-
OJ 9/20, [3] Handwritten letter from Breitkopf & Härtel to Schenker, dated April 30,
1895
Breitkopf & Härtel offer Schenker scores for works he might like to
review.
-
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.
-
WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912
Schenker returns the contract for Die letzten fünf Sonaten von Beethoven
signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to
Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that
tradition, which will spawn a new generation of composers superior to the present
"cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau
der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der
Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of
Musicians project in the fall.
-
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 15/5, [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 5/43, [1] Handwritten draft letter from Schenker to Eberhard von Waechter, dated September 28,
1918
Schenker thanks Waechter for sending some of his work and praises it for being on
the right path toward genius; he questions musical education and existing music periodicals.
-
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].
-
WSLB 303 Handwritten letter from Schenker to Hertzka (UE), dated June 12, 1919
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven, Op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art, life, and politics are inextricably interconnected. He claims
that his pronouncements on politics now will prove correct in the long run. His sole concern is
with the truth; he is not interested in pandering to his readers.
-
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 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 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 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.
-
OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22,
1920
-
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 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 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, [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 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.
-
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.
-
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 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September
12, 1923
Schenker explains his behavior a few days before, in reply to Weisse’s letter of
September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer.
-
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.
-
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 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.
-
DLA 69.930/13 Handwritten letter from Schenker to Halm, dated October 6, 1924
Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of
performance of the A major string quartet. —Deplores current situation over Sofie Deutsch
stipends. —Reports difficulties with UE and intention to change publisher.
-
OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9,
1924
In the light of an exchange of letters with UE, Schenker suggests that the new
publication have a new title (Die Urlinie) but that the old typeface and format be retained.
He suggests that the new periodical should include articles on each of the Chopin etudes and
the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from
all of which book-length studies could subsequently be made.
-
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.
-
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 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18,
1925
Bamberger reports that after six months of repetiteur work he has been granted
some conducting. -- He laments the lack of musical education of the Danzig citizens, and its
impact on the theater's repertory. Talent is not appreciated by the theater's
administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his
reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks
Schenker a question about Schubert's song "Wohin?"
-
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.
-
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 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, [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.
-
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 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.
-
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.
-
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.
-
OJ 10/3, [53] Typewritten postcard from Deutsch to Schenker, dated January 16, 1927
Deutsch asks Schenker what he wrote about Domenico Scarlatti and Chopin as
non-German geniuses, for his forthcoming trip to Sweden. He has learned that Schubert was
paid for two summers’ teaching for the Esterházy family; he has valued two song manuscripts
belonging to the family at 4,000 marks.
-
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.
-
OJ 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927
Deutsch tells Schenker that the second edition of Schindler’s Beethoven
biography is available, but not the first. --- He explains at length a misunderstanding over
the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal
Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph
manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram
Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports
on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and
expresses his regret that Drei Masken Verlag have been slow to prepare the second
Meisterwerk yearbook for publication.
-
OJ 10/3, [71] Typewritten picture postcard from Deutsch to Schenker, dated October 15,
1927
Deutsch accepts an invitation to the Schenkers on Wednesday, October 19. –
Drei Masken Verlag have told him that they have already paid Schenker’s honorarium and sent
him complementary copies [of the second Meisterwerk yearbook] in January and that the second
payment came to him from their branch in Vienna. – He has been working on a Beethoven
catalogue but must now turn his attention to Mozart, and then to Schubert.
-
OJ 15/16, [58] Handwritten letter from Weisse to Schenker, dated October 27, 1927
Weisse congratulates Schenker on the publication of the second Meisterwerk
Yearbook, of which has expresses mainly admiration. But he is unhappy with Schenker's dismissal
of the fugue from Reger's Variations and Fugue on a theme of Bach, and with his reading of the
Urlinie in Schubert's Waltz Op. 9 (D. 365), No. 5, and Beethoven's Sonata Op. 10, No.
2.
-
OJ 10/3, [74] Typewritten postcard from Deutsch to Schenker, dated November 22, 1927
Deutsch suspects that with the typesetters' "messing up" of Schenker’s revised
copy of Schubert’s “Unfinished” Symphony the material has been made illegible. — He has been
in contact with people regarding a possible radio talk by Schenker, and one by himself on
the redesigning of the Mozarteum. — He reports that the pianist Heinz Jolles would like
Schenker to prepare an edition of one of Beethoven’s variation sets (WoO 80 or the
“Diabelli”), and that Josef Braunstein is gratified to hear of Schenker’s interest in his
recent book on the "Leonore" overtures.
-
OJ 71/19, [1] Typewritten letter from Alfred Kalmus (WPhV) to Otto Erich Deutsch, dated November
30, 1927
Kalmus thanks Deutsch for his recent help with a Schubert publication, then
reports that one of their editors mistakenly added changes to Schenker’s annotated copy of
the “Unfinished” Symphony which was to be used for the new edition. He apologizes for the
error, and is returning Schenker’s copy together with another copy of the score into which
Schenker’s original notations have been entered as accurately as possible.
-
OJ 10/3, [75] Typewritten letter from Deutsch to Schenker, dated December 2, 1927
Deutsch encloses Schenker’s score of the “Unfinished” Symphony that was used
used for the new edition and Alfred Kalmus’s apologetic letter. He mentions the pianist
Heinz Jolles’ interest in Schenker’s editorial work, in the hope that Schenker might at some
point tackle Beethoven’s “Diabelli” Variations.
-
OJ 10/3, [76] Typewritten picture postcard from Deutsch to Schenker, dated January 27,
1928
Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with
Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished”
Symphony. Kalmus said that time was pressing and he was unable to show the two men the
changes before the work went to press.
-
WSLB-Hds 191.561 Handwritten picture postcard from Schenker to Deutsch, postmarked February 6,
1928
Schenker congratulates Deutsch on his two most recent radio broadcasts, and on
his impending appointment as editor of a monthly music journal.
-
OJ 10/3, [79] Handwritten letter from Hanna Deutsch to Schenker, dated March 4, 1928
The Deutsches will visit the Schenkers on Wednesday, March 14. Hanna reports
that Hoboken has been unwell.
-
OJ 10/3, [80] Typewritten postcard from Deutsch to Schenker, dated March 19, 1928
Deutsch reports that Eusebius Mandyczewski, the Archivist at the Gesellschaft
der Musikfreunde, would like to prepare a revised edition of Schubert’s “Unfinished”
Symphony, and asks Schenker if he would be prepared to make his textual notes on the
symphony available to him.
-
OJ 11/54, [23] Handwritten letter from Hoboken to Schenker, dated March 21, 1928
Hoboken has still made no progress on photographic work at the Paris
Conservatory. — He will go to Rotterdam and Münster. — Speaks of the importance of his Archive
work and contacts he has made. Will probably go to a concert featuring music of Alban Berg. — He
asks Schenker to intervene with O. E. Deutsch.
-
OJ 10/3, [81] Typewritten postcard from Deutsch to Schenker, dated March 25, 1928
Deutsch’s plans to give a pre-concert talk on the radio have been messed up by
Max Ast at Austrian Radio. -- He asks Schenker to tell him about the authentic copies of
Beethoven’s works made for Archduke Rudolph. -- He has been on the track of a German mass
for the dead by Schubert (the Deutsche Trauermesse) and would like to show Schenker his work
on it.
-
OJ 10/3, [82] Typewritten postcard from Deutsch to Schenker, dated March 26, 1928
Deutsch writes about the sketches for a symphony in E major by Schubert, in
the possession of the Royal College of Music in London. He would like to have a copy made so
that the work can be published – possibly by Oxford University Press. The costs should be
borne by the publisher, not the Photogram Archive, which would nonetheless get a copy of the
reproduction.
-
OJ 89/2, [5] Handwritten letter from Schenker to Hoboken, dated March 26, 1928
Schenker conveys Deutsch's response to van Hoboken's questioning of a planned
facsimile of Schubert sketches. — Schenker discusses strategy for persuading Paris to supply
photographs for the Photogrammarchiv.
-
OJ 10/3, [84] Typewritten picture postcard from Deutsch to Schenker, dated May 1, 1928
Deutsch has picked up a copy of his and Schenker’s recent edition of the
“Unfinished” Symphony; he has made a complaint to Universal Edition and let the publisher
know of Schenker’s displeasure with the-- He is going away for a few days, but returning to
give a radio broadcast on Schubert’s settings of Walter Scott.
-
OJ 10/3, [85] Typewritten picture postcard from Deutsch to Schenker, dated May 15, 1928
Deutsch thanks Schenker for his kind words (about his recent radio broadcast)
and describes the difficulties in preparing things for publication in Radio Wien. He informs
Schenker that Brahms’s arrangement of a Schubert song has already been published. He has
discovered that the Guitar Quartet believed to be by Schubert is an arrangement, and that an
early cantata, Die Advokaten, is also based on the work of another
composer.
-
WSLB-Hds 191.562 Handwritten letter from Schenker to Deutsch, dated May 17, 1928
Responding to Deutsch’s previous message, Schenker confirms that the
Deutsche Trauermesse must, on musical grounds, be a work by Franz Schubert. He also
agrees with Deutsch that the Quartet for guitar, flute, violin, and cello must be an
arrangement of a work by a fashionable composer of the time.
-
OJ 10/3, [88] Typewritten picture postcard from Deutsch to Schenker, dated June 14,
1928
Deutsch can show Schenker the reissue (Titelauflage) of Beethoven’s Sonata Op.
6 if he is interested. -- On the 27th, he is giving a radio broadcast on Schubert’s lost
symphony; he has obtained funding ($1,000) for the person who finds it. -- He is giving
another radio talk on July 3, on Schubert’s incidental music to Rosamunde.
-
WSLB-Hds 191.563 Handwritten letter from Schenker to Deutsch, dated June 22, 1928
Schenker thanks Deutsch for his birthday greetings, explaining that,
although he feels alienated from the musical world of the present day, he is
convinced that his work will have a lasting effect on future
generations.
-
OJ 10/3, [90] Typewritten letter from Deutsch to Schenker, dated June 27, 1928
Touched by Schenker’s response to his birthday greetings, Deutsch quotes a
passage from Johann Mayrhofer’s recollections of Schubert. He notes that the Columbia
Phonograph Company has sponsored a competition that could be viewed as a kind of Nobel Prize
for music.
-
OJ 10/18, [3] Handwritten letter from Elias to Schenker, dated July 11, 1928
Miss Elias is glad that Schenker is "not dissatisfied" with her graphings of
his piano piece Op. 4, No. 1 and looks forward to her October lessons for a detailed
discussion. — She inquires about Vrieslander's "monograph." — She was interested to see the
autograph and first edition of "Erlkönig" juxtaposed in a Schubert
exhibition.
-
OJ 14/45, [71] Handwritten letter from Moriz Violin to Schenker, dated July 18, 1928
Owing to a "complete breakdown," Violin is recovering at a sanatorium in
Schierke, from where he writes. In response to Schenker's previous postcard, Violin had
written more than once to Prof. [Fritz?] Stein for the return of the manuscript of a Handel
arrangement by Schenker, and he will chase him up in August. A pupil of his, Harry Hahn, has
taken upon himself to lecture on Schenker's theories at the local society of composers; for
this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude
and a Schubert waltz, and has proved a surprisingly competent and persuasive
speaker.
-
OJ 10/3, [92] Typewritten postcard from Deutsch to Schenker, dated September 27, 1928
Deutsch gives Schenker information about Brahms’s arrangement of a Schubert
song ("Ellens zweiter Gesang") and the guitar quartet attributed to
Schubert.
-
OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928
Schenker has received large-format Urlinie charts from Harry Hahn and recommends
format to Cube.
-
OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928
Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and
plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to
return the Hammer etching.
-
OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928
Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a
"connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next
time.
-
OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928
Sends best wishes for Cologne lecture-series; is planning to issue a folder of
Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv,
which will be officially opened on November [25]. The "counter-examples" should be taken
slowly.
-
OJ 10/1, [103] Typewritten letter from Dahms to Schenker, dated November 23, 1928
Dahms is unable to attend the Schubert conference in Vienna. — His latest
appeals on marital situation have been rejected.
-
OJ 10/3, [96] Typewritten letter from Deutsch to Schenker, dated December 11, 1928
Deutsch outlines plans for the publication of catalogues of music manuscripts
worldwide and, in particular, new thematic catalogues of the music of Schubert, Mozart and
Beethoven. With the intervention of Leopold Richtera, he has been assured of a good working
relationship with the director of music at Radio Wien (RAVAG).
-
OJ 8/4, [60] Handwritten poscard from Schenker to Moriz Violin, dated December 22,
1928
The Schenkers send the Violins their best wishes.
-
OJ 5/38, [53] Handwritten letter from Heinrich to Wilhelm Schenker, dated January 27,
1929
Schenker explains that his involvement with a Schubert festival and conference
has prevented him from writing sooner. He speaks about his blood-sugar level, about
listening to the radio, and about visits from their brother Mozio before finishing with two
Jewish jokes.
-
OJ 13/25, [4] Typewritten letter from Rinn to Schenker, dated February 7, 1929
Rinn reports that publication of "Eine Rettung der klassischen Musik-Texte"
must be delayed because a copy of the faulty Peters edition of Schubert's Sonata (Op. 78, in
G major), which is the subject of Schenker's essay, cannot be found anywhere in Munich. He
asks Schenker to send him his own copy, so that it can be used for the reproduction of the
musical text. He also mentions the death of August Halm, and his intention of marking the
event in the same issue in which Schenker's article is now to appear.
-
OJ 10/3, [97] Typewritten picture postcard from Deutsch to Schenker, dated February 12,
1929
Deutsch thanks Schenker for his recent postcard, then describes the
circumstances of his recent and forthcoming radio programs, which include a series of
concerts given by a “Kammerensemble” (chamber group) which includes professors from the
Vienna Academy. He has been to a man named Villers, who has been reconstructing orchestral
scores from piano reductions.
-
OJ 11/54, [25] Typed letter from Hoboken to Schenker, dated March 27, 1929
Hoboken has broken off his friendship with Otto Vrieslander after discovering
that the latter has been cheating him.
-
OJ 10/3, [103] Typewritten letter from Deutsch to Schenker, dated June 11, 1929
Deutsch gives Schenker a detailed, comprehensive account of how his royalties
on the sale of the third Meisterwerk yearbook are based.
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OJ 89/3, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 22,
1929
Hoboken gives his view on Vrieslander's honorarium demand.— He is not yet
finished with analyzing Brahms Op. 117, No. 1.
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OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929
In a long letter, Deutsch thanks Schenker for encouraging him to apply for the
post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the
previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of
play at the Archive, above all on its insecure position. — He also expresses his regret that
Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors
from the Vienna Academy, and that some of the players are no longer enthusiastic about them;
he hopes to start a new initiative of that sort in the autumn. — He is in good standing with
Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his
recent trip to Italy, and thinks that he might have become an art historian had he gotten to
know the country earlier.
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OC 52/853 Typed letter from Ernst Roth (UE) to Schenker, with enclosure, dated August 5,
1929
Encloses additional remarks by Edmund Schmid.
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OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929
Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ
9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music,
after which publication should ensue. Schenker gives detailed comments, with music examples, on
Cube's two piano sonatas, praising them highly and making suggestions for
improvement.
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OJ 89/3, [A] Handwritten letter from Schenker to Hoboken, undated [between November 14, 1928 and
January 1, 1929]
Schenker asks Hoboken to send a copy of a Schubert minuet to Munich, and draws
his attention to a Landshoff article and notice about the Andreas Bach
book.
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OJ 10/3, [126] Handwritten letter from Deutsch to Schenker, dated May 11, 1930
Deutsch asks for Schenker’s advice on the programming of an evening “Serenade”
of orchestral and choral music, to be conducted by Robert Heger.
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OJ 10/3, [127] Handwritten picture postcard from Deutsch to Schenker, dated May 23, 1930
Deutsch thanks Schenker for his musical illustration relating to Beethoven’s
"Neue Liebe, neues Leben" and gives details of the second of two outdoor music events
[Leopoldsplatz], scheduled for June 12.
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OJ 10/3, [130] Handwritten picture postcard from Deutsch to Schenker, dated June 7, 1930
Deutsch comments on the Beethoven military march (tattoo) he came across; he
is still looking for an arranger for Schubert’s marches for piano.
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OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930
Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about
Schenker difficult to read. He advises him to proceed with the printing of his essay on the
"Eroica" Symphony, even if it proves possible for another publisher to take it over at a
late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for
orchestra or wind band].
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WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930
In this 16-page response to a letter from Deutsch, Schenker thanks his
correspondent for his unstinting assistance (in relation to the third Meisterwerk
yearbook) and underlines the importance of a collected edition of the works of C. P.
E. Bach. — He then launches a long and detailed denunciation of Anthony van
Hoboken’s character, referring in particular to his treatment of Otto Vrieslander,
his ambivalence towards projects associated with the Photogram Archive, and his
absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is
thoroughly undeserving of a high honor conferred by the Austrian
state.
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WSLB-Hds 191.566 Handwritten letter from Schenker to Deutsch, dated August 5, 1930
Replying to Deutsch’s letter of July 30, Schenker warmly recommends his
long-standing pupil Marianne Kahn as a teacher for Deutsch’s brother. -- He then
comments at length on a newspaper article by Richard Benz (of which Deutsch had sent
a clipping), using a medical metaphor to describe the current pathological state of
music.
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OJ 10/3, [146] Typewritten letter from Deutsch to Schenker, dated April 21, 1931
Deutsch thanks Schenker for his completion of an untexted Schubert song. He
asks Schenker to help him to compare two versions of a set of variations. A deputation from
the Ministry of Education will pay a visit to Hoboken’s private library.
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WSLB-Hds 191.573 Handwritten postcard from Schenker to Deutsch, dated April 23, 1931
Schenker explains to Deutsch how the text (as yet unwritten) of the Schubert
song fragment, D. 555, should fit into his completion. He has heard that Ludwig Karpath has
referred to him as Austria’s best music theorist.
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OJ 9/34, [31] Handwritten letter from Cube to Schenker, dated May 8, 1932
Cube sends Schenker an Urlinie graph of Schubert's song "Der Dopplegänger," and offers an
extended commentary. Describes his work and state of mind, and comments on working with Moriz Violin; he
expresses fears for the Hamburg Schenker Institut. He has just got married.
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OJ 10/3, [172] Typewritten postcard from Deutsch to Schenker, dated June 2, 1932
Deutsch asks Schenker where he will be taking his summer holiday. He has an
edition of Beethoven’s Sonata Op. 111 purportedly corrected by Beethoven himself. He hopes
Schenker will visit the Haydn exhibition. He thanks Schenker for an edition from Nagels
Musikarchiv. His suspicions about the authenticity of Schubert’s Quartet for guitar, flute,
viola and cello have been confirmed. Finally, he asks Schenker to look at the introduction
and concluding paragraphs of his study of Mozart early editions.
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OJ 10/3, [187] Typewritten postcard from Deutsch to Schenker, dated October 21, 1932
Deutsch asks whether Schenker would have time to meet a Mr. [Bruno]
Maischhofer from Basel the following day (October 22). He has looked at a copy of “Auf dem
Flusse” from Schubert’s Winterreise, and questions the reading of the final note of the
voice part in bar 63.
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WSLB-Hds 191.575 Handwritten postcard from Schenker to Deutsch, dated January 25, 1933
Schenker comments on an English completion of the “Unfinished” Symphony. He is
waiting for a decision from a Mr. K. [Alfred Kalmus], concerning a proposed
publication.
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OJ 12/6, [19] Handwritten letter from Jonas to Schenker, dated January 28, 1933
Jonas still has no response from Hoboken re: his Einführung; encloses four
essays; reports on forthcoming article, his teaching and advocacy of critical editions,
planned radio lectures and performance, and other work.
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OJ 10/3, [191] Typewritten postcard from Deutsch to Schenker, dated May 19, 1933
Deutsch has discovered a fourth arrangement [of five] by Brahms of a Schubert
song with orchestral accompaniment. He is writing a lot for newspapers, which he enjoys
though it diverts him from more important work.
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OJ 10/3, [195] Typewritten letter from Deutsch to Schenker, dated July 12, 1933
Deutsch gives his impression of Ernst Fritz Schmid and his relationship with
Hoboken. Hoboken has stopped buying editions of music. Deutsch will not take a holiday but
will be in Salzburg to cover the festival.
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OJ 10/3, [196] Handwritten picture postcard from Deutsch to Schenker, dated August 16,
1933
Deutsch, writing from Salzburg, reports a visit from the Hobokens and
summarizes his own movements for the rest of the summer.
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OJ 10/3, [204] Typewritten picture postcard from Deutsch to Schenker, dated December 18,
1933
Deutsch thanks Schenker for advice [on giving courses at the Vienna Academy].
He asks him to pass on copies of his recent publications to Hoboken, and informs him of two
forthcoming articles which may be of interest.
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OJ 10/3, [205] Typewritten letter from Deutsch to Schenker, dated January 6, 1934
Deutsch sounds out Schenker on various performance projects he has in mind,
including performances of Schubert part-songs in their original setting for four soloists
(for which the radio would be an ideal medium) and choruses and arias from his operas that
have never been performed.
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OJ 10/3, [208] Typewritten picture postcard from Deutsch to Schenker, dated March 24,
1934
Deutsch is giving a lecture at a Schubert festival, in Basel in the month of
May, and would like to speak to Schenker about it. Weingartner is preparing a score based on
Schubert’s draft of a symphony in E major.
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OJ 10/3, [211] Typewritten postcard from Deutsch to Schenker, dated June 11, 1934
Deutsch apologizes to Schenker for not being in touch with him for several
weeks. He has received another unpleasant letter from Hoboken and would like to see Schenker
once more before Schenker leaves for his summer holiday.
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OJ 10/3, [212] Typewritten letter from Deutsch to Schenker, dated June 13, 1934
In this long letter Deutsch recounts events and circumstances concerned with
Hoboken’s library and the Photogram Archive, including the attempt by Oswald Jonas to place
an article on the Archive in English music journals and a Swiss newspaper, and Hoboken’s
intemperate behavior at an antiquarian music shop in London. Deutsch, trying to smooth over
points of friction, was himself accused both of neglecting his duties to Hoboken and of
being too familiar with new dealers in early music prints, who could be of service to the
library.
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OC 44/17 Typewritten postcard from Otto Erich Deutsch to Schenker, dated September 20,
1934
Deutsch reports the launch, in Radio Wien, of the competition to find or
create a poem that would suit the untexted Schubert song D. 555.
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OJ 10/3, [218] Typewritten letter from Deutsch to Schenker, dated October 14, 1934
Deutsch hopes that a planned journal associated with the Photogram Archive
might still see the light of day, and hopes that Schenker can use his influence to dissuade
Hoboken from giving his wife [Eva] an editorial role; he [Deutsch] would be willing to serve
without additional remuneration. He would like Oswald Jonas to write something on Schubert’s
Der Lindenbaum, comparing Schubert’s original setting [in Die Winterreise] with Friedrich
Silcher’s simplified arrangement for four-voice male chorus and piano.
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LC ASC 27/45, [23] Handwritten letter from Moriz Violin to Schoenberg, dated December 19,
1940
In sending Christmas greetings, Violin tells Schoenberg that he heard his
Second Chamber Symphony [by radio] from New York. — He speaks of a course that he has been
hired to teach at the Jewish Center, and mentions a second possibility without divulging
details.
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OJ 70/35, [9] Handwritten open letter from Schoenberg dated September 16, 1949, with handwritten
letter from Schoenberg to Moriz Violin, dated October 14, 1949
Schoenberg sends a copy of his open letter on his 75th birthday, embedded
within a letter in which he expresses pleasure at Violin's report of his Carmel
performance.