie".

JOB 94-3, [1] Handwritten letter from Schenker to Hammer dated December 19, 1921

Schenker seeks to articulate the difference between the painter's and the composer's work as regards the Urlinie, using the terms "Ton" (vs. "Farbe"), "Tonkörper," and "Linie".

OJ 10/3, [26] Typewritten postcard from Otto Erich Deutsch to Schenker, dated December 28, 1921

A payment of 1,200 marks from Seidel's Book Dealership, on behalf of Deutsch, has been made to Schenker's Deutsche Bank account.

OJ 10/3, [27] Typewritten postcard from Österreichisches Credit-Institut to Schenker, dated December 30, 1921

The Österreichisches Credit-Institut informs Schenker that 1,200 marks has been paid into his account from Seidel's Book Dealership, O. E. Deutsch & Co, Vienna.

OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922

Schenker offers to lend Violin his performing materials for two keyboard concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most recent work, continues to despair of his financial situation.

OJ 14/45, [13] Handwritten letter from Moriz Violin to Schenker, dated February 2, 1922

In this direct reply to Schenker's previous letter, OJ 6/7, [2], Violin expresses his dismay that some of the performing material for keyboard concertos by C. P. E. Bach, including original cadenzas by Schenker, appear to have gone missing. — He reports on his growing number of pupils, on the acquisition of a piano for his apartment, and on Hamburg's extremely conservative musical tastes.

OJ 10/3, [28] Typewritten letter from Deutsch to Schenker, dated February 14, 1922

Deutsch offers to provide several books to Schenker instead of two or three hardback copies of the "Moonlight" Sonata edition, and then details several misprints and factual errors in Romain Rolland's biography of Beethoven.

OJ 14/21, [3] Delivery note from Seidel'sche Buchhandlung to Schenker, dated February 15, 1922

Delivery note from Deutsch's bookshop (Seidel'sche Buchhandlung) to Schenker for works by J. S. Bach, Mozart and Brahms.

OC 12/1 Handwritten letter from Theodor Frimmel to Deutsch, dated February 22, 1922 (forwarded from Deutsch to Schenker with marginal note dated Feburary 27, 1922)

Deutsch forwards Schenker a letter from Theodor Frimmel regarding errors in Rolland's Beethoven biography. In the original letter, Frimmel asks Deutsch to send his regards to the Schenkers.

OJ 10/1, [69] Typed letter from Dahms to Schenker, dated March 11, 1922

Dahms's book, which has earned an award, is delayed at the bindery. He blames this on the prevailing undisciplined conditions in Germany, criticizes the current government, and predicts war.

OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922

Deutsch writes that the "Moonlight" Sonata facsimile edition is still being printed, and that he cannot make a decision on the production of a second facsimile edition until the new contract has been agreed with Universal Edition. The contract has been delayed by Universal Edition's dispute with Drei Masken. If they have to abandon plans for the facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute, Deutsch suggests Beethoven's String Quartet Op. 95 as an alternative.

OJ 11/36, [5] Handwritten letter from Hammer to Schenker dated March 23, 1922

Hammer praises Schenker's edition of Bach's Chromatic Fantasy & Fugue, raising an issue about fingering on the clavichord.— He inquires after Tonwille 2, and hopes to visit Schenker in Vienna soon.

OJ 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922

Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven manuscript.

OJ 8/4, [11] Handwritten postcard from Schenker to Moriz Violin, dated April 9, 1922

Schenker apologizes for not having been in touch with Violin, mainly owing to overwork and a severe diabetic reaction, which required medical attention. He reports on a new series of Beethoven sonata editions – an "Urlinie-Ausgabe" – he is planning to undertake.

OJ 10/3, [31] Typewritten letter from Deutsch to Schenker, dated April 18, 1922

Deutsch informs Schenker that Drei Masken is publishing a facsimile of Beethoven's Piano Sonata in C minor, Op. 111.

OJ 10/3, [32] Typewritten postcard from Deutsch to Schenker, dated April 20, 1922

Deutsch thanks Schenker for his suggestions [for further facsimile editions] and has passed them on to Universal Edition.

OJ 10/3, [33] Typewritten postcard from Deutsch to Schenker, dated April 21, 1922

Deutsch has already written to Universal Edition about [Schenker's proposal for a facsimile edition of] Beethoven's Piano Sonata Op. 109. Should this plan be realized, he hopes that Schenker will provide a foreword.

OJ 10/3, [34] Typewritten letter from Deutsch to Schenker, dated April 26, 1922

Deutsch reports that Universal Edition has agreed to publish facsimile editions of Beethoven's Piano Sonatas Opp. 109 and 110; he asks what sources Schenker could make available. Deutsch would also like to know which Beethoven string quartet Schenker would recommend for a further facsimile edition.

OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922

This wide-ranging letter describes the difficulties encountered with Emil Hertzka at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the "Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's generosity. — Ends with generous praise for Violin's musicianship.

OJ 10/3, [35] Typewritten letter from Deutsch to Schenker, dated May 12, 1922

Deutsch has passed Schenker's suggestions for facsimile editions on to Universal Edition, and asks for a reference for the Bekker article that Schenker mentioned.

OJ 15/15, [12] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated May 20, 1922

Hertha Weisse gives Jeanette Schenker the name and address of a tailor who can make her a coat, and tells her how much material she needs to buy.

OJ 10/3, [36] Typewritten postcard from Deutsch to Schenker, dated May 22, 1922

Deutsch asks Schenker to visit him in his office in the next few days.

JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922

Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to read Fiedler and Hildebrand.

OJ 10/3, [37] Typewritten postcard from Deutsch to Schenker, dated May 26, 1922

Deutsch reports that Drei Masken will not publish a facsimile edition of Beethoven's "Spring" Sonata Op. 24, and will instead publish editions of Beethoven's Piano Sonata in F-sharp Op. 78, a string quartet by Haydn, and Schubert's Winterreise and B minor Symphony.

OJ 11/36, [6] Handwritten letter from Hammer to Schenker dated May 29, 1922

Hammer thanks Schenker for his letter and generosity, and invites Heinrich and Jeanette to visit, suggesting May 31; — proofs of his monograph have arrived.

OJ 14/46, [1] Handwritten postcard from Fanny Violin to Jeanette Schenker, dated May 29, 1922

Fanny apologizes for missing Jeanette and plans to visit.

JOB 94-3, [3] Handwritten postcard from Schenker to Hammer dated May 29, 1922

Schenker accepts Hammer's invitation for May 31.

OJ 11/36, [7] Handwritten postcard from Hammer to Schenker, postmarked May 30, 1922

Hammer changes time of Schenker visit.

OJ 8/4, [12] Handwritten postcard from Schenker to Moriz Violin, undated [June 17, 1922]

Schenker explains why the "Miscellanea" is missing from Tonwille 2; he likens Hertzka's heavy-handedness to Prince Metternich's police-state tactics.

OJ 10/1, [70] Handwritten postcard from Margarete and Walter Dahms to Schenker, dated June 19, 1922

The Dahmses sent birthday greetings and report on their life in Italy.

OJ 14/21, [4] Invoice from Seidel'sche Buchhandlung to Schenker, dated June 30, 1922

Invoice from Deutsch's bookshop (Seidel'sche Buchhandlung) for works by Mozart and Brahms, and a book by Hildebrand, which also shows a credit remittance for one copy of Schenker's facsimile edition of Beethoven's "Moonlight" Sonata.

OJ 10/1, [71] Handwritten picture postcard from Dahms to Schenker, dated July 12, 1922

Acknowledges and praises Tonwille 2; inquires about Thal Verlag.

OJ 15/15, [13] Handwritten postcard from Weisse to Schenker, dated July 17, 1922

Weisse has returned to Vienna, thanks Schenker for the Galtür visit, and will order the bread [for diabetics] the next day.

OJ 15/16, [46] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 21, 1922

Weisse reports from Vienna that a sum of money has arrived, and will be paid to its intended recipient (Kohn), and gives an account of his and Hertha Weisse's travels in Vorarlberg following a visit to the Schenkers in Galtür.

OJ 8/4, [13] Handwritten postcard from Schenker to Moriz Violin, dated July 9, 1922

Schenker reports the publication of the second part of Kontrapunkt and continued difficulties with Universal Edition.

OJ 11/35, 20 Handwritten letter from Halm to Schenker, dated July 24 and August 19, 1922

Halm announces publication of his three suites for piano trio, and has arranged for two of them to be sent to Schenker. He thanks Schenker for sending him Kontrapunkt II, and expresses admiration for the "power of the broad conception" of Schenker's work. He is distressed at Schenker's attacks on other countries and glorification of Germany, and speaks with appreciation of French and Russian music. He describes his new publisher.

OJ 14/45, [14] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1922

In this highly emotional letter, Violin describes his personal difficulties in the face of spiraling inflation in Germany.

OJ 8/4, [14] Handwritten postcard from Schenker to Moriz Violin, dated August 5, 1922

Schenker commends Walter Dahm's latest book, Die Offenbarung der Musik, to Violin as one which ought to have important consequences for the course of music.

OJ 10/18, [1] Handwritten letter from Elias to Schenker, dated August 10, 1922

Miss Elias is unable to get to Galtüt on account of bad weather. — She compares prices in the Tyrol with those in Vienna. — She hopes to meet up with the Schenkers in Innsbruck on the homeward journey. — She confirms that she will be able to meet her financial obligations in teh coming year.

OJ 15/16, [47] Handwritten letter from Hans and Hertha Weisse to Schenker, dated August 11, 1922

Weisse reports that he is dealing with business matters entrusted to him by Schenker, and thanks his teacher for arranging the posting of Kontrapunkt 2, which he is in the midst of reading.

OJ 14/45, [15] Handwritten letter from Moriz Violin to Schenker, dated September 3, 1922

Violin reports that his son Karl has suffered several setbacks of health, including inflammation of a cardiac muscle. Plans for Musikhochschule in Hamburg are making strides.

OJ 8/4, [15] Handwritten postcard from Schenker to Moriz Violin, dated September 10, 1922

Hearing of the Violins' son Karl's recent illness, Schenker sends his sympathy, then reports on his financial troubles. His application for a post at the University of Leipzig was received without enthusiasm, on the grounds that he is "more an artist than a scholar."

OJ 14/45, [16] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922

Violin reports briefly about his son's health, then goes into the practical issues arising from Schenker's active search for a post at a German music institute.

OJ 14/45, [17] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922

Apparently having returned from a visit to Vienna, Violin expresses his joy at having seen Schenker recently.

DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922

Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him; speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker, Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development" and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to become brain); Schenker deplores "artifice" (French) as against nature (German). — Things French: praises German superiority over French in its joy of work. — Higher Plane: the German should not abase himself before the Frenchman.

OC B/145 Typewritten letter from Wilhelm Altmann to Schenker, dated September 25, 1922

Altmann has dispatched two items to Schenker, and asks Schenker to instruct UE to send copies of Der Tonwille to the Preussische Staatsbibliothek.

OJ 8/4, [16] Handwritten postcard from Schenker to Moriz Violin, dated September 29, 1922

Schenker reports, among other things, that Hans Weisse has returned as a paying pupil.

OC B/143 Typewritten letter from Wilhelm Altmann to Schenker, dated October 9, 1922

Altmann acknowledges receipt of Der Tonwille and return of two editions, and refers to Universal Edition.

OJ 10/1, [72] Handwritten letter from Dahms to Schenker, dated October 28, 1922

Dahms chooses to remain in Italy in view of the "moral and physical devastation" that he hears reported from Germany. — He is committed to Schust & Loeffler for a Haydn biography. He reports on a review of his book "Offenbarung."

OJ 10/3, [38] Typewritten postcard from Deutsch to Schenker, dated October 30, 1922

Deutsch apologizes for the delay to Schenker's payment for the "Moonlight" Sonata facsimile edition, for which Deutsch himself is to blame. Schenker's debt to Seidel's Book Dealership is 301 marks and 300 kronen, which should be balanced by his income from the facsimile edition.

DLA 69.930/11 Handwritten letter from Schenker to Halm, dated November 2, 1922

Schenker acknowledges receipt of two booklets on youth and the new republic, returns them, comments on them critically: idealistic German democrats desire maximal remuneration with minimal work; illustrates point by difficulties with maids in Schenker household; German democrats naively overestimate social and intellectual status of non-German commoners (French, British, American); Schenker decries cosmopolitanism and those Germans who advocate individuality at the expense of society; Schenker praises the fascists as countering communism and social leveling, compares Mussolini's Italy favorably with present-day Germany.

OJ 11/35, 21 Handwritten letter from Halm to Schenker, dated September 30, 1922]

Halm acknowledges receipt of a letter, and returns newspaper clippings.

OJ 14/45, [106] Handwritten postcard from Moriz Violin to Schenker, dated December 19, 1922

Violin points out that Universal Edition is advertising Schoenberg's Harmonielehre but not Schenker's.

OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922

Schenker reports the imminent publication of Tonwille 3, and some new publishing ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the Short Preludes by J. S. Bach.

OJ 8/4, [17] Handwritten postcard from Schenker to Moriz Violin, dated December 23, 1922

Amplifying a thought expressed in a recent letter, Schenker speaks of a plan to silence the throng that worships Schoenberg and the moderns, but money for it is lacking.

OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27, 1922

Dahms has been trying to improve his publishers' financial terms. — He is in low-grade accommodation; housing in the "German colonies" is available only to officials. — Reports on the concert season in Rome. — Die Musik would not accept an article from him on Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's "sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on his latest book, for which he is arranging a de luxe edition by subscription. — Reports unfavorably on an incident in which Otto Klemperer played the Italian fascist hymn.

OJ 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922

Deutsch provides a full overview of Schenker income from the current sales reported by Universal Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the publication.

JOB 94-3, [4] Handwritten postcard from Schenker to Hammer dated January 21, 1923

Schenker alerts Hammer to the publication of Tonwille 3.

OJ 14/45, [20] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 6, 1923

Violin thanks Schenker for Tonwille 3 and reports on growing social unrest and anti-French feeling in Germany.

OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923

Dahms reports change of address and explains circumstances; has sent a prospectus to UE; progress on subscriptions to his de luxe edition and a new American contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille 3, and comments on Schenker's understanding of democracy.

OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923

Baroness Fischer responds to Schenker's plan for distribution of issues of Der Tonwille by suggesting contacts in the Vienna music schools and professional association.

OJ 11/2, [2] Handwritten letter from Emma Fischer to Schenker, dated February 23, 1923

Baroness Fischer gives names and addresses of five of her pupils to whom Der Tonwille should be sent; she regrets that Schenker will not spread his theory further by means of lectures.

OJ 8/4, [21] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 5, 1923

Schenker asks after Violin and his family, reports on progress with Der Tonwille and the edition of the Beethoven sonatas.

OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26, 1923

Not having heard from him for a long time, Schenker’s asks for news of Violin and his family.

OJ 14/45, [21] Handwritten letter from Moriz Violin to Heinrich Schenker, dated April 28, 1923

Violin reports on a brief trip to Berlin for respite from the strain of teaching and his son’s illness. He is reading the second volume of Schenker’s Counterpoint, but asks him for clarification of a matter concerning second-species counterpoint in two voices, discussed in volume 1.

OJ 10/1, [75] Handwritten postcard from Dahms to Schenker, dated May 7, 1923

Dahms has received Vrieslander's essay on Schenker; reports progress on subscriptions for his de luxe edition, proofs, and his work on Haydn; political comment.

OJ 10/1, [76] Handwritten postcard from Dahms to Schenker, dated May 19, 1923

Hertzka's excuse for not subscribing; gives summer address; asks ornamentation question about the "Les adieux" sonata.

OJ 14/45, [22] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated May 31, 1923

Apparently replying to a letter from Schenker (not recorded in his diary), Violin describes the widespread self-disparagement among Germans, and blames Jewish intellectuals for the defeatist atmosphere in Germany.

OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11, 1923

Responding to a letter from Violin despairing of the political situation in Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which resonate with his own views that German society is, in effect, ruled by foreign despots.

OJ 10/1, [77] Handwritten letter from Dahms to Schenker, dated June 15, 1923

Dahms sends best wishes on Schenker's [55th] birthday, thanks him for his assistance, and praises vol. I of Schenker's Beethoven sonata edition. Members of the German community in Rome reject his assertions about genius.

OJ 11/10, [17] Handwritten postcard from Frimmel to Schenker, dated July 6, 1923

Frimmel makes a word-play on a feuilleton of the same date by Korngold relating to Sigenfeld.

OJ 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9, 1923

Having settled into country life in the Tyrol, Schenker returns to his work, in particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks Violin’s opinion about a subscription plan for a periodical that would appear four times a year (instead of the current two), and hopes that his friend might spare a few days to visit him in Galtür.

OJ 14/45, [23] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated July 12, 1923

Violin writes approvingly of Schenker’s scheme to make Der Tonwille available by subscription, as a periodical publication, and has a plan in mind. He inquires about the cost of staying in Galtür.

OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923

Violin has met an industrialist by the name of Max Temming who would be willing to help make Schenker’s work more widely accessible. Violin will probably not visit the Schenkers in Galtür this summer, as prices have gone up in Germany.

OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923

Weisse summarizes his recent travels in northern Italy and Switzerland, and inquires about progress on Der freie Satz, a work which he thinks will be an indispensable foundation for the analyses in Der Tonwille.

OJ 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20, 1923

Schenker describes his efforts to make Der Tonwille more widely read, through its distribution by his pupils and its display in music shop windows. He needs more help from pupils and friends with the dissemination of his work, but complains that Hans Weisse has let him down on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about whether he should accept an invitation to speak at a conference in Leipzig, or whether he should simply stay at home and continue to write.

OJ 8/4, [24] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 9, [1923]

Concerned that Violin has not arrived in Galtür, Schenker asks him if something has gone amiss with his plans to visit.

OJ 14/45, [25] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 16, 1923

Violin cannot come to the Tyrol to visit the Schenkers, on account of the turmoil in Germany and horrendous currency situation; he will come to Vienna for Christmas, but only for a few days.

OJ 10/1, [78] Handwritten letter from Dahms to Schenker, dated August 23, 1923

Dahms has received Tonwille 4 but not yet examined it. — Has deferred work on his Haydn book because of financial problems over Musik des Südens and poor take-up of subscriptions. — Debates whether to attend the Leipzig musicology conference. — Comments on German politics as the occupation of the Ruhr unfolds, and compares German attitudes with Italian.

OJ 15/16, [49] Handwritten letter from Weisse to Schenker, dated September 7, 1923

Weisse asks Schenker why he and his wife treated him so coldly when they recently met on the street; he suspects this had something to do with his recent trip to Italy, protests his innocence but affirms his unchanged love for his teacher.

OC 12/7-9 Handwritten letter from Halm to Schenker dated November 6‒10, 1923

Halm has sent the published score of a string quartet to Schenker. —Patronage has enabled him to publish three volumes of compositions; reports on current and past composition activities and publications. —Discusses what he has learned from Schenker's theories, and questions whether it would be a fault were Bruckner's symphonies not to contain the Urlinie; Halm's book on Bruckner's symphonies has gone into its second edition. —Halm suspects that Schenker may not "agree with" his compositions, and asks whether Schenker wishes to receives further scores. —Halm considers socialism a "historical necessity."

OJ 12/11, [1] Handwritten letter from Klenau to Schenker, dated September 17, 1923

First approach from Klenau: asks to visit Schenker.

OJ 12/11, [2] Handwritten letter from Klenau to Schenker, dated September 19, 1923

Klenau agrees the date and time for his visit to Schenker.

OJ 12/17, [1] Handwritten letter from Komorn to Heinrich Schenker, dated September 20, 1923

Miss Komorn is transferring her studies from Hans Weisse to Schenker. She asks for suggested pieces to prepare, and for the day and time of her first lesson.

OJ 12/11, [3] Handwritten letter from Klenau to Schenker, dated September 25, 1923

Klenau thanks Schenker for their discussion on September 21.

OJ 12/17, [2] Handwritten postcard from Komorn to Schenker, dated October 1, 1923

Mrs. Komorn will turn up for her first lesson as notified.

OJ 11/16, [4] Handwritten postcard from Furtwängler to Schenker, undated [October 3, 1923]

Furtwängler proposes that they meet on Thursday [October 4, 1923].

OJ 8/4, [25] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 3, 1923

Schenker asks for a few lines from Violin, just to let him know that things are all right, so that he can send him a longer message.

OJ 12/11, [4] Handwritten letter from Klenau to Schenker, dated October 4, 1923

Klenau asks Schenker questions about the performance of the "Eroica" Symphony.

OJ 14/45, [26] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated October 9, 1923

In response to Schenker’s recent postcard, Violin reports that his family are mainly well, but that the political situation in Germany is so depressing that it is almost impossible to write. He would be glad to have some news from Schenker.

OC 54/333-336 Handwritten letter (copy) from Schenker to Klenau, dated October 9‒10, 1923

Schenker offers further advice on performing the "Eroica" Symphony.

OJ 12/11, [5] Handwritten letter from Klenau to Schenker, dated October 21, 1923

Klenau thanks Schenker for advice on performing the "Eroica" Symphony.

OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21, 1923

In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving health, and goes on to mention a number of personal successes he has lately had, including a visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa solemnis. He has also had some unexpected support from his publisher, who wants to expand Der Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts (three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are overtaking Furtwängler as conductors in Vienna by accepting more modest fees.

OJ 11/36, [8] Handwritten letter from Hammer to Schenker dated October 22, 1923

Hammer buys all Schenker's publications, including Tonwille, but admits he has difficulty understanding Schenker's Harmonielehre; — asks for loan of Halm's [Klavierübung]; — gives his forthcoming dates;— comments on the lute and its tablature; — considers Busoni's [Entwurf] wrong-headed.

OJ 15/15, [14] Handwritten postcard from Weisse to Schenker, dated October 23, 1923

Weisse accepts a social invitation from the Schenkers, and hopes to reciprocate soon.

JOB 94-3, [5] Handwritten letter from Schenker to Hammer dated October 24, 1923

Schenker invites Hammer and his wife for November 7; — The problem of the "middleman" (performer, etc.) in music, by contrast with painting; — he reports on Hertzka's proposal to make Tonwille a quarterly publication.

OJ 11/36, [9] Handwritten letter from Hammer to Schenker undated [October 25, 1923]

Hammer sympathizes with the composer's dilemma over middlemen, but points to cases in which the painter has suffered a similar fate.

OJ 10/1, [79] Handwritten letter from Dahms to Schenker, dated November 1, 1923

Dahms has devoted a chapter of his Musik des Südens to "genius" in which he asserts its absoluteness and the gulf between genius and mediocrity. — He concurs with Hertzka's judgement of Furtwängler as a "coward"; In his quest for success, the latter has compromised his belief in genius by pandering to Schoenberg. The Korngolds are coming to Rome in August.

OJ 10/1, [80] Handwritten letter from Dahms to Schenker, undated [c. November 18, 1923]

Having sent a subscription copy of Musik des Südens to Moriz Schenker and received no acknowledgement, Dahms asks Schenker's help.

OJ 10/1, [81] Handwritten letter from Dahms to Schenker, dated November 20, 1923

Dahms has now received acknowledgement from Moriz Schenker. — He asks Schenker's help in approaching financier Castiglioni for financial backing for his planned bel canto book.

OJ 11/16, [5] Handwritten postcard from Furtwängler to Schenker, dated November 25, 1923

Furtwängler had been hoping to speak with Schenker at the performance of [Handel's] Samson but realizes this is not possible; mentions his December program, hopes to see Schenker.

OJ 11/36, [10] Handwritten letter from Hammer to Schenker dated November 25, 1923

Hammer thanks Schenker for hospitality on November 7, and recommends Eugen Steinhof for lessons.

JOB 94-3, [6] Handwritten letter from Schenker to Hammer dated December 2, 1923

Schenker has heard nothing from Eugen Steinhof; — he commends Hammer's reaction to Halm's work, and comments unfavorably on the latter's musicianship, character, and opinions; — he writes disparagingly of Robert Brünauer.

OJ 14/45, [27] Handwritten letter from Moriz Violin to Heinrich Schenker, dated December 11, 1923

Violin reports the conversion to a new, stable currency in Germany; Hamburg has been among the first cities to benefit from this, as a result of which he is somewhat better off and the prospects for the future appear brighter. He plans to come to Vienna for Christmas, if only for a few days; this will give him an opportunity to discuss arrangements for the distribution of copies of Der Tonwille to libraries and schools.

OC 52/483 Handwritten letter from Elias to Schenker dated December 21, 1923

Miss Elias has obtained vols II-III of Schenker's Beethoven piano sonata edition as a Christmas present for Marianne Kahn.

OJ 10/1, [82] Handwritten letter from Dahms to Schenker, dated December 28, 1923

Dahms gratefully acknowledges receipt of a grant from Schenker, reports on his book writing, and sends New Year greetings to Heinrich and Jeanette.

OJ 12/11, [6] Handwritten letter from Klenau to Schenker, dated December 28, 1923

Klenau praises Schenker's monograph Beethovens Neunte Sinfonie; regrets being unable to visit Schenker and Schenker's being unable to attend his performance of the Missa solemnis.

OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924

Schenker responds to Klenau's remarks on atonal composers and a coming Renaissance; invites him to visit on a Wednesday.

OJ 10/1, [83] Handwritten letter from Dahms to Schenker, dated January 4, 1924

Money has arrived. Dahms hopes for better conditions in 1924.

OJ 11/36, [11] Handwritten letter from Hammer to Schenker, dated January 5, 1923 [recte 1924]

Hammer refers to the making of a portrait; — he discusses German and Austrian art with respect to Italian and French; — he comments favorably on Der Tonwille, but defends the art of the French.

OJ 5/45, [5] Copy of letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated January 12, 1924

Schenker outlines his attitude to Bamberger's leaving him, and offers advice to Weisse.

JOB 94-3, [7] Handwritten letter from Schenker to Hammer dated January 13, 1924

Schenker responds to a long letter from Hammer by, first, agreeing to his proposal to sittings for a portrait, and, second, saying that there is no one in music now capable of judging the artistry of musicians. Schenker feels he has uniquely this ability, but others in music do not understand him.

OJ 15/16, [51] Handwritten letter from Weisse to Schenker, dated January 14, 1924

Responding to Schenker's explanation of a recent coldness between them, Weisse asserts that his questions arise only from his own studies, not from work with his pupils; it is not fear, but dependency on Schenker as a "medium," that drives him to ask such questions.

OJ 11/35, 22 Handwritten letter from Halm to Schenker, dated January 22, 1924

Halm checks that Schenker has received a letter and score from him. — He asks for guidance over Oppel's music.

OJ 12/17, [3] Handwritten notecard from Komorn to Schenker, dated February 1, 1924

Miss Komorn acquiesces to the fee increase; she is fortunate to have the small number of lessons that she does.

OJ 14/21, [5] Handwritten receipt for payment by Schenker to Seidel'sche Buchhandlung, dated February 1, 1924

Receipt for a 180,000 kronen payment by Schenker to Seidel'sche Buchhandlung.

OJ 14/21, [6] Interim invoice from Seidel'sche Buchhandlung to Schenker, dated February 2, 1924

Delivery note from Seidel'sche Buchhandlung to Schenker for Beethoven's Piano Sonata in F-sharp, Op. 78.

OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924

Violin reports that Max Temming is keen to support his plan to promote Schenker's work. Following discussions with Schenker in Vienna, he makes some provisional calculations on how the gift of money would give Schenker more time to devote to his writings. He also thinks about the happy prospect of Schenker coming to Hamburg.

OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924

Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111; he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a passage exhibiting non-genius in his or Oppel's music and discuss it in Der Tonwille.

OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924

Schenker reports continuing trouble with Hertzka, especially over delays to the publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is beginning to think about legal action. Hertzka has made his position so difficult that he feels obliged to turn down Max Temming's offer of direct financial support for his work. He asks Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if Violin received any of the four volumes of the Beethoven piano sonata edition.

OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924

Dahms thanks Schenker for information about Castiglione. The Deutsche Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong reaction outside Germany.

OJ 14/45, [31] Handwritten letter from Moriz Violin to Schenker, dated March 16, 1924

Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In the former, he finds the graphs of the short preludes by Bach more difficult than anything that Schenker has previously done. He will write to Bamberger with the offer of help (in finding an accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of his pupils, he offers an explanation for the falling direction of the transitional theme (measures 24-30) and its reappearance in the development section (measures 94-100) in inverted, ascending form; he asks if this interpretation is sensible.

OJ 12/17, [4] Handwritten postcard from Komorn to Schenker, dated March 30, 1924

Mrs. Komorn asks for an extra lesson.

OJ 8/4, [28] Handwritten postcard from Schenker to Moriz Violin, undated [March 30, 1924]

Schenker confirms Violin's interpretation [given in his previous letter] of the "Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has written to say that he and his son are using Schenker's analyses of Bach preludes in their counterpoint classes, and expresses the hope that one day they will continue Schenker's work independently.

OC 12/13-14 Handwritten letter from Halm to Schenker dated March 15, 1924 and April 1, 1924

Halm attacks Schenker for condemning Berlioz's melodic practice without substantiating his argument, and for harsh language. Halm compares Berlioz favorably to Mendelssohn.

DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924

In response to matters raised by Halm in two previous letters, Schenker discusses figuration, distinguishing between that which works only on the surface and that which arises out of the middle and background, drawing on primal intervals. He also concedes that he heard Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for forthcoming volumes of Der Tonwille.

OJ 8/4, [29] Handwritten postcard from Schenker to Moriz Violin, undated [April 11, 1924]

Schenker offers Violin advice about holidaying in Austria, recommending the Tyrol above all. He expects that Otto Vrieslander and possibly Herman Roth will visit them [in Galtür]. He also inquires about the establishment of a Hochschule for music in Hamburg.

OJ 11/36, [12] Handwritten letter from Hammer to Schenker, dated May 1, 1924

Hammer invites Schenker to a first sitting for his portrait.

JOB 94-3, [8] Handwritten letter from Schenker to Hammer dated May 3, 1924

Schenker agrees to come on May 27 to sit for his portrait, and tells Hammer of the forthcoming historical Beethoven Ninth Symphony concert.

OC 12/15-17 Handwritten letter from Halm to Schenker dated April 7, April 14, and May 6, 1924]

Halm again asks Schenker to point out an instance of non-genius in his [Halm's] music. — Has long believed that foreground (= corporeality) has been neglected at the expense of background (= spirituality) in music. — Defends Kurth against Schenker's critical remarks. — Suggests an explanation for the Bruckner classroom incident. — Will send parts of his [A major] String Quartet and promises a copy of his "Von Grenzen und Ländern". — Accepts offer of assistance with publication costs. — Comments on Reger.

OJ 10/3, [40] Typewritten letter from Deutsch to Schenker, dated May 9, 1924

Deutsch thanks Schenker for the most recent (sixth) issue of Tonwille. He read Schenker's comments on Schubert's "Gretchen am Spinnrade" (Op. 2) with great interest, although he did not fully understand them. Deutsch encloses an announcement from the publisher Vieweg that may be of interest to Schenker.

OJ 12/11, [7] Handwritten calling card from Klenau to Schenker, dated May 13, 1924

Klenau asks to make a brief visit.

OJ 12/11, [8] Handwritten letter from Klenau to Schenker, undated [May 20, 1924]

Klenau asks Schenker to read over an article that he has written.

OJ 11/36, [13] Handwritten postcard from Hammer to Schenker, postmarked May 21, 1924

Hammer reschedules the next sitting for the portrait.

UMdK Z 312 D/1924, [1] Typewritten letter from the Verein zur Speisung to the Akademie für Musik, dated May 21, 1924

The letter quotes the will of Mrs Sofie Deutsch, then announces that the Verein is in process of dissolution, and decrees that the capital in question be devolved upon the Akademie für Musik und darstellende Kunst, and refers the Akademie to its attorney.

OC B/183 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 12, 1924

The Library does not possess the autograph of J. S. Bach's Kleine Präludien.

OJ 11/36, [15] Handwritten postcard from Hammer to Schenker, dated June 16, 1924

Hammer invites Schenker to resume sitting for his portrait.

OJ 11/36, [16] Handwritten postcard from Hammer to Schenker, postmarked June 17, 1924

Hammer sets the arrival time for the portrait sitting on June 18.

OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924

The Dahmses send birthday greetings. They are staying in the Abruzzi; will not get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest.

OJ 12/17, [5] Handwritten letter from Komorn to Heinrich Schenker, dated June 18, 1924

Miss Komorn thanks Schenker profusely for all that he has taught her in the past year.

OJ 14/46, [2] Handwritten letter from Fanny Violin to Heinrich Schenker, dated June 18, 1924

Fanny thanks Schenker for sending Tonwille 5 and 6 and reports holiday plans.

OC B/184 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 27, 1924

Altmann states the cost of photographing autograph parts of the St Matthew Passion.

UMdK Z 312 D/1924, [2] Typewritten internal memorandum of the Akademie für Musik, dated June 27, 1924

Records receipt of UMdK Z 312 D/1924, [1] and includes the texts of letters to be sent to attorney Ernst Lambert and the Ministry of Education.

UMdK Z 312 D/1924, [3] Typewritten letter from Lamberg to Julius Zappert (Verein zur Speisung), dated June 30, 1924

The letter quotes that of the Akademie für Musik to the Verein zur Speisung, and requests transfer of sum of money tothe Akademie.

JOB 94-3, [9] Handwritten picture postcard from Heinrich and Jeanette Schenker to Hammer, dated July 19 [1924]

Heinrich and Jeanette send greetings from the Tyrol; they are expecting the Vrieslanders.

OJ 14/45, [32] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1924

Writing from the nearby town of Schruns, in the Montafun Valley (Vorarlberg), Violin asks Schenker to suggest a day when he and his wife might visit them in Galtür.

OJ 8/4, [30] Handwritten picture postcard from Schenker to Moriz Violin, dated July 28, 1924

Writing from Galtür to Schruns in the nearby Motafon Valley, Schenker invites the Violins to visit them some time during their Austrian holiday, and shows them, on the picture, the mountain pass where they can meet up.

OJ 15/15, [15] Handwritten postcard from Weisse to Schenker, dated August 2, 1924

Responding to a request for information about Brahms's meeting with Wagner, Weisse promises to send Schenker the relevant volume of Max Kalbeck's biography of Brahms.

OJ 15/15, [16] Handwritten postcard from Weisse to Schenker, dated August 4, 1924

Weisse has sent Schenker a volume of Kalbeck's Brahms biography, and reports that Universal Edition is about to send him the proofs for two of his compositions, a set of vocal quartets and a string quartet.

OJ 8/4, [32] Handwritten picture postcard from Schenker to Moriz Violin, dated August 5, 1924

Schenker sends a greeting on the occasion of the Violins' return to Hamburg after their holiday in Austria, writing a picture postcard showing the cottage where they presumably went for a meal.

OJ 8/4, [31] Handwritten picture postcard from Heinrich and Jeanette Schenker and others to Moriz Violin, undated [postmarked August 12, 1924]

In this postcard, begun by Heinrich Schenker, continued by Jeanette Schenker and Carl Bamberger, and additionally signed by Anthony and Annemarie van Hoboken and Otto Vrieslander, all express their regret that the Violins could not be with them.

OJ 14/45, [107] Handwritten postcard from Moriz Violin to Schenker, dated August 14, 1924

Violin thanks Schenker for his recent postcard, and reports that he will resume negotiations with Max Temming concerning the distribution of copies of Der Tonwille when the latter return to Hamburg.

OJ 15/16, [52] Handwritten letter from Weisse to Schenker, dated August 28, 1924

Weisse is so absorbed in his work that he is unable to give Schenker a precise number of subscribers to Der Tonwille among his circle of pupils. He will see Gerald Warburg soon, but confesses that the latter felt hurt by Schenker’s article “The Mission of German Genius.” — Weisse will devote much time to composition during the coming season, and for this reason will forego taking further lessons from Schenker.

OJ 14/45, [33] Handwritten letter from Moriz Violin to Schenker, dated August 29, 1924

Violin reports on continued negotiations with Max Temming on the distribution of free copies of Der Tonwille, and gives a brief description of the Hamburger Fremdenblatt (in which something about Schenker's writings may have recently appeared). He expresses his embarrassment regarding the essay he had written at the behest of Otto Vrieslander on the occasion of Schenker's 50th birthday, but agrees to let him see it.

OJ 15/16, [53] Handwritten letter from Weisse to Schenker, dated September 6, 1924

Weisse apologizes for not writing sooner, saying that he will return to Vienna by the middle of the following week.

OJ 12/17, [6] Handwritten postcard from Komorn to Schenker, dated September 12, 1924

Mrs. Komorn inquires whether Schenker is back from vacation.

OJ 12/11, [9] Handwritten letter from Klenau to Schenker, dated September 17, 1924

Klenau sends a letter he has received from Heinrich Rickert, and thanks Schenker for a discussion earlier the same day.

OJ 12/11, [10] Handwritten letter from Klenau to Schenker, dated September 23, 1924

Klenau sends a letter he has received from Felix Weingartner and his own response.

OJ 14/45, [34] Handwritten letter from Moriz Violin to Schenker, dated October 8, 1924

Violin has secured the agreement of Max Temming to subsidize 100 subscriptions to Der Tonwille, and asks for a list of names and addresses for the recipients. With money growing scarce, he has raised his fees, as a result of which several have left; but he has also gained some new ones.

OJ 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924

After thanking Violin for his touching fiftieth-birthday tribute of 1918, Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate more on the dissemination of Der Tonwille, with a new publisher.

OJ 5/7a, [1] (formerly vC 1) Handwritten postcard from Schenker to Cube, dated October 19, 1924

Schenker sends Cube a prospective student, and recommends level of payment.

OJ 11/54, [1] Handwritten letter from Hoboken to Schenker, dated October 20, 1924

Hoboken encloses photographs; reports his summer travel; is now living in Paris.

OJ 14/45, [36] Handwritten letter from Moriz Violin to Schenker, dated October 22, 1924

In the process of arranging for copies of Der Tonwille to be distributed, Violin discovers that a pupil of his paid twice as much for one issue as the marked price in Austria. He has made some inquiries into this matter, and asks Schenker what an issue currently costs in Austria. There are no respectable music institutions in Hamburg, so Violin will distribute copies there personally.

OJ 14/45, [37] Handwritten letter from Moriz Violin to Schenker, dated November 23, 1924

Violin sends thanks to Jeanette for copying out the article he wrote in 1918. He has sent off ten letters [re distribution of copies of Der Tonwille] and placed the order with UE. He reports on Buxbaum and Pollak, and also Blüthner.

OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924

Schenker names ten universities that should receive complimentary copies of Der Tonwille, explaining that university music departments (Seminare) are more suitable recipients than conservatories and other types of music schools. With 1924 coming to an end, he will resign from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The latter have agreed to publish his study of Beethoven's Sonata Op. 106

OC B/185 Handwritten postcard from Wilhelm Altmann to Schenker, dated October 30, 1924

Altmann is about to send Schenker the autograph parts of J. S. Bach's St Matthew Passion, and asks for remittance.

OJ 15/16, [54] Handwritten letter from Weisse to Schenker, dated November 3, 1924

Weisse acknowledges Schenker’s recent letter, wants to speak with him face to face about a number of things but uses this letter to defend his "hypersensitivity" towards Schenker as stemming from the love and honor that he bestows on him.

OJ 6/7, [11] Handwritten letter from Schenker to Moriz Violin, dated November 6, 1924

Schenker has received a photographic reproduction of the opening chorus of Bach's St Matthew Passion. — Gives account of delays to the publication of Tonwille 8/9 and 10, blaming Hertzka for being slow to send work to the engraver, and has written to him with a request to dissolve the Tonwille contract with UE. — Refers to a recent review by (Julius) Korngold, and recounts a long story about his piano dealer, Bernhard Kohn.

OJ 10/1, [86] Handwritten postcard from Dahms to Schenker, dated November 8, 1924

Dahms visited Germany for two weeks; invites the Schenkers to visit him in Venice.

OJ 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924

Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. — Encloses a draft of a letter to the university music departments chosen to be given copies of Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution of complimentary copies of Der Tonwille to needy scholars.

OJ 6/7, [13] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1924

Schenker sends Violin Jeanette's handwritten copy of the essay Violin had composed for Schenker's fiftieth birthday in 1918, and hopes that it may one day be published. — Has received a conciliatory letter from Hertzka, but is determined to move Der Tonwille to a Munich publisher.

OC B/187 Handwritten postcard from Wilhelm Altmann to Schenker, dated November 14, 1924

Schenker may hold on to the parts of the St Matthew Passion for some time.

OC B/188 Handwritten letter from Wilhelm Altmann to Schenker, dated November 17, 1924

Altmann asks Schenker to send the balance of the charge for the Bach St Matthew Passion parts.

OC 54/2 Typed letter from Alfred Einstein & August Demblin (DMV) to Schenker, dated November 27, 1924

Having had soundings from Otto Vrieslander about taking over the publishing of Der Tonwille, Drei Masken Verlag now approach Schenker directly, asking him to come to an agreement with Universal Edition about the the future of the publication.

UMdK Z 641 D/1924, [1] Handwritten letter from Schenker to Joseph Marx (Akademie für Musik) to Schenker, dated December 3, 1924

Schenker appeals to Marx that the full conditions laid down by Sofie Deutsch for the stipends be honored.

OC 54/3 Typed letter from Theodor Baumgarten to Schenker, dated December 9, 1924

Schenker’s lawyer, Theodor Baumgarten, advises caution in dealing with Universal Edition over the winding-up of Der Tonwille, and with Drei Masken Verlag over the future of the new venture.

OC 54/4 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated December 9, 1924

Drei Masken Verlag acknowledge the receipt of Schenker’s letter of December 5, 1924.

OJ 14/45, [39] Handwritten letter from Moriz Violin to Schenker, dated December 10, 1924

This somewhat cryptic letter, possibly relating to a subscription order for Der Tonwille, was sent with an enclosure that required some interpretation or action on the part of Schenker. Violin also reports that the music department at the University of Berlin has received, with gratitude, the copies of Der Tonwille.

OJ 12/51, [1] Typewritten letter from Joseph Marx (Akademie für Musik) to Schenker, dated December 13, 1924

Marx has submitted the form of award of the Sophie Deutsch stipends to the Ministry of Education.

UMdK Z 641 D/1924, [2] Handwritten internal memorandum of the Akademie für Musik, dated December 13, 1924

Drafts of letters to (1) the Federal Ministry of Education, (2) Schenker, both regarding Schenker's appeal to Marx of December 3.

OC 54/9 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated December 22, 1924

DMV acknowledge receipt of Schenker’s letter of December 9, 1924 and promise to reply after the Christmas holidays.

OC 54/10 Typed letter from Theodor Baumgarten to Schenker, dated January 15, 1925

Baumgarten expresses his concerns about Schenker’s negotiations with a new publisher, and cautiously advises that his client might instead wish to reach a peaceful agreement with Universal Edition.

OC 54/11 Typewritten postcard from Otto Vrieslander to Schenker, dated January 19, 1925

Vrieslander thanks Schenker for Tonwille 10, remarks about negotiations with Universal Edition and Drei Masken Verlag, and promises to send him an offprint of his recent essay on C. P. E. Bach.

OJ 14/45, [41] Handwritten letter from Moriz Violin to Schenker, dated January 19, 1925

Violin reports on a successful concert in which he performed both as a soloist and with the Klingler String Quartet. He thanks Schenker for Tonwille 10. He has received a copy of Hans Weisse’s recent vocal quartets, and is puzzled by how a limited talent can write such good music. He is going to see Max Temming, and has received four courteous letters of acknowledgement from university music departments for copies of Der Tonwille.

OC 54/12 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January 20, 1925

Drei Masken Verlag offer to publish Schenker's future work as a yearbook, entitled "Das Meisterwerk in der Musik," in volumes comprising fifteen gatherings (180 pages). The manuscript would need to be delivered in July in order for the book to be published in time for Christmas.

OJ 9/34, [1] Handwritten letter from Cube to Schenker, dated January 21, 1925

Cube has had to extend his holiday to take care of his father, who has been forced to abandon his second marriage under pressure from his firm.

OJ 15/15, [17] Handwritten postcard from Weisse to Schenker, dated January 22, 1925

Weisse alerts Schenker to the January 1925 issue of Die Musik, which contains two pieces concerned with him. He suggests that Schenker travel to Munich, to negotiate a deal with Alfred Einstein at Drei Masken-Verlag concerning the publication of a successor to Der Tonwille.

OC 54/14 Handwritten postcard from Theodor Baumgarten to Schenker, dated January 23, 1925

Baumgarten will let Schenker know whether he is able to visit him the following Monday (January 26, 1925), to discuss Drei Masken Verlag's letter of January 20 (OC 54/12).

OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24, 1925

Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred Einstein, whose character he rates highly and who assured him that he was looking forward to publishing Schenker's work.

OJ 6/7, [16] Handwritten letter from Schenker to Moriz Violin, dated January 24, 1925

Responding point by point to Violin's previously letter (OJ 14/45, [41]), Schenker congratulates his friend on the success of his recent concert. He writes at length about Hertzka's last efforts to hold onto Der Tonwille, and about successful negotiations with Drei Masken Verlag over its successor, Das Meisterwerk in der Musik. He has now to prepare enough material for a yearbook comprising fifteen gatherings by July 1, so that the volume can be published by Christmas. Finally, he echoes Violin's assessment of Hans Weisse, adding a few disparaging remarks about his character.

OJ 14/45, [42] Handwritten letter from Moriz Violin to Schenker, dated January 30, 1925

Violin lends Schenker the letters sent by university music departments acknowledging receipt of their copies of Der Tonwille. The reviews of his recent concert were cooler than the audience’s reception, and the concert suffered a financial loss; nonetheless he hopes to persevere with public performances as a pianist. Finally, he wishes Schenker luck with his new publisher, Drei Masken Verlag.

OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925

Schenker, repeating some of the points made in earlier letters, continues to give an account of Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists; the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the canonic composers.

OC 54/19 Typewritten letter from August Demblin (DMV) to Schenker, dated February 3, 1925

Replying to Schenker's earlier queries, Drei Masken Verlag explain that Schenker will receive a royalty of 15% of the selling price of a paperback copy for each Yearbook sold, whether hardback or paperback. They offer an advance of 500 marks against expected sales at the time of publication (early November), and can give him half that sum upon receipt of his manuscript at the end of June.

OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925

Violin explains why, and how, the number of free copies of Der Tonwille distributed to German university music departments was reduced from 10 per university to 7. He has seen Paul Bekker's recent book, which includes a survey of recent trends in music theory.

OC 54/23 Typed letter from August Demblin (DMV) to Schenker, dated February 11, 1925

A copy of the Mozart-Jahrbuch II will be sent to Schenker as a model for Meisterwerk.

OJ 8/4, [35] Handwritten postcard from Schenker to Moriz Violin, dated February 14, 1925

Schenker asks Violin urgently to send him the receipt for payment made to Universal Edition (for the copies of Der Tonwille paid for by Max Temming).

OC 54/25 Typed letter from August Demblin (DMV) to Schenker, dated February 21, 1925

Drei Masken Verlag acknowledge Schenker's acceptance of their terms and issue a contract for the Meisterwerk Yearbooks.

OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925

Schenker thanks Violin for his recent letter (and enclosure), which contains evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the publication of Weisse's recently published vocal quartets than to his writings. Leaving Der Tonwille behind, which has earned him little money and caused him much misery, he has written a lengthy study of Bach's solo violin works, which will be published in the first volume of Das Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen Kontrapunkts.

UMdK Z 163 D/1925, [1] Typewritten letter from Kallina (Bundesministerium) to the Akademie für Musik, dated February 23, 1925

The Akademie is instructed to draw up an endowment letter concerning the Sophie Deutsch stipends, and to avoid inclusion of slates of candidates; Schenker must determine how adjudication should be conducted after his death.

OJ 14/45, [109] Handwritten postcard from Moriz Violin to Schenker, undated, postmarked February 24, 1925

Visiting his dying brother Eduard in the Sophienspital in Vienna, Violin hopes to see Schenker if at all possible.

OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925

Dahms reports on the Vrieslanders' Italian travels; compares Hertzka unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold.

OC 54/28 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated March 3, 1925

Drei Masken Verlag is willing to use Der Tonwille as the title of Schenker's Yearbook, but only with the approval of Hertzka at Universal Edition.

OC 52/648 Handwritten letter from Moriz Violin to Schenker, dated March 5, 1925

Violin sends Schenker receipts for the purchase of Der Tonwille.

OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925

The St. Matthew Passion parts may be retained until mid-July; Altmann is pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in Galtür next summer.

OJ 12/17, [7] Handwritten letter from Komorn to Heinrich Schenker, dated April 7, 1925

Miss Komorn tries to arrange a meeting with Furtwangler.

OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925

Continuing the story of the ongoing financial battle against Hertzka and Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr. Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact – outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this issue is still in demand, despite Hertzka's claims to the contrary. He has attended a performance of Hans Weisse's Sextet, of which he found the variation movement and the trio section of the scherzo to be the most satisfactory parts.

OJ 11/35, 23 Handwritten letter from Halm to Schenker, dated April 6 and 15, 1925

Halm explains why he has not written before and reports successful performance of his A major Symphony; wishes Schenker luck with move from UE to Drei-Masken Verlag; reports events at Freie Schulgemeinde.

OJ 10/1, [88] Typewritten postcard from Dahms to Schenker, dated April 20, 1925

Dahms gives his new temporary address.

OC 52/644 Handwritten letter from Moriz Violin to Schenker, dated April 21, 1925

Violin has had the order for nine copies of Tonwille 1 placed in Berlin, and has collected the receipts. He has not heard from Weisse, but attended a performance of his String Sextet and, like Schenker, found the variations and the trio section of the scherzo the most successful.

OJ 8/4, [36] Handwritten postcard from Schenker to Moriz Violin, dated April 23, 1925

Schenker thanks Violin for ordering copies of Tonwille 1. He gives a brief account of a visit from Furtwängler, and mentions the arrival of the bronze medallion with his likeness (designed by Alfred Rothberger).

OJ 15/15, [18] Handwritten postcard from Weisse to Schenker, dated April 27, 1925

Weisse has come across a letter from Brahms to his publisher Fritz Simrock, which he thinks will be of interest to his teacher.

OJ 10/1, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925]

Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers to visit. — Hindenburg's election as German President has given a "jolt" to Europe and pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will be able to lift Germany out of mediocrity.

OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925

In a wide-ranging letter, Schenker sends Violin money for arranging the order of Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative, Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action. Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact that does not prevent him from earning huge fees for conducting in New York. He has turned down a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish to spend some time with him in Galtür. He enquires about the personal difficulties that Violin writes about in his letter, and asks him to say more; they will invite his sister for a visit. He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor Hammer is not yet finished.

OJ 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925

Making preparations with his solicitor for the legal action against Universal Edition, Schenker asks Violin to find out whether Max Temming paid for the additional subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk yearbook and asks Violin whether he has yet made summer plans and whether these might include a trip to Galtür.

OC 52/618 Handwritten letter from Moriz Violin to Schenker, dated May 26, 1925

Dealing at the same time with a family matter, Violin sends Schenker the receipt for Max Temming's purchase of subscriptions to Der Tonwille and confirms that the money for this was sent to the Leipzig office of Universal Edition. He is not planning any summer holiday this year.

OJ 11/54, [2] Handwritten letter from Hoboken to Schenker, May 29, 1925

Hoboken wishes to become a pupil of Schenker; he has studied Schenker's theoretical works under Vrieslander, and describes his progress so far; outlines previous education in piano and music theory at the Hoch Conservatory,Frankfurt, and activity as composer and conductor; after breaking his shoulder, he neglected his musical studies; outlines the areas he wishes to study with Schenker; if accepted, he would take up residence in Vienna.

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.

OJ 14/45, [43] Handwritten letter from Moriz Violin to Schenker, dated June 4, 1925

Violin thanks Schenker for sending him the small version of the medallion designed by Alfred Rothberger. He does not want to give an account of the difficult times he is facing, expecting that things will eventually turn out for the better. He returns some money, left over from the purchase of copies of Tonwille 10, which Schenker had previously sent him.

OJ 8/4, [37] Handwritten postcard from Schenker to Moriz Violin, dated June 9, 1925

Schenker asks Violin to write to one of the German university music departments who received subscriptions to Der Tonwille through the generosity of Max Temming, to find out if, and when, they received Tonwille 10, which was published in January. He reports being on the verge of completing the first Meisterwerk Yearbook.

OC 54/29 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated June 10, 1925

Drei Masken Verlag requests that Schenker send the manuscript of the first Meisterwerk Yearbook directly to their Munich office.

OJ 11/54, [3] Handwritten letter from Hoboken to Schenker, dated June 10, 1925

Acknowledges Schenker's communication; is pleased to become a pupil of Schenker; accepts fee and agrees to three lessons per week.

OC 52/631 Handwritten letter from Elias to Heinrich Schenker, dated June 13, 1925

Miss Elias reports on the pricing of issues of Der Tonwille in two music stores.

OC 52/649 Handwritten letter from Moriz Violin to Schenker, dated June 15, 1925

Violin has received letters from the music departments of two German universities, which show that the tenth issue of Der Tonwille (published in January 1925) was not received until June 10.

OC B/190 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked June 15, 1925

Altmann thanks Schenker for the medallion; he will be unable to visit Galtür.

OJ 10/1, [90] Handwritten letter from Dahms to Schenker, dated June 16, 1925

Dahms sends birthday greetings to Schenker, and gratitude for the [Rothberger] medallion. — Margarete Dahms has given birth to a girl. — Speaks of "rotten German laws."

OJ 12/20, [1] Handwritten postcard from Hedwig Kraus (Gesellschaft der Musikfreunde) to Schenker, dated June 17, 1925

OJ 8/4, [38] Handwritten postcard from Schenker to Moriz Violin, dated June 22, 1925

Schenker thanks Violin for his most recent efforts concerning the subscriptions to Der Tonwille; he is astonished to learn that Tonwille 10, published in January 1925, did not reach some subscribers until June. He hopes that Violin will be able to visit him in the Tyrol this summer, as he is expecting Vrieslander with his son.

OC 54/15 Typewritten letter from Moriz Schenker to Heinrich Schenker, dated July 24, 1925

Moriz Schenker tells his brother that he will ask his friend Sobotka to intervene directly in the matter of obtaining the advance of 250 marks from Drei Masken Verlag

OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925

Two weeks after arriving in Galtür for the summer holidays, Schenker reports that he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work, has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to Galtür sometime during the summer.

OC 54/32 Typed letter from Moriz Schenker to Schenker, dated July 28, 1925

Moriz Schenker has seen his friend Sobotka, who will arrange for the advance from Drei Masken Verlag to be paid into his account.

OJ 14/45, [108] Handwritten postcard from Moriz Violin to Schenker, dated July 28, 1925

Unable to leave Hamburg this summer because of financial difficulties, but having nothing worth saying in a letter, Violin asks for some news from Schenker.

OJ 15/16, [55] Handwritten letter from Weisse to Schenker, incomplete, written c. August 5, 1925

Weisse apologizes for not having written for a long time. He has seen Furtwängler and reports that the conductor knows nothing of his writings and has no idea about the Urlinie. Universal Edition have declined to publish his Sextet. (In the missing portion of the letter, which is summarized in Schenker's diary, he asks his teacher's help in finding another publisher, perhaps with Wilhelm Altmann's intervention.)

OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925

After expressing his sympathy for Violin, in response to his friend's depressing postcard, Schenker gives an account of some of the summer events, including a visit from Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is, however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this connection the payment has been made.

OJ 8/4, [39] Handwritten picture postcard from Schenker to Moriz Violin, undated, postmarked August 27, 1925

Schenker sends greetings from the Tyrol, reports the publication of an article on him by Elsa Bienenfeld, which includes a reproduction of his pupil Alfred Rothberger's bronze medallion.

OJ 14/45, [45] Handwritten letter from Moriz Violin to Schenker, dated August 28, 1925

Violin, in a philosophical mood, thanks Schenker for his concerns; he paints a pessimistic picture of the world in general, embracing the injustices that his friend must also suffer.

OC 54/33 Typewritten letter from C. Alberti (DMV) to Schenker, dated September 1, 1925

In response to Schenker's request for proofs for the first Meisterwerk Yearbook, Drei Masken Verlag explain that they have not yet decided on a printing house. They advise Schenker to submit his next manuscript earlier in the year, on account of the complexity of the work.

OJ 9/35, [1] Handwritten letter from Gustav von Cube to Schenker, dated September 7, 1925

Finding himself adversely affected by the current financial crisis, Gustav von Cube asks Schenker to help find work for his son Felix, to help help him finance his studies.

OJ 11/10, [18] Handwritten postcard from Frimmel to Schenker, dated September 10, 1925

Frimmel will correct [errors pointed out by Schenker], and reports that his Beethovenhandbuch is in press.

OJ 5/7a, [2] (formerly vC 2) Handwritten letter from Schenker to Gustav von Cube, dated September 13, 1925

Schenker explains to Cube's father why his first teaching assignment went awry, but promises to continue to help him; he suggests Anthony van Hoboken may be able to assist him.

OC 54/34 Typewritten letter from August Demblin (DMV) to Schenker, dated September 16, 1925

Drei Masken Verlag tell Schenker that a printer for the first Meisterwerk Yearbook has not yet been found, owing to the high costs of this work, and that first proofs will not be ready for another two weeks.

OC 54/35 Typewritten postcard from August Demblin (DMV) to Schenker, dated September 22, 1925

Drei Masken Verlag arranges for Schenker to be paid his advance of 250 marks.

OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925

Van Hoboken reports on his recent travels, describing the house that he has rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on October 13, 1925; encloses $60 in advance monthly payment.

OJ 9/8, [1] Handwritten letter from Wilhelm Altmann to Schenker, dated October 3, 1925

Altmann asks Schenker to send his [Hammer] portrait to the editor of Die Musik.

OJ 12/17, [8] Handwritten letter from Komorn to Heinrich Schenker, dated October 5, 1925

Cessation of lessons comes as a blow, but Mrs. Komorn thanks Schenker unreservedly for all she has learned.

OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925

Weisse asks Schenker to look at some suitable frames for Hammer's portrait of him. He reports that several autograph manuscripts of Brahms are being put up for sale, of which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest theoretical concepts are being taught at Damrosch's music school in New York.

OJ 11/54, [5] Handwritten letter from van Hoboken to Schenker, dated October 11, 1925

Van Hoboken will leave Munich for Vienna on October 14 and attend lesson on October 15.

OC B/191 Typewritten postcard from Wilhelm Altmann to Schenker, dated October 12, 1925

Conditions under which Altmann could purchase Brahms autograph for Library.

FS 40/27, [1] Handwritten letter from Weisse to Schenker, dated October 12, 1925

Weisse has come across a letter from Haydn to Carl Friedrich Zelter expressing gratitude and admiration for Zelter's analysis of "The Representation of Chaos" from The Creation, and thinks that it might be worth looking up Zelter's work in connection with Schenker's forthcoming study of the same work.

OC 54/36 Typewritten postcard from August Demblin (DMV) to Schenker, dated October 13, 1925

Drei Masken Verlag has still not found a suitable printing house, and informs Schenker that the first Meisterwerk Yearbook cannot be published in 1925.

OC 54/37 Copy of letter from Schenker to Drei Masken Verlag, dated October 16, 1925

Expressing his distress at the delays, Schenker expresses his hope that the first Meisterwerk Yearbook might nonetheless be published by December and, if not, that it should still bear the date of 1925.

FS 40/27, [2] Handwritten letter from Weisse to Schenker, dated October 17, 1925

Weisse has found Zelter's review of Haydn's Creation and has copied out the section concerned with "The Representation of Chaos." He finds nothing of value in the review, but says it must have pleased Haydn because it shows that the composer was entirely conscious of how he went about writing the work.

WSLB-Hds 191.557 Handwritten letter from Schenker to Deutsch, dated October 18, 1925

Responding to Deutsch's request, Schenker sends his text for inclusion in the forthcoming Schubert issue of Moderne Welt, and invites the Deutsches for an afternoon snack.

OC 54/39 Typewritten letter from August Demblin (DMV) to Schenker, dated October 19, 1925

Drei Masken Verlag are near agreement with a printer; Yearbook I will be backdated to 1925.

OJ 10/3, [41] Typewritten postcard from Deutsch to Schenker, dated October 20, 1925

Deutsch thanks Schenker for quickly providing his text [for the forthcoming Schubert issue of Moderne Welt]. He has written to Thomas Mann regarding the reference to Schubert's "Der Lindenbaum" in Mann's novel Der Zauberberg. The Deutsches accept Schenker's invitation for an afternoon snack, but can only come on a Sunday after Novemeber 2.

OJ 9/4, [1] Typewritten letter from Franz Schmidt (Akademie für Musik) to Schenker, dated October 21, 1925

Schmidt reports the response from the Federal Ministry of Education.

OJ 14/45, [46] Handwritten letter from Moriz Violin to Schenker, dated October 23, 1925

Informing Schenker that he is beginning to recover after a disastrous year, Violin reports that he has formed a trio with the violinist Mauritz van den Berg and the cellist Friederich Buxbaum, and has scheduled concerts for January. His son has started school, which he also regards as a blessing.

OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925

In this wide-ranging letter, Schenker commiserates with Violin about the high cost of living, and his inability to raise his fees to keep up with it (in particular, he feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the portrait, and things are now going well with the corrections to Meisterwerk 1 and the writing of Meisterwerk 2.

UMdK Z 641 D/1925, [1] Handwritten letter from Schenker to Franz Schmidt (Akademie für Musik), dated October 30, 1925

Schenker determines how the Sofie Deutsch stipend should be adjudicated after his death.

OC 54/42 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 6, 1925

Drei Masken Verlag in Vienna report that Waldheim-Eberle has been chosen as the printing house for Yearbook I; they ask Schenker for the precise wording of the title of the book, and issue instructions for dealing with the galley-proofs.

OC 54/41 Typewritten letter from August Demblin (DMV) to Schenker, dated November 6, 1925

Drei Masken Verlag in Munich have now transferred all matters of production concerning Meisterwerk I to their office in Vienna.

OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925

Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven manuscript at Heck's.

OJ 10/3, [43] Typewritten postcard from Deutsch to Schenker, dated November 7, 1925

Deutsch thanks Schenker for agreeing to the cuts to his article, and asks to come to the Schenkers on November 22 for the planned snack.

WSLB-Hds 191.558 Handwritten letter from Schenker to Deutsch, dated November 7, 1925

Schenker agrees to the cuts to his article, and invites the Deutsches for a snack and chat on November 12 or 15. Schenker is planning to see Heck's Beethoven manuscript.

OC 54/43 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 18, 1925

New stamps for the printing of Schenker's careted numbers must be ordered before the proofs of the first Meisterwerk Yearbook can be completed; they will therefore be delayed by a few days.

OC 54/44 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 21, 1925

The printing-house has just received the stamps with the special characters needed to set the first Yearbook, and the proofs will be ready in a few days.

OJ 9/8, [2] Handwritten postcard from Wilhelm Altmann to Schenker, dated November 21, 1925

Altmann acknowledges receipt of the [Hammer] portrait. — He refers to a booklet explaining Schenker's Urlinie.

OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925

Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing Deutsch's collection of Schubert first editions.

OC 54/45 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 28, 1925

The text of Yearbook I has been set, but the music examples will require more time.

OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925

The [Hammer] mezzotint has arrived; Dahms expresses a reservation about it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE.

OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925

Violin gives Schenker the program of his concerts with van den Berg and Buxbaum.

OJ 14/14, [1] Handwritten letter from Artur Schnabel to Schenker, dated December 6, 1925

Schnabel divulges only some details of his publisher's contract.

OC 54/48 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated December 9, 1925

Drei Masken Verlag acknowledge receipt of the Foreword to Meisterwerk I. They note that he has made a large number of corrections to the proofs, and warn him that, though they can be incorporated in the final text, he will have to bear the expense if they exceed 10% of the overall printing costs.

OJ 10/3, [45] Typewritten postcard from Deutsch to Schenker, dated December 9, 1925

Deutsch sends Schenker a dedication copy of the Schubert special issue of Moderne Welt, to which Schenker contributed an article. Deutsch had already requested a copy to be sent to Schenker from the publisher, but this has gone missing.

OJ 10/3, [46] Typewritten postcard from Deutsch to Schenker, dated December 15, 1925

Deutsch thanks Schenker for his postcard [not known to survive] and hopes to speak to him soon about the matters raised therein. Deutsch, however, could neither read nor understand a sentence from Schenker's postcard and affixes it to this reply.

OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21, 1925

Interrupting his correcting of the proofs for the first Meisterwerk Yearbook, Schenker sends Christmas greetings to the Violins, and informs his friend that an out-of-court settlement was made with Universal Edition. Recent concert appearances of the cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be sent to Hamburg.

OJ 14/45, [47] Handwritten letter from Moriz Violin to Schenker, dated December 25, 1925

Catching up on his correspondence on Christmas Day, Violin thanks Schenker for his recent postcard, and hopes that 1926 will be a less troublesome year for him. He quotes an extract from a negative review of Berg's Wozzeck, and reports on his practice and rehearsal plans for the trios that he will perform with van der Berg and Buxbaum in a month's time.

OJ 11/54, [6] Handwritten letter from van Hoboken to Schenker, dated January 3, 1926

Van Hoboken sends New Year greetings; reports that he is to see in the Paris Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson on January 9.

OJ 14/45, [50] Handwritten letter from Moriz Violin to Schenker, dated January 12, 1926

Violin asks Schenker if he would consider taking one of his pupils, Miss Agnes Becker, as a pupil for the remainder of the teaching year.

OC 54/56 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 14, 1926

Drei-Masken Verlag says that there are plans to publish the autograph manuscript of Mozart’s Don Giovanni in facsimile. They are in the process of finishing the first Meisterwerk Yearbook, note Schenker’s wish for wider Urlinie graphs in future yearbooks.

OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926

Drei Masken Verlag in Munich have now transferred all matters of production concerning the first Meisterwerk Yearbook to their office in Vienna.

OJ 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926

Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He is not optimistic that humanity in general will truly understand the classics, which underscores the important of his (and Violin's) mission.

OC 54/58 Typewritten letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January 16, 1926

The facsimile edition of Mozart’s Don Giovanni will not be ready for some time; a facsimile of Beethoven’s Op. 57 is planned, not by DMV but by a Paris printing-house.

OC 54/59 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 21, 1926

Drei Masken Verlag announce that the second galley-proofs are on their way to Schenker and explain that, owing to the complexity of the publication, it will take time to complete the corrections to the text and the music examples.

OC 54/60 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 25, 1926

Drei Masken Verlag are sending Schenker the second galley-proofs for the first Meisterwerk Yearbook, together with a separate printout of the music examples.

OC 54/62 Typed letter from Alfred Böhme (DMV) to Schenker, dated February 3, 1926

The Vienna branch of Drei Masken Verlag are forwarding Schenker’s request for an announcement about the Meisterwerk Yearbooks to their Munich office. They explain that difficulties in printing the music examples have delayed the production of Yearbook 1.

OC 54/63 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated February 5, 1926

Drei Masken Verlag invite Schenker to write a short announcement about the Meisterwerk Yearbook, to be sent to newspapers and music journals in advance of publication.

OJ 9/3, [4] Typewritten letter from Guido Adler to Schenker, dated February 10, 1926

Invitation to join the Conference Committee of the Beethoven Centennial Celebration 1927.

OJ 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11, 1926

Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in putting together the first Meisterwerk Yearbook, on account of the numerous music examples and separate Urlinie graphs, and summarizes the contents of the second Yearbook.

OJ 10/3, [47] Typewritten postcard from Deutsch to Schenker, dated February 15, 1926

Deutsch has received Schenker's request for a subscription to Die literarische Welt and has dispatched the required payment transfer form.

OJ 14/45, [51] Handwritten letter from Moriz Violin to Schenker, dated February 18, 1926

Violin, in the aftermath of two enormously successful trio concerts with Mauritz van den Berg and Friedrich Buxbaum, gives an account of Buxbaum's vanity and the difficulty this causes in rehearsals and more generally for the ensemble. His doctor has recommended that he spends three weeks in Bad Gastein this summer. He has not yet received Hammer's portrait of Schenker.

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.

OC 54/68 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 4, 1926

Drei Masken Verlag reprimands Schenker for introducing so many changes to the music examples, and ask him to consider whether he wishes to bear the additional cost of reingraving the music example plates.

OJ 14/45, [52] Handwritten letter from Moriz Violin to Schenker, dated March 6, 1926

Responding to Schenker's continuing queries, Violin gives some details of recent illnesses, the cure for which his doctor has ordered him to spend part of the summer in Bad Gastein. He is awaiting the arrival of the Hammer portrait, and is considering the future of his piano trio ensemble.

OC 54/69 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 10, 1926

Drei Masken Verlag report a short delay in the production of the first Meisterwerk Yearbook.

OJ 14/45, [111] Handwritten postcard from Moriz Violin to Schenker, dated March 13, 1926

Violin thanks Schenker for Hammer's excellent portrait of him, which has finally arrived.

OC 54/70 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 15, 1926

Drei Masken Verlag agree to print a list of corrections at the end of Meisterwerk 1, and announce that they have now completed the revision of the volume.

OJ 10/3, [49] Handwritten letter from Hanna Deutsch to Schenker, dated March 20, 1926

Hanna Deutsch invites the Schenkers to afternoon tea on March 28, 1926.

OJ 10/3, [50] Typewritten letter from Deutsch to Schenker, dated March 26, 1926

Deutsch requests that the Schenkers' planned visit for afternoon tea be postponed because their children and nanny have contracted flu.

OC 82/27-28 Handwritten letter from Georg Dohrn to Schenker, dated April 2, 1926

Dohrn inquires as to the performance of the opening of the second movement of Beethoven's Ninth Symphony.

OJ 5/9a, [1] Handwritten letter from Schenker to Georg Dohrn, dated April 5, 1926

Schenker answers Dohrn's inquiry as to the performance of the opening of the second movement of Beethoven's Ninth Symphony.

WSLB 369 Handwritten letter from Schenker to UE, dated April 7, 1926

Schenker encloses an order from Bauer and asks for it to be fulfilled.

OJ 10/3, [51] Handwritten letter from Hanna Deutsch to Jeanette Schenker, dated April 8, 1926

Hanna Deutsch tries to arrange a date for the Schenkers, Hoboken and Vrieslander to visit for afternoon tea.

OC 52/545 Typed postcard from Hugo Winter (UE) to Schenker, dated April 9, 1926

Winter acknowledges order from Otto Bauer.

OC 54/74 Typed letter from Alfred Böhme (DMV) to Schenker, dated April 15, 1926

Drei Masken Verlag inform Schenker that the proof-copy of Meisterwerk 1 has been sent to Dr. Einstein in Munich for final checking. They confirm that the majority of the music examples will appear as an unbound supplement at the end of the book, agree to correct two errors in the typesetting, and confirm the appearance of the cover.

OJ 15/15, [20] Handwritten postcard from Weisse to Schenker, dated April 16, 1926

Schenker has, mistakenly, sent Weisse a copy of Reger's "Telemann" Variations (Op. 134) instead of the "Bach" Variations (Op. 81) which he had lent him. Weisse asks what is holding up the publication of the first Meisterwerk Yearbook, and suggests that Schenker might write about Bruckner in the next one. A Brahms analysis would help strengthen his position against his opponents. He also recommends that Schenker discuss a work that is less than perfect, and cites Eduard Mörike's "Um Mitternacht" as an example of a poem whose opening verses are beautiful but which deteriorates in meaning and poetic quality.

OC 54/75 Typed letter from DMV to Schenker, dated April 24, 1926

Drei Masken Verlag will send Schenker new page-proofs for the first gathering, to ensure that the title-page and the list of printing errors are correct. They also ask about the binding of the separate pages of musical illustration, and the notice about his earlier publications.

OC 54/76 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 4, 1926

Drei Masken Verlag are sending Schenker the proofs for the first gathering of his first Meisterwerk Yearbook, with the list of printing errors. There is not enough room for a special notice about the new series, but they will include the contents of the ten issues of Der Tonwille.

OC 54/77 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 7, 1926

Drei Masken Verlag alert Schenker to the printing error in the proof of the advertisement page, which was to be included in the first Meisterwerk volume, and ask that he disregard the imprimatur. They send linen swatches for the cover and recommend using coloured lettering for the title.

OC 54/78 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 14, 1926

A further mistake has been found in the text of the first Meisterwerk Yearbook, and Schenker is asked to confirm the correction by return of post.

OJ 10/1, [92] Typewritten letter from Dahms to Schenker, dated May 21, 1926

Dahms reports plans, with a young Munich publisher, to launch a popular music "almanach," anti-modern, propagandizing for "our ideas," and later a serious periodical. — He has to raise 10,000 Marks, and asks for Heinrich's help in doing this. — Margarete has had surgery.

OJ 11/54, [7] Handwritten letter from Hoboken to Schenker, dated May 22, 1926

Hoboken excuses himself from May 22 lesson, looks forward to May 25 lesson.

OC 54/79 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 5, 1926

The binding of the first Meisterwerk Yearbook has been transferred to another firm, mainly because the printing-house of Waldheim-Eberle would not do this work for the agreed price. Schenker is asked not to press for an early release of the book, before the bindings have had a chance to dry thoroughly.

OJ 14/45, [53] Handwritten letter from Moriz Violin to Schenker, dated June 7, 1926

Violin thanks Schenker for his recent postcard, gives a brief account of his own illnesses, and gives a somewhat longer account of those of his son Karl, which will complicate summer travel plans. He has learned from music shops in Hamburg that the Erläuterungsausgabe of Op. 106 is not yet published, and has also heard that Schenker's Beethoven sonata edition is no longer available; he asks Schenker if this is true.

OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9, 1926

Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing article about Schenker in Die Musik; advice for Weisse over choice of publisher.

OC 54/80 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 11, 1926

Drei Masken Verlag acknowledge receipt of the manuscript of Das Meisterwerk in der Musik, vol. 2.

OC 54/82 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated June 14, 1926

The Munich office of Drei Masken Verlag acknowledges receipt of the manuscript for Das Meisterwerk in der Musik, volume 2.

OC 54/83 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 15, 1926

Drei Masken Verlag are sending Schenker ten hard-bound complimentary copies of the first Meisterwerk Yearbook, although he may contractually be entitled only to five hard-bound and five paper-bound copies. They ask him to send the addresses to which review copies may be sent. (Schenker has made some pencil notes about the receipients of the complimentary copies.)

OC 54/84 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 16, 1926

Drei Masken Verlag ask Schenker to exchange five paper-bound copies of the first Meisterwerk Yearbook for five of the hard-bound copies they had recently sent him.

OJ 10/1, [93] Handwritten letter from Walter and Margarete Dahms to Schenker, dated June 17, 1926

Birthday greetings.

OC 54/87 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 19, 1926

Drei Masken Verlag inform Schenker that the distribution of the first Meisterwerk volume will be delayed until their Munich branch have announced the retail price.

OC 54/88 Typed letter from August Demblin (DMV) to Schenker, dated June 21, 1926

Drei Masken Verlag will arrange to have the remainder of the advance for the first Meisterwerk Yearbook paid in shillings, but they are reducing the royalties because the corrections he made exceed 10% of the printing costs. They are also reserving judgment on the publication of the second Yearbook until they see some sales figures for the first. (Pencil annotations to the letter indicate Schenker’s displeasure at this news.)

OC 54/89 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 22, 1926

Drei Masken Verlag in Vienna report having paid the remainder of the advance for the first Meisterwerk Yearbook into Schenker’s account.

OC 54/90 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 23, 1926

In response to Schenker’s query regarding advance payments for Das Meisterwerk in der Musik, the Vienna office of Drei Masken Verlag explain that they have instructions only to offer the remainder of the advance on the first Yearbook, and that no decision has yet been made with regard to the second.

OC 54/91-92 Draft of a letter from Schenker to DMV in Schenker’s hand, dated June 24, 1926

In response to Drei Masken Verlag’s delay in initiating production of the second Meisterwerk Yearbook, Schenker points out that the publishers are in breach of paragraph 8 of the contract between them for not informing him the previous summer. He threatens them with legal action if he has not had a reply within a week, or if they insist on delaying production.

OC 54/94 Typed letter from Hirsch to Schenker, dated June 26, 1926

Treuga Bank confirm that the General Director has read through the contract and letters regarding payment for the first Meisterwerk volume. He will send a report as soon as he has discussed the matter with the Consul General.

OJ 10/1, [94] Handwritten letter from Dahms to Schenker, dated June 26, 1926

Dahms thanks Schenker for his report [on the viability of the almanach proposal]. — He plans to devote part of the almanach to Beethoven, and asks whether Schenker might contribute something new, or grant permission to reprint some of what he has written in Der Tonwille.

OJ 10/1, [95] Handwritten letter from Dahms to Schenker, undated, presumably late June or early July, 1926

Dahms's almanach plans have failed. — Germany has shown its gratitude for his work by denying him a divorce [from Agnes] for 15 years.

OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926

Violin announces his arrival in Bad Gastein, to improve his health. The rest of his family is in Bistrai, near Bielitz, in Silesia.

OJ 8/4, [43] Handwritten postcard from Schenker to Moriz Violin, written July 8, 1926

Schenker expresses his pleasure that the Violins are on holiday in Badgastein; he enquires about whether Violin has received a complimentary copy of Meisterwerk 1, which his publishers seem slow to dispatch, and whether he has further plans to give piano trio concerts.

OC 54/95 Typed letter from August Demblin (DMV) to Schenker, dated July 9, 1926

Drei Masken Verlag ask Schenker to agree to a delay until October 1926 before a decision is reached about proceeding with production of the second Meisterwerk Yearbook.

WSLB 370 Handwritten postcard from Schenker to Hugo Winter (UE), dated July 12, 1926

Schenker requests final account for the series Musikalische Theorien und Phantasien.

OJ 14/45, [54] Handwritten letter from Moriz Violin to Schenker, undated, written July 13, 1926

Replying to Schenker's postcard of July 8 and the receipt of the first Meisterwerk Yearbook, Violin singles out the article "Weg mit dem Phrasierungsbogen" and remarks on passages in two Chopin etudes and in Beethoven's "Pathétique" Sonata which Schenker would find interesting. There is no news concerning his piano trio (with Mauritz van den Berg and Friedrich Buxbaum) but he is considering playing a concerto in the 1926-27 season.

OC 52/907 Typed letter from Hugo Winter (UE) to Schenker, dated July 14, 1926

UE have mailed Schenker's statement of account to Galtür.

OJ 10/1, [96] Handwritten letter from Dahms to Schenker, dated July 14, 1926

Dahms acknowledges receipt of Das Meisterwerk 1, and will review it for the Allgemeine Musikzeitung and his Almanach. — Is going to Berlin. — PS on acoustics of under-dominant.

OC B/193 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked August 3, 1926

Altmann thanks Schenker for Meisterwerk I and describes his summer travels.

OJ 10/1, [97] Handwritten postcard from Dahms to Schenker, dated August 11, 1926

Dahms gives his travel plans and [temporary] Berlin address.

OJ 11/35, 24 Handwritten postcard from Halm to Schenker, dated August 11, 1926

Halm acknowledges receipt of Meisterwerk vol. I.

OJ 9/34, [2] Handwritten letter from Cube to Schenker, dated August 14, 1926

Cube is having difficulty getting his father to pay Schenker for lessons given over the previous year, and asks Schenker to write firmly to the latter; speaks of his attempts to make contacts within Düsseldorf artistic circles.

OJ 5/8 [1] Handwritten letter from Schenker to Gustav von Cube, dated August 18, 1926

Schenker insists that Gustav von Cube pay the fee for his son Felix’s last three months of lessons with him. He does not teach without being paid, explaining that this would be self-degrading – in his case all the more so, as he lives frugally and teaches only much as is necessary to afford to pursue his own research.

OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926

The composition of a clarinet quintet has kept Weisse from writing to Schenker. Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to meet with him in Vienna to discuss its content.

OJ 11/54, [8] Handwritten letter from Hoboken to Schenker, dated August 22, 1926

Hoboken will probably not now visit Schenker in Galtür; explains his and his wife's departure from Munich and their subsequent travels to Bern, Naples, and Capri, and reports that his house in Vienna should be ready for occupancy on October 1. — Vrieslander and he are considering founding a music journal, and wish to discuss the idea with Schenker.

OJ 9/35, [2] Handwritten letter from Gustav von Cube to Schenker, dated August 24, 1926

Responding to Schenker’s demand for final payment for his son’s lessons, Gustav von Cube has arranged for 250 Marks to be paid to Schenker in Galtür; he will send the remainder to Vienna.

OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926

Schenker has received indication of part-payment from Cube's father [for Cube's lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has completed a clarinet quintet.

OJ 5/7a, [4] (formerly vC 4) Handwritten postcard from Schenker to Cube, dated September 4, 1926

Schenker acknowledges Cube's note, sends best wishes, and refers to Der freie Satz.

OJ 14/45, [55] Handwritten letter from Moriz Violin to Schenker, dated September 5, 1926

Violin reports that he had to cut short his holiday in Bad Gastein because his son Karl was again seriously ill. The costs of treatment amounted to nearly 4000 Marks, and this sum must be paid by the end of the year.

OJ 6/7, [29] Handwritten letter from Schenker to Moriz Violin, dated September 7, 1926

Schenker conveys his personal grief over the serious illness of Violin's son Karl. He philosophizes about the ills of the world, noting financial difficulties recently faced by Vrieslander, Dahms, and van der Berg. He reports Robert Pollak's imminent departure for San Francisco.

OJ 5/7a, [5] (formerly vC 5) Handwritten letter from Schenker to Cube, undated [c. October 7, 1926]

Schenker praises Cube's talent as a writer; informs Cube of forthcoming article on Schenker by Vrieslander with portrait by Hammer; expresses his wish that Cube's father would pay all that he owes him.

OJ 14/45, [56] Handwritten letter from Moriz Violin to Schenker, dated October 10, 1926

Violin reports that his son Karl's health has improved, but that he has to find a new apartment because Karl cannot stay on the ground floor. He will obtain a copy of the current issue of Die Musik, and reports that a review of (presumably) Meisterwerk 1 has appeared in the Hamburger Fremdenblatt.

WSLB 371 Handwritten letter from Schenker to UE, dated October 10, 1926

Schenker thanks UE for the advertisement in Die Musik, and asks if they can obtain a review in Rivista musicale italiana.

OC 54/101 Typed letter from Drei Masken Verlag (Vienna) to Schenker, dated October 12, 1926

Drei Masken Verlag in Vienna will forward Schenker’s query about the lack of publicity for the first Meisterwerk Yearbook to their Munich office.

OC 52/831 Typed postcard from Barbara Rothe (UE) to Schenker, dated October 13, 1926

UE have written for review in Rivista musicale italiana.

OC 54/104 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated October 15, 1926

Drei Masken Verlag think that an advertisement for the first Meisterwerk Yearbook in the December 1926 issue of Die Musik would be timely; they also report that sales of the book have been slow.

OJ 11/51, [1] Typed letter from Hindemith to Schenker, dated October 25, 1926

Finding his name mentioned adversely in Meisterwerk 1, Hindemith writes that he has always striven to fulfill in his own work the fundamental truths that are stated in Schenker's books. He encloses two scores, and is convinced Schenker will find the Urlinie in them.

OC 52/832 Typed letter from Barbara Rothe (UE) to Schenker, dated October 26, 1926

Rothe encloses review from Rivista musicale italiana.

WSLB 372 Handwritten letter from Schenker to UE, dated November 2, 1926

Schenker returns the review in Rivista musicale italiana.

OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926]

In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable with material property; the music of today is quite different from that of the past, the rules of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to speak his own mind.

OJ 8/4, [44] Handwritten postcard from Schenker to Moriz Violin, dated November 10, 1926

Schenker enquires about the health of Violin and his son Karl. He has received a cordial letter from Hindemith, assuring him that the fruits of his theory may be found in his works, including the Urlinie; he has responded politely but candidly.

OJ 10/1, [98] Handwritten postcard from Dahms to Schenker, dated November 13, 1926

Dahms has written his review of Meisterwerk, and has dispatched a copy of his Almanach to Schenker.

OJ 14/45, [57] Handwritten letter from Moriz Violin to Schenker, dated November 17, 1926

Violin reports on having moved to a new apartment, no longer on the ground floor, which his sister and (especially) a friend in Berlin named Martha Loeb have helped to finance. He is amused what Schenker told him about his letter from Hindemith, whose words, he believes, ought to be taken at face value.

OJ 9/34, [3] Handwritten letter from Cube to Schenker, dated November 25, 1926

Cube asks for a letter of recommendation to be sent to the Provincial School Council.

OC 54/108 Typed letter from Alfred Böhme (DMV) to Schenker, dated November 26, 1926

Drei Masken Verlag are not at liberty to make a direct approach to a retailer’s customers. They suggest that Schenker contact the firm of Gutmann directly, and that the appeal to his readers is personally composed; they will offer Gutmann a reduction in the cost of copies ordered or sold by the firm.

OJ 5/7a, [6] (formerly vC 6) Handwritten postcard from Schenker to Cube, dated November 28, 1926

Schenker acknowledges receipt OJ 9/34, [3]; has written letter of recommendation to Koblenz authorities, and supporting letter to recipient.

OJ 11/54, [9] Handwritten postcard from van Hoboken to Schenker, dated December 2, 1926

Hoboken cannot attend December 3 lesson.

OC 54/109 Typed letter from Alfred Einstein (DMV) to Schenker, dated December 11, 1926

Although he is confident that Drei Masken Verlag is not bound to publishing Schenker’s second Meisterwerk Yearbook, Einstein suggests that the two of them come to a new financial agreement so that production can take place.

OJ 9/34, [4] Handwritten letter from Cube to Schenker, dated December 14, 1926

Cube was not given recognition, and has to take an examination for purposes of the appointment. Sends Christmas greetings.

OC 54/110 Typed letter from Alfred Böhme (DMV) to Schenker, dated December 17, 1926

Drei Masken Verlag inform Schenker that a glowing review of the first Meisterwerk volume has appeared in Der Abend, and ask that he send them details of interested individuals to whom they can forward the review.

UMdK Z 767 D/1926, [1] Handwritten letter from Schenker to the Akademie für Musik, dated December 17, 1926

Schenker inquires whether interest on the capital will be available for him to award the Sofie Deutsch stipend in 1927.

OJ 5/7a, [7] (formerly vC 7) Handwritten postcard from Schenker to Cube, dated December 19, 1926

Schenker acknowledges receipt OJ 9/34, [4], and asks to be told outcome.

OJ 6/7, [30] Handwritten letter from Schenker to Moriz Violin, dated December 19, 1926

Schenker expresses his delight that his friend received sufficient financial help to be able to move into a new apartment for the sake of his son Karl's health. He reports having shown Agnes Becker some straightforward examples of the Urlinie, out of desperation (she shows little aptitude for piano playing), and then explains that a great deal of time, patience and faith are needed to understand such things. Of his current pupils, only Elias, Brünauer, Hoboken and (to some extent) Albersheim are capable of following the ramifications of the new theory, which he sees as his unique gift to the world. At present, he is working on his "crowning work," Free Composition.

OJ 9/4, [2] Typewritten letter from the Alexander Wunderer (Akademie für Musik) to Schenker, dated December 21, 1926

The accumulated interest is available for distribution for the Sofie Deutsch stipend.

UMdK Z 767 D/1926, [3] Typewritten internal memorandum of the Akademie für Musik, dated December 21, 1926

Records the interest for 1925 and 1926 for the Sophie Deutsch Stipend of 1927.

OC 52/908 Typed letter from Hugo Winter (UE) to Schenker, dated December 28, 1926

Payments for Beethoven sonatas and Der Tonwille have been transferred.

OJ 10/1, [99] Handwritten postcard from Dahms to Schenker, dated December 28, 1926

Dahms's review of Meisterwerk 1 is out. Christmas greetings.

WSLB 373 Handwritten letter from Schenker to Hugo Winter (UE), dated December 30, 1926

Schenker requests continuation of half-yearly statements for the Musikalische Theorien und Phantasien.

OJ 9/34, [5] Handwritten letter from Cube to Schenker, dated December 31, 1926

Teaching situation has been resolved; asks Schenker's advice on an Urlinie graph; will hear from Conservatory in New Year; sends New Year's greetings.

UMdK Z 767 D/1926, [4] Handwritten letter from Schenker to the Akademie für Musik, dated December 31, 1926

Schenker asks the amount of interest that will be available for the Sofie Deutsch stipends in 1927.

OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927

Violin reports on his son Karl's continued health problems and also his affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for two pianos by C. P. E. Bach in an arrangement by Schenker.

OC 52/909 Typed letter from Hugo Winter (UE) to Schenker, dated January 4, 1927

Encloses Schenker's royalty statement for the second half of 1926.

OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927

Deutsch thanks Schenker for his recent communications, including a copy of the contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of relevant extracts from the correspondence with the publishers. He reports progress in the establishment of a Photogram Archive at the Austrian National Library, with the cooperation of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to photographically reproduce autograph manuscripts are underway at the Beethoven House in Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses his delight in being able to assist Schenker in the promotion of his work.

UMdK Z 767 D/1927, [2] Typewritten letter (carbon copy) from Hans Waizmann (Akademie für Musik) to Schenker, dated January 11, 1927

Waizmann reports the amount of the interest on the Sophie Deutsch stipend.

OJ 11/54, [10] Handwritten letter from van Hoboken to Schenker, dated January 16, 1927

Van Hoboken acknowledges [non-extant] missive; has been unable to look up Gerald Warburg; asks for John Petrie Dunn's address; has seen Otto Vrieslander.

OC 54/119 Typed letter from August Demblin (DMV) to Schenker, dated January 17, 1927

Drei Masken Verlag agree to publish the second Meisterwerk Yearbook, under terms suggested by Otto Erich Deutsch, and will send Schenker an advance of 250 marks.

OC 54/120 Typed letter from August Demblin (DMV) to Schenker, dated January 18, 1927

Drei Masken Verlag inform Schenker that they have sent the manuscript of his second Meisterwerk Yearbook to the typesetter, Mandruck (Munich), from whom he will receive the galley-proofs.

OC 54/122 Handwritten postcard from Alfred Einstein (DMV) to Schenker, dated January 19, 1927

Einstein thanks Schenker for the information provided (via Otto Erich Deutsch) about the manuscripts of Beethoven’s Ninth Symphony, and uses the opportunity to express his happiness that production of the second Meisterwerk Yearbook is now underway.

OC 54/124 Typed letter from Otto Vrieslander to Schenker, dated January 20, 1927

Vrieslander has received the Urlinie graphs for two essays in the second Meisterwerk Yearbook, and explains to Schenker that he will exercise the utmost care in preparing them for publication.

OC 54/125 Typed postcard from August Demblin (DMV) to Schenker, dated January 21, 1927

Drei Masken Verlag agree to send Schenker proofs of the text and the music examples at the same time.

OJ 15/15, [21] Handwritten postcard from Weisse to Schenker, dated January 21, 1927

Weisse provides Schenker with Gerald Warburg's address in New York City. He also asks a question about Schenker's fingerings for the trills in the second movement of Beethoven's Op. 111.

DLA 69.930/14 Handwritten postcard from Schenker to Halm, dated January 22, 1927

Schenker thanks Halm for sending his book, and hopes to read it soon.

OJ 9/34, [6] Handwritten letter from Cube to Schenker, dated January 24, 1927

Acknowledges Schenker's reply and corrections. There will be no problem with his teacher's examination in May. Reports on recent activities.

OC 54/126 Typed letter from August Demblin (DMV) to Schenker, dated January 27, 1927

Drei Masken Verlag have enclosed a page of music examples and a letter from the printers. They request a response as soon as possible.

OJ 11/54, [12] Handwritten letter from van Hoboken to Schenker, dated January 28, 1927

Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. — He reports on library visits in London and Paris, discusses manuscripts and conditions for photography, purchases. — He plans no further trips this season.

OJ 9/3, [5] Typewritten letter from Adler to Schenker, dated January 28, 1927

Invitation to give a lecture to the conference associated with the Beethoven Centennial Celebration [March 1927].

OJ 5/7a, [8] (formerly vC 8) Handwritten postcard from Schenker to Cube, undated [January 31, 1927]

Schenker wishes Cube well in his new job, offers encouragement over his graphing technique, and praises his writing.

OJ 9/4, [3] Typewritten letter from Joseph Marx and Alexander Wunderer (Akademie für Musik) to Schenker, dated February 3, 1927

Schenker is asked to give the Federal Ministry of Education his opinion as to how the Sofie Deutsch stipends should be adjudicated after his death.

OJ 9/34, [7] Handwritten letter from Cube to Schenker, dated February 7 1927

Cube reports on his careers as critic and teacher.

OC 54/129 Typed letter from Otto Vrieslander to Schenker, dated February 10, 1927

Vrieslander assures Schenker that he has prepared the graphs for Mozart’s Symphony in G minor with the utmost care, with due regard to his instructions.

OC 54/130 Typed postcard from August Demblin (DMV) to Schenker, dated February 12, 1927

Drei Masken Verlag inform Schenker that the proofs will be sent in the manner that he has requested.

OC 54/131 Typed postcard from Otto Vrieslander to Schenker, postmarked February 14, 1927

Vrieslander explains the way he has dealt with Schenker’s detailed comments on the graph of Mozart’s Symphony in G minor.

OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927

Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave the music examples for the second Meisterwerk volume in order to ensure a flawless reproduction. He also reports that the width of the pages in the supplement will be expanded, and notifies Schenker of the changes that he will make to the music examples following this decision. Vrieslander states he has officially enquired with Einstein about potential problems in the printing process, making clear that Schenker will not be able to bear any additional costs for printing errors.

OC 54/133 Copy of a letter from Otto Vrieslander to Alfred Einstein (DMV), dated February 15, 1927

Following Einstein’s determination to have the Urlinie graphs engraved, not hand-drawn, Vrieslander asks that the engraver pays particular attention to the shape of the large slurs, and suggests a meeting with the engraver to go over further problems. If the graphs were relegated to an appendix, they could be as wide as necessary, for sake of clarity.

OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927

Schenker acknowledges and returns Cube's review; reports on the progress of his own publications.

OJ 6/7, [32] Handwritten letter from Schenker to Violin, dated February 16, 1927, with postscript from Fanny Violin

Replying to Violin's previous letter, Schenker expresses surprise about (Egon) Pollak's enthusiasm for C. P. E. Bach's Double Concerto. He also expresses uncertainty about whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and adaptation of part of his Counterpoint, vol. 2, has been prepared; and Herman Roth's book on counterpoint has also been published. He sends little Karl a picture of himself, and leaves space for Violin's sister Fanny to add a short greeting.

OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927

Vrieslander, at pains to ensure that the music illustrations in the second Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are having difficulty interpreting Schenker’s music examples. He is putting his own work to one side in order to work exclusively on creating clear and elegant graphs; he proposes to come to Vienna in mid-March to go through all his work with Schenker.

OC B/228 Typewritten letter from V. A. Heck to Schenker, dated February 21, 1927

Heck informs Schenker of a Beethoven manuscript in his hands.

OJ 13/25, [1] Handwritten letter from Albert Trentini (on behalf of Hermann Rinn) to Schenker, dated February 23, 1927

Trentini invites Schenker to contribute to Der Kunstwart.

OJ 14/45, [61] Handwritten letter from Moriz Violin to Schenker, dated February 23, 1927

Following a brief description of a recent illness, Violin replies to Schenker's question about accepting the Order of Merit from the Viennese Academy of Art and Science and advises him to accept it. He realizes that staying in Hamburg would be bad for his son's long-term health and has spoken to Artur Schnabel about the possibility of moving to Berlin or Frankfurt. An influential man in Frankfurt is the father-in-law of Paul Klenau; Violin knows of Klenau's respect for Schenker, and asks his friend to write to Klenau in support of his application for a post there.

OC 54/135 Typed letter from DMV to Schenker, dated February 24, 1927

Drei Masken Verlag inform Schenker that there is a delay with the production of the music examples for the second Meisterwerk yearbook. They anticipate that he will receive the proofs soon.

OC B/227 Typewritten letter from V. A. Heck to Schenker, dated February 25, 1927

Heck has sent the sketchleaves for photographic reproduction.

OJ 8/4, [46] Handwritten postcard from Schenker to Violin, postmarked [February] 26, 1927

Responding to a request from Violin, Schenker says he will write to Paul von Klenau on behalf of Violin, apparently in connection with a possible position in Frankfurt.

OJ 8/4, [47] Handwritten postcard from Schenker to Violin, dated February 27, 1927

Schenker is about to write to Paul von Klenau on Violin's behalf, but asks whether he should wait until Easter, as suggested in Violin's previous letter.

OJ 14/45, [62] Handwritten letter from Violin to Schenker, dated March 2, 1927

Violin thanks Schenker for his willingness to intervene on his behalf with regard to a position in Frankfurt, and asks him to get in touch with Paul von Klenau before a possible meeting in person at Easter.

OC 54/136 Typed letter from August Demblin (DMV) to Schenker, dated March 4, 1927

Drei Masken Verlag send Schenker a proof of the Urlinie graph for Chopin’s Op. 15, No. 2, and ask him to correct and return it.

OC B/226 Typewritten letter from V. A. Heck to Schenker, dated March 4, 1927

Heck asks Schenker to proof read the galleys of an article.

OC B/224 Typewritten letter from V. A. Heck to Schenker, dated March 10, 1927

Heck asks Schenker to identify a Beethoven sketchleaf.

OC B/223 Typewritten letter from V. A. Heck to Schenker, dated March 12, 1927

Heck thanks Schenker for information supplied, and will send a photograph.

OC 54/137 Typed letter from Otto Erich Deutsch to Schenker, dated March 16, 1927

Deutsch returns part of the proofs of the second Meisterwerk Yearbook and provides bibliographical details of a Haydn sketch-leaf to be reproduced for the essay on “The Representation of Chaos.”

OC 54/139 Typed letter from August Demblin (DMV) to Schenker, dated March 18, 1927

In response to queries about the typography in the second Meisterwerk Yearbook, Drei Masken Verlag ask Schenker to return the proof-sheets with the corrections indicated, so that they can investigate the specific problems.

OJ 12/11, [11] Handwritten letter from Klenau to Schenker, undated [c. March 23, 1927]

Klenau agrees to approach his brother-in-law to help Moriz Violin. — He responds to a comment by Schenker about Albert Schweizer.

OC 54/140 Typed postcard from Otto Vrieslander to Schenker, dated March 24, 1927

Vrieslander, in Vienna, makes arrangements to meet Schenker on March 25 to go over the music illustrations for the second Meisterwerk Yearbook, leaving the following day available if necessary.

OC 54/141 Typed postcard from August Demblin (DMV) to Schenker, dated March 24, 1927

Drei Masken Verlag confirm that the facsimile sketch for Haydn’s “Chaos” will be stereotyped.

OJ 8/4, [48] Handwritten picture postcard from Schenker to Violin, dated March 27, 1927

Schenker has written to Paul von Klenau on Violin's behalf, and received an assurance that Klenau will write to his brother-in-law (not father-in-law, as Violin had originally thought) but thinks that Artur Schnabel will be more influential. Klenau will visit the Schenkers on Saturday.

OJ 8/4, [49] Handwritten postcard from Schenker to Violin, dated March 29, 1927

In advance of seeing Klenau, Schenker reports on a meeting with Wilhelm Altmann and Ludwig Rottenberg, who believe that only people under 30 years old are likely to be appointed to a post of the sort that Violin is seeking in Frankfurt – a situation that he finds appalling.

OJ 14/45, [63] Handwritten letter from Violin to Schenker, dated March 31, 1927

In reply to Schenker's recent postcards, Violin maintains that Klenau's support for his appointment in Frankfurt is important, as the Ministry of Education in Berlin can exert only a limited amount of pressure on the Frankfurt circle.

OC 54/143 Typed postcard from August Demblin (DMV) to Schenker, dated April 5, 1927

Drei Masken Verlag confirm receipt of the corrected graphs and freshly copied music examples for Meisterwerk 2.

OJ 13/25, [2] Typewritten letter from Rinn to Schenker, dated April 6, 1927

Having received a letter from Schenker to Albert Trentini, Rinn welcomes the prospect of Schenker contributing the occasional article to Der Kunstwart, and asks for a title.

OJ 14/45, [113] Handwritten postcard from Violin to Schenker, dated April 6, 1927

In a reply to a recent letter, Violin thanks Schenker for the news concerning the position he is hoping to obtain in Frankfurt and asks him whether Klenau might discover what the people in Frankfurt think of him as a candidate.

OC B/222 Typewritten letter from V. A. Heck to Schenker, dated April 12, 1927

Heck sends a Beethoven sketchleaf and asks Schenker's opinion of it.

OJ 10/1, [100] Typewritten letter from Dahms to Schenker, dated April 13, 1927

His Almanach has been a success but produced no financial return in a hostile environment. — They are leaving Berlin for the south; he has lost faith in German spirit, intellect, and morality.

OJ 14/45, [64] Handwritten letter from Violin to Schenker, dated April 14, 1927

Violin thanks Schenker for his article (on Beethoven). He is still hoping for a positive reply regarding Paul von Klenau's support for him in Frankfurt.

OJ 15/15, [22] Handwritten postcard from Weisse to Schenker, dated April 14, 1927

Weisse calls his teacher's attention to a recent article by Edmund Schmid, which questions the objectivity of Schenker's Beethoven research and deplores the slavish adherence of his disciples to the concept of Urlinie.

OJ 11/54, [13] Handwritten postcard from van Hoboken to Schenker, dated April 22, 1927

Hoboken invites the Schenkers to a quartet concert.

OC 54/145 Typed letter from August Demblin (DMV) to Schenker, dated April 25, 1927

Drei Masken Verlag inform Schenker that they have sent all of the material for the second Meisterwerk volume to the printers, and that he should expect to receive three copies of the page proofs and two copies of the music examples in due course.

OJ 8/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated April 25, 1927

Schenker explains that what he is doing behind the scene to assist Violin in obtaining a post in Frankfurt, and hopes for some news from Wilhelm Altmann. Artur Schnabel will be more useful to his cause than Paul von Klenau and his brother-in-law Heinrich Simon.

WSLB 375 Handwritten letter from Schenker to UE, dated April 25, 1927

Having gained access to the facsimile of the "Appassionata" Sonata, Schenker sends revisions to his edition.

OC 52/834 Typed letter from Barbara Rothe (UE), dated April 26, 1927

Rothe acknowledges corrections to the "Appassionata" Sonata and promises proofs.

OJ 15/16, [57] Handwritten letter from Weisse to Schenker, dated April 29, 1927

Lacking an official state teaching certificate, Weisse asks Schenker for a testimonial that states that he studied with him from 1908 to 1915, and in 1919, and that he is fully qualified to teach harmony, counterpoint, composition, and piano.

OC 54/147 Typed postcard from August Demblin (DMV) to Schenker, dated April 30, 1927

Drei Masken Verlag inform Schenker that they have forwarded the imprimatur engravings to the printers, along with his query about Fig. 33.

OC 54/149 Typed postcard from August Demblin (DMV) to Schenker, dated May 3, 1927

Drei Masken Verlag confirm that they have arranged for two copies of the page proofs for the second Meisterwerk volume to be sent to him, and the third to Otto Erich Deutsch.

OC 54/154 Typed postcard from August Demblin (DMV) to Schenker, dated May 9, 1927

Drei Masken Verlag confirm receipt of the imprimatur copy of Figure 33 for the second Meisterwerk volume. They request that Schenker now send the galley proofs for pages 1–30.

OJ 11/1, [1] Typewritten letter from Atelier Pietzner-Fayer to Schenker, dated May 10, 1927

Pietzner-Fayer extends the deadline for portrait photography to May 20.

OC 52/835 Typed letter from Kalmus (UE) to Schenker, dated May 13, 1927

Kalmus notifies Schenker that proofs of the newly-revised "Appassionata" Sonata are on their way.

OC 54/157 Typed postcard from August Demblin (DMV) to Schenker, dated May 13, 1927

Drei Masken Verlag inform Schenker that they have forwarded his requested corrections to the printing house, and will be in touch soon regarding the completion of the graphs for the second Meisterwerk volume.

OC 54/158 Typed letter from August Demblin (DMV) to Schenker, dated May 16, 1927

Drei Masken Verlag notify Schenker that they will send him the missing galley proofs for the second Meisterwerk volume that day, and inform him that his requests for corrections regarding the Mozart graph have been successfully processed.

WSLB 378 Handwritten letter from Schenker to UE, dated May 17, 1927

Schenker returns proofs of the "Appassionata" Sonata.

OC 54/162 Typed letter from Mandruck to Drei Masken Verlag, dated May 19, 1927

Mandruck notify Drei Masken Verlag that they have enclosed a new set of proofs for the second Meisterwerk volume, amended in accordance with Schenker's wishes.

OC 52/837 Typed postcard from Kalmus (UE) to Schenker, dated May 20, 1927

Kalmus acknowledges the "Appassionata" proofs.

OC 54/163 Typed letter from August Demblin (DMV) to Schenker, dated May 20, 1927

Drei Masken Verlag notify Schenker that they have enclosed a set of amended proofs for the second Meisterwerk yearbook.

OC 54/164 Typed letter from August Demblin (DMV) to Schenker, dated May 23, 1927

Drei Masken Verlag confirm receipt of Schenker's imprimatur graphs and amended proofs for the second Meisterwerk yearbook, assuring him that the requested correction in the Mozart Symphony has been made.

OJ 9/8, [3] Handwritten postcard from Wilhelm Altmann to Schenker, dated May 26, 1927

Altmann reports on conversion of Hoch Conservatory to Hochschule.

OC 52/838 Typed postcard from Kalmus (UE) to Schenker, dated May 27, 1927

Proofs of the defective pages of the revised "Appassionata" Symphony have been dispatched to Schenker.

OJ 6/7, [33] Handwritten letter from Schenker to Violin, dated May 27, 1927

Schenker has tried to find out more about the plans for the conservatory in Frankfurt to be upgraded to a music Hochschule (and, presumably, for Violin to be posted there), but he is reluctant to press his contacts too far, as this may prove counterproductive.

WSLB 380 Handwritten postcard from Schenker to UE, dated May 27, 1927

Schenker asks that a complimentary copy of his Fifth Symphony monograph be sent to Vrieslander.

OJ 9/34, [8] Handwritten letter from Cube to Schenker, dated May 28, 1927

Cube reports on the state teaching examination, on which he was graded "satisfactory," deploring the way it was conducted.

OC 54/167 Typed letter from August Demblin (DMV) to Schenker, dated May 30, 1927

Drei Masken Verlag have enclosed the sample proofs of the first two gatherings for Meisterwerk 2, and request that he responds to their query about the size and placement of music examples as soon as possible.

WSLB 382 Handwritten letter from Schenker to UE, dated May 30, 1927

Schenker returns final proofs of "Appassionata" Sonata with imprimatur.

OC 52/840 Typed postcard from Barbara Rothe (UE) to Schenker, dated May 31, 1927

A copy of Schenker's Fifth Symphony monograph has been dispatched to Vrieslander as requested.

OJ 5/7a, [10] (formerly vC 10) Handwritten letter from Schenker to Cube, dated June 1, 1927

Schenker congratulates Cube on appointment to professorship; reports that Oppel has been appointed to a professorship at the Leipzig Conservatory, and on the spread of Schenker's theory elsewhere; looks forward to visit from Cube.

OJ 14/45, [65] Handwritten letter from Violin to Schenker, dated June 6, 1927

Violin still maintains that Paul von Klenau's petitioning on his behalf would provide a strong measure of support for his application for a post in Frankfurt.

OC 54/169 Typed postcard from August Demblin (DMV) to Schenker, dated June 7, 1927

Drei Masken Verlag inform Schenker that the page proofs for the second Meisterwerk volume will be completed in around two weeks time.

OC 52/841 Typed postcard from Kalmus and unknown signatory (UE) to Schenker, dated June 9, 1927

Acknowledges second proofs of "Appassionata" Sonata.

OC 54/171 Typed letter from Mandruck to Schenker, dated June 11, 1927

Mandruck enclose two sets of gatherings for the second Meisterwerk yearbook, along with the galley proofs. They request an explanation regarding Figure 75a.

OC 54/174 Typed postcard from Mandruck to Schenker, dated June 14, 1927

Mandruck have enclosed the page proofs for the second Meisterwerk volume, along with a printout of the galley proofs and gatherings 5–6.

OC 54/175 Typed postcard from August Demblin (DMV) to Schenker, dated June 15, 1927

Drei Masken Verlag enclose a paper sample intended for the second Meisterwerk Yearbook, and request Schenker's approval.

OJ 14/45, [66] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1927

In deepest admiration and gratitude, Violin sends Schenker (59th) birthday greetings and pictures of his children.

OC 54/177 Typed letter from August Demblin to Schenker, dated June 21, 1927

Drei Masken Verlag confirm that Schenker's requests regarding the music examples for the second Meisterwerk volume have been honoured, and inform him that he will receive a complete copy of the proofs once the pagination has been completed.

OC 54/178 Typed letter from Mandruck to Schenker, dated June 21, 1927