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OJ 9/6, [7] Handwritten letter with inclosure from Eugen d'Albert to Schenker, dated
September 2, 1894
Eugen d'Albert incloses his autobiographical contribution to Schenker's
forthcoming feature article in Die Zukunft. He apologizes for the non-arrival of the
MS piano reduction of his new opera, Ghismonda, which he describes as a
"psychological character sketch," and thanks Schenker for his
interest.
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OJ 15/6, [5] Handwritten letter from Fritz Wahle to Schenker, dated November 3, 1904
Fritz Wahle, who was probably at the receiving end of some witticisms of
Schenker’s during a drinking session after a concert featuring a keyboard concerto by C. P. E.
Bach, heaps praise on Schenker for having brought the work to life, and for having performed the
piece so well – with his own cadenzas.
-
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.
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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.
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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.
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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.
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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.
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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.
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OJ 5/35, [4] Handwritten draft incomplete letter from Schenker to Ernst Rudorff, incompletely
dated [?October 11,] 1908
Schenker explains his position on Gluck, Mozart, and Wagner.
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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.
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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.
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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.
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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.
-
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.
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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.
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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.
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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.
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WSLB-Hds 94478 Handwritten letter from Schenker to Seligmann, undated [shortly before May 31,
1911]
Schenker reports the completion of work on Beethoven’s Ninth Symphony and
enlists Seligmann’s help in placing notices in Viennese newspapers advertising a planned
series of lectures on modern music (cacophony).
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WSLB 75 Handwritten letter from Schenker to Hertzka (UE), dated May 17, 1911
The manuscript of Beethovens Neunte Sinfonie will be handed over complete
tomorrow. — Academy Director Wilhelm Bopp still favors the planned Bach-Beethoven editions
scheme, and Schenker awaits a summons from President Carl von Wiener.— Schenker argues the
case for UE to publish his arrangements of two C. P. E. Bach concertos and a work by
Handel.
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OC 1A/4-5 Handwritten letter, carbon copy, from Schenker to Hans Liebstoeckl, dated May 30,
1911
Schenker asks Liebstöckl to place an announcement [of a lecture series] in the
Illustrirtes Wiener Extrablatt.
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WSLB-Hds 95657 Handwritten postcard from Schenker to Seligmann, dated June 6, 1911
Schenker congratulates Seligmann on his latest feuilleton and shares his own
similar views about the relationship between nature and the art of
painting.
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WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911
Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie
in time to take on vacation, and inquires as to his proposal for UE to publish the score of
the Ninth Symphony with original markings. — No summons to interview with Academy President
von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade
against von Wiener and the Academy's teachers.
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OJ 5/27, [1] Excerpt from a letter from Schenker to Evelina Pairamall, dated August 20,
1911
Schenker contrasts "elemental drives" with "artistic creations," the latter
based on "falsehoods" except in the works of geniuses.
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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.
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OJ 15/6, [11] Handwritten letter from Fritz Wahle to Schenker, dated August 10, 1912
Fritz Wahle explains how he came to acquire Schenker’s book on Beethoven’s
Ninth Symphony. He has read Moriz Violin’s pamphlet about the leadership of the Vienna
Academy and hopes that some good will come of it. In response to a letter from Schenker, he
expresses his agreement with what Schenker has to say about Wagner, and again praises his
friend for the serious intent of his writings.
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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.
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DLA 69.930/4 Handwritten letter from Schenker to Halm, dated December 9, 1918
Schenker recounts to Halm how Sofie Deutsch had set up a trust for needy artists,
leaving Schenker to identify beneficiaries. Schenker offers to transfer 1,600 Kroner to him from
this trust.
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DLA 69.930/8 Handwritten letter from Schenker to Halm, dated October 27, 1919
Schenker writes of the deteriorating intellectual conditions in Germany and
Austria with respect to other nations, and of the devastating political and psychological
consequences. Schenker praises Halm's Klavierübung for its sensitivity to voice leading, and
speaks of it as an antidote to the decline of musical literacy. He hopes to talk with Halm about
these matters when he moves to Germany.
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OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October
16, 1920
Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking
a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit
Wally next Sunday.
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OJ 10/1, [60] Handwritten letter from Dahms to Schenker, dated December 29, 1920
Dahms thanks Schenker for his assessment of the three of his books that he has
sent him; gives a chapter synopsis of his next book, concerning Nietzsche and music; reports on
his movement in the coming months.
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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 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.
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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."
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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.
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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.
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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 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.
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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.
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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.
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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.
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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.
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OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927
Violin reports that his concert (cello recital) has been put back a week
because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his
recent written work, but he feels that Vrieslander does not truly understand Schenker's
cause, does not have the same "orientation" towards it as he, and expresses himself poorly.
(Weisse, he says, could have done things better.) However, all this pettiness is nothing
compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon
follow.
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OC 30/122-124 Handwritten copy or draft of letter from Schenker to Dunn, in Jeanette Schenker’s
hand, dated July 8, 1928
Schenker thanks Dunn for birthday greetings; welcomes him as a fighter for his
cause; discusses the relationship of strict counterpoint to free composition; and declares
enthusiasm for Dunn’s forthcoming book on orchestration.
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OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)
Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17],
and offers advice and a warning: ordinary people are not interested in beauty in art, but look
for quick, easy judgments.
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OJ 5/7a, [26] (formerly vC 26) Handwritten postcard from Schenker to Cube, dated July 22, 1929
Acknowledges the sonatas Cube sent with OJ 9/34, [19]; reports on Reinhard Oppel
and on Hans Weisse's recent publication success; Schenker approves of Cube's use of pianistic
diminution.
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OJ 89/4, [3] Handwritten letter from Schenker to Hoboken, undated [March 23, 1930]
Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano
technique, and defines Hoboken's character as a pianist.
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OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
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OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and
Heinrich Schenker’s hand, dated November 11‒16, 1931
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OJ 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933
Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in
his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political
developments in Germany, and attributes his threatened hunger to Violin's return to Vienna.
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OJ 89/6, [9] Handwritten letter from Schenker to Hoboken, dated July 25, 1933
In writing of Hoboken's prospects as a composer, Schenker is not interested in
creating imitation Bachs and Brahmses. — He delights in Cortot's visit to the Photogram
Archive - but Cortot belongs to the already convinced. — He makes observations on some
inclosed feuilletons, and gives information about Goos.
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OJ 89/9, [1] Handwritten letter from Schenker to Hoboken, undated [August 15, 1933]
In returning it, Schenker comments on book by Gottfried Benn, and reports that
Der freie Satz is nearing completion.
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OJ 5/18, 47 Handwritten letter from Schenker to Jonas, dated July 22, 1934
Schenker praises Jonas's book highly; gives Hoboken's current address; —
Furtwängler has written a recommendation for Moriz Violin, who would like go to Jerusalem;
asks whether Vrieslander and Oppel are subscribers. — Comments on Bayreuth and
Wagner.
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OJ 12/6, [35] Handwritten letter from Jonas to Schenker, dated July 25, 1934
Jonas has changed his travel plans; describes Bayreuth; sends corrigenda list
for his Das Wesen; Roth is working on continuo realizations of Handel.
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OJ 12/6, [36] Handwritten letter from Jonas to Schenker, dated August 6, [1934]
Jonas alludes to the Dolfuss assassination; gives his reactions to Bayreuth
(which he has just visited) and the Wagner cult. — He is seeing his publisher about the
proposed commentary editions.
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OJ 12/6, [41] Handwritten letter from Jonas to Schenker, dated January 13, 1935
Jonas hopes Schenker is well; ‒ he plans to be in Vienna from 22 to about 28
January; — he is reading the Hildebrand-Fiedler correspondence.
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LC ASC 27/45, [26] Handwritten letter from Moriz Violin to Schoenberg, dated March 29, 1941
Violin thanks Schoenberg for his recent stay in Los Angeles, and comments on
Schoenberg's lecture "Composition with Twelve Tones," which he attended during that stay. —
He reminds Schoenberg to advocate for him for an engagement with the New York New Friends of
Music; and he mentions for the first time his plan to found an institute in San
Francisco.
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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.