-
CA 85 Handwritten letter from Schenker to Cotta, dated October 8, 1908
Schenker proposed that Kontrapunkt be divided into two
half-volumes.
-
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-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.
-
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 7/4, [62] Handwritten postcard from Schenker to Violin, dated April 8, 1910
Schenker gives Violin his opinion, and has a draft letter to show
him.
-
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.
-
CA 111 Handwritten postcard from Schenker to Cotta, dated May 1, 1910
Schenker asks urgently for remaining galley-proofs of Counterpoint
1.
-
CA 118 Handwritten letter from Schenker to Cotta, dated August 19, 1910
A fire at his hotel causes Schenker to ask whether Cotta has sent him final
proofs recently. — He inquires whether he might travel to Stuttgart to present his plan for
the Handbibliothek in person.
-
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.
-
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).
-
OC 1A/1-2 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
-
OC 1A/3 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
-
OJ 15/15, [J] Handwritten letter from Weisse to Schenker, dated July 9, [1911]
On summer holiday with little in the way of fixed plans, Weisse will be working
on some new piano pieces and asks Schenker's advice about form in the Ballade, Fantasy, and
Rondo.
-
OJ 8/1, [6] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
July 22, 1911
Violin has written an unclear letter: Schenker presses him to say why he isn't
coming to visit; and Jenny Kornfeld urges him not to be so poor a
correspondent.
-
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.
-
OJ 8/1, [7] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated August 4,
1911
Schenker inquires after Violin's location and company; — reports his work on
Riemann's theories.
-
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 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.
-
OJ 15/16, [17] Handwritten letter from Weisse to Schenker, dated July 8, 1913
Weisse sends a copy of a book [unidentified] and thanks Schenker again for his
teaching.
-
OJ 5/45, [1] Copy letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated June 17,
1915
In a six-page letter, and following harsh exchanges the previous day, Schenker
castigates Weisse for trying to avoid paying for four lessons, speaking of his own difficulties
in managing the profession of private teacher, and the unfair ways in which artists are treated
financially.
-
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.
-
OJ 15/16, [27] Handwritten letter from Weisse to Schenker, dated August 3, 1916
Weisse hopes to see Kontrapunkt II soon. — He reflects on the state of
humanity in the light of being in the midst of the war. — He incloses a cutting of an
article [about sources of Saint-Saëns's music.]
-
OJ 10/1, [24] Handwritten letter from Dahms to Schenker, dated October 13, 1916
Dahms reacts to the news that the music-critic position at Der Abend is taken;
laments continued lack of opportunity to work.
-
OC 1B/9 Handwritten draft letter from Schenker to Halm, dated by later hand [December 29,
1916]
In his first letter to Halm, Schenker knows Halm's work and regards him as an
ally; he affirms that music has few primal laws (Urgesetze) that are immutable. — He cannot
intercede on Halm's behalf with Universal Edition.
-
OJ 11/35, 1 Handwritten letter from Halm to Schenker, dated January 4, 1917
Halm reports on his recent and forthcoming publications
-
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.
-
OC 1 B/19-20 Handwritten draft letter from Schenker to Hugo Friedmann, dated March 12,
1917
In light of the bequests to him in Mrs. Deutsch's will, Schenker seems to
remind Friedmann that she had also placed at his disposal in 1916 a sum of 10,000 Marks to
support his future publications. He wishes to make clear that that sum remains in place in
addition to the legacy and pension bestowed on him now in her will. He also expresses the
misgivings he has on the stipends implemented via the will. He is also anxious not to have
lost the first pension payment.
-
OJ 10/1, [29] Handwritten letter from Dahms to Schenker, dated June 8, 1917
Dahms hopes for a posting to Berlin; he is gaining strength from reading
Kierkegaard.
-
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 10/1, [30] Handwritten letter from Dahms to Schenker, dated July 10, 1917
Dahms decries democracy's reliance on the "common man" and deplores its
disregard of intellectuals and artists.
-
OJ 10/1, [31] Handwritten letter from Dahms to Schenker, dated November 9, 1917
Dahms is now with the War Ministry in Berlin. He comments on Korngold and
Bruckner.
-
OJ 10/1, [32] Handwritten letter from Dahms to Schenker, dated December 27, 1917
Dahms is expecting peace soon. Refers to Schenker's remarks on
Bruckner.
-
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
-
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.
-
OJ 6/6, [7] Handwritten letter from Schenker to Moriz Violin, dated March 20, 1918
[50th Festschrift:] Schenker intends not to influence anyone in their decision to
contribute or not. — [Personal issues:] Schenker agrees to draw a line under issues discussed in
OJ 6/6, [6]; however, he accounts for his epistolary silence regarding Valerie Violin, including
the possible contact with Seligmann; he attempts to explain the matter of the jars of jam and
the absence of visits to Schönbrunn, describing vividly how tirelessly Jeanette works and how
dependent they both are on Sunday for work time; he expresses outrage that he and Jeanette live
so poorly while his pupils live lives of luxury, commenting bitterly on state of play over the
Sofie Deutsch stipend; he wishes the Violins well for their 6-month stay in Marburg.
-
OJ 15/5, [1] Handwritten letter from Eberhard von Waechter to Schenker, dated August 21,
1918
Waechter asks for a copy of Schenker's Kontrapunkt 2, because he is making a
critique of the Neue Musuikalische Theorien und Phantasien; he requests an article for Das Neue
Oesterreich from Schenker, and hopes for regular contributions in future.
-
OJ 13/10, [6] Handwritten letter from Oppel to Schenker, dated February 19, 1919
Oppel thanks Schenker for EA, Opp. 110 and 111, which he has enjoyed, inquires
after EA, Opp. 101 and 106, and Kontrapunkt 2, and raises a possible thematic link between two
movements of Op. 110 (music example). His plan to study with Schenker has to be deferred; he
will soon send compositions, and asks for unsparing criticism.
-
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.
-
OC 52/923 Typed letter from Hertzka (UE) to Schenker, dated June 6, 1919
Hertzka acknowledges receipt of WSLB 302; he cannot entertain early publication
of Weisse's work but wishes to get to know it now. — He hopes to have work from Schenker's pen
as soon as work for Cotta is finished. — He proposes that the Foreword to Die letzten fünf
Sonaten von Beethoven ... op. 111 be omitted [in an future edition].
-
OC 1 B/41-45 Handwritten draft letter from Schenker to Eberhard von Waechter, dated October 17,
1919
Schenker addresses the misunderstanding that has arisen, explaining his
willingness to contribute articles to Der Merker once his current projects are in print.
-
OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14,
1920
The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit
them?
-
OJ 10/1, [56] Handwritten letter from Dahms to Schenker, dated August 19, 1920
Dahms is having difficulty obtaining a passport, but still hopes to see Schenker
this summer, perhaps in Munich. — He sends his three biographical books to Schenker, but is
apprehensive of the latter's reaction to their hemeneutic elements; he hopes to writes something
more fitting.
-
OJ 8/3, [89] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 23, 1920
Gives date of return to Vienna, and confirms Tuesday meeting.
-
OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October
16, 1920
Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking
a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit
Wally next Sunday.
-
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.
-
OJ 10/1, [59] Handwritten letter from Dahms to Schenker, dated December 22, 1920
Dahms sends the Schenkers best wishes for Christmas and the New Year; speaks of
Schenker as "our great leader"; inquires about progress on publication of three Schenker works
and whether Schenker has sufficient fuel and other necessities.
-
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 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921
Schenker gives an account of the move into Keilgasse 8 and describes his study in
the apartment. He outlines his holiday plans, and explains how he is raising the fees for
lessons in the autumn.
-
OJ 10/1, [63] Handwritten letter from Dahms to Schenker, dated June 17, 1921
Dahms sends birthday greetings. — Cotta has turned down his book proposal. — He
will soon obtain a passport and hopes to visit the Schenkers during the summer.
-
OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922
Schenker offers to lend Violin his performing materials for two keyboard
concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most
recent work, continues to despair of his financial situation.
-
OJ 8/4, [11] Handwritten postcard from Schenker to Moriz Violin, dated April 9, 1922
Schenker apologizes for not having been in touch with Violin, mainly owing to
overwork and a severe diabetic reaction, which required medical attention. He reports on a new
series of Beethoven sonata editions – an "Urlinie-Ausgabe" – he is planning to
undertake.
-
OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922
This wide-ranging letter describes the difficulties encountered with Emil Hertzka
at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the
"Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success
as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's
generosity. — Ends with generous praise for Violin's musicianship.
-
JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922
Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an
instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to
read Fiedler and Hildebrand.
-
OJ 8/4, [12] Handwritten postcard from Schenker to Moriz Violin, undated [June 17, 1922]
Schenker explains why the "Miscellanea" is missing from Tonwille 2; he likens
Hertzka's heavy-handedness to Prince Metternich's police-state tactics.
-
OJ 8/4, [13] Handwritten postcard from Schenker to Moriz Violin, dated July 9, 1922
Schenker reports the publication of the second part of Kontrapunkt and continued
difficulties with Universal Edition.
-
OJ 11/35, 20 Handwritten letter from Halm to Schenker, dated July 24 and August 19, 1922
Halm announces publication of his three suites for piano trio, and has arranged for two of
them to be sent to Schenker. He thanks Schenker for sending him Kontrapunkt II, and expresses admiration
for the "power of the broad conception" of Schenker's work. He is distressed at Schenker's attacks on
other countries and glorification of Germany, and speaks with appreciation of French and Russian music. He
describes his new publisher.
-
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, [15] Handwritten letter from Moriz Violin to Schenker, dated September 3, 1922
Violin reports that his son Karl has suffered several setbacks of health,
including inflammation of a cardiac muscle. Plans for Musikhochschule in Hamburg are making
strides.
-
DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922
Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on
Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him;
speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting
Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in
public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker,
Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's
publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a
delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development"
and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to
become brain); Schenker deplores "artifice" (French) as against nature (German). — Things
French: praises German superiority over French in its joy of work. — Higher Plane: the German
should not abase himself before the Frenchman.
-
OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27,
1922
Dahms has been trying to improve his publishers' financial terms. — He is in
low-grade accommodation; housing in the "German colonies" is available only to officials. —
Reports on the concert season in Rome. — Die Musik would not accept an article from him on
Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's
"sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on
his latest book, for which he is arranging a de luxe edition by subscription. — Reports
unfavorably on an incident in which Otto Klemperer played the Italian fascist
hymn.
-
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.
-
JOB 94-3, [6] Handwritten letter from Schenker to Hammer dated December 2, 1923
Schenker has heard nothing from Eugen Steinhof; — he commends Hammer's
reaction to Halm's work, and comments unfavorably on the latter's musicianship, character,
and opinions; — he writes disparagingly of Robert Brünauer.
-
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 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927
Schenker acknowledges and returns Cube's review; reports on the progress of his
own publications.
-
OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928
With thanks for birthday greetings, Schenker expresses how highly he values the
Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. —
Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the
success of the Urlinie through Der Tonwille, he no longer considers himself isolated.
-
OJ 15/15, [33] Handwritten postcard from Weisse to Schenker, dated October 23, 1928
Weisse points out a part-writing error in Schenker's Counterpoint, vol. 2. He
suggests that his teacher looks at Alois Haba's recently published Neue Harmonielehre, and
commends Oppel's recent article on Bach's fugal technique.
-
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 15/22, [10] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 5,
1935
Willfort lays out his plans for an abbreviated edition of Schenker's
Harmonielehre, and explains his negotiations with Alfred Kalmus of UE.