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OJ 11/42, [19] Handwritten letter from Maximilian Harden to Schenker, dated October 11,
1894
Harden rebuffs accusations by Schenker that seem to involve a delay in
Harden's response to a submission that Schenker hopes to move to another publication, and he
accuses Schenker of reneging on a promise to write about [Johann] Strauss's operetta
Jabuka.
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CA 1-2 Handwritten letter from Schenker to Cotta, dated November 8, 1905
This is Schenker's initial approach to Cotta: he asks the firm to consider
publishing volume I of his Neue Musikalische Theorien und Phantasien, explains his
anonymity, points out the book's attacks of certain composers, explains his choice of
preferred publisher.
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OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12,
1908
Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to
Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in
agreement.
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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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WSLB 21 Handwritten letter from Schenker to Hertzka (UE), dated September 30, 1908
Schenker asks for a copy of his C. P. E. Bach Klavierwerke to be sent to Julius
Röntgen, and of the Beitrag zur Ornamentik, 2nd edition, to Daniel de Lange, since the work is a
rival to the newly-published Beyschlag Die Ornamentik der Musik. — He reports encountering
Willem Andriessen.
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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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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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OC 52/422 Typewritten letter from Hertzka (UE) to Schenker, dated June 24, 1909
Hertzka confirms the agreed edition of the Chromatic Fantasy & Fugue, and
will send the required editions.
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WSLB 40 Handwritten postcard from Schenker to Hertzka (UE), dated June 26, 1909
Schenker asks for the Röntgen edition of the Chromatic Fantasy & Fugue to
be sent to him.
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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 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.
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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 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.
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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 14/45, [81] Handwritten letter from Violin to Schenker, dated December 19, 1929
Violin has two possible publishers for the "Eroica" monograph. One of these he
names as Rather in Leipzig, which has recently bought up Simrock. The other, Breitkopf &
Härtel, has been suggested by Furtwängler, who believes that the proposal would be supported
by Karl Straube. Violin also considers the possibility replying to a recent article by
Schoenberg.
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OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930
Schenker reports on two concerts at which Hans Weisse's Octet was performed
for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality
of the voice-leading in general, the construction of the finale movement (a passacaglia) in
particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented
the cost of the rehearsals and concerts, and the provision of food and drink for the
audience; this he compared with Antony van Hoboken's reluctance to help him with the
publication costs of his recent work.
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OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930
Weisse has seen Furtwängler, who will write a letter of recommendation to
Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want
to consult Schenker about it, and asks his teacher not to be overly modest about the work of
one of his pupils, and to stress the need for an arrangement of the work for piano four
hands.
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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 54/297 Handwritten letter from Furtwängler to Schenker, dated April 19, 1930
Furtwängler has forwarded Schenker's letter on to Straube for direct
reply.
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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 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930
Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has
resigned his Vienna position.
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OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930
Furtwängler reports on his meeting with Breitkopf &
Härtel.
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OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930
Acknowledging his recent letter to Jeanette, Schenker expresses his regret
that Violin and his son Karl are still troubled by health problems and reports some recent
news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was
in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but
this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many
visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife,
and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected
edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but
Schenker is cautious about this because his paid involvement in the project might result in
work that would jeopardize progress on Der freie Satz. He has been included in the latest
edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain
Rolland's latest Beethoven book.
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OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930
Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed
Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie
Satz.
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PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker,
dated September 15, 1930
Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to
check in connection with a planned new collected edition of the works of that
composer.
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OJ 11/54, [40] Typewritten letter from Hoboken to Schenker, dated July 29, 1932
Hoboken comments on some contemporary music; — he comments adversely on the
new edition by Edouard Ganche of Chopin's works; — he may visit the Schenkers and bring Eva
Boy with him.