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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.
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WSLB 112 Handwritten letter from Schenker to Hertzka (UE), dated May 11, 1912
Schenker responds to Hertzka's suggestions on bar numbering in the Scherzo of
Beethoven's Ninth Symphony as reflected in Schenker's monograph and the proposed new edition
of the score, and offers a counter-proposal; he also responds on the formal terminology. --
He inquires as to the number of copies of the new edition of the Niloff
Instrumentations-Tabelle so far released.
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WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912
Schenker reports improved agreement among the supporters of the planned
Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for
the fee for correcting proofs of Beethovens neunte Sinfonie.
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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.
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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.
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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.
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OJ 14/5, [40] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated October 3,
1930
Moriz Schenker sends an interim payment of interest, but reports that the
mortgage formalities [on the Arzberg property] are still delayed. He is pleased that Georg
is continuing his lessons with Schenker.
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OJ 14/5, [41] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated October 20,
1930
Moriz Schenker is trying to speed up the [mortgage] formalities. -- Georg is
waiting to hear from Heinrich the time of his lesson. -- He is overwhelmed with work setting up
his new business.
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OJ 15/15, [54] Handwritten picture postcard from Weisse to Schenker, dated February 5,
1931
Weisse reports having given a successful talk to the Society for Music
Pedagogy on the importance of counterpoint; Schenker’s concept of line made a big impression
on the audience.
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OJ 6/8, [8] Handwritten letter from Schenker to Violin, dated October 23, 1931
Schenker has written to Ludwig Karpath concerning the matter of Violin’s
appropriation of the title of “Professor” (as discussed in Schenker’s letter of October 17).
He hopes that his friend's difficulties are now entirely behind him.
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OJ 5/18, 17 Handwritten letter from Schenker to Jonas, incorrectly dated September 1932 [recte:
December 1, 1932]
Schenker discusses likely sales for Jonas's Das Wesen, and will himself help
promote the book; warns Jonas against Hoboken.
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OJ 89/6, [3] Handwritten letter from Schenker to Hoboken, dated February 17, 1933
Congratulating Hoboken on his forthcoming marriage to Frl. Boy, Schenker
reports that Kalmus is playing a devious financial game over Oktaven u. Quinten (which is in
press) and Der freie Satz (which he thinks will take two years to publish) that may yet see
the latter revert to Cotta. — He speaks of Marx's naiveté over the proposed school version
of Harmonielehre. — He reports on the remaining stocks of Das Meisterwerk in der
Musik.
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OJ 5/18, 24 Handwritten letter from Schenker to Jonas, dated March 22, 1933
Schenker recounts Joseph Marx's requirements for adapting his Harmonielehre
for teaching purposes, and the involvement of Alfred Kalmus at UE. — Refers to Vrieslander's
adaptation of Kontrapunkt and Jonas's of Harmonielehre. — Reports Hans Weisse's success;
alludes to the Handel-Schenker Saul project.
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OJ 6/8, [25] Handwritten letter from Schenker to Violin, dated September 23, 1933
Schenker arranges a time for Violin and his sister to have supper with him:
not too late in the evening. He does not intend to teach Hans Wolf for less than two hours a
week, on account of the substance of the theoretical material, but is willing to lower his
hourly rate for him.