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OJ 6/3, [2] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 2,
1897
Schenker has a recommendation for his compositions from Goldmann via Busoni. He
is working on his Scherzo in C. Violin must visit Prof. Jerusalem.
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Sbb B II 4413 Handwritten letter with envelope from Schenker to Busoni, dated May 18,
1897
Schenker reports that Karl Goldmark wrote him a glowing recommendation to
Edition Peters on the strength of which he approached Peters, who expressed their regrets.
He seeks Busoni's advice and help. Eugen d'Albert has undertaken to play something of his
during the winter. He draws Busoni's attention to an article he has
published.
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Sbb B II 4416 Handwritten letter with envelope from Schenker to Busoni, dated September 4,
1897
Schenker admits that, contrary to the remarks in Busoni's previous letter, he
has not yet approached Breitkopf & Härtel [with his compositions], out of fear of
waiving the honorarium. -- he solicits Busoni for an article in Die
Zukunft.
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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.
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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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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.
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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.
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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.
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OC B/279 Typewritten letter from Leo Liepmannssohn to Schenker, dated November 29,
1913
Liepmannssohn has none of the manuscripts Schenker seeks.
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WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916
Schenker explains why he is reluctant to produce a critical edition with
commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could
be freed from some of his teaching obligations, and also the autograph manuscript and other
sources are missing. He also defends his sharp tongue in discussions of the secondary
literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical
editions of the late Beethoven piano sonatas).
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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.
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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.
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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.
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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.
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OJ 89/2, [7] Handwritten letter from Schenker to Hoboken, dated September 5, 1928
The Schenkers have just returned to Vienna. — The "fantastic nature" of the
Hobokens' travels by auto. — The exceptional heat in Galtür. —Salzburg as magnificent but
too small to hold Mozart.
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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.
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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 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 12/50, [4] Handwritten letter from Bernhard Martin to Schenker, dated October 31,
1929
Bernhard Martin sends Schenker graphings of a Mendelssohn Lied ohne Worte and
a J. S. Bach Kleines Präludium. -- He describes the duplicated and missing pages in his
misbound copy of Schenker's Harmonielehre. -- He suggests a correction to Schenker's use of
the term "portamento." -- Having read Otto Vrieslander's biography of C. P. E. Bach, he
proposes to perform a cantata by the latter and describes the concert program in which it
will feature.
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OJ 5/7a, [28] (formerly vC 28) Handwritten letter from Schenker to Cube, dated January 12, 1930
Acknowledges OJ 9/34, [20], and gives detailed critique of Cube's analysis of
the C major Prelude from WTC I, including graphs; advises on additional reading and Cube's
plans to publish the analysis.
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OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930
Furtwängler encloses a letter from Karl Straube, and cautions Schenker against
publishing with Breitkopf.
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Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19,
1930
Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to
Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with
other publishers and plans for future publications.
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OC 54/218 Handwritten letter from Karl Straube to Schenker, dated May 14–16, 1930
Straube informs Schenker that, owing to the acute slump in sales of musical
textbooks, he has been unable to secure a publishing deal for the third Meisterwerk yearbook
with both Breitkopf & Härtel and C. F. Peters.
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OC 54/315 Typewritten letter from Deutsch to Schenker, dated July 30, 1930
Deutsch makes further reports on the anticipated costs of the third
Meisterwerk yearbook. -- He has come across an arrangement of Beethoven’s Op. 74 Quartet as
a symphony and found some important early editions of the Op. 22 Sonata. -- He would like
Schenker to meet his friend [Leopold] Liegler, whose theories about literature resonate with
the concept of Urlinie.
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OJ 10/3, [134] Handwritten picture postcard from Deutsch to Schenker, dated December 14,
1930
Deutsch thanks Schenker -- and Hans Weisse -- for Weisse’s lecture. Hoboken
has recently acquired a second edition of Beethoven’s Sonata Op. 22, which Schenker may wish
to consult.
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OJ 5/18, 35 Handwritten postcard from Schenker to Jonas, dated January 16, 1934
Schenker asks for address of Ludwig Landshoff.