OJ 9/6, [44] Handwritten letter from Eugen d'Albert to Schenker, dated November 8, 1905

In this significant letter, Eugen d'Albert agrees [to help Schenker find a publisher for his Harmonielehre] and has already written to Brockhaus. He seeks to interest Schenker in his new opera "Flauto Solo," the première of which, in Prague, is in four days' time.

CA 47 Handwritten letter from Schenker to Cotta, dated October 13, 1906

Schenker submits his synopsis of Harmonielehre with one stipulation, and also copy of the title-page.

CA 64 Handwritten letter from Schenker to Cotta, dated January 8, 1907

Schenker replies that anonymity re Harmonielehre must be maintained.

CA 71 Handwritten letter from Schenker to Cotta, dated December 16, 1907

Schenker proscribes the release yet of his name to Karl Grunsky. He comments on a review of his Harmonielehre by Max Burkhardt. He will be sending Kontrapunkt shortly.

OJ 5/15, [1] Incomplete handwritten draft letter from Schenker to Grunsky, dated January 21, 1908

Schenker has not responded to Grunsky's invitation because of pressure of work with Kontrapunkt. — He thanks Grunsky for his review of Harmonielehre; justifies favoring the piano repertory there; remarks on Strauss and Reger with respect to "good" and "bad." — He refers to his Formenlehre as vol. III of his Neue musikalische Theorien und Phantasien.

OJ 9/31, [19] Stenographically handwritten letter from Cotta to Schenker, dated June 2, 1908

Cotta asks if they may divulge Schenker's name to Rudolf Breithausen.

WSLB 8 Handwritten letter from Schenker to Hertzka (UE), dated June 16, 1908

Schenker sends the text of his Foreword for Ornamentik.

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.

CA 82 Handwritten postcard from Schenker to Cotta, dated September 23, 1908

Schenker has dispatched the manuscript for Kontrapunkt.

OJ 12/27, [8] Stenographically handwritten letter from Cotta to Schenker, dated September 26, 1908

Cotta acknowledges receipt of the manuscript of Kontrapunkt.

CA 84 Handwritten postcard from Schenker to Cotta, dated September 27, 1908

Schenker promises the remainder of Kontrapunkt in a few days.

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.

CA 85 Handwritten letter from Schenker to Cotta, dated October 8, 1908

Schenker proposed that Kontrapunkt be divided into two half-volumes.

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.

OC 52/444 Typewritten letter from Hertzka (UE) to Schenker, dated November 7, 1908

Hertzka details the distribution of first copies of the Instrumentations-Tabelle. — He makes a bid to publish Kontrapunkt.

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.

CA 92 Handwritten letter from Schenker to Cotta, dated January 4, 1909

Schenker directs Cotta to divulge his name on the title-page of the 2nd edn of Harmonielehre; — He has meanwhile added a long polemic to the Introduction of Kontrapunkt [I].

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.

OJ 9/31, [22] Stenographically handwritten letter from Cotta to Schenker, dated January 14, 1909

Cotta agrees to reset the title-page of Harmonielehre with Schenker's name as author, and to distribute the second edition coincident with the release of Kontrapunkt I.

WSLB 37 Handwritten letter from Schenker to Hertzka (UE), March 28, 1909

Schenker suggests a meeting at Robert Brünauer's home.

OC 52/920 Typewritten letter from Hertzka (UE) to Schenker, dated April 1, 1909

Hertzka summarizes the discussion earlier that day.

WSLB 38 Handwritten letter from Schenker to Hertzka (UE), dated April 2, 1909

Schenker thanks Hertzka for his latest letter.

OJ 9/31, [23] Stenographically handwritten letter from Cotta to Schenker, dated June 1, 1909

Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a publication schedule for the first half-volume.

OJ 7/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909

Schenker must miss seeing an Ibsen play, because the latest batch of proofs of Kontrapunkt I have to be finished.

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.

OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10, 1909

Schenker, on receipt of the score of a Rudorff choral work, praises its textural clarity and melodic articulation, comparing them favorably to the writing of the current generation. — He reports the success of his own recent theory works, and inroads made into the Vienna Academy for Music and Performance Art.

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.

CA 106-107 Handwritten letter from Schenker to Cotta, dated December 2, 1909

Schenker explains the necessity for some late interpolations into Kontrapunkt I. — He may be able to include the title "Professor of Composition and Theory" against his name on the title-pages of his works, and debates the advantages of such an appointment at the Vienna Academy against the loss of independence. — Only anonymity has prevented Harmonielehre from success so far.

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.

OJ 9/31, [24] Stenographically handwritten letter from Cotta to Schenker, dated December 8, 1909

Cotta welcomes the recognitions that Schenker has been accorded recently, and hopes they will affect his work propitiously.

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-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.

CA 111 Handwritten postcard from Schenker to Cotta, dated May 1, 1910

Schenker asks urgently for remaining galley-proofs of Counterpoint 1.

CA 112 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated June 16, 1910

Cotta asks Schenker for manuscript of the prelims and any supplements for Kontrapunkt I, and for a publicity blurb.

OJ 9/31, [25] Stenographically handwritten letter from Cotta to Schenker, dated June 27, 1910

Cotta reiterates the requests made in CA 112.

CA 115 Handwritten letter from Schenker to Cotta, dated July 4, 1910

Schenker encloses manuscript of all prelims for Kontrapunkt 1. He mentions recent publication of his edition of J. S. Bach's Chromatic Fantasy and Fugue, and speaks of his plans for a Handbibliothek, for which he will present a proposal to Cotta. He announces his departure and gives his summer address.

OJ 7/4, [64] Handwritten postcard from Schenker to Violin, dated July 4, 1910

Schenker has sent all materials to Cotta and is about to depart [for Karerpass].

OJ 6/4, [49] Handwritten letter from Schenker to Violin, dated [July] 9, 1910

Schenker announces his arrival in the Karerpass, speaks of the costs, and outlines his concerns over money, including money he has to send to his mother on August 1. — He will write a letter to a female patron. — He describes the magnificence of the mountain views.

CA 117 Handwritten letter and publicity material from Schenker to Cotta, dated July 17, 1910

Covering letter with draft publicity material for Kontrapunkt 1. Schenker promises to return proof of Preface.

OJ 6/4, [51] Handwritten letter from Schenker to Violin, dated August 19, 1910

Schenker sends Violin 50 florins in partial repayment of a debt, expressing anxieties about his financial situation. — No word yet from Cotta. — The effect of the hotel fire on hotel businesses. — Emil Kornfeld arrives today.

OJ 9/32, [6] Invoice from Cotta to Schenker, dated September 4, 1910

Invoice for the printing and publishing costs of Kontrapunkt 1.

CA 120 Handwritten postcard from Schenker to Cotta, dated September 6, 1910

Schenker asks whether Counterpoint [1] will be published in September, and promises his "plans" soon.

CA 121-122 Handwritten letter from Schenker to Cotta, dated September 10, 1910

Schenker explains the basis for his "Handbibliothek," suggests an overarching title and a separate title for the proposed first booklet, on Beethoven's Ninth Symphony. He promises to return the manuscript of vol. II/1.

OJ 12/27, [12] Stenographically handwritten letter from Cotta to Schenker, dated September 14, 1910

In response to Schenker's outline of his prospective Handbibliothek, Cotta advise against its publication before that of vol. III [Niedergang]; and would not be able to entertain the project until after publication of vol. III.

CA 125 Handwritten letter from Schenker to Cotta, dated September 15, 1910

Schenker asks Cotta to correct the page-count for Kontrapunkt 1.

CA 127 Handwritten letter from Schenker to Cotta, dated September 20, 1910

Schenker asks for a copy of Kontrapunkt 1 to be sent to Ernst Rudorff and copies of that and Harmonielehre to be sent to Jenny Kornfeld at her Aussig address.

OJ 12/27, [13] Stenographically handwritten letter from Cotta to Schenker, dated September 21, 1910

Cotta reasserts its unwillingness to consider publication of the [Handbibliothek] project until after publication of vol. III.

CA 129 Handwritten postcard from Schenker to Cotta, dated October 3, 1910

Schenker redirects the copies of Harmonielehre and Kontrapunkt I destined for Jenny Kornfeld to his own address in Vienna.

OJ 9/31, [27] Stenographically handwritten letter from Cotta to Schenker, dated October 4, 1910

Publication of Kontrapunkt 1 having taken place this day, Cotta confirms the orders of complimentary and review copies to Jenny Kornfeld, Ernst Rudorff, Ludwig Karpath, and Schenker himself.

OJ 15/6, [8] Handwritten letter from Fritz Wahle to Schenker, dated October 7, ?1910

Fritz Wahle thanks Schenker for sending him his latest book -- almost certainly the first half-volume of Kontrapunkt; he has looked through the table of contents and read the introduction. He hopes that the two of them could get together sometime.

WSLB 64 Handwritten letter from Schenker to Hertzka (UE), dated October 10, 1910

Schenker asks for one copy of the Chromatic Fantasy & Fugue.

OJ 13/37, 11 Handwritten postcard from Ernst Rudorff to Schenker, dated October 11, 1910

Rudorff asks Schenker to send his two packages to Lauenstein, not Großlichterfelde.

CA 132 Handwritten letter from Schenker to Cotta, dated October 13, 1910

Schenker incloses a reaction to the Preface of Kontrapunkt 1 by Adalbert Seligmann. —He assures Cotta that their printing and production costs bill will be paid promptly.

OJ 13/26, [2] Handwritten postcard from Richard Robert to Schenker, dated October 13, 1910

Robert acknowledges receipt of Kontrapunkt I, and expresses his admiration for it.

OJ 14/23, [15] Handwritten postcard from Seligmann to Schenker, postmarked October 14, 1910

Seligmann thanks Schenker for his kind words about the most recent feuilleton (on artistic life in Vienna).

OJ 9/31, [28] Stenographically handwritten letter from Cotta to Schenker, dated October 15, 1910

Cotta has already sent a copy of vol. II/1 to Ernst Rudorff.

CA 134-135 Handwritten letter from Schenker to Cotta, dated October 21, 1910

Schenker divulges the identity of his benefactor, explains why there has been a delay in payment by the Rothschild Bank, and promises payment by sometime in January.

CA 136 Handwritten letter from Schenker to Cotta, dated October 23, 1910

Schenker asks that a review copy of Kontrapunkt 1 be sent to Max Graf; incloses a review.

OJ 9/31, [30] Stenographically handwritten letter from Cotta to Schenker, dated October 26, 1910

Cotta has sent a review copy [of Kontrapunkt 1] to Max Graf and welcomes a recent favorable notice of that work.

OJ 15/6, [9] Handwritten letter from Fritz Wahle to Schenker, dated November 10, 1910

Fritz Wahle thanks Schenker for sending him a copy of his critical edition of Bach’s Chromatic Fantasy and Fugue. He agrees with all of Schenker’s remarks on performance, adding that all serious musicians will learn a great deal from the performance markings of the masters.

OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16, 1910

Rudorff approves of the [highly controversial] Introduction to Schenker's Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and Fugue, raising some technical matters.

OJ 9/32, [26] Stenographically handwritten sales report from Cotta, dated [?December 31], 1910

1910 sales report for Kontrapunkt 1

OJ 5/34, [1] Handwritten draft letter from Schenker to Alphons Rothschild, incompletely dated [March 2, 1911]

Highly rhetorical letter in which Schenker thanks Alphons Rothschild for the financial support for his first two volumes, and notifies him of the forthcoming monograph on Beethoven's Ninth Symphony.

OJ 12/9, [3] Handwritten letter from Karpath to Schenker, dated March 10, 1911

Karpath answers Schenker's reproaches that neither Violin's Über das sogenannte Continuo nor the first half-volume of his Kontrapunkt have been announced or reviewed in the Neues Wiener Tagblatt.

OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated August 18, 1911

Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes about his planned refutation of the theories of Hugo Riemann and the need to establish his own theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes more somberly about the coming autumn and its difficulties.

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.

OC 52/492 Typewritten letter from Hertzka (UE) to Schenker, dated September 19, 1911

UE cannot proceed with the Beethoven last five sonatas project absent a grant. Whereas the larger German music publishers might be able to undertake such a work, UE is still too young to have the investment. -- Proofs of Beethovens neunte Sinfonie will be available in the Fall, owing to the delay in Schenker's delivery of his manuscript. -- Hertzka expresses delight at the sales of Kontrapunkt 1.

OJ 12/9, [5] Handwritten letter from Karpath to Schenker, dated March 3, 1912

Karpath expresses approval of Schenker's Kontrapunkt I and Moriz Violin's book on the continuo. —He thinks highly of Violin and of Hans Weisse as a composer.

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.

OJ 15/16, [12] Handwritten letter from Weisse to Schenker, dated December 18, 1912

Diatribe by Weisse against Otto Vrieslander's plan to produce a simplified version of Schenker's Harmonielehre, impugning Vrieslander's motives.

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).

OJ 15/16, [30] Handwritten lettercard from Weisse to Schenker, dated February 3, 1917

Weisse asks if Schenker has not received his previous message; he is reading Kontrapunkt I.

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.

OJ 11/35, 9b Handwritten postcard from Halm to Schenker, dated July 21, 1917

Halm thanks Schenker for arranging that Cotta send him NMTP vols. I and II/1.

DLA 69.930/3 Handwritten letter from Schenker to Halm, dated February 7, 1918

Schenker writes scathingly of UE's business practices; describes his counter-tactics, and his experiences over Niloff, Instrumentations-Tabelle. He will read all of Halm's writings and asks for a reading-list

OJ 15/16, [35] Handwritten letter from Weisse to Schenker, dated May 5, 1918

Weisse reports his renewed interest in counterpoint through the rereading of the first volume of Schenker's Kontrapunkt; he has also come across Bussler's Freier Satz and has heard mainly positive things about Ernst Kurth's Linearer Kontrapunkt, a book which he will order and report on to his teacher.

OJ 9/32, [37] Printed and handwritten letter from Cotta to Schenker, dated September 1, 1918

Payment advice note for sales 1917.

OJ 12/62, [2] Stenographically handwritten letter from Cotta to Schenker, dated September 1, 1919

[NMTP I and II/1:] Cotta encloses sales report for 1918 and a check for M. 346.92.

OJ 15/5, [6] Handwritten letter from Eberhard von Waechter to Schenker, dated October 19, 1919

Waechter understands Schenker's wish not to pre-publish his Art of Performance in article form, and hopes that Schenker will provide a universal solution to the performance problem; explains the editorial control of Der Merker, encouraging Weisse to submit his two articles to it; expresses pleasure that he has procured from Halm reviews of Schenker's Harmonielehre and Kontrapunkt 1; is unable to send his Musikkritik der Gegenwart at present.

OC 52/239-240 Typed letter from Hertzka (UE) to Schenker, dated December 18, 1920

Hertzka and Schenker will discuss the Niloff Instrumentations-Tabelle; Hertzka offers two alternative solutions to UE's taking over of Kontrapunkt 2.

OC 52/244 Typed letter from Hertzka (UE) to Schenker, dated January 12, 1921

Hertzka sends contracts for NMTP and Kontrapunkt 2, and discusses the take-over from Cotta, requesting Schenker's estimate of remaining stocks, and asking whether changes would be required in a second edition of Kontrapunkt I.

OJ 15/16, [47] Handwritten letter from Hans and Hertha Weisse to Schenker, dated August 11, 1922

Weisse reports that he is dealing with business matters entrusted to him by Schenker, and thanks his teacher for arranging the posting of Kontrapunkt 2, which he is in the midst of reading.

OJ 14/45, [21] Handwritten letter from Moriz Violin to Heinrich Schenker, dated April 28, 1923

Violin reports on a brief trip to Berlin for respite from the strain of teaching and his son’s illness. He is reading the second volume of Schenker’s Counterpoint, but asks him for clarification of a matter concerning second-species counterpoint in two voices, discussed in volume 1.

DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924

In response to matters raised by Halm in two previous letters, Schenker discusses figuration, distinguishing between that which works only on the surface and that which arises out of the middle and background, drawing on primal intervals. He also concedes that he heard Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for forthcoming volumes of Der Tonwille.

OJ 9/12, [1] Handwritten letter from Carl Bamberger to Schenker, dated October 6, 1924

Bamberger writes of his pleasure at working in a theater, and his liking of Danzig as a medieval city. He is studying Schenker's edition of the Beethoven sonatas, and has ordered Harmonielehre and Kontrapunkt I and II. He is subscribing to Der Tonwille, and is interesting one of his colleagues in Schenker's ideas. He inquires after two Schenker pupils.

OJ 10/13, [1] Handwritten letter from Dunn to Schenker, dated April 18, 1926

Having [mistakenly] been informed that Der freie Satz is out of print, Dunn asks Schenker for help in obtaining a copy.

OJ 10/13, [3] Handwritten lettercard from Dunn to Schenker, dated June 27, 1926

Dunn thanks Schenker for the copy of Meisterwerk 1, reports that an adaptation of the first volume of Schenker’s Counterpoint is complete, and explains how it will be made available in multiple copies.

OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928

Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.

NYnscl MP.0008.01/1/1, 2 Handwritten letter from Schenker to Arthur Waldeck, dated November 8, 1932

Schenker stipulates the conditions for granting publication rights for a translation of his Harmonielehre, and asks which other Schenkerians in the U.S. Waldeck is acquainted with.

OJ 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933

Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism; someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard from Furtwängler.

OJ 5/34, [2] Handwritten revised draft letter from Schenker to Alphons Rothschild, in Jeanette Schenker's hand, undated [August 3‒6, 1934]

Draft accompanying letter for a copy of Oswald Jonas's Das Wesen ... — Schenker reiterates his gratitude for previous financial support, and reports that he now has 11 published works, many articles, and entries on him in several general encyclopedias. — Only in Vienna is he unrecognized. — He describes Wilhelm Furtwängler's faith in his theories and the support he has given him. — He mentions his earlier proposal for a Rothschild orchestra.

Diary entry by Schenker for 1 November 1898

Diary entry by Schenker for 16 June 1907

Diary entry by Schenker for 26 December 1907

Diary entry by Schenker for 25 May 1909

Diary entry by Schenker for 6 June 1909

Diary entry by Schenker for 20 December 1909

Diary entry by Schenker for 1 June 1910

Diary entry by Schenker for 3 July 1910

Diary entry by Schenker for 7 October 1910

Diary entry by Schenker for 26 November 1910

Diary entry by Schenker for 2 March 1911

Diary entry by Schenker for 6 September 1913

Diary entry by Schenker for 11 November 1913

Diary entry by Schenker for 20 March 1915

Diary entry by Schenker for 24 March 1915

Diary entry by Schenker for 15 February 1916

Diary entry by Schenker for 21 February 1916

Diary entry by Schenker for 28 February 1916

Diary entry by Schenker for 23 October 1916

Diary entry by Schenker for 6 February 1917

Diary entry by Schenker for 14 April 1917

Diary entry by Schenker for 15 April 1917

Diary entry by Schenker for 16 May 1917

Diary entry by Schenker for 8 July 1917

Diary entry by Schenker for 25 July 1917

Diary entry by Schenker for 17 September 1917

Diary entry by Schenker for 21 April 1918

Diary entry by Schenker for 8 May 1918

Diary entry by Schenker for 22 January 1920

Diary entry by Schenker for 5 September 1920

Diary entry by Schenker for 14 September 1921

Diary entry by Schenker for 8 February 1924

Diary entry by Schenker for 17 June 1926

Diary entry by Schenker for 21 June 1926

Diary entry by Schenker for 12 July 1926

Diary entry by Schenker for 15 July 1927

Diary entry by Schenker for 10 October 1927

Diary entry by Schenker for 3 April 1929

Diary entry by Schenker for 16 February 1930

Diary entry by Schenker for 16 March 1930

Diary entry by Schenker for 18 July 1931

Diary entry by Schenker for 30 October 1931

Diary entry by Schenker for 2 December 1931

Diary entry by Schenker for 28 November 1932

Diary entry by Schenker for 16 January 1933

Diary entry by Schenker for 9 January 1934

Diary entry by Schenker for 26 March 1934

Diary entry by Schenker for 3 June 1934

OC 3/2-3: Oct 1913-Jun 1914 Hans Weisse: lesson: Monday October 6, 1913

OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Tuesday, January 27, 1914

OC 3/2-3: Oct 1913-Jun 1914 Hans Weisse: lesson: Monday, February 16, 1914

OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Friday, March 6, 1914

OC 3/3: Oct 1915-Jun 1916 Sofie Deutsch: lessons: Nov 1915

OC 3/3: Oct 1915-Jun 1916 Sofie Deutsch: lessons: Dec 1915

ML100 .R52 1919, [1] Schenker entry in Hugo Riemanns Musiklexikon, 9th edition, ed. Alfred Einstein (1919)

OC 54/337-39 Proof-sheets for an article summarizing Schenker’s achievements in works and editions published by Universal Edition