-
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 9/20, [16] Handwritten letter from Breitkopf & Härtel to Schenker, dated December 7,
1898
Breitkopf & Härtel explain the appearance of an unfamiliar name on the
first page of Schenker's Fantasie, Op. 2: it is there to provide copyright protection in the
United States.
-
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 52/402 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 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.
-
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.
-
WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912
Schenker inquires about the print-run and retail cost of his
Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for
clarity on a payment he has just received, stressing his probity.
-
WSLB 120 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1912
A long letter, biblical in tone, in which Schenker prophesies that a "Flood of
the moderns" will come to pass, and in Noah's ark his works will "occupy the place of
honor," and that a "bright new light" will establish Universal Edition as superior to the
German publishers. He accepts Hertzka's terms for the Beethoven Last Five Sonatas edition
for now. He again urges Hertzka to contact Dr. Harpner regarding the planned Organization of
Creative and Performing Musicians. He encourages Hertzka to deal more generously with Hans
Weisse.
-
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 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.
-
OC 1 B/23 Handwritten draft letter from Schenker to Siegfried Türkel, dated March 17,
1917
Schenker encloses a letter from Dr. Hugo Friedmann and comments on it,
ridiculing the lack of sophistication of the wealthy, and asserting his own indifference to
money.
-
OJ 5/38, [1] Handwritten letter from Heinrich Schenker & Jeanette Kornfeld to Wilhelm
Schenker, dated January 24, 1918
Heinrich commiserates with Wilhelm and Dodi over the children havng mumps. --
He discusses the eventuality that Wilhelm and family might decide to leave Kautzen, and
weighs the practicalities of transferring Julia Schenker's grave from Waidhofen to Vienna,
and possible consequences for his own and Jeanette's burials and Moriz Schenker's financial
involvement. -- He also discusses the possibility that Vienna might become too threatening
for Jews; he deplores Viennese people of all ranks for their verbal abuse toward Germany,
and the strikes that are currently taking place in Austria. -- Jeanette adds a
paragraph.
-
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.
-
OJ 6/6, [8] Handwritten letter from Schenker to Moriz Violin, dated November 9, 1918
Schenker reports news from Russia, Austria, Switzerland, and Poland, and comments
on the current political situation.
-
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.
-
WSLB 302 Handwritten letter from Schenker to Hertzka (UE), May 18, 1919
Schenker reminds Hertzka of Hans Weisse's doctoral dissertation, Der Kunstwalzer,
and recommends it for publication. He laments, in provocatively vulgar language, that the
Viennese have become subservient to the French.
-
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.
-
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 10/3, [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.
-
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.
-
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 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 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 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.
-
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.
-
OJ 5/9, [1] Handwritten draft letter from Schenker to Deutsch, dated February 28,
1927
Schenker explains to Deutsch why he does not want to be considered for
an honor from the Austrian Republic. He thanks Deutsch (and Karl Kobald) for their
kind intention to put his name forward.
-
OJ 10/13, [6] Handwritten letter from Dunn to Schenker, dated November 14, 1927
Dunn thanks Schenker for the copy of Meisterwerk 2 sent to him, and comments
on the clarity with which Bach’s C minor Fugue (WTC I) is revealed; his musical instincts
found confirmation in Schenker’s theories, and after the war he obtained all of Schenker’s
books; he proposes that they meet some time, perhaps by making a side-trip from to Austria
from Leipzig, where his wife grew up.
-
OJ 10/3, [83] Typewritten picture postcard from Deutsch to Schenker, dated April 16,
1928
Deutsch has had sharp words with Max Ast at Austrian Radio. He wants to give a
talk on Schubert’s lost “Gastein” (or “Gmunden”) Symphony and hopes that publicity from the
broadcasting company will eventually lead to the rediscovery of the manuscript. Eusebius
Mandyczewski is preparing a new edition of the “Unfinished” Symphony for Breitkopf &
Härtel; the Philharmonia pocket score, with Schenker’s and Deutsch’s revisions, is now in
print. Deutsch has discovered that the first edition of Beethoven’s Piano Sonata Op. 90
exists in two versions.
-
OJ 5/38, [60] Handwritten letter from Heinrich to Wilhelm Schenker, dated September 8,
1929
Heinrich thanks Wilhelm for the hospitality he and his wife provided and
summarizes what lies immediately ahead in the weeks to come. He also reports on a
composition he received from Reinhard Oppel, and on a lecture on Bach in which Oppel invoked
Schenker’s work.
-
OJ 14/45, [85] Handwritten letter from Moriz Violin to Jeanette Schenker, dated June 16,
1930
Violin thanks Jeanette Schenker for sending him a recent article. His wife and
daughter will spend the summer holiday with his brother-in-law, who is also paying for a
three-week holiday for him and his son Karl.
-
OC 54/310 Typewritten letter from Deutsch to Schenker, dated July 4, 1930
Deutsch gives further details of the production costs for the third
Meisterwerk yearbook and makes some recommendations, including the printing of the
Urlinie-Tafeln of the "Eroica" as a booklet, not as loose pages.
-
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.
-
WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930
Schenker is sending Deutsch copies of letters written by Leo Kestenberg
praising his theories for their practical application to composition and
performance, noting that Furtwängler is championing his cause everywhere. -- He then
launches into a tirade against the city of Vienna for snubbing him and his
work.
-
OJ 15/15, [48] Handwritten postcard from Weisse to Schenker, dated November 27, 1930
Weisse, having received a copy of the page-proofs for "Rameau oder Beethoven?"
from the third Meisterwerk Yearbook, calls Schenker's attention to two
misprints.
-
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.
-
OJ 9/34, [24] Handwritten letter from Cube to Schenker, dated April 25, 1931
Cube is busy disposing of his house and dealing with his father's estate; he is
moving to Hamburg to work with Moriz Violin after a short holiday.
-
OJ 5/7a, [39] (formerly vC 39) Handwritten postcard from Schenker to Cube, undated [August 22, 1931]
Acknowledges OJ 9/34, [26] and asks for further copies of the prospectus of the Schenker
Institute, Hamburg.
-
OJ 10/3, [156] Typewritten letter from Deutsch to Schenker, dated October 13, 1931
Deutsch reports that Hoboken is probably going to keep his personal library in
Vienna. He is not optimistic that “V” [Moriz Violin] will be accorded the title of
Professor, which can be conferred only by the Vienna Academy and not to people living [i.e.
working] outside it.
-
OJ 10/3, [160] Typewritten letter from Deutsch to Schenker, dated October 24, 1931
Deutsch is pleased that his “plotting” to obtain for Hoboken a civic honor
from the Austrian state is working so far. He has spoken on the telephone with Ludwig
Karpath and will see him next week. Hoboken’s character seems not to have been blotted by an
incident in Munich some time ago: whatever misdeed he may have for which he had been
accused, and which led to his (brief) incarceration, can never be proved.
-
OJ 5/7a, [41] (formerly vC 41) Handwritten postcard from Schenker to Cube, dated January 14, 1932
Schenker acknowledges a [non-extant] letter, and asks for a clipping from the Frankfurter
Allgemeine Zeitung.
-
OJ 10/3, [174] Handwritten letter from Deutsch to Schenker, dated July 21, 1932
Deutsch advises Schenker on the wording and placement of an advertisement for
a private seminar in music theory, to be inaugurated in the autumn of 1932. He notes that
Tomay’s invoice for the autography of the Fünf Urlinie-Tafeln was considerably lower than
what was originally estimated. He regrets having to decline an invitation to visit Schenker
during the summer.
-
OJ 10/3, [194] Typewritten letter from Deutsch to Schenker, dated June 5, 1933
Deutsch comments on Brahms’s notation of musical canons. Then, in a wide
ranging response to Schenker’s recent communications, he dwells on Hoboken’s decision to
live in Germany for the time being, in spite of the implications for Schenker’s teaching and
his own bibliographical work.
-
OJ 89/6, [8] Typewritten letter (carbon copy), from Hoboken to Schenker, dated July 20,
1933
The Hobokens will not come to Reigersberg; — He re-sends his two songs for
further comment; — He sends a booklet by Gottfried Benn; — They are isolated in
Partenkirchen, and are distressed at events in Germany; — Alfred Cortot has visited the
Photogram Archive and expressed an interest.
-
OJ 89/6, [10] Typewritten letter (carbon copy), from Hoboken to Schenker, dated August 5,
1933
Hoboken is gratified by Schenker's praise of his song compositions; — He will
continue his Chopin projects someday, but is preoccupied with the worsening European
political situation; — He comments on Kleiber, Max Graf, on Goos's estimate of Schenker's
importance, and returns newspaper clippings that Schenker has sent him with
comments.
-
OJ 11/32, [16] Handwritten letter from Robert Haas to Schenker, dated September 10, 1933
Haas expresses pleasure at Schenker's comments on his performance practice
book, and asks if Schenker can donate a copy of Meisterwerk I to the
Archive.
-
OJ 10/3, [201] Typewritten letter from Deutsch to Schenker, dated November 13, 1933
Deutsch summarizes Hoboken’s present intentions, based on a meeting he has had
with Hoboken’s architect [and childhood friend]. Hoboken intends to stay in Vienna and build
a villa there, but his financial circumstances have been much reduced. His wife does not
like Vienna and is intent on her husband reducing his expenditures.
-
OJ 89/7, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 15,
1934
Hoboken outlines plans to expand publicity for the Photogram Archive. —
Reports re his work on Chopin's Scherzo Op. 54, which he will bring to his April 3 lesson. —
Refers to the invitation to Schenker to contribute to the journal of the
Reichsmusikkammer.
-
OJ 89/7, [9] Handwritten letter from Schenker to Hoboken, dated June 12, 1934
Schenker recounts a visit to Grinzing to view Hoboken's new house, and then to
the Kobenzl; — reports on last-minute work for Der freie Satz and a new edition of the Beethoven
piano sonatas; — comments on political developments in Europe; — Jeanette and he are leaving for
the summer vacation.
-
OJ 89/7, [10] Handwritten letter from Schenker to Hoboken, dated July 12, 1934
8-page letter: Schenker thanks Hoboken for his support for Jonas's new book. — He
reminds Hoboken of his earlier promise to support Der freie Satz financially, and predicts that
costs will be high. — Otto Erich Deutsch has been granted a course at the Vienna Academy for
Music and Performing Arts.
-
OC 44/43 Handwritten letter from Jonas and Hans Wolf to Schenker, dated September 24,
1934
Jonas reports on complimentary copies of Das Wesen and the plans for the
elucidatory editions. — He hopes to enlist Furtwängler in supporting Hans Wolf's application
to reenter Austria from Germany, but thinks a letter from Schenker to Furtwängler would be
more effective.
-
OC 44/44 Handwritten letter from Hans Wolf to Schenker, dated September 25, 1934
Wolf is prevented from returning to Vienna from Hamburg by new conditions of
entry to Austria. He comments on a recently published article by Schenker.
-
OJ 11/16, [15] Handwritten letter from Furtwängler to Schenker, dated September 26, 1934
Furtwängler apologies for not visiting Galtür in the summer; he spent the
vacation on his own work; he will be in Vienna and hopes to see Schenker; he intends to
write publicly about Schenker's work; comments on current political situation. — Finds
Jonas's book excellent.
-
OJ 70/71, [2] Typewritten letter of recommendation from Schoenberg to the Coordinating Committee
for German Refugees, San Francisco, dated June 21, 1939
Schoenberg letter of recommendation to the Coordinating Committee for German
Refugees in San Francisco.