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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Wienbibliothek im Rathhaus (formerly Wiener Stadt- und Landesbibliothek) Vienna, Austria Documents associated with this entity: Correspondence Handschriftensammlung [Manuscript Collection] This collection contains correspondence between Schenker and Otto Erich Deutsch (24 items), Adalbert Franz Seligmann (17), Karl Weigl (4), Artaria (1), and Johannes Brahms (1). There is no published catalogue. Musiksammlung [Music Collection] This collection comprises 408 letters, mostly in Schenker's hand, to his principal publisher, Universal Edition of Vienna, and thirty-five from Universal Edition to Schenker, spanning 1908-31, on long loan from Universal Edition since 1976. Regrettably, the letters from Schenker to UE are missing for the years 1920–23 inclusive. There is no published catalogue. There is also a small number of letters between Jeanette Schenker and Universal Edition dating from after Heinrich's death, held at the company's archive at its head office in Vienna. Downloads temporarily removed for testing purposes Correspondence WSLB-Hds 95664 Handwritten letter from Schenker to Seligmann, dated July 22, 1903 Schenker is sending Seligmann a copy of his Beitrag zur Ornamentik, which he hopes will be grounds for receiving a letter of recommendation from Gustav Mahler (for a post at the Vienna Conservatory). The writing of it has caused him great anguish, and there are even more things he wants to say, which would require writing another book, but without a professorship no one will pay attention to him. He also expresses his desire for female companionship, to help with his work. WSLB-Hds 95660 Handwritten postcard from Schenker to Seligmann, dated November 13, 1904 Schenker congratulates Seligmann on his most recent feuilleton in the Neue Freie Presse.. WSLB-Hds 95662 Handwritten postcard from Schenker to Seligmann, dated August 29, 1906 In this amusing message congratulating Seligmann on his latest feuilleton, Schenker comments on the proper speed for the “little duet” between Giovanni and Zerlina and notes the gulf separating the performance of Don Giovanni at the Salzburg Festival (the conductor is not named) and the Mozart performances conducted by Mahler (at the Vienna State Opera). WSLB 1 Handwritten postcard from Schenker to Hertzka (UE), dated March 25, 1908 Schenker welcomes the opportunity to make additions to Beitrag zur Ornamentik. WSLB 2 Handwritten letter from Schenker to Hertzka (UE), dated April 1, 1908 Schenker asks for more time. WSLB 4 Handwritten letter from Schenker to Hertzka (UE), dated April 22, 1908 Schenker promises material the next day, and extols the work's structure. WSLB 3 Handwritten postcard from Schenker to Hertzka (UE), dated April 9, 1908 Schenker promises more material next day, and extols the work. WSLB-Hds 95661 Handwritten postcard from Schenker to Seligmann, dated April 27, 1908 Schenker congratulates Seligmann on his latest feuilleton and shares his own similar views about the relationship between nature and the art of painting. WSLB 5 Handwritten letter from Schenker to Hertzka (UE), dated May 21, 1908 Schenker reports on progress with proofs and makes a suggestion. WSLB 6 Handwritten letter from Schenker to Hertzka (UE), dated May 27, 1908 Because of an error in typesetting, Schenker needs to retain to two gatherings of proofs. WSLB 7 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1908 Schenker returns all remaining proofs of Ornamentik and calls for a third proof. WSLB 8 Handwritten letter from Schenker to Hertzka (UE), dated June 16, 1908 Schenker sends the text of his Foreword for Ornamentik. WSLB 9 Handwritten letter from Schenker to Hertzka (UE), dated June 23, 1908 Schenker promises a list of people in German to receive complimentary copies of Ornamentik, and a new proposal. WSLB 10 Handwritten letter from Schenker to Hertzka (UE), dated June 26, 1908 Schenker accepts an offer and asks for a contract for the Instrumentation Table. WSLB 11 Handwritten postcard from Schenker to Hertzka (UE), dated June 30, 1908 Schenker asks for his honorarium to be sent promptly because of difficulties with the post service to the Tyrol. WSLB 12 Handwritten postcard from Schenker to Hertzka (UE), dated July 22, 1908 Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Karl Grunsky. WSLB 13 Handwritten postcard from Schenker to Hertzka (UE), dated August 13, 1908 Schenker reluctantly agrees to October for publishing the Instrumentation Table. WSLB 14 Handwritten letter from Schenker to Hertzka (UE), dated August 19, 1908 Schenker gives list of those to receive a copy of Beitrag zur Ornamentik. WSLB 15 Handwritten postcard from Schenker to Hertzka (UE), dated August 22, 1908 Schenker regrets that printing of Beitrag zur Ornamentik is delayed. WSLB 16 Handwritten letter from Schenker to Hertzka (UE), dated August 26, 1908 Schenker favors a corrigenda sheet for last-minute corrections to his Beitrag zur Ornamentik, and makes it a matter of conscience whether UE complies. WSLB 18 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908 Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Karl von Wiener. WSLB 17 Handwritten letter from Schenker to Hertzka (UE), dated August 27, 1908 Schenker reminds Hertzka to insert the corrigenda slip in the complimentary copies going out to Schenker's recipients. WSLB 19 Handwritten postcard from Schenker to Hertzka (UE), dated September 16, 1908 Schenker asks for a complimentary copy of his Beitrag zur Ornamentik to be sent to Ludwig Karpath. 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. 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. WSLB 22 Handwritten letter from Schenker to Hertzka (UE), dated October 2, 1908 Schenker thanks Hertzka, and will call on him soon. WSLB 23 Handwritten letter from Schenker to Hertzka (UE), dated October 14, 1908 Lesson schedule prohibits visit to new UE office; Schenker asks for the matter to be dealt with by correspondence. 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. WSLB 25 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1908 Schenker asks for copies of the Instrumentations-Tabelle to be sent to Violin and Gärtner. — He has bought two copies of the Beitrag zur Ornamentik at the Gutmann music store. WSLB 26 Handwritten letter from Schenker to Hertzka (UE), dated November 24, 1908 Schenker reluctantly agrees to a meeting. WSLB 27 Handwritten postcard from Schenker to Hertzka (UE), dated November 27, 1908 Schenker asks for a copy of the Instrumentations-Tabelle. WSLB 28 Handwritten postcard from Schenker to Hertzka (UE), dated December 9, 1908 Schenker promises an "elaboration" regarding the Instrumentations-Tabelle. WSLB 29 Handwritten letter from Schenker to Hertzka (UE), dated December 16, 1908 Schenker assures Hertzka that his new material for the Instrumentations-Tabelle will occupy only six pages. — He makes claims for the new material as an instrumentation treatise, and suggests that the retail price might be raised accordingly. WSLB 30 Handwritten letter from Schenker to Hertzka (UE), dated December 18, 1908 Schenker encloses some items [for the Instrumentations-Tabelle]. — In the event that UE does not raise the retail price as he proposed in WSLB 29, he asks for his introductory material back. WSLB 31 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1908 Schenker agrees to the Instrumentations-Tabelle being published without his newly written Introduction. — He declines the proposal to edit the Well-tempered Clavier Book II for the new Akademie, offerin alternative suggestions and observations on Busoni's editing. WSLB 33 Handwritten letter from Schenker to Hertzka (UE), undated [December 31, 1908 or January 1, 1909] Schenker defends his Introduction to the Instrumentations-Tabelle and the exclusion of the heckelphone. WSLB 34 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1909 Schenker returns proof and is willing to correct another. WSLB 35 Handwritten letter from Schenker to Hertzka (UE), January 8, 1909 In a letter "ironic in tone" Schenker offers alternative editors for WTC Bk II. He outlines the work that he has in hand, and regrets his unhappy experience with UE over Beitrag zur Ornamentik. WSLB 36 Handwritten letter from Schenker to Hertzka (UE), January 29, 1909 Schenker requests two copies of his Instrumenten-Tabelle, one for Alphons Rothschild. WSLB 37 Handwritten letter from Schenker to Hertzka (UE), March 28, 1909 Schenker suggests a meeting at Robert Brünauer's home. WSLB 38 Handwritten letter from Schenker to Hertzka (UE), dated April 2, 1909 Schenker thanks Hertzka for his latest letter. 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. 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. 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. WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July 1909] Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks it worthy of publication, to send a letter of reference to one or other Viennese newspaper. He also expresses his satisfaction at how his career is shaping: he has requested and received generous fees for the editions he has prepared for Universal Edition, and his theoretical writings for Cotta are also moving along. WSLB-Hds 94476 Handwritten letter from Schenker to Seligmann, dated July 17, 1909 Schenker thanks Seligmann for helping him to get a friend’s essay on Byron’s Manfred published in a Viennese newspaper. He then asks whether it would be possible to make a judgment about painters, and paintings, on purely objective grounds, as he (Schenker) has been aiming to do with composers and musical works. WSLB 42 Handwritten postcard from Schenker to Hertzka (UE), dated September 20, 1909 The Chromatic Fantasy & Fugue is ready to deliver. Proposes a meeting to discuss printing. WSLB 43 Handwritten postcard from Schenker to Hertzka (UE), dated October 2, 1909 Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Fritz Wahle. WSLB 44 Handwritten letter from Schenker to Hertzka (UE), dated October 18, 1909 Schenker tells Hertzka of the Academy's plans to present a "historical" concert of works edited by himself. WSLB 45 Handwritten postcard from Schenker to Hertzka (UE), dated October 27, 1909 Schenker is unable to make a meeting before November 2. WSLB 46 Handwritten letter from Schenker to Hertzka (UE), dated October 30, 1909 Schenker warns that he may be delayed or unable to attend the agreed meeting because of a dental appointment. 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. WSLB 48 Handwritten letter from Schenker to Hertzka (UE), November 12, 1909 Schenker thanks Hertzka for the latest information on the Chromatic Fantasy & Fugue. WSLB-Hds 95656 Handwritten postcard from Schenker to Seligmann, dated December 3, 1909 Schenker congratulates Seligmann on his latest feuilleton in the Neue Freie Presse, and asks for clarification about a matter concerning an essay on Byron’s Manfred and his friend Moriz Violin. WSLB 49 Handwritten postcard from Schenker to Hertzka (UE), dated December 20, 1909 Schenker asks for proofs of his Chromatic Fantasy & Fugue edition over the Christmas holiday. WSLB 50 Handwritten postcard from Schenker to Hertzka (UE), dated December 22, 1909 Schenker agrees to visit Hertzka, but stipulates no criticism. WSLB 51 Handwritten letter from Schenker to Hertzka (UE), dated February 6, 1910 Schenker complains that others have been allowed to see his Chromatic Fantasy & Fugue, whereas he has not yet received proofs. WSLB 52 Handwritten letter from Schenker to Hertzka (UE), dated February 7, 1910 Schenker's Chromatic Fantasy edition is an exception: other Bach works can be published with less editorial detail. — He accuses Universal Edition of favoring "anti-musical music." — With heavy irony, he suggests handing other Bach editing work to others so as to promote UE's commercial interests. WSLB 53 Handwritten letter from Schenker to Hertzka (UE), dated February 15, 1910 Schenker advocates Moriz Violin's pamphlet "Über das sogenannte 'Continuo'" for publication and explains its connection with a planned "historical concert." WSLB 54 Handwritten letter from Schenker to Hertzka (UE), dated March 12, 1910 Schenker asks for proofs of his edition of the Chromatic Fantasy & Fugue, so that he can correct them over the Easter holidays. WSLB 55 Handwritten letter from Schenker to Hertzka (UE), dated April 5, 1910 Schenker presses again for proofs of the Chromatic Fantasy & Fugue edition, so as to coordinate them with his work on Kontrapunkt 1. WSLB 56 Handwritten letter from Schenker to Hertzka (UE), dated April 10, 1910 Schenker accuses Hertzka of failing to keep his word over delivery of proofs of his Chromatic Fantasy & Fugue edition, quoting Hertzka's words from a previous letter. WSLB 57 Handwritten letter from Schenker to Hertzka (UE), dated April 11, 1910 Schenker asks for the return of his copy of the Bach Gesellschaft edition vol. 36, which he needs for teaching purposes. WSLB 58 Handwritten letter from Schenker to Hertzka (UE), dated April 12, 1910 Schenker thanks Hertzka for his help WSLB 59 Handwritten postcard from Schenker to Hertzka (UE), dated April 16, 1910 Schenker reasserts his claim that his Chromatic Fantasy & Fugue edition will be seriously delayed. — He urges Hertzka to give more attention to his work. WSLB 60 Handwritten postcard from Schenker to Hertzka (UE), dated April 20, 1910 Schenker asks that proofs of his Chromatic Fantasy & Fugue edition reach him by May 1, and outlines a plan for production of the work. He will not be able to correct them during the summer. WSLB-Hds 95663 Handwritten letter from Schenker to Seligmann, dated April 26, 1910 Schenker thanks Seligmann for a copy of his recently published collected essays. He announces the imminent publication of the first half-volume of his Kontrapunkt, which has been long in preparation. WSLB 61 Handwritten letter from Schenker to Hertzka (UE), dated June 3, 1910 Schenker acknowledges receipt of the first proofs his Chromatic Fantasy & Fugue edition, and comments on the high number of errors. WSLB 62 Handwritten letter from Schenker to Hertzka (UE), dated June 10, 1910 Schenker reports that he is busy correcting proofs of his Chromatic Fantasy & Fugue edition, and hopes to have returned them by the end of June, and even to correct and approve the second proofs if available. WSLB 63 Handwritten letter from Schenker to Hertzka (UE), dated August 8, 1910 Schenker has dispatched the second proof of his Chromatic Fantasy & Fugue edition from Karerpass to Vienna, and outlines his travel plans for the remaining summer. WSLB 64 Handwritten letter from Schenker to Hertzka (UE), dated October 10, 1910 Schenker asks for one copy of the Chromatic Fantasy & Fugue. WSLB 65 Handwritten letter from Schenker to Hertzka (UE), dated October 17, 1910 Schenker acknowledges the second honorarium for Chromatic Fantasy & Fugue, and will appear at Hertzka's office on October 20. 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. WSLB 68 Handwritten letter from Schenker to Hertzka (UE), dated October 21, 1910 Schenker reports an encounter with Wilhelm Bopp. WSLB 69/71 Handwritten letter + inclosure from Schenker to Hertzka (UE), dated November 1, 1910 Text of flyer for Chromatic Fantasy & Fugue edition, with covering note discussing plan for last five Beethoven piano sonatas in combination with Well-tempered Clavier, Book 2. WSLB 70 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1910 Schenker suggests either a Hertzka-Bopp or a Hertzka-Schenker meeting to discuss the combined release of the last Beethoven piano sonatas and Book 2 of the Well-tempered Clavier. WSLB 72 Handwritten letter from Schenker to Hertzka (UE), dated November 11, 1910 Schenker asks for copies of his Beitrag zur Ornamentik and Chromatische Fantasie & Fuge to be sent to Wanda Ladowska. WSLB 73 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1910 Schenker has received gratitude from abroad for his edition of the Chromatic Fantasy & Fugue, and asks for a copy to be sent to Otto Vrieslander. — He accuses the Viennese of hostility and intellectual theft. WSLB 74 Handwritten letter from Schenker to Hertzka (UE), dated December 19, 1910 Affected by his elderly mother's illness, Schenker asks for an advance of 500 Kronen on account of his manuscript, due for imminent delivery. 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). 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. WSLB 76 Handwritten letter from Schenker to Hertzka (UE), dated May 19, 1911 Schenker acknowledges a package from UE.. WSLB-Hds 95665 Handwritten letter from Schenker to Seligmann, dated May 31, 1911 Schenker thanks Seligmann for his willingness to help him get a notice placed in the newspapers. 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. 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 79 Handwritten letter from Schenker to UE, dated August 18, 1911 Schenker provides requested personal data. WSLB 81 Handwritten letter from Schenker to Hertzka (UE), dated September 14, 1911 Schenker demands to know whether UE is interested in publishing his planned edition of the last five Beethoven piano sonatas; -- Inquires how the proofs of Beethovens neunte Sinfonie stand; And draws attention to the favorable sales of Kontrapunkt 1. WSLB 80 Handwritten postcard from Schenker to Hertzka (UE), dated September [2]0, 1911 Schenker gives an ultimatum for Hertzka's decision on the Bach-Beethoven plan. WSLB 82 Handwritten postcard from Schenker to Hertzka (UE), dated September 20, 1911 Schenker laments the withdrawal of Wilhelm Bopp from the planned Bach-Beethoven edition project. -- He contests Hertzka's use of the term "Text-Kritik" to characterize his Beethoven last five sonatas project. WSLB 83 Handwritten letter from Schenker to Hertzka (UE), dated October 28, 1911 Schenker hotly contests Hertzka's allegation that he delivered the material for Beethovens neunte Sinfonie late, and details the pre-history of the project. WSLB 84 Handwritten letter from Schenker to Hertzka (UE), dated November 19, 1911 Schenker offers UE an arrangement of the Mozart A major piano concerto, arguing the case for its publication despite existing editions. -- He is impatiently awaiting proofs of his monograph Beethovens neunte Sinfonie. WSLB 85 Handwritten postcard from Schenker to Hertzka (UE), postmarked November 25, 1911 Schenker corrects Hertzka's misapprehension about his proposed arrangement of a Mozart piano concerto for two pianos four hands. -- He suggests Breitkopf are stringing Hertzka along. WSLB 86 Handwritten letter from Schenker to Hertzka (UE), dated November 30, 1911 Schenker acknowledges receipt of the first galley-proofs of Beethovens neunte Sinfonie and asks for return of his copy of Grove's book on the Beethoven symphonies. WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911 Schenker explains that the music examples without [key] signatures in Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. -- He approves the use of a quotation from a D'Albert letter for publicity purposes. WSLB 88 Handwritten letter from Schenker to Hertzka (UE), dated December 6, 1911 Schenker gives instructions as to how measure number should be displayed in the analysis sections of his monograph Beethoven's neunte Sinfonie. WSLB 89 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1911 Schenker refutes Hertzka's accusation of "heavy corrections," and his threat to pass the costs on to him. WSLB 90 Handwritten letter from Schenker to Hertzka (UE), dated January 1, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and draws attention to errors on the part of the typesetters. WSLB 91 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and expresses dismay at the inaccurate work of the typesetters, notably in type-size, marginal numbers, and alignment within figures. WSLB 92 Handwritten letter from Schenker to Hertzka (UE), dated January 10, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected and a letter from Breitkopf &Härtel. WSLB 93 Handwritten letter from Schenker to Hertzka (UE), dated January 11, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected; he points out with labored sarcasm that the printers have omitted the title-pages of each of the four movements, and suggests how this might be rectified. WSLB 94 Handwritten letter from Schenker to Hertzka (UE), dated January 15, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie with imprimatur. -- He conditionally accepts Hertzka's proposal that he create structural diagrams for movements 2 to 4, giving his justification for intially providing only that for the first movement. WSLB 95 Handwritten letter from Schenker to Hertzka (UE), dated January 28, 1912 Schenker returns page-proofs of Beethovens Neunte Sinfonie, granting imprimatur providing one problem can be overcome. WSLB 96 Handwritten letter from Schenker to Hertzka (UE), dated February 3, 1912 Schenker returns page-proofs of Beethovens Neunte Sinfonie and the structural diagram for movement 2. WSLB 97 Handwritten express postcard from Schenker to Hertzka (UE), dated February 7, 1912 Schenker complains at the printers' disregard of his earlier words. He asks for assurance that he will receive a complete set of proofs to check the cross-citations of page-numbers. WSLB 98 Handwritten letter from Schenker to Hertzka (UE), dated March 4, 1912 Schenker returns page-proofs for gatherings 10 and 11 of Beethovens Neunte Sinfonie and the formal diagram for movement 3. WSLB 99 Handwritten express postcard from Schenker to Hertzka (UE), dated March 9, 1912 Schenker accepts Hertzka's invitation to a meeting. WSLB 100 Handwritten postcard from Schenker to Hertzka (UE), dated March 13, 1912 Schenker proposes that his book Beethovens neunte Sinfonie and the edited full orchestral score be published as separate volumes, and promises the additional revised text of his Instrumentations-Tabelle the next day. WSLB 101 Handwritten letter from Schenker to Hertzka (UE), dated March 14, 1912 Schenker sends the four new paragraphs for the 1912 edition of his Instrumentations-Tabelle. WSLB 102 Handwritten letter from Schenker to Hertzka (UE), dated March 17, 1912 Schenker returns proofs of gather 16 of his monograph Beethovens neunte Sinfonie. WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912 Schenker responds combatively to Hertzka's warning about correction costs. WSLB 104 Handwritten letter from Schenker to Hertzka (UE), dated March 22, 1912 Schenker agrees with a suggestion for handling an oversize music example. WSLB 105 Handwritten letter from Schenker to Hertzka (UE), dated March 28, 1912 Schenker will send the complete manuscript only on receipt of written assurance that it be returned to him later -- He speaks of being not only to "procreator" of his work but also "a manufacturer, hence a busieness man." -- He implies his refusal to pay any correction costs. He points out a placement error in gathering 16. WSLB 106 Handwritten letter from Schenker to Hertzka (UE), dated April 14, 1912 Schenker returns proofs for his Instrumentations-Tabelle and Beethovens neunte Sinfonie, and prelims and Foreword of the latter, with comments. He raises the issue of English and French translations for the monograph. WSLB 107 Handwritten express postcard from Schenker to Hertzka (UE), dated April 16, 1912 Schenker asks for confirmation that UE has received the Preface to his Beethovens neunte Sinfonie. WSLB 108 Handwritten letter from Schenker to Hertzka (UE), dated April 19, 1912 Schenker returns proofs for his Instrumentations-Tabelle and five gatherings of Beethovens neunte Sinfonie, pointing out a serious error. He also responds on the title of the latter. WSLB 109 Handwritten letter from Schenker to Hertzka (UE), dated April 29, 1912 Schenker sends first and second proofs with comments. WSLB 110 Handwritten express postcard from Schenker to Hertzka (UE), dated May 5, 1912 Schenker is unable to comply with Hertzka's invitation on account of teaching commitments. 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. WSLB 111 Handwritten letter from Schenker to Hertzka (UE), dated May 16, 1912 Schenker points to inconsistent usage of "Sinfonie" and "Symphonie" in the type-setting of his monograph Beethovens neunte Sinfonie and suggests adherence to the former; he submits the Foreword, and asks for one copy of each of his previous UE publications. WSLB 113 Handwritten letter from Schenker to Hertzka (UE), dated May 18, 1912 Schenker asks to see the entire volume of his monograph on Beethoven's Ninth Symphony again for a final check, and urges that the work be published in time for the Vienna Music Festival Week, and that UE be advertizing the book now in Germany. WSLB-Hds 94477 Handwritten letter from Schenker to Seligmann, dated May 22, 1912 Schenker congratulates Seligmann on the recent exhibition of his paintings. He is about to send him a copy of his Beethoven’s Ninth Symphony and asks him to read the section on the secondary literature and consider whether the same might be applied to the literature on painting. WSLB 114 Handwritten postcard from Schenker to Hertzka (UE), dated May 24, 1912 Schenker puts another proposal on how to present the bar numbering of the Scherzo of Beethoven's Ninth Symphony in the text and diagram of his monograph. WSLB 115 Handwritten letter from Schenker to Hertzka (UE), dated May 29, 1912 Schenker accepts Hertzka's invitation to his home on June 1, and declares his willingness to cooperate. He acknowledges receipt of a set of his previous UE publications. WSLB 116 Handwritten letter from Schenker to Hertzka (UE), dated June 2, 1912 Schenker observes acidly that the Ninth Symphony score project has been dropped. He asks [in the face of the threat of author correction cost demands] for an honorarium for correcting the proofs of his monograph Beethovens neunte Sinfonie. He demands to know whether Hertzka is serious about the plan for an edition of the last five Beethoven sonatas. He repeats his inquiry as to the number of copies of his Instrumentations-Tabelle, 2nd edition, that have so far been released. WSLB 117 Handwritter letter from Schenker to Hertzka (UE), dated June 3, 1912 Schenker returns the [complete] proof copy of his Beethovens neunte Sinfonie with corrections. He asks about the placement of the Table of Contents in the volume. WSLB 118 Handwritten letter from Schenker to Hertzka (UE), date June 4, 1912 Schenker urges Hertzka to contact Dr. Harpner in connection with the planned Organization. He reiterates his demands regarding payment for the planned last five Beethoven sonata edition, specifying the sums, and disputes Hertzka's counterargument. 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 121 Handwritter letter from Schenker to Hertzka (UE), dated June 13[?], 1912 Schenker reports the state of play [on the Organisation] and again urges Hertzka to contact Dr. Harpner. WSLB 122 Handwritten telegram draft from Schenker to Hertzka (UE), dated June 24, 1912 Schenker asks why Beethovens neunte Sinfonie has not yet appeared. 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. WSLB 124 Handwritter letter from Schenker to Hertzka (UE), dated June 27, 1912 Schenker asks for copies of his Beethovens neunte Sinfonie to be sent to himself and others. -- He reports that the Gesellschaft der Musikfreunde has invited him to teach. WSLB 125 Handwritten letter from Schenker to Hertzka (UE), dated July 5, 1912 Schenker provides his summer address and looks forward to working on the musicians' organization when be returns. WSLB 126 Handwritten letter from Schenker to Hertzka (UE), dated July 11, 1912 Schenker has referred a textual anomaly in Beethoven Op. 109 to Ernst Rudorff, and asks for the contract for Die letzten fünf Sonaten to be sent to him. WSLB 127 Handwritten postcard from Schenker to Hertzka (UE), dated July 12, 1912 Schenker asks for a copy of his edition of the Chromatic Fantasy and Fugue, to forward to a "colleague." WSLB 128 Handwritten letter from Schenker to Hertzka (UE), dated July 21, 1912 Beethovens neunte Sinfonie: Schenker justifies the higher number of proof corrections and reiterates his demand for a supplementary honorarium. -- Die letzten fünf Sonaten: he objects to a clause in the draft contract concerning correction costs, and emphasizes the expenses that he himself is incurring in preparing the edition. WSLB 129 Handwritten letter from Schenker to Hertzka (UE), dated August 6, 1912 Schenker informs Hertzka that he has been approached by the Gesellschaft der Musikfreunde with a view to his teaching a course at the Society's new "free high school" beginning in October, and inquires whether Hertzka will meet his demands so that he can proceed with Die letzen fünf Sonaten Beethovens. WSLB 130 Handwritten letter from Schenker to Hertzka (UE), dated August 14, 1912 In the most aggressive letter yet on Hertzka's approach over honoraria and correction costs, Schenker asserts that UE ought to subsidize his works through the takings on the lucrative works of others. UE acquires Schenker's works for a fraction of their true value, yet is held responsible for UE's costs. Schenker refuses to sign the draft contract for his Die letzten fünf Sonaten Beethovens with an implied threat of withdrawal. WSLB 131 Telegram from Schenker to Hertzka (UE), dated August 22, 1912 Schenker requests a decision [on contract terms]. 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. WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26, 1912] Recounting the backstory of the move to found an [Austrian] organization of musicians, and painting it as a rearguard action by performers against the dominance of Neue freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he complains at the timid tone of Universal Edition's advertising of his own works. WSLB 134 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912 Schenker asks for the first installment of his honorarium for Die letzten fünf Sonaten Beethovens to be sent, now that he is back in Vienna. — He reports on the Organization plan, and on progress on Op. 109. — He reiterates his claim for a supplementary honorarium for proof correction of Beethovens neunte Sinfonie. WSLB 135 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912 Schenker insistently reiterates his request for the first half honorarium for Die letzten fünf Sonaten Beethovens. — He alludes to an announcement by the Gesellschaft der Musikfreunde. WSLB 136 Handwritten letter from Schenker to Hertzka (UE), dated September 21, 1912 Schenker reports the stormy end to the prospect of his teaching in the Gesellschaft der Musikfreunde's "Hochschule." WSLB 137 Handwritten letter from Schenker to Hertzka (UE), dated September 24, 1912 Schenker reports developments on the Organization front and also the Gesellschaft der Musikfreunde's "Hochschule" front. WSLB 138 Handwritten postcard from Schenker to Hertzka (UE), dated September 30, 1912 Ludwig Karpath has complained at not having received a review copy of Schenker's Beethovens neunte Sinfonie. — Schenker prompts Hertzka on the often demanded supplementary honorarium for proof correction of the monograph. WSLB 139 Handwritten letter from Schenker to Hertzka (UE), dated October 3, 1912 Schenker forwards a letter from Hugo Heller [from Germany] and asks how he should handle the matter [of the proposed Organisation], pointing out that a comparable movement has already be launched in Germany. WSLB 140 Handwritten letter from Schenker to Hertzka (UE), dated October 14, 1912 Dr. Harpner is recovered; Schenker hopes to see Hugo Heller shortly. -- He prompts yet again for the "supplementary honorarium." WSLB 141 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1912 In a satyrical letter, Schenker asks Hertzka to make up his mind about the compositions of Hans Weisse submitted for publication. WSLB 142 Handwritten letter from Schenker to Hertzka (UE), dated November 10, 1912 Schenker responds to Hertzka's claim of overwork and strained nerves, remarking that everybody [on the matter of the proposed Organization] is "holding back," even he himself. WSLB 143 Handwritten letter from Schenker to Hertzka (UE), dated November 27[–28], 1912 Schenker requests another copy of Beethoven Op. 109, and lists the sources he has now consulted, the communications with scholars, the cost and time involved, proclaims the "spectacular" findings made, and the incompetence of all previous editors unmasked. WSLB-Hds 95658 Handwritten postcard from Schenker to Seligmann, postmarked May 11, 1913 Schenker congratulates Seligmann on his latest feuilleton, especially on the enduring values of the classical and Romantic artists. — His critical edition of Beethoven’s Op. 109 will appear soon. — He has received a personal request from Hugo Riemann to provide biographical details for an entry in Riemann’s Musiklexikon. WSLB-Hds 191.579 Handwritten letter from Otto Erich Deutsch to Schenker, dated June 25, 1913 Schenker informs Otto Erich Deutsch of the whereabouts of the collector Meinert. WSLB-Hds 95654 Handwritten letter from Schenker to Seligmann, dated July 24, 1916 Schenker tells Seligmann that he has arranged for copies of his critical editions of Beethoven’s Op. 110 and Op. 111 to be sent to him. He speaks of the positive interest his works have received in Germany, and about Hugo Riemann asking him to provide autobiographical material for an entry in the next edition of his music lexicon. 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). WSLB 292 Handwritten letter from Schenker to Hertzka (UE), dated January 30, 1918 Schenker complains that Halm's request to receive review copies of others of his works has been ignored by UE, threatens to pay for them himself, and asks to be notified when they are dispatched. WSLB 293 Handwritten postcard from Schenker to Hertzka (UE), dated February 5, 1918 Schenker renews his request of January 30 that review copies be sent to Halm. WSLB 294 Handwritten postcard from Schenker to Hertzka (UE), dated February 23, 1918 Requests a copy of Op. 111 to be sent to Rudolf Steglich. WSLB 295 Handwritten postcard from Schenker to Hertzka (UE), dated March 3, 1918 Schenker notifies Hertzka of an unfavorable review of the Beethoven edition in Lausanne, and asks to see it. WSLB 296 Handwritten letter from Schenker to Hertzka (UE), dated March 8, 1918 Schenker thanks Hertzka for dispatching Op. 111 to Steglich, but baulks at paying the specified amount and sends less. -- Must finish Kontrapunkt 2 and will then return to the Kleine Bibliothek. WSLB 297 Handwritten letter from Schenker to Hertzka (UE), dated April 9, 1918 Schenker encloses a review by Bekker and comments adversely. WSLB 298 Handwritten letter from Schenker to Hertzka (UE), dated April 17, 1918 Schenker returns the article by Maurice Kufferath and comments on it critically. -- Beethoven did give phrase-markings, thus Schenker advocates inserting fingering but not additional phrase-marks. -- Diatribe against Hans von Bülow's editions and those who have emulated him. WSLB 299 Handwritten postcard from Schenker to Hertzka (UE), dated October 17, 1918 Schenker thanks Hertzka for forwarding to him a postcard from Wilibald Gurlitt, and asks advice on how to address his reply. WSLB 300 Handwritten letter from Schenker to Hertzka (UE), dated October 25, 1918 Schenker encloses his letter to Gurlitt and asks Hertzka to arrange for it to be sent. WSLB 301 Handwritten postcard from Schenker to Hertzka (UE), dated December 22, 1918 Schenker asks for a copy of his Neunte Sinfonie to be sent to Bernhard Seidmann. 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. WSLB 303 Handwritten letter from Schenker to Hertzka (UE), dated June 12, 1919 Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven, Op. 111 be discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his writings, contending that art, life, and politics are inextricably interconnected. He claims that his pronouncements on politics now will prove correct in the long run. His sole concern is with the truth; he is not interested in pandering to his readers. WSLB 306 Handwritten postcard from Schenker to Hertzka (UE), dated November 2, 1919 Schenker requests a copy of his Ninth Symphony monograph, stipulating conditions; he will decide shortly whether to resume work for UE. WSLB 307 Handwritten letter from Schenker to Hertzka (UE), dated November 13, 1919 Schenker teases Hertzka over his offical's price calculation for Beethovens Neunte Sinfonie; asks for Die letzten fünf Sonaten ... op. 111 for Dolfi Baudrexel; comments caustically on the first issue of Musikblätter des Anbruch. WSLB 308 Handwritten letter from Schenker to Hertzka (UE), dated November 22, 1919 Schenker sends adjusted payment for two items received; his Kleine Bibliothek will shake up the contributors to Musikblätter des Anbruch. WSLB 309 Handwritten letter from Schenker to Hertzka (UE), dated November 22, 1919 Schenker outlines a production schedule of his work for UE, which includes Die letzten fünf Sonaten ... op. 101, the Kleine Bibliothek, and the complete edition of Beethoven piano sonatas. He makes stipulations about production, and asks questions about honoraria. WSLB 304 Handwritten letter from Schenker to Hertzka (UE), dated December 7, 1919 Schenker suggests date, place, and time for a meeting. WSLB 310 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1919 Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine Bibliothek and other tasks. WSLB 305 Handwritten letter from Schenker to Hertzka (UE), dated December 21, 1919 Schenker informs Hertzka that he has ordered two more Beethoven sketchbooks in connection with Op. 101, and asks him for some other "apportionment," which will protect him from long-term deterioration of the exchange rate. WSLB-Hds 95659 Handwritten postcard from Schenker to Seligmann, dated September 26, 1924 Schenker reports a visit from a Munich art historian, Wilhelm Hausenstein; despite their strong artistic and political differences, the afternoon was entirely civilized. WSLB-Hds 191.557 Handwritten letter from Schenker to Deutsch, dated October 18, 1925 Responding to Deutsch's request, Schenker sends his text for inclusion in the forthcoming Schubert issue of Moderne Welt, and invites the Deutsches for an afternoon snack. WSLB-Hds 191.558 Handwritten letter from Schenker to Deutsch, dated November 7, 1925 Schenker agrees to the cuts to his article, and invites the Deutsches for a snack and chat on November 12 or 15. Schenker is planning to see Heck's Beethoven manuscript. WSLB 369 Handwritten letter from Schenker to UE, dated April 7, 1926 Schenker encloses an order from Bauer and asks for it to be fulfilled. WSLB 370 Handwritten postcard from Schenker to Hugo Winter (UE), dated July 12, 1926 Schenker requests final account for the series Musikalische Theorien und Phantasien. WSLB 371 Handwritten letter from Schenker to UE, dated October 10, 1926 Schenker thanks UE for the advertisement in Die Musik, and asks if they can obtain a review in Rivista musicale italiana. WSLB 372 Handwritten letter from Schenker to UE, dated November 2, 1926 Schenker returns the review in Rivista musicale italiana. WSLB 373 Handwritten letter from Schenker to Hugo Winter (UE), dated December 30, 1926 Schenker requests continuation of half-yearly statements for the Musikalische Theorien und Phantasien. WSLB 375 Handwritten letter from Schenker to UE, dated April 25, 1927 Having gained access to the facsimile of the "Appassionata" Sonata, Schenker sends revisions to his edition. WSLB 378 Handwritten letter from Schenker to UE, dated May 17, 1927 Schenker returns proofs of the "Appassionata" Sonata. WSLB 380 Handwritten postcard from Schenker to UE, dated May 27, 1927 Schenker asks that a complimentary copy of his Fifth Symphony monograph be sent to Vrieslander. WSLB 382 Handwritten letter from Schenker to UE, dated May 30, 1927 Schenker returns final proofs of "Appassionata" Sonata with imprimatur. WSLB-Hds 191.559 Handwritten postcard from Schenker to Deutsch, dated June 6, 1927 Schenker asks Deutsch to make inquiries at the British Museum on his behalf, concerning the autograph manuscript of Beethoven’s Sonata Op. 79. He is annoyed with Hertzka for letting someone else take on the editing of Mozart’s piano sonatas for Universal Edition. WSLB 385 Handwritten postcard from Schenker to UE, dated June 30, 1927 Has UE forgotten to send him a copy of his own revised edition of the "Appassionata" Sonata? WSLB 388 Handwritten postcard from Schenker to UE, dated September 10, 1927 Acknowledges copy of revised edition of the "Appassionata" Sonata. WSLB 389 Handwritten letter from Schenker to UE, dated October 6, 1927 Schenker inquires after revised edition of Beethoven, Piano Sonata Op.78. WSLB 392 Handwritten letter from Schenker to UE, dated December 21, 1927 Schenker thanks UE for its promotion of Der Tonwille. WSLB 394 Handwritten postcard from Schenker to Winter (UE), dated January 11, 1928 Schenker asks for settlement of royalties. WSLB-Hds 191.560 Handwritten letter from Schenker to Deutsch, dated January 25, 1928 Schenker comments on the text of Deutsch’s forthcoming radio broadcast about the Photogram Archive, noting in particular that the word “scientific” (wissenschaftlich) has no place in the study of music, which is a unique art form. WSLB-Hds 191.561 Handwritten picture postcard from Schenker to Deutsch, postmarked February 6, 1928 Schenker congratulates Deutsch on his two most recent radio broadcasts, and on his impending appointment as editor of a monthly music journal. WSLB 395 Handwritten postcard from Schenker to UE, dated April 25, 1928 Schenkers asks for the Tonwille volumes to be sent to Julius Gold. WSLB-Hds 191.562 Handwritten letter from Schenker to Deutsch, dated May 17, 1928 Responding to Deutsch’s previous message, Schenker confirms that the Deutsche Trauermesse must, on musical grounds, be a work by Franz Schubert. He also agrees with Deutsch that the Quartet for guitar, flute, violin, and cello must be an arrangement of a work by a fashionable composer of the time. WSLB-Hds 191.563 Handwritten letter from Schenker to Deutsch, dated June 22, 1928 Schenker thanks Deutsch for his birthday greetings, explaining that, although he feels alienated from the musical world of the present day, he is convinced that his work will have a lasting effect on future generations. WSLB-Hds 191.564 Handwritten picture postcard from Schenker to Deutsch, dated and postmarked June 30, 1928 Schenker congratulates Deutsch on being granted the title of “Professor”; he makes an ironic comment on a hypothetical Nobel Prize for music. WSLB 397 Handwritten postcard from Schenker to UE, dated August 5, 1928 Schenker asks why he has not received his royalty. WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated November 27, 1928 Schenker reports the impact of his Urlinie concept on the educational world within Germany and in the USA. — He seeks to re-establish a working relationship with UE, raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the "Eroica." WSLB-Hds 191.519 Handwritten letter from Frimmel to Schenker, dated beginning of December 1929 [recte 1928] Frimmel thanks Schenker for his good wishes. He is unable to visit Schenker to give him certain information and regarding a supposed Beethoven portrait. WSLB 403 Handwritten letter from Schenker to Hertzka (UE), dated December 23, 1928 Schenker reports on the autograph manuscript of Beethoven Op. 79. — He is "convinced" that the autograph of Op. 106 is in England. WSLB 405 Handwritten letter from Schenker to Hertzka (UE), dated January 9, 1929 Schenker sets deadline for decision on publishing "Eroica" monograph; stresses urgency. WSLB 407 Handwritten postcard from Schenker to Hugo Winter (UE), dated January 24, 1929 Schenker reminds Winter to send him his half-yearly statement. WSLB 408 Handwritten letter from Schenker to Hertzka (UE), dated June 19, 1929 Schenker inquires after Hertzka's decision on the "Eroica" monograph; gives his vacation address. WSLB 410 Handwritten letter from Schenker to Hertzka (UE), dated June 28, 1929 Schenker will be patient until 1930. WSLB 411 Handwritten picture postcard from Schenker to UE, dated July 19, 1929 Requests half-yearly statement of account. WSLB 414 Handwritten letter from Schenker to UE, dated July 27, 1929 Schenker comments on Schmid's remarks; inquires after editorship of Mozart edition. WSLB 417 Handwritten letter from Schenker to UE, dated August 9, 1929 Reacting to Edmund Schmid's follow-up remarks, Schenker points up a favorable passage and comments wrily on a critical one. WSLB 418/1 Handwritten letter from Schenker to Hertzka (UE), undated [December 19, 1929] Schenker recommends an essay by Gerhard Albersheim; raises possibility of unchanged re-issue of Harmonielehre. WSLB 419 Handwritten letter from Schenker to Hertzka (UE), dated December 28, 1929 Reminder of Hertzka's promise to decide about the "Eroica" monograph. WSLB 420 Handwritten postcard from Schenker to Hugo Winter (UE), dated January 17, 1930 Schenker reminds Winter to send him his [half-yearly] statement. 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 421 Handwritten postcard from Schenker to Hugo Winter (UE), dated July 23, 1930 Schenker reminds Winter to send him his [half-yearly] statement. WSLB-Hds 191.566 Handwritten letter from Schenker to Deutsch, dated August 5, 1930 Replying to Deutsch’s letter of July 30, Schenker warmly recommends his long-standing pupil Marianne Kahn as a teacher for Deutsch’s brother. -- He then comments at length on a newspaper article by Richard Benz (of which Deutsch had sent a clipping), using a medical metaphor to describe the current pathological state of music. WSLB-Hds 191.567 Handwritten letter from Schenker to Deutsch, dated August 15, [1930] Schenker thanks Deutsch for his careful, helpful reading of the proofs to the third Meisterwerk yearbook. -- Tomay has assigned the autography of the foreground graphs for the second movement of the "Eroica" Symphony to an apprentice; these are full of mistakes and will have to be done again. But Tomay’s own work, on the third and fourth movements, is excellent. -- In a postscript, he comments on his entry in the most recent Meyers Lexikon, and on a review of the second Meisterwerk yearbook in the Deutsche Tonkünstler-Zeitung. 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. WSLB-Hds 191.569 Handwritten letter from Schenker to Deutsch, dated September 10, 1930 Schenker requests a meeting with Deutsch and Robert Haas. -- The page-proofs for the third Meisterwerk yearbook will arrive soon. -- Schenker will also look at the early edition of Beethoven’s Sonata Op. 22, recently acquired by Hoboken, and discuss any outstanding matters between them then. WSLB-Hds 191.570 Letter from Schenker to Deutsch in Jeanette Schenker’s hand, dated October 12, 1930 Schenker will follow all of Deutsch’s recent suggestions regarding the page formatting of the third Meisterwerk yearbook, for which he is most grateful. -- He then launches a further attack upon Anthony van Hoboken’s character. WSLB 422 Handwritten letter from Schenker to UE, dated October 13, 1930 Schenker inquires as to the likely costs of an unrevised second edition of Harmonielehre. WSLB-Hds 191.571 Letter from Schenker to Deutsch, in Jeanette Schenker’s hand, dated October 17, 1930 Enclosing two recent letters from Drei Masken Verlag, Schenker asks Deutsch’s advice on what further action to take, if any. His doctor has pronounced him fit. WSLB 423 Handwritten postcard from Schenker to UE, dated November 11, 1930 Schenker confirms the consent he has given to the Kiel student body. WSLB 424 Handwritten letter from Schenker to UE, dated December 8, 1930 Schenker requests that a full set of Tonwille issues be sent to Hermann Rinn. WSLB-Hds 94479 Handwritten letter from Schenker to Seligmann, dated February 26, 1931 Schenker asks Seligmann to read the opening essay in the third volume of Das Meisterwerk in der Musik. He quotes from a letter to his pupil Hans Weisse which demonstrates the attention his theories have been gaining in Germany, especially Berlin, and expresses his regret that no one in Vienna shows similar respect for him. WSLB-Hds 191.572 Handwritten letter from Schenker to Deutsch, dated April 13, 1931 Schenker explains some of the details of the conclusion he has written for an unfinished, untexted Schubert song, D. 555. 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. WSLB-Hds 191.574 Handwritten notecard from Schenker to Deutsch, dated September 16, 1932 Replying to Deutsch’s letter of September 15 and his draft letter to Anthony van Hoboken, Schenker makes further disparaging remarks about Hoboken, to whom he himself will also write a letter. WSLB-Hds 191.575 Handwritten postcard from Schenker to Deutsch, dated January 25, 1933 Schenker comments on an English completion of the “Unfinished” Symphony. He is waiting for a decision from a Mr. K. [Alfred Kalmus], concerning a proposed publication. WSLB-Hds 116.935 Handwritten postcard from Schenker to Deutsch, dated May 7, 1933 Schenker is sending Deutsch an article and catalog. -- He answers a question about the Finale of the "Eroica" symphony. WSLB-Hds 191.576 Handwritten letter from Schenker to Deutsch, dated September 29, 1933 Schenker congratulates Deutsch for all that he has achieved up to his 50th birthday. He hopes that Hoboken will respond positively [by restoring Deutsch’s position as his private librarian in full measure, and making good on other matters of concern to the three men]. -- He reports complimentary words by Julius von Kromer. WSLB-Hds 191.577 Handwritten letter from Schenker to Deutsch, dated January 15, 1934 Schenker explains again to Deutsch his proposed syllabification of the incomplete, untexted Schubert song D.555. – He thanks Deutsch for putting him in touch with Hoboken’s architect. WSLB-Hds 191.578 Handwritten letter from Schenker to Deutsch, dated January 18, 1934 Schenker says that the misunderstandings over a slur, marked in red pencil in the manuscript of his completion of the unfinished Schubert song D. 555, have now been resolved. He would also like to meet Hoboken’s architect.