OC 52/387 Handwritten letter from Josef Weinberger and Hugo Winter (UE) to Schenker, dated December 28, 1901

Acknowledges receipt of manuscript of C. P. E. Bach Klavierwerke, and has transferred honorarium.

OC 52/3 Receipt for payment from Universal Edition to Schenker, dated December 31, 1901

Receipt signed by Schenker for payment of honorarium by Universal Edition

OC 52/4 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902

Asks for the manuscript copy of C. P. E. Bach Klavierwerke to be returned.

OC 52/5 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902

Annotation on p. VII is impossible.

OC 52/380 Typewritten letter from Weinberger and Winter (UE) to Schenker, dated July 15, 1902

UE has agreed to issue the introduction to Schenker's edition of C. P. E. Bach keyboard works as a separate publication [Ein Beitrag zur Ornamentation], requests the manuscript, and transfers the remainder of the honorarium.

OC 52/6 Typewritten letter from Winter and Artaria (UE) to Schenker, dated August 26, 1902

Asks for the manuscript of the Beitrag zur Ornamentik.

OC 52/381 Typewritten letter from Winter and Weinberger (UE) to Schenker, dated October 6, 1902

UE has transferred the honorarium for the Beitrag zur Ornamentik, apologizes for the delay, and sends the contract for signing.

OC 52/7 Receipt for payment from Universal Edition to Schenker, dated October 8, 1902

Receipt for payment of honorarium by Universal Edition

OC 52/9 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 23, 1903

UE offers Schenker the arrangement of Handel organ concertos.

OC 52/10 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 28, 1903

Contract for Handel Organ Concertos received; distribution of complimentary copies of Beitrag zur Ornamentik.

OJ 14/23, [7] Handwritten letter from Seligmann to Schenker, undated [probably late summer or early autumn 1903]

In this long letter, Seligmann advises Schenker on how to prepare an application for a teaching post at the Vienna Conservatory: what to include and whom to get in touch with at the Conservatory and the Gesellschaft der Muikfreunde. He thinks that a position at the projected Lyceum in Vienna offers a better prospect and advises enlisting the help of his patron Baron Rothschild.

OC 52/12 Handwritten letter from E. Ascherberg to Universal Edition, dated January 20, 1904

Ascherberg reports research on ballads arranged by Haydn.

OC 52/13 Typewritten letter from Weinberger and Hardmuth (UE) to Schenker, dated February 3, 1904

UE sends Schenker the bill for British Museum research.

OC 52/391 Typewritten letter from Weinberger and Herzmansky (UE) to Schenker, dated June 20, 1904

UE refuses to raise Schenker's honorarium for vol. II of the Handel Organ Concertos.

OC 52/393 Typewritten letter from Robitschek and Weinberger (UE) to Schenker, dated June 22, 1904

UE confirms transfer of revised honorarium for Handel Organ Concertos, vol. I.

OC 52/394 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated October 18, 1904

UE sends proofs of Handel Organ Concertos, vol. I.

OC 52/15 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated December 3, 1904

UE sends Schenker a set of orchestral scores by Richard Strauss as a gift.

OC 52/16 Typewritten letter from Weinberger (UE) to Schenker, dated March 1, 1905

UE sends five complimentary copies of Handel Organ Concertos and transfers honorarium.

OC 52/17 Typewritten letter from Weinberger (UE) to Schenker, dated March 11, 1905

List of recipients of complimentary copies of the Handel Organ Concertos

BNba Frimmel Nachl, [1] Handwritten letter from Schenker to Frimmel, dated March 13, 1905

Schenker sends a copy of his Handel Organ Concertos as a memento of past music-making with Frimmel, and tells him of his work on his Harmonielehre.

OC 52/442 Handwritten letter from Weinberger (UE) to Schenker, dated April 13, 1905

UE is unable to accept an item offered for publication.

OC 52/443 Typewritten letter from Weinberger (UE) to Schenker, dated October 21, 1905

UE is prepared to look at Harmonielehre.

CA 1-2 Handwritten letter from Schenker to Cotta, dated November 8, 1905

This is Schenker's initial approach to Cotta: he asks the firm to consider publishing volume I of his Neue Musikalische Theorien und Phantasien, explains his anonymity, points out the book's attacks of certain composers, explains his choice of preferred publisher.

OC 52/18 Typewritten letter from UE to Schenker, dated November 20, 1905

UE is besieged with inquiries about Handel Organ Works, volume II.

OC 52/19 Typewritten letter from Weinberger (UE) to Schenker, dated November 30, 1905

Weinberger asks when Handel Organ Concertos volume II will be received.

OC 52/20 Typewritten letter from UE to Schenker, dated June 13, 1906

UE inquires further about Handel Organ Works, volume II, with threat.

OC 52/395 Typewritten letter from UE to Schenker, dated July 5, 1906

UE asks again for manuscript of Handel Organ Concertos, vol. II, and threatens to reassign.

OC 52/396 Typewritten letter from UE to Schenker, dated September 28, 1906

UE asks for the score of the Handel organ concertos back; Schenker's name will not appear on the published arrangements.

OJ 5/35, [1] Handwritten draft letter from Schenker to Ernst Rudorff, dated January 21, 1908

Schenker makes a first approach to Rudorff; it concerns interpretation of a passage in Chopin's Ballade No. 2, Op. 38; — He asserts his belief in consulting -- and teaching students to consult -- only original sources, and in the Urtext principle.

OC 52/383 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26, 1908

UE welcomes Schenker's additions to the Beitrag zur Ornamentik and asks for them as soon as possible.l

WSLB 1 Handwritten postcard from Schenker to Hertzka (UE), dated March 25, 1908

Schenker welcomes the opportunity to make additions to Beitrag zur Ornamentik.

OC 52/384 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26, 1908

UE asks for additions to Beitrag zur Ornamentik by the beginning of the following week.

OC 52/385 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 1, 1908

UE stresses the urgency of supplying additional material for Beitrag zur Ornamentik.

OC 52/22 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 6, 1908

Hertzka threatens to re-issue the first edition of Ornamentik if revisions don't arrive by the next day.

CA 76 Handwritten letter from Schenker to Cotta, dated April 24, 1908

Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch, explaining the delay on Kontrapunkt I.

OJ 5/15, [2]-[3] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?c. June 1, 1908]

Responding to Grunsky's request, Schenker gives his assessment of Bruckner's music. First exploring common ground between him and Grunsky, he then offers "technical reasons" why he regards Bruckner as "possessing minimal powers of invention," therefore cannot call him a "master." In the process, he compares the "Komponisten" (composers) of the present day unfavorably with the "Tonsetzer" (tonal craftsmen) of the past.

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.

OC 52/421 Typewritten contract (carbon copy) between Schenker and UE, dated June 30, 1908

Contract for Schenker's Instrumentations-Tabelle

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.

OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12, 1908

Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in agreement.

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.

OJ 5/6, [2] Draft of handwritten letter from Schenker to Cotta, undated [October 12?, 1908]

Schenker accepts Cotta's verdict against splitting Kontrapunkt into two.

CA 87 Handwritten letter from Schenker to Cotta, dated October 13, 1908

Schenker accepts Cotta's verdict against splitting Kontrapunkt into two.

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.

OC 52/28 Typewritten letter from Hertzka (UE) to Schenker, dated November 11, 1908

Hertzka has had copies of the Instrumentations-Tabelle sent to Violin and Gärtner. — He chides Schenker for buying copies at the Gutmann music store.

OC 52/29 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated November 23, 1908

The Instrumentations-Tabelle is going into a larger edition, and Hertzka asks for a meeting.

OC 52/30 Typewritten postcard from Hertzka (UE) to Schenker, date December 16, 1908

Ultimatum: if not delivered by Friday, "supplementary remarks" will be omitted.

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.

OC 52/399-401 Typewritten letter from Hertzka (UE) to Schenker, dated December 18, 1908

Hertzka complains at the embarrassment that Schenker has caused him over the Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes that Schenker edit Book II of the Well-tempered Clavier in the manner of Busoni.

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.

OC 52/32 Typewritten letter from Barbara Rothe (UE) to Schenker, dated December 23, 1908

Ms Rothe returns Schenker's introductory materials for the Instrumentations-Tabelle.

CA 91 Handwritten letter from Schenker to Cotta, dated January 4, 1909

Schenker explains delay in returning proofs.

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 13/36, [1] Handwritten letter from Elisabeth Rudorff to Schenker, dated January 11, 1909

Elisabeth Rudorff asks Schenker's advice on choice of a C. P. E. Bach collected edition as a present for her father.

OC 52/34 Typewritten postcard (book slip) from UE (unidentified sign) to Schenker, dated January 14, 1909

UE confirms sending two items to Elise Rudorff.

OC 52/35 Typewritten letter from Hertzka (UE) to Schenker, dated January 30, 1909

Copies of the Instrumentations-Tabelle will be delived in three days. Hertzka calls for a meeting.

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

Schenker suggests a meeting at Robert Brünauer's home.

OC 52/36 Typewritten letter from Hertzka (UE) to Schenker, dated March 29, 1909

Hertzka welcomes the prospect of a discussion at the home of Robert Brüunauer.

CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909

Schenker raises again the splitting of Kontrapunkt into two half-volumes, or even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the Academy of Music, despite his being in a constant state of feud with all officialdom. — The Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading work" on the subject; he argues the case for splitting the work on "psychological" and "technical" grounds.

OJ 6/4, [46] Handwritten letter from Schenker to Moriz Violin, dated June 22, 1909

Schenker reports a successful deal with Hertzka at Universal Edition, and refers to monetary matters between them.

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.

OC 52/37 Typewritten postcard from UE (unidentified signatory) to Schenker, dated September 20, 1909

Hertzka is currently away.

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.

OC 52/39 Typewritten letter from Hertzka (UE) to Schenker, dated October 15, 1909

Hertzka encloses a contract for the Chromatic Fantasy & Fugue edition for signature and return.

OC 52/423 Printed contract, with handwritten entries, between Schenker and UE, dated October 17, 1909

Contract for Schenker's edition of Bach's Chromatic Fantasy & Fugue

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.

OC 52/41 Typewritten letter from Hertzka (UE) to Schenker, dated October 26, 1909

Hertzka asks for a meeting to discuss the Chromatic Fantasy & Fugue edition.

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 50 Handwritten postcard from Schenker to Hertzka (UE), dated December 22, 1909

Schenker agrees to visit Hertzka, but stipulates no criticism.

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 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 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.

OC 52/53 Typewritten memorandum from Barbara Rothe (UE) to Schenker, dated July 4, 1910

Miss Rothe encloses copies of two requested contracts.

OC 52/54 Handwritten postcard from UE to Schenker, dated July 28, 1910

Second proofs of the Chromatic Fantasy & Fugue edition are ready for correcting: UE asks to which address to send them.

OC 52/55 Handwritten postcard from UE to Schenker, dated August 17, 1910

UE acknowledge return of the [second] proofs of the Chromatic Fantasy & Fugue edition, but request that Schenker return the "original."

OC 52/56 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 9, 1910

Wöß invites Schenker to call on him to discuss aspects of the Chromatic Fantasy & Fugue edition.

OC 52/57 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 15, 1910

Wöß asks a question concerning the abbreviations list in the Chromatic Fantasy & Fugue edition.

OC 52/58 Typewritten postcard from UE to Schenker, dated September 15, 1910

Since further issues have arisen in the final proofs of the Chromatic Fantasy & Fugue edition, Josef von Wöß asks for a visit from Schenker.

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.

OC 52/425 Typewritten letter from UE to Schenker, dated October 14, 1910

UE is transferring Schenker's second honorarium for the Chromatic Fantasy & Fugue edition, and enclose the publisher's blurb for the monograph Beethoven's Ninth Symphony.

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.

OC 52/59 Typewritten postcard from Hertzka (UE) to Schenker, dated October 28, 1910

UE is sending out complimentary copies to Schenker's recipient list, and two copies to himself. It asks Schenker to call in at the office.

OC 52/431 Typewritten contract (carbon copy) between UE and Schenker for Beethovens neunte Sinfonie, dated November 6, 1910

Contract for Schenker's monograph Beethovens neunte Sinfonie

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.

OC 52/62 Typewritten letter from Hertzka (UE) to Moriz Violin, dated January 19, 1911

Hertzka regrets having missed Moriz Violin's concert, and asks for a list of recipients for his booklet Ueber das Continuo.

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.

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.

OC 52/63 Typewritten postcard from UE to Schenker, dated July 27, 1911

UE confirms sending Schenker's edition of the Chromatic Fantasy and Fugue to Gottfried Galston. Hertzka is on holiday, and will reply on his return.

OC 52/64 Typewritten postcard from UE to Schenker, dated August 8, 1911

UE requests personal data.

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.

OC 52/65 Typewritten postcard from UE to Schenker, dated September 14, 1911

Emil Hertka is away on business; Schenker should wait a day or two.

OC 52/66 Typewritten letter from Hertzka (UE) to Schenker, dated October 31, 1911

Schenker will receive the [first] proofs of his Beethovens neunte Sinfonie "in the course of November."

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.

OC 52/67 Typewritten letter from Hertzka (UE) to Schenker, dated November 24, 1911

Hertzka is unable to take up Schenker's offer of an arrangement of a Mozart piano concerto. -- Proofs of Beethovens neunte Sinfonie are expected any day.

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.

OC 52/68 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911

The printers query the absence of "signatures" from music examples in the manuscript of Beethovens neunte Sinfonie.

OC 52/72 Typewritten letter from UE to Schenker, dated December 16, 1911

UE forwards to Schenker a letter from the printers including a music example and ask Schenker to respond.

OC 52/73 Typewritten letter from Hertzka (UE) to Schenker, dated December 20, 1911

Hertkza remarks that the corrected proofs of gathering 3 of Beethovens neunte Sinfonie have significant alterations and additions, the costs of which will be passed on to Schenker.

OC 52/74 Typewritten letter from Hertzka (UE) to Schenker, dated January 2, 1912

Hertkza sends page-proofs of gathering 3, and asks for return of galley-proofs and the manuscript of Beethovens Neunte Sinfonie.

OC 52/75 Typewritten letter from Hertzka (UE) to Schenker, dated January 5, 1912

Hertkza encloses a letter from Breitkopf.

OC 52/76 Typewritten letter from Hertzka (UE) to Schenker, dated January 12, 1912

Hertkza notifies Schenker of the impending delivery of page-proofs of Beethovens Neunte Sinfonie, takes note of Schenker's recent comments, and asks him to consider making structural diagrams for movements 2-4.

OC 52/77 Typewritten postcard from Hertzka (UE) to Schenker, dated January 16, 1912

Emil Hertka confirms that UE wants Schenker to produce structural diagrams for movements 2-4 of Beethoven's Ninth Symphony for his monograph on that work.

OC 52/78 Typewritten letter from Hertzka (UE) to Schenker, dated January 26, 1912

Hertzka notifies Schenker of the impending delivery of page-proofs of his Beethovens Neunte Sinfonie monograph and asks for speedy return of previous galley-proofs.

OC 52/79 Typewritten letter from Hertzka (UE) to Schenker, dated February 6, 1912

Hertzka acknowledges receipt of the formal diagram of movement 2 for, and gathering 8 of the Beethovens Neunte Sinfonie monograph, and has sent galley-proofs of gatherings 5 and 6 to Schenker for imprimatur.

OC 52/80 Typewritten postcard from Hertzka (UE) to Schenker, dated February 7, 1912

Hertzka assures Schenker that he will receive a full set of page-proofs for checking.

OC 52/432 Typewritten letter from Hertzka (UE) to Schenker, dated March 7, 1912

Hertzka invites Schenker to meet him to discuss the plan for an edition of the Beethoven Ninth Symphony score and other matters.

OC 52/81 Typewritten letter from Hertzka (UE) to Schenker, dated March 9, 1912

Hertzka agrees to the suggested meeting time and place; second proofs of gatherings 9 and 10 are being dispatched to Schenker.

OC 52/82 Typewritten letter from Hertzka (UE) to Schenker, dated March 15, 1912

Hertzka gives Schenker assurances on the arrival of further gatherings.

OC 52/403 Typewritten letter from Hertzka (UE) to Schenker, dated March 18, 1912

Second proofs of gatherings 11 and 12 of Schenker's monograph Beethovens neunte Sinfonie are on their way to him. Hertzka issues a warning on correction costs. Payment has been authorized for the additional material for his Instrumentations-Tabelle.

WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912

Schenker responds combatively to Hertzka's warning about correction costs.

OC 52/83 Typewritten letter from Hertzka (UE) to Schenker, dated March 20, 1912

Hertzka suggests a fold-out for a particularly large music example.

OC 52/84 Typewritten letter from Hertzka (UE) to Schenker, dated March 26, 1912

Gatherings are received and others sent out. Hertzka reiterates his demand for the complete manuscript and outstanding first proofs.

OC 52/85 Typewritten letter from B. Rothe (UE) to Schenker, dated April 1, 1912

Miss Rothe assures Schenker that his manuscript of Beethovens neunte Sinfonie will be returned to him after use, and asks for it to be sent as well as any other proofs in Schenker's hands.

OC 52/86 Typewritten letter from B. Rothe (UE) to Schenker, dated April 15, 1912

Acknowledging proofs and prelims for Beethovens neunte Sinfonie, UE recommends adding a subtitle for clarification.

OC 52/87 Typewritten express postcard from UE to Schenker, dated April 16, 1912

Hertzka acknowledges receipt of the Preface to Beethovens neunte Sinfonie.

WSLB 109 Handwritten letter from Schenker to Hertzka (UE), dated April 29, 1912

Schenker sends first and second proofs with comments.

OC 52/88 Typewritten letter from Hertzka (UE) to Schenker, dated May 4, 1912

Hertzka asks Schenker to call on him to discuss Beethovens neune Sinfonie.

OC 52/433 Handwritten letter from Hertzka (UE) to Schenker, dated May 7, 1912

Hertzka explains the reason for his need to see Schenker in person: it concerns the numbering of bars in the second movement of Beethoven's Ninth Symphony in Schenker's monograph on that work, and the planned edition of the score of the symphony; but Hertzka will be away for up to ten days.

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.

OC 52/89 Typewritten letter from Kalmus (UE) to Schenker, dated May 16, 1912

UE sends the final gatherings of Beethovens neunte Sinfonie for Schenker's approval and reports the total author correction costs.

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.

OC 52/434 Typewritten letter from Hertzka (UE) to Schenker, with holograph insertions, dated May 28, 1912

Hertzka invites Schenker to his home for a discussion of the monograph Beethovens neunte Sinfonie.

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.

OC 52/435 Typewritten postcard from Hertzka (UE) to Schenker, dated May 31, 1912

Hertzka asks Schenker to collect him from his office on June 1 for their meeting.

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.

OC 52/404 Typewritten letter from Hertzka (UE) to Schenker, dated June 4, 1912

UE sends 100 Kronen in payment for the Instrumentations-Tabelle 2nd edition.

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.

OC 52/406 Typewritten letter from Hertzka (UE) to Schenker, dated June 10, 1912

Hertzka explains UE's recent 100 Kronen payment, and answers Schenker's question on the edition number and retail price of his Instrumentations-Tabelle.

BNba Frimmel Nachl, [4] Handwritten letter from Schenker to Frimmel, dated June 13, 1912

Schenker asks for guidance on the location of autograph manuscripts of Beethoven's last five piano sonatas, in particular that of Op. 109.

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 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.

OC 52/94 Handwritten and typewritten postcard from UE to Schenker, dated July 23, 1912

Hertzka is out of town.

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.

OC 52/437 Typewritten letter from Hertzka (UE) to Schenker, dated August 12, 1912

Die letzten fünf Sonaten: Hertzka finds Schenker's suggested rewording too general; Beethovens neunte Sinfonie: Hertzka will pay the supplementary fee demanded by Schenker, but only after 500 copies have been sold.

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.

OC 52/494 Printed contract, with handwritten entries, between UE and Schenker, dated August 25, 1912

Contract for Schenker's edition of Beethovens letzte fünf Sonaten, with special clause on correction costs

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.

OC 52/97 Typewritten letter from Hertzka (UE) to Schenker, dated August 28, 1912

In an important letter on the plan for an organization of composers and concert musicians, Hertzka declares himself willing to be involved, sets out a timetable, issues a caution, and raises the issue of finance; in dealings with Hugo Heller, UE's and his own name should not yet be divulged.

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.

OJ 52/99 Notification of payment, from the Austrian Provincial Bank to Schenker, dated September 18, 1912

Payment notification of 600 Kronen [from UE].

OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der Musikfreunde), dated September 27, 1912

Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he lodges his complaint at the way in which he has been treated, which he considers impolite and publicly demeaning, and withdraws his offer of lectures.

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.

OC 52/101 Typewritten postcard from UE to Schenker, dated October 1, 1912

As instructed, UE has sent Schenker's Beethovens neunte Sinfonie to Ludwig Karpath.

OC 52/103 Handwritten and typewritten postcard from UE to Schenker, dated October 15, 1912

Hertzka is out of town.

OC 52/104 Typewritten letter from Hertzka (UE) to Schenker, dated October 23, 1912

Hertzka will speak with Harpner next week.

OJ 13/29, [8] Handwritten letter from Rosenthal to Schenker, dated November 10, 1912

Rosenthal apologizes for mishandling of ticket issue, and raises the matter of forming an artists' organization.

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.

OJ 10/3, [1] Part of handwritten letter from Ludwig Scheibler to Otto Erich Deutsch, dated September 6, 1913

Scheibler states that the pieces contained in Schenker's C. P. E. Bach: Klavierwerke are late works and inferior to the early and middle-period works.

OJ 5/27, [2] Handwritten letter from Schenker to Evelina Pairamall, dated November 12, 1913

Schenker thanks Evelina Pairamall warmly for sending him an article by Saint-Saens on manuscripts in Berlin, which covers an autograph manuscript of Beethoven's Ninth Symphony, and reports to her his own work on another autograph of that work. -- He asks if she is returning to Vienna soon, and promises to show her his discoveries, concluding with a joke employing musical technical terms.

BNba 304g, [1] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated November 27, 1913

Schenker asks the Beethoven-Haus to prepare and supply him with photographs of the autograph manuscript of the first movement of Beethoven's Piano Sonata in C minor, Op. 111, and announces the publication of his Erläuterungsausgabe of Op. 109 and monograph on Beethoven's Ninth Symphony.

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 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 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December 1916]

Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to Universal Edition.

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, 2 Handwritten letter from Halm to Schenker, dated January 27, 1917

Halm reports on his current piano and chamber music publishing plans, and employment.

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 11/35, 4 Handwritten letter from Halm to Schenker, dated March 18, 1917

Halm attempts to identify the fundamental differences between their two views, with reference to Beethoven, Bruckner and Brahms. He and Karl Grunsky have been estranged for some years.

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, 7 Handwritten letter from Halm to Schenker, dated January 20, 1918

Acknowledges DLA 69.930/2, January 17, 1918. Schenker has accused him of a contradiction, and he concedes it, referring to several of his publications. UE has not responded to his request for review copies of Schenker's works, so suggests a reciprocal exchange.

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.

OC 52/204 Postal receipt for postcard from Schenker to Hertzka (UE), dated February 5, 1918

postal receipt for registered postcard WSLB 293 from Schenker to Hertzka

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.

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 11/35, 8 Handwritten letter from Halm to Schenker, dated February 12, 1918

Halm acknowledges receipt of item from Schenker's publisher, and plans to reciprocate, but has little time in which to order items. Copies of his essay about Schenker have been misdirected.

OJ 8/3, [58] Handwritten postcard from Schenker to Moriz Violin, dated April 13, 1918

Schenker reports on Kufferath's article in the Gazette de Lausanne discussing the polemical materials in Die letzten fünf Sonaten ... op. 111, and on the treasonous stance of the Arbeiterzeitung.

OC 52/207 Typed postcard from Ernst Roth (UE) to Schenker, dated May 20, 1919

Hertzka is away and expected back in 8-10 days.

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.

OC 52/924 Typed letter from Hertzka (UE) to Schenker, dated June 16, 1919

Hertzka acknowledges WSLB 303 and seeks a meeting; the Foreword [to Op. 111] will remain unchanged.

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.

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.

OC 52/210 Typed letter from Hertzka (UE) to Schenker, dated November 8, 1919

Hertzka has arranged for a copy of his monograph Beethovens Neunte Sinfone to be sent, and welcomes Schenker's remarks about resuming work for UE. PS: He is sending the first issue of Musikblätter des Anbruch.

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.

OC 52/507-508 Typed letter from Hertzka (UE) to Schenker, dated December 19, 1919

Hertzka is pleased that Louis Koch has given his consent [for Op. 101]; he suggests that UE obtain certain sources from the Gesellschaft der Musikfreunde Archive on loan at the office for Schenker to work on; and offers a larger fee for Op. 101, and cautions Schenker about growing costs of photographic work.

OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8, 1920

Deutsch reports that Hertzka wants the music connoisseur edition of the "Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch outlines the basis of the contract (editors will receive 8% of the retail price) and the production timetable. He asks if Schenker would rather take on a different facsimile due to competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in Vienna.

OJ 11/35, 15 Handwritten letter from Halm to Schenker, dated January 11, 1920

Halm expresses reservations about Kleine Bibliothek plan; wishes Schenker might write history of music. —PS: Advises Sschenker to insure a regular income before moving to Germany.

OJ 10/3, [7] Handwritten letter from Otto Erich Deutsch Deutsch to Schenker, dated January 16, 1920

Deutsch will write to the Beethoven House in Bonn to seek permission to reproduce the manuscript of the "Moonlight" Sonata. He suggests using the first edition as the source for the missing opening and closing bars, and asks Schenker to refrain from polemics in his commentary. Copies of the manuscripts of Beethoven's piano sonatas Opp. 28, 109, 110 and 111 should not be difficult to obtain, and he has made inquiries regarding the manuscripts of Beethoven's Piano Sonata Op. 106 and Mozart's A minor Rondo K. 511.

DLA 69.930/9 Handwritten letter from Schenker to Halm, dated January 18, 1920

Schenker acknowledges receipt of OJ 11/35, 14 and 15, thanking Halm for the opportunity to see the two contracts, now enclosed. Schenker has been exploited by UE regarding EA 101 and the "Little Library," and must now protect himself and extract better working conditions. —Kontrapunkt 2 will show the world that his "Semper idem" motto applies at every level from strict counterpoint through to free composition. In a musical garden of Eden of genius, the rest of the world behaves like Adam and Eve. — Schenker congratulates Halm on his successes and thanks him for his support.

OJ 52/216 Notice of Bank Transaction from the Austrian Provincial Bank to Schenker, dated February 3, 1920

Payment notification of 7,500 Kronen [from UE].

OC 52/218 Typed letter from Fischmann (UE) to Schenker, dated February 19, 1920

Acting for the Schutzverband deutscher Schriftsteller in Wien, Fischmann offers Schenker advice on the draft contract for the Kleine Bibliothek.

OJ 11/35, 16 Handwritten letter from Halm to Schenker, dated February 10, 1920

Halm acknowledges 69.930/9 and return of contracts. H is looking for a new publisher for his compositions, and wonders whether Schenker would put in a good word to UE on his behalf, or whether Schenker knows of a small press that might be suitable. Wishes Furtwängler would perform something of his.

OC 52/223 Handwritten draft contract, in Jeanette Schenker's hand, between UE and Schenker for the Kleine Bibliothek and Beethoven sonatas edition, undated [March 17,?] 1920

Handwritten draft contract jointly for the Kleine Bibliothek and Beethoven sonatas edition.

OC 52/447 Draft Contract between UE and Schenker for the Beethoven Sonatas edition, dated March 23, 1920

Draft contract for the Beethoven Sonatas edition.

OJ 11/35, 17 Handwritten letter from Halm to Schenker, dated April 13, 1920

Halm acknowledges receipt of DLA 69.930/9; voices misgivings about publishing with UE and discusses publishers' unscrupulous tactics and the difficulty of legal redress.

OJ 10/3, [10] Handwritten postcard from Otto Erich Deutsch to Schenker, dated June 15, 1920

The Beethoven House has given permission for the reproduction of the "Moonlight" Sonata, and have suggested a photographer. Before arranging for the reproduction, Deutsch asks Schenker to send his existing prints to determine if they are suitable.

OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16, 1920

Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight" Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside. Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him to write to the Museum to request a photograph of the sketchleaf.

OJ 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13, 1920

Deutsch asks Schenker to clarify whether bars are missing from the start of the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal Edition's intended format for the volume, and ask if Schenker approves of their proposals. Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical Times.

OJ 5/18, [E] Handwritten postcard from Schenker to Jonas, dated September 27, 1920

Schenker is unable to give Jonas lessons, and suggests Felix Hupka.

OJ 10/3, [16] Typewritten letter from Otto Erich Deutsch to Schenker, dated October 1, 1920

Deutsch encloses images of Wilhelm Kux's sketchleaf of the "Moonlight" Sonata for Schenker to study. He is writing to the [Fitzwilliam] Museum in Cambridge about their sketchleaf of the Sonata.

OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26, 1920

Replying to Schenker's postcard of November 20th, Deutsch writes that the connoisseur edition is to be reproduced using photolithography, and repeats the particulars of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111). Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks for sight of the draft of Schenker's Preface.

OC 52/485 Contract between Otto Erich Deutsch and Schenker, dated December 16, 1920

Contract between Otto Erich Deutsch and Schenker for the facsimile edition of Beethoven, "Moonlight" Sonata.

OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30, 1921

The overdue ["Moonlight" Sonata edition] contract is finally ready, and Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready. Schenker should expect to receive an edited version of his commentary, and perhaps also an English translation.

OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921

Weisse has completed a string quartet, the parts of which are being copied out, after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept because his knowledge of English is insufficient. He enquires about the progress of Schenker's current projects.

OJ 15/15, [11] Handwritten postcard from Hertha and Hans Weisse to Schenker, dated December 1, 1921

Weisse has returned a score to Universal Edition and written to Moriz Violin. He has, with some reluctance, raised his lesson fee.

OC 52/486 Typewritten letter from Otto Erich Deutsch to Julie Kalbeck, Heinrich Schenker, Eusebius Mandyczewski, and Hugo Schwarz, dated January 3, 1922

Otto Erich Deutsch writes concerning the contract for the series Musikalische Seltenheiten, of which he is the general editor, and Universal Edition the publisher. In view of the introduction by UE of "50 to 100" additional copies to the print-run of 500 in a new luxury edition (handmade paper and half-leather binding) of each volume, Deutsch seeks to obtain from UE improved royalty returns for all the volume editors. He makes three recommendations, which he asks the four current volume editors to affirm.

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 10/3, [28] Typewritten letter from Deutsch to Schenker, dated February 14, 1922

Deutsch offers to provide several books to Schenker instead of two or three hardback copies of the "Moonlight" Sonata edition, and then details several misprints and factual errors in Romain Rolland's biography of Beethoven.

OC 1B/10-11 Handwritten letter from Schenker to Hertzka (UE), dated February 22‒23, 1922

Schenker returns materials for the Fifth Symphony article, reports a delay in providing information for the facsimile edition of the "Spring" Sonata, and complains that he has futilely lavished time on the purification of the German language for the second edition of Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an "Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that his pupils might make the preparatory graphs.

OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922

Deutsch writes that the "Moonlight" Sonata facsimile edition is still being printed, and that he cannot make a decision on the production of a second facsimile edition until the new contract has been agreed with Universal Edition. The contract has been delayed by Universal Edition's dispute with Drei Masken. If they have to abandon plans for the facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute, Deutsch suggests Beethoven's String Quartet Op. 95 as an alternative.

OJ 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922

Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven manuscript.

OJ 10/3, [32] Typewritten postcard from Deutsch to Schenker, dated April 20, 1922

Deutsch thanks Schenker for his suggestions [for further facsimile editions] and has passed them on to Universal Edition.

OJ 10/3, [33] Typewritten postcard from Deutsch to Schenker, dated April 21, 1922

Deutsch has already written to Universal Edition about [Schenker's proposal for a facsimile edition of] Beethoven's Piano Sonata Op. 109. Should this plan be realized, he hopes that Schenker will provide a foreword.

OJ 10/3, [34] Typewritten letter from Deutsch to Schenker, dated April 26, 1922

Deutsch reports that Universal Edition has agreed to publish facsimile editions of Beethoven's Piano Sonatas Opp. 109 and 110; he asks what sources Schenker could make available. Deutsch would also like to know which Beethoven string quartet Schenker would recommend for a further facsimile edition.

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.

OJ 10/3, [35] Typewritten letter from Deutsch to Schenker, dated May 12, 1922

Deutsch has passed Schenker's suggestions for facsimile editions on to Universal Edition, and asks for a reference for the Bekker article that Schenker mentioned.

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, [17] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922

Apparently having returned from a visit to Vienna, Violin expresses his joy at having seen Schenker recently.

OC B/145 Typewritten letter from Wilhelm Altmann to Schenker, dated September 25, 1922

Altmann has dispatched two items to Schenker, and asks Schenker to instruct UE to send copies of Der Tonwille to the Preussische Staatsbibliothek.

OC B/143 Typewritten letter from Wilhelm Altmann to Schenker, dated October 9, 1922

Altmann acknowledges receipt of Der Tonwille and return of two editions, and refers to Universal Edition.

OJ 10/3, [38] Typewritten postcard from Deutsch to Schenker, dated October 30, 1922

Deutsch apologizes for the delay to Schenker's payment for the "Moonlight" Sonata facsimile edition, for which Deutsch himself is to blame. Schenker's debt to Seidel's Book Dealership is 301 marks and 300 kronen, which should be balanced by his income from the facsimile edition.

OJ 14/45, [106] Handwritten postcard from Moriz Violin to Schenker, dated December 19, 1922

Violin points out that Universal Edition is advertising Schoenberg's Harmonielehre but not Schenker's.

OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922

Schenker reports the imminent publication of Tonwille 3, and some new publishing ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the Short Preludes by J. S. Bach.

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 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922

Deutsch provides a full overview of Schenker income from the current sales reported by Universal Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the publication.

JOB 94-3, [4] Handwritten postcard from Schenker to Hammer dated January 21, 1923

Schenker alerts Hammer to the publication of Tonwille 3.

OJ 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9, 1923

Having settled into country life in the Tyrol, Schenker returns to his work, in particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks Violin’s opinion about a subscription plan for a periodical that would appear four times a year (instead of the current two), and hopes that his friend might spare a few days to visit him in Galtür.

OJ 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September 12, 1923

Schenker explains his behavior a few days before, in reply to Weisse’s letter of September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer.

OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924

Violin reports that Max Temming is keen to support his plan to promote Schenker's work. Following discussions with Schenker in Vienna, he makes some provisional calculations on how the gift of money would give Schenker more time to devote to his writings. He also thinks about the happy prospect of Schenker coming to Hamburg.

OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924

Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111; he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a passage exhibiting non-genius in his or Oppel's music and discuss it in Der Tonwille.

OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924

Schenker reports continuing trouble with Hertzka, especially over delays to the publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is beginning to think about legal action. Hertzka has made his position so difficult that he feels obliged to turn down Max Temming's offer of direct financial support for his work. He asks Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if Violin received any of the four volumes of the Beethoven piano sonata edition.

OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924

Dahms thanks Schenker for information about Castiglione. The Deutsche Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong reaction outside Germany.

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.

OC 12/15-17 Handwritten letter from Halm to Schenker dated April 7, April 14, and May 6, 1924]

Halm again asks Schenker to point out an instance of non-genius in his [Halm's] music. — Has long believed that foreground (= corporeality) has been neglected at the expense of background (= spirituality) in music. — Defends Kurth against Schenker's critical remarks. — Suggests an explanation for the Bruckner classroom incident. — Will send parts of his [A major] String Quartet and promises a copy of his "Von Grenzen und Ländern". — Accepts offer of assistance with publication costs. — Comments on Reger.

OC B/183 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 12, 1924

The Library does not possess the autograph of J. S. Bach's Kleine Präludien.

OJ 15/15, [16] Handwritten postcard from Weisse to Schenker, dated August 4, 1924

Weisse has sent Schenker a volume of Kalbeck's Brahms biography, and reports that Universal Edition is about to send him the proofs for two of his compositions, a set of vocal quartets and a string quartet.

OJ 12/11, [10] Handwritten letter from Klenau to Schenker, dated September 23, 1924

Klenau sends a letter he has received from Felix Weingartner and his own response.

DLA 69.930/13 Handwritten letter from Schenker to Halm, dated October 6, 1924

Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of performance of the A major string quartet. —Deplores current situation over Sofie Deutsch stipends. —Reports difficulties with UE and intention to change publisher.

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 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924

After thanking Violin for his touching fiftieth-birthday tribute of 1918, Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate more on the dissemination of Der Tonwille, with a new publisher.

OJ 14/45, [36] Handwritten letter from Moriz Violin to Schenker, dated October 22, 1924

In the process of arranging for copies of Der Tonwille to be distributed, Violin discovers that a pupil of his paid twice as much for one issue as the marked price in Austria. He has made some inquiries into this matter, and asks Schenker what an issue currently costs in Austria. There are no respectable music institutions in Hamburg, so Violin will distribute copies there personally.

OJ 14/45, [37] Handwritten letter from Moriz Violin to Schenker, dated November 23, 1924

Violin sends thanks to Jeanette for copying out the article he wrote in 1918. He has sent off ten letters [re distribution of copies of Der Tonwille] and placed the order with UE. He reports on Buxbaum and Pollak, and also Blüthner.

OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924

Schenker names ten universities that should receive complimentary copies of Der Tonwille, explaining that university music departments (Seminare) are more suitable recipients than conservatories and other types of music schools. With 1924 coming to an end, he will resign from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The latter have agreed to publish his study of Beethoven's Sonata Op. 106

OJ 15/16, [54] Handwritten letter from Weisse to Schenker, dated November 3, 1924

Weisse acknowledges Schenker’s recent letter, wants to speak with him face to face about a number of things but uses this letter to defend his "hypersensitivity" towards Schenker as stemming from the love and honor that he bestows on him.

OJ 6/7, [11] Handwritten letter from Schenker to Moriz Violin, dated November 6, 1924

Schenker has received a photographic reproduction of the opening chorus of Bach's St Matthew Passion. — Gives account of delays to the publication of Tonwille 8/9 and 10, blaming Hertzka for being slow to send work to the engraver, and has written to him with a request to dissolve the Tonwille contract with UE. — Refers to a recent review by (Julius) Korngold, and recounts a long story about his piano dealer, Bernhard Kohn.

OC 54/2 Typed letter from Alfred Einstein & August Demblin (DMV) to Schenker, dated November 27, 1924

Having had soundings from Otto Vrieslander about taking over the publishing of Der Tonwille, Drei Masken Verlag now approach Schenker directly, asking him to come to an agreement with Universal Edition about the the future of the publication.

OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9, 1924

In the light of an exchange of letters with UE, Schenker suggests that the new publication have a new title (Die Urlinie) but that the old typeface and format be retained. He suggests that the new periodical should include articles on each of the Chopin etudes and the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from all of which book-length studies could subsequently be made.

OJ 14/45, [39] Handwritten letter from Moriz Violin to Schenker, dated December 10, 1924

This somewhat cryptic letter, possibly relating to a subscription order for Der Tonwille, was sent with an enclosure that required some interpretation or action on the part of Schenker. Violin also reports that the music department at the University of Berlin has received, with gratitude, the copies of Der Tonwille.

OC 54/10 Typed letter from Theodor Baumgarten to Schenker, dated January 15, 1925

Baumgarten expresses his concerns about Schenker’s negotiations with a new publisher, and cautiously advises that his client might instead wish to reach a peaceful agreement with Universal Edition.

OC 54/12 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January 20, 1925

Drei Masken Verlag offer to publish Schenker's future work as a yearbook, entitled "Das Meisterwerk in der Musik," in volumes comprising fifteen gatherings (180 pages). The manuscript would need to be delivered in July in order for the book to be published in time for Christmas.

OJ 6/7, [16] Handwritten letter from Schenker to Moriz Violin, dated January 24, 1925

Responding point by point to Violin's previously letter (OJ 14/45, [41]), Schenker congratulates his friend on the success of his recent concert. He writes at length about Hertzka's last efforts to hold onto Der Tonwille, and about successful negotiations with Drei Masken Verlag over its successor, Das Meisterwerk in der Musik. He has now to prepare enough material for a yearbook comprising fifteen gatherings by July 1, so that the volume can be published by Christmas. Finally, he echoes Violin's assessment of Hans Weisse, adding a few disparaging remarks about his character.

OC 54/16-18 Draft letter from Schenker to Drei Masken Verlag, dated January 28, 1925

Schenker agrees to the idea of a yearbook, entitled "Das Meisterwerk in der Musik," as put forward by Drei Masken Verlag, and now asks for a draft contract to be sent, and for them to typeset some of his work so that he has an idea how long the manuscript for the yearbook should be. He also vents his hostility towards Emil Hertzka at Universal Edition.

OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925

Schenker, repeating some of the points made in earlier letters, continues to give an account of Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists; the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the canonic composers.

OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925

Violin explains why, and how, the number of free copies of Der Tonwille distributed to German university music departments was reduced from 10 per university to 7. He has seen Paul Bekker's recent book, which includes a survey of recent trends in music theory.

OC 54/20-22 Draft of a letter from Schenker to Drei Masken Verlag, dated February 7, 1925

Schenker agrees to the terms of a contract outlined by Drei Masken Verlag. He requests that Fraktur typeface be used in the printing of his Yearbook, and he also needs to know the likely dimensions of the book (in words per page) so that he can plan its contents accordingly. He ends with a diatribe against Emil Hertzka at Universal Edition.

OC 52/639 Handwritten letter from Siegfried Fritz Müller to Schenker, dated February 13, 1925

Siegfried Fritz Müller reports his subscriptions to Tonwille and asks for clarity regarding dealings with Drei Masken-Verlag.

OJ 8/4, [35] Handwritten postcard from Schenker to Moriz Violin, dated February 14, 1925

Schenker asks Violin urgently to send him the receipt for payment made to Universal Edition (for the copies of Der Tonwille paid for by Max Temming).

OC 52/636 Handwritten letter from Robert Brünauer to Schenker, dated February 19, 1925

Robert Brünauer reports on the subscriptions to Der Tonwille that he has taken out.

OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925

Schenker thanks Violin for his recent letter (and enclosure), which contains evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the publication of Weisse's recently published vocal quartets than to his writings. Leaving Der Tonwille behind, which has earned him little money and caused him much misery, he has written a lengthy study of Bach's solo violin works, which will be published in the first volume of Das Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen Kontrapunkts.

OJ 9/12, [3] Handwritten letter from Carl Bamberger to Schenker, dated February 23, 1925

As a follow-up to his previous letter, Bamberger gives a full account of the number of subscriptions to Der Tonwille that he has either instigated himself or encouraged others to take on.

OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925

Dahms reports on the Vrieslanders' Italian travels; compares Hertzka unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold.

JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925

Wherever Hammer may travel, Schenker declares, he will never lose his Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an account of the dispute with Universal Edition and the outcome of negotiations with Drei Masken Verlag.

OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925

The St. Matthew Passion parts may be retained until mid-July; Altmann is pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in Galtür next summer.

OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925

Continuing the story of the ongoing financial battle against Hertzka and Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr. Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact – outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this issue is still in demand, despite Hertzka's claims to the contrary. He has attended a performance of Hans Weisse's Sextet, of which he found the variation movement and the trio section of the scherzo to be the most satisfactory parts.

OC 52/618 Handwritten letter from Moriz Violin to Schenker, dated May 26, 1925

Dealing at the same time with a family matter, Violin sends Schenker the receipt for Max Temming's purchase of subscriptions to Der Tonwille and confirms that the money for this was sent to the Leipzig office of Universal Edition. He is not planning any summer holiday this year.

OJ 8/4, [37] Handwritten postcard from Schenker to Moriz Violin, dated June 9, 1925

Schenker asks Violin to write to one of the German university music departments who received subscriptions to Der Tonwille through the generosity of Max Temming, to find out if, and when, they received Tonwille 10, which was published in January. He reports being on the verge of completing the first Meisterwerk Yearbook.

OC 52/649 Handwritten letter from Moriz Violin to Schenker, dated June 15, 1925

Violin has received letters from the music departments of two German universities, which show that the tenth issue of Der Tonwille (published in January 1925) was not received until June 10.

OJ 8/4, [38] Handwritten postcard from Schenker to Moriz Violin, dated June 22, 1925

Schenker thanks Violin for his most recent efforts concerning the subscriptions to Der Tonwille; he is astonished to learn that Tonwille 10, published in January 1925, did not reach some subscribers until June. He hopes that Violin will be able to visit him in the Tyrol this summer, as he is expecting Vrieslander with his son.

OJ 15/16, [55] Handwritten letter from Weisse to Schenker, incomplete, written c. August 5, 1925

Weisse apologizes for not having written for a long time. He has seen Furtwängler and reports that the conductor knows nothing of his writings and has no idea about the Urlinie. Universal Edition have declined to publish his Sextet. (In the missing portion of the letter, which is summarized in Schenker's diary, he asks his teacher's help in finding another publisher, perhaps with Wilhelm Altmann's intervention.)

OJ 14/45, [46] Handwritten letter from Moriz Violin to Schenker, dated October 23, 1925

Informing Schenker that he is beginning to recover after a disastrous year, Violin reports that he has formed a trio with the violinist Mauritz van den Berg and the cellist Friederich Buxbaum, and has scheduled concerts for January. His son has started school, which he also regards as a blessing.

OJ 14/14, [1] Handwritten letter from Artur Schnabel to Schenker, dated December 6, 1925

Schnabel divulges only some details of his publisher's contract.

OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21, 1925

Interrupting his correcting of the proofs for the first Meisterwerk Yearbook, Schenker sends Christmas greetings to the Violins, and informs his friend that an out-of-court settlement was made with Universal Edition. Recent concert appearances of the cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be sent to Hamburg.

OJ 14/45, [47] Handwritten letter from Moriz Violin to Schenker, dated December 25, 1925

Catching up on his correspondence on Christmas Day, Violin thanks Schenker for his recent postcard, and hopes that 1926 will be a less troublesome year for him. He quotes an extract from a negative review of Berg's Wozzeck, and reports on his practice and rehearsal plans for the trios that he will perform with van der Berg and Buxbaum in a month's time.

OJ 5/9a, [1] Handwritten letter from Schenker to Georg Dohrn, dated April 5, 1926

Schenker answers Dohrn's inquiry as to the performance of the opening of the second movement of Beethoven's Ninth Symphony.

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.

OC 52/545 Typed postcard from Hugo Winter (UE) to Schenker, dated April 9, 1926

Winter acknowledges order from Otto Bauer.

OJ 9/12, [6] Handwritten letter from Carl Bamberger to Schenker, dated June 15, 1926

Bamberger has introduced pianist Stefan Askenase to Schenker's Erläuterungsausgabe of Op. 111, to the latter's delight. He would like to visit the Schenkers in Galtür.

OC 52/907 Typed letter from Hugo Winter (UE) to Schenker, dated July 14, 1926

UE have mailed Schenker's statement of account to Galtür.

OC 54/96-99 Draft of a letter from Schenker to Drei Masken Verlag in Jeanette Schenker’s hand with corrections in Heinrich Schenker’s hand, dated July 14, 1926

Schenker agrees to a delay to the start of production of the second Meisterwerk volume, but insists that it continue to be understood as a “Yearbook,” i.e. as part of a series of publications and not as an individual book, and that it bear the year 1926.

OJ 52/897 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July 16, 1926

Receipt for sum of 232.14 shillings [from UE].

OC 52/546 Handwritten note by Schenker, dated October 10, 1926

Main points of WSLB 371.

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.

OC 52/831 Typed postcard from Barbara Rothe (UE) to Schenker, dated October 13, 1926

UE have written for review in Rivista musicale italiana.

OC 54/102 Draft of a letter from Schenker to Drei Masken Verlag (Munich), dated October 14, 1926

Schenker reminds the publishers that they were expected to reach a decision – which he is expecting to be positive – regarding the production of the second Meisterwerk Yearbook.

OC 52/832 Typed letter from Barbara Rothe (UE) to Schenker, dated October 26, 1926

Rothe encloses review from Rivista musicale italiana.

WSLB 372 Handwritten letter from Schenker to UE, dated November 2, 1926

Schenker returns the review in Rivista musicale italiana.

OC 52/908 Typed letter from Hugo Winter (UE) to Schenker, dated December 28, 1926

Payments for Beethoven sonatas and Der Tonwille have been transferred.

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.

OC 52/909 Typed letter from Hugo Winter (UE) to Schenker, dated January 4, 1927

Encloses Schenker's royalty statement for the second half of 1926.

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.

OC 52/834 Typed letter from Barbara Rothe (UE), dated April 26, 1927

Rothe acknowledges corrections to the "Appassionata" Sonata and promises proofs.

OC 52/835 Typed letter from Kalmus (UE) to Schenker, dated May 13, 1927

Kalmus notifies Schenker that proofs of the newly-revised "Appassionata" Sonata are on their way.

WSLB 378 Handwritten letter from Schenker to UE, dated May 17, 1927

Schenker returns proofs of the "Appassionata" Sonata.

OC 52/837 Typed postcard from Kalmus (UE) to Schenker, dated May 20, 1927

Kalmus acknowledges the "Appassionata" proofs.

OC 52/838 Typed postcard from Kalmus (UE) to Schenker, dated May 27, 1927

Proofs of the defective pages of the revised "Appassionata" Symphony have been dispatched to Schenker.

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.

OC 52/840 Typed postcard from Barbara Rothe (UE) to Schenker, dated May 31, 1927

A copy of Schenker's Fifth Symphony monograph has been dispatched to Vrieslander as requested.

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.

OC 52/841 Typed postcard from Kalmus and unknown signatory (UE) to Schenker, dated June 9, 1927

Acknowledges second proofs of "Appassionata" Sonata.

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?

OC 52/842 Typed postcard from Barbara Rothe to Schenker, dated July 6, 1927

The revised edition of Schenker's "Appassonata" Sonata edition has not yet appeared.

OJ 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927

Deutsch tells Schenker that the second edition of Schindler’s Beethoven biography is available, but not the first. --- He explains at length a misunderstanding over the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and expresses his regret that Drei Masken Verlag have been slow to prepare the second Meisterwerk yearbook for publication.

OJ 52/898 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July 14, 1927

Receipt for sum of 221.48 shillings [from UE].

OC 52/843 Typed postcard from Barbara Rothe to Schenker, dated September 7, 1927

A copy of Schenker's new edition of the "Appassionata" Sonata is on its way.

WSLB 388 Handwritten postcard from Schenker to UE, dated September 10, 1927

Acknowledges copy of revised edition of the "Appassionata" Sonata.

OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927

Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus" and the suitability of Vrieslander's text for that purpose. — He expresses an interest in Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the whereabouts of the autograph manuscript of Beethoven's Op. 106.

WSLB 389 Handwritten letter from Schenker to UE, dated October 6, 1927

Schenker inquires after revised edition of Beethoven, Piano Sonata Op.78.

OJ 12/8, [1] Typed letter from Kalmus (UE) to Schenker, dated October 10, 1927

Kalmus explains the situation over Beethoven Sonata Op. 78.

OC 52/844 Typed letter from Ernst Roth (UE) to Schenker, dated December 19, 1927

Roth announces that UE has stitched stocks of Der Tonwille issues together to form three year-volumes.

WSLB 392 Handwritten letter from Schenker to UE, dated December 21, 1927

Schenker thanks UE for its promotion of Der Tonwille.

OC 52/910 Typed letter from Hugo Winter (UE) to Schenker, dated December 29, 1927

Announces that Schenker's 1927 royalty has been transferred.

OJ 12/38, [2] Handwritten picture postcard from Hans Liebstoeckl to Schenker, dated January 11, 1928

Without naming the composer or title, Liebstöckl expresses himself in disparaging terms about Ernst Krenek and the latter's opera, Jonny spielt auf.

OJ 52/899 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated January 16, 1928

Receipt for sum of 148.02 shillings [from UE].

WSLB 395 Handwritten postcard from Schenker to UE, dated April 25, 1928

Schenkers asks for the Tonwille volumes to be sent to Julius Gold.

OC 52/911 Typed letter from Hugo Winter (UE) to Schenker, dated April 27, 1928

Encloses invoice for sending Der Tonwille to San Francisco.

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.

OJ 10/3, [84] Typewritten picture postcard from Deutsch to Schenker, dated May 1, 1928

Deutsch has picked up a copy of his and Schenker’s recent edition of the “Unfinished” Symphony; he has made a complaint to Universal Edition and let the publisher know of Schenker’s displeasure with the-- He is going away for a few days, but returning to give a radio broadcast on Schubert’s settings of Walter Scott.

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 52/900 Receipt for bank transaction from Post Office Savings Bank, dated July 16, 1928

Receipt for sum of 162.26 shillings [from UE].

WSLB 397 Handwritten postcard from Schenker to UE, dated August 5, 1928

Schenker asks why he has not received his royalty.

OC 52/913 Typed letter from Hugo Winter (UE) to Schenker, dated August 7, 1928

UE has written to the Postal Savings Bank about the royalty payment.

OC 52/914 Typed letter from Ernst Roth (UE) to Schenker, dated August 20, 1928

UE understands that the royalty payment has now been made.

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.

OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928

Sends best wishes for Cologne lecture-series; is planning to issue a folder of Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv, which will be officially opened on November [25]. The "counter-examples" should be taken slowly.

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."

OC 52/846 Typed letter from Kalmus (UE) to Schenker, dated December 1, 1928

Hertzka is away until mid-December.

OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928

Hertzka welcomes Schenker's intention now to produce [his elucidatory edition of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the "Eroica" study and Der freie Satz but cannot schedule them until after 1929.

OC 52/915 Typed letter from Hugo Winter (UE) to Schenker, dated December 27, 1928

Announces that Schenker's 1928 royalty has been transferred.

OC 52/849 Typed letter from Hertzka (UE) to Schenker, dated January 15, 1929

Hertzka asks for Schenker's deadline for the "Eroica" monograph decision to be put off to the end of 1929.

OJ 12/50, [3] Handwritten letter from Bernhard Martin to Schenker, dated July 3, 1929

Bernhard Martin is working on Schenker's graphings of the E-flat major piano sonata of Haydn in connection with his class teaching. He has obtained a copy of Schenker's facsimile of the "Moonlight" Sonata and is seeking his edition of the Chromatic Fantasy and Fugue. He inquires after the [projected] Erläuterungsausgabe of Op. 106 and Schenker's periodical articles.

OJ 52/901 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July 19, 1929

Receipt for sum of 97.60 shillings [from UE].

WSLB 411 Handwritten picture postcard from Schenker to UE, dated July 19, 1929

Requests half-yearly statement of account.

OJ 5/7a, [26] (formerly vC 26) Handwritten postcard from Schenker to Cube, dated July 22, 1929

Acknowledges the sonatas Cube sent with OJ 9/34, [19]; reports on Reinhard Oppel and on Hans Weisse's recent publication success; Schenker approves of Cube's use of pianistic diminution.

OC 52/916 Typed letter from Hugo Winter (UE) to Schenker, dated July 23, 1929

Schenker should have received the statement and money meantime.

OC 52/851 Typed letter from Kalmus (UE) to Schenker, dated July 24, 1929

Encloses remarks made by Edmund Schmid.

WSLB 414 Handwritten letter from Schenker to UE, dated July 27, 1929

Schenker comments on Schmid's remarks; inquires after editorship of Mozart edition.

OC 52/852 Typed letter from Ernst Roth (UE) to Schenker, dated July 30, 1929

Names the revisers of the Mozart sonata edition.

OC 52/853 Typed letter from Ernst Roth (UE) to Schenker, with enclosure, dated August 5, 1929

Encloses additional remarks by Edmund Schmid.

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.

OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929

Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ 9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music, after which publication should ensue. Schenker gives detailed comments, with music examples, on Cube's two piano sonatas, praising them highly and making suggestions for improvement.

OC 52/856 Typed postcard from Ernst Roth (UE) to Reinhard Oppel, dated September 25, 1929

Schenker's Harmonielehre is currently out-of-print, with no reprint date.

OJ 12/50, [4] Handwritten letter from Bernhard Martin to Schenker, dated October 31, 1929

Bernhard Martin sends Schenker graphings of a Mendelssohn Lied ohne Worte and a J. S. Bach Kleines Präludium. -- He describes the duplicated and missing pages in his misbound copy of Schenker's Harmonielehre. -- He suggests a correction to Schenker's use of the term "portamento." -- Having read Otto Vrieslander's biography of C. P. E. Bach, he proposes to perform a cantata by the latter and describes the concert program in which it will feature.

OJ 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929

After reply to some of the more personal points in Violin's previous letter, Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books are still in print and his status as a theorist has been acknowledged by the the fact that the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when approaching a publisher. That same issue also contains an article by Schoenberg touching on various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1; Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet). He feels that it is beneath his dignity to make a formal reply; but to illustrate what he means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs and other music examples concerning these works.

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.

OC 52/859 Typed postcard from Hugo Winter (UE) to Schenker, dated December 30, 1929

Sum of 1,250 shillings transferred.

OJ 10/3, [113] Handwritten picture postcard from Deutsch to Schenker, dated December 30, 1929

Deutsch advises Schenker to send the manuscript [of an essay by Gerd Albersheim] to Dr. Alfred Einstein, the editor of the Zeitschrift für Musikwissenschaft.

OC 52/858 Typed postcard from Alfred Kalmus (UE) to Schenker, dated December 31, 1929

Hertzka will respond after returning mid-January.

OJ 52/902 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated January 2, 1930

Receipt for sum of 1,250 shillings [from UE].

OC 52/860 Typewritten letter from Hertzka (UE) to Schenker, dated January 16, 1930

Hertzka sees no prospect of publishing the "Eroica" study as a monograph.

OJ 52/903 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated January 22, 1930

Receipt for sum of 78 shillings 25 groschen [from UE].

OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10, 1930]

Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." -- Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. -- He asks about Furtwängler's studies with Schenker.

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.

OC 52/861 Typed letter from Alfred Kalmus (UE) to Schenker, dated July 28, 1930

50.66 shillings has been transferred.

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 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.

OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21, 1930

Writing after a long and serious illness, Schenker assures his friend that he is alive and well. The doctors have pronounced him generally fit, but he suffers from a painful tightening of the thorax, and also a flickering that causes him to "lose" letters and notes. He has had to give many double-lessons of late, in theory, which he finds tiring. To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons without having prepared anything, he would rather play than give over-long lectures. He is concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that Violin is going to Berlin, and will give him instructions about what to do there. His Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers – and his brother still has half of his inheritance. But he is still alive – with Der freie Satz.

OC 52/863 Typewritten letter from Ernst Roth (UE) to Schenker, dated November 4, 1930

Roth supplies the costing requested.

OC 52/864 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 10, 1930

Kalmus reports an inquiry from the Kiel student body.

WSLB 423 Handwritten postcard from Schenker to UE, dated November 11, 1930

Schenker confirms the consent he has given to the Kiel student body.

OC 52/865 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 13, 1930

UE have granted permission 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.

OC 52/866 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated December 10, 1930

UE has sent a complimentary copy of Der Tonwille to Hermann Rinn.

OC 52/867 Typewritten letter from Hugo Winter (UE) to Schenker, dated December 29, 1930

UE has transferred 1,250 shillings, and sends New Year's best wishes.

OJ 6/8, [5] Handwritten letter from Schenker to Violin, dated September 6, 1931

In this long, sentimental letter, Schenker thanks Violin for founding a Schenker Institute in Hamburg and reflects on the intertwining of their fates through their connection with C. P. E. Bach. He also advises on the wording of the Institute’s prospectus.

OJ 89/5, [2] Handwritten letter from Schenker to Hoboken, dated February 27, 1932

Schenker thanks Hoboken effusively for the letter of guarantee [for Der freie Satz publication costs].

OJ 89/5, [6] Handwritten letter from Schenker to Hoboken, dated September 17, 1932

Schenker announces the completion of Der freie Satz, and discusses the timing of Hoboken's disbursement to cover its printing costs.

OJ 89/5, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 22, 1932

Hoboken is pleased at completion of Der freie Satz and reaffirms his financial assistance for its printing. — Encloses a letter from Robert Haas and proposes a three-way meeting. — Refers to the impact of his divorce has on his financial affairs. — May be able to assist Jonas's publication.

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.

OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20, 1932]

In this unsent letter, Schenker tells Einstein about his works and the difficulties he has encountered in promoting them, and calls upon the physicist for help in gaining financial support for the publication of Free Composition.

OC 18/32-33 Handwritten letter from Weisse to Schenker, dated November 28, 1932

Weisse is uneasy about disparity among translations of Schenker's writings into English, and suggests that he work with potential translators to arrive at an agreed set of technical terms. He has renewed contact with Vrieslander, who has sent him a copy of his recently published songs and Ländler. His work in New York is going well and his family is thriving, but he sees and hears about a great deal of suffering, on account of the economic collapse in America.

OJ 5/18, 17 Handwritten letter from Schenker to Jonas, incorrectly dated September 1932 [recte: December 1, 1932]

Schenker discusses likely sales for Jonas's Das Wesen, and will himself help promote the book; warns Jonas against Hoboken.

OJ 89/6, [1] Handwritten letter from Schenker to Hoboken, dated January 20, 1933

Schenker reports (1) discussion with Joseph Marx of a school version of his Harmonielehre for the Akademie curriculum; (2) proposal from New York for an English translation of Harmonielehre.

Sbb 55 Nachl. 13, [8] Handwritten letter from Schenker to Furtwängler, dated January 24, 1933

Schenker has received a letter from Karpath, and alerts Furtwängler that he will be hearing from him about the proposed letter to the newspaper; Schenker reports on recent visit by Joseph Marx re the adaptation of Harmonielehre; Schenker would now be willing to associate with the Akademie, but appointments there come about only by intrigue.

OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933

Schenker returns four essays with praise. Salzer is informed that the price for Jonas's Einführung has been set too high; Schenker advises caution with Hoboken.

OJ 89/6, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated February 15, 1933

Miss Boy has had an angina attack — they are to be married; — The number of subscriptions for Jonas's book is disappointing; — Hoboken is weighing up his financial support for it with that for Schenker's Freier Satz.

OJ 89/6, [3] Handwritten letter from Schenker to Hoboken, dated February 17, 1933

Congratulating Hoboken on his forthcoming marriage to Frl. Boy, Schenker reports that Kalmus is playing a devious financial game over Oktaven u. Quinten (which is in press) and Der freie Satz (which he thinks will take two years to publish) that may yet see the latter revert to Cotta. — He speaks of Marx's naiveté over the proposed school version of Harmonielehre. — He reports on the remaining stocks of Das Meisterwerk in der Musik.

OJ 12/6, [20] Handwritten letter from Jonas to Schenker, dated March 20, 1933

Van Hoboken is willing to advance 600 Mk for the Einführung; Jonas inquires, in that regard, after the plan to reprint Schenker's Harmonielehre, indicating that he had previously prepared a reformulation of that work for teaching purposes; — he alludes to introductory lectures to Furtwängler concerts, and the Handel-Brahms Saul project.

OJ 5/18, 24 Handwritten letter from Schenker to Jonas, dated March 22, 1933

Schenker recounts Joseph Marx's requirements for adapting his Harmonielehre for teaching purposes, and the involvement of Alfred Kalmus at UE. — Refers to Vrieslander's adaptation of Kontrapunkt and Jonas's of Harmonielehre. — Reports Hans Weisse's success; alludes to the Handel-Schenker Saul project.

OC 18/30 Typewritten letter from Frederick E. Auslander to Schenker, dated April 8, 1933

Auslander and Weisse plan to wait for clarity over the Marx Harmonielehre plan. — Meanwhile, Auslander will publish extracts from Schenker's works in a magazine, with a view to complete translations later.

GdM Briefe HS, [3] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated April 21, 1933

Schenker notifies the Gesellschaft der Musikfreunde that they will be receiving two complimentary copies of "Octaves and Fifths," and thanks it again for permission.

OJ 89/6, [6] Handwritten letter from Schenker to Hoboken, dated May 3, 1933

Schenker congratulates Hoboken and Eva Boy on their engagement, and comments on a Frankfurter Zeitung article that Hoboken has sent him, and satirizes the laws that Hitler has recently introduced. — He encloses his own article, "Was wird aus der Musik?" — He encloses an invoice from Universal Edition.

OJ 5/18, 32 Handwritten letter from Schenker to Jonas, dated December 13, 1933

The music examples in Das Meisterwerk were engraved; Schenker draws attention to and commends an article [by Israel Citkowitz].

OJ 5/18, 33 Handwritten letter from Schenker to Jonas, dated December 21, 1933

Schenker sends article [by Citkowitz]. — In response to Jonas's quoting from a Jewish lexikon, he refers to the sermons by Cardinal Faulhaber, and writes of his pride in being Jewish but in having assimilated thoroughly enough to establish favorable relations with the Catholic church, antisemites, and the news media. — Implying a parallel between himself and Jesus, he offers his "monotheistic theory of music" as "a new message to the world from the Jews." — He has no copy of his Syrische Tänze; — writes of the work's history.

OJ 15/16, [94] Handwritten letter from Hans Weisse to Schenker, dated March 15, 1934

Weisse apologizes for long silence, largely on account of depression at the lack of enrollment at Mannes and of enthusiasm for his recently published Violin Sonata. — At Mannes he lectures about his own work, because it is important to show how Schenkerian theory can have a practical application for composers; his pupil Israel Citkowitz is the only cause for optimism. — At Columbia University, where he "smuggles" Schenkerian theory into his lectures, enrolment continues to be large. — He sends a copy of his Violin Sonata, and promises his Variations on a Popular American Song. — He is not coming to Europe this summer. — Universal Edition is going ahead with a schools' version of Schenker's Harmonielehre, but he is surprised that Alfred Kalmus expects him to be involved in an American edition of this.

OC 44/41 Handwritten letter from Hans Weisse to Schenker, dated June 2, 1934

Weisse will send Schenker his Variations and Fugue for 2 pianos when copies are ready; he is glad to learn that Oswald Jonas's book will soon be published. He describes the beauty of Tenants Harbor, Maine, where his family is spending the summer vacation.

OJ 12/6, [33] Handwritten letter from Jonas to Schenker, dated June 29, 1934

Jonas describes his summer travel plans, including Bayreuth; hopes to meet Schenker in Vienna in August. Reports state of play on his book, a proof copy of which Furtwängler is reading. Reports on recent lecture, and prospect of another lecture.

OJ 89/7, [10] Handwritten letter from Schenker to Hoboken, dated July 12, 1934

8-page letter: Schenker thanks Hoboken for his support for Jonas's new book. — He reminds Hoboken of his earlier promise to support Der freie Satz financially, and predicts that costs will be high. — Otto Erich Deutsch has been granted a course at the Vienna Academy for Music and Performing Arts.

OC 44/9 Handwritten letter from Jonas to Schenker dated October 27, 1934

Jonas acknowledges OJ 5/18, 59 and 60; Hoboken has no reason to complain about his behaviour. — As a result of Hoboken's distribution of complimentary copies, Jonas has received letters of appreciation. —Reacts critically to Willi Reich and his magazine 23. — Describes plans for forthcoming events in Hamburg.

OJ 15/16, [98] Handwritten letter from Hans Weisse to Jeanette Schenker, dated May 26, 1935

Weisse outlines a plan to give Jeanette financial support in the form of a collection from his most dedicated pupils, equivalent to 200 Austrian shillings per month, for a year, and encloses the first of three planned annual payments. — He inquires whether Schenker's notes on C. P. E. Bach’s Essay on the True Art of Playing Keyboard Instruments might be included in an Afterword to a projected English translation. — He plans an exposition of Schenkerian theory for use in schools, for which he needs to receive a copy of Der freie Satz. — He thanks Jeanette for mementos of her husband, and says a few words about his family and their summer plans.

OJ 89/8, [2] Handwritten letter from Jeanette Schenker to Anthony van Hoboken, dated June 29, 1935

Jeanette informs Hoboken that she has received from Ernst Oster an errata list for Der freie Satz, and asks Hoboken whom he thinks would be a qualified person to check this.

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.

OJ 11/54, [43] Typewritten letter from Hoboken to Jeanette Schenker, dated July 12, 1935

Hoboken regrets the printing errors in Der freie Satz and suggests that Ernst Oster prepare a list.

OJ 15/16, [101] Handwritten letter from Hans Weisse to Jeanette Schenker, dated October 22, 1935

Weisse thanks Jeanette for the photographs of her husband, and will distribute them to his pupils soon, when he sends the next payment of financial support that he has collected from them on her behalf. — He is actively engaged in bringing Schenker's ideas to an English-speaking audience, and urges her to consider agreeing to a suitably shortened version of Harmonielehre, rather than a word-for-word translation. — For Der freie Satz, an English translation would do more harm to Schenker's cause than not to have it translated at all, and it would be necessary to reconceive the presentation of the theory entirely, especially with respect to terminology. — He suggests that there may be a market for Schenker's library in American universities and libraries.

OJ 12/6, [48] Handwritten postcard from Jonas to Jeanette Schenker, dated February 17, 1938

Jonas reports on a meeting at UE re: the prospects for a proposed Schenker edition series and an English translation, and for prospects in the USA.

LC ASC 27/45, [13] Handwritten curriculum vitae from Moriz Violin to Schoenberg, undated [July 20, 1939]

Violin's curriculum vitae.

Diary entry by Schenker for 11 February 1908

Diary entry by Schenker for 25 March 1908

Diary entry by Schenker for 6 April 1908

Diary entry by Schenker for 8 April 1908

Diary entry by Schenker for 9 January 1909

Diary entry by Schenker for 1 June 1910

Diary entry by Schenker for 18 May 1911

Diary entry by Schenker for 1 June 1911

Diary entry by Schenker for 6 November 1912

Diary entry by Schenker for 25 November 1912

Diary entry by Schenker for 28 February 1913

Diary entry by Schenker for 4 April 1913

Diary entry by Schenker for 22 August 1913

Diary entry by Schenker for 6 October 1913

Diary entry by Schenker for 8 October 1913

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Diary entry by Schenker for 5 November 1913

Diary entry by Schenker for 14 November 1913

Diary entry by Schenker for 1 December 1913

Diary entry by Schenker for 4 December 1913

Diary entry by Schenker for 12 December 1913

Diary entry by Schenker for 11 March 1914

Diary entry by Schenker for 17 March 1914

Diary entry by Schenker for 15 April 1914

Diary entry by Schenker for 7 May 1914

Diary entry by Schenker for 8 May 1914

Diary entry by Schenker for 15 May 1914

Diary entry by Schenker for 20 June 1914

Diary entry by Schenker for 27 July 1914

Diary entry by Schenker for 30 August 1914

Diary entry by Schenker for 8 October 1914

Diary entry by Schenker for 14 October 1914

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Diary entry by Schenker for 24 December 1914

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Diary entry by Schenker for 28 February 1915

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Diary entry by Schenker for 28 November 1915

Diary entry by Schenker for 9 December 1915

Diary entry by Schenker for 10 December 1915

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Diary entry by Schenker for 25 December 1915

Diary entry by Schenker for 11 January 1916

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Diary entry by Schenker for 7 April 1917

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Diary entry by Schenker for 28 May 1917

Diary entry by Schenker for 1 June 1917

Diary entry by Schenker for 14 July 1917

Diary entry by Schenker for 11 September 1917

Diary entry by Schenker for 12 September 1917

Diary entry by Schenker for 19 December 1917

Diary entry by Schenker for 28 January 1918

Diary entry by Schenker for 30 January 1918

Diary entry by Schenker for 16 October 1918

Diary entry by Schenker for 26 December 1918

Diary entry by Schenker for 21 May 1919

Diary entry by Schenker for 6 November 1919

Diary entry by Schenker for 4 December 1919

Diary entry by Schenker for 11 December 1919

Diary entry by Schenker for 5 February 1920

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Diary entry by Schenker for 27 September 1920

Diary entry by Schenker for 2 October 1920

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Diary entry by Schenker for 28 October 1920

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Diary entry by Schenker for 7 December 1920

Diary entry by Schenker for 11 December 1920

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Diary entry by Schenker for 23 December 1920

Diary entry by Schenker for 31 December 1920

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Diary entry by Schenker for 18 January 1921

Diary entry by Schenker for 22 January 1921

Diary entry by Schenker for 26 January 1921

Diary entry by Schenker for 27 January 1921

Diary entry by Schenker for 3 February 1921

Diary entry by Schenker for 4 February 1921

Diary entry by Schenker for 8 February 1921

Diary entry by Schenker for 9 February 1921

Diary entry by Schenker for 12 February 1921

Diary entry by Schenker for 15 February 1921

Diary entry by Schenker for 16 February 1921

Diary entry by Schenker for 19 February 1921

Diary entry by Schenker for 21 February 1921

Diary entry by Schenker for 24 February 1921

Diary entry by Schenker for 26 February 1921

Diary entry by Schenker for 5 March 1921

Diary entry by Schenker for 9 March 1921

Diary entry by Schenker for 10 March 1921

Diary entry by Schenker for 18 March 1921

Diary entry by Schenker for 21 March 1921

Diary entry by Schenker for 22 March 1921

Diary entry by Schenker for 5 April 1921

Diary entry by Schenker for 12 April 1921

Diary entry by Schenker for 18 April 1921

Diary entry by Schenker for 21 April 1921

Diary entry by Schenker for 3 May 1921

Diary entry by Schenker for 12 May 1921

Diary entry by Schenker for 17 May 1921

Diary entry by Schenker for 21 May 1921

Diary entry by Schenker for 13 June 1921

Diary entry by Schenker for 15 June 1921

Diary entry by Schenker for 12 July 1921

Diary entry by Schenker for 14 July 1921

Diary entry by Schenker for 20 July 1921

Diary entry by Schenker for 31 July 1921

Diary entry by Schenker for 5 August 1921

Diary entry by Schenker for 7 August 1921

Diary entry by Schenker for 10 August 1921

Diary entry by Schenker for 12 August 1921

Diary entry by Schenker for 17 August 1921

Diary entry by Schenker for 19 August 1921

Diary entry by Schenker for 21 August 1921

Diary entry by Schenker for 24 August 1921

Diary entry by Schenker for 3 September 1921

Diary entry by Schenker for 5 September 1921

Diary entry by Schenker for 7 September 1921

Diary entry by Schenker for 9 September 1921

Diary entry by Schenker for 12 September 1921

Diary entry by Schenker for 14 September 1921

Diary entry by Schenker for 16 September 1921

Diary entry by Schenker for 26 September 1921

Diary entry by Schenker for 28 September 1921

Diary entry by Schenker for 3 October 1921

Diary entry by Schenker for 4 October 1921

Diary entry by Schenker for 10 October 1921

Diary entry by Schenker for 17 October 1921

Diary entry by Schenker for 18 October 1921

Diary entry by Schenker for 19 October 1921

Diary entry by Schenker for 30 October 1921

Diary entry by Schenker for 7 November 1921

Diary entry by Schenker for 9 November 1921

Diary entry by Schenker for 14 November 1921

Diary entry by Schenker for 17 November 1921

Diary entry by Schenker for 18 November 1921

Diary entry by Schenker for 19 November 1921

Diary entry by Schenker for 3 December 1921

Diary entry by Schenker for 13 December 1921

Diary entry by Schenker for 14 December 1921

Diary entry by Schenker for 15 December 1921

Diary entry by Schenker for 16 December 1921

Diary entry by Schenker for 17 December 1921

Diary entry by Schenker for 20 December 1921

Diary entry by Schenker for 21 December 1921

Diary entry by Schenker for 26 December 1921

Diary entry by Schenker for 30 December 1921

Diary entry by Schenker for 2 January 1922

Diary entry by Schenker for 3 January 1922

Diary entry by Schenker for 9 January 1922

Diary entry by Schenker for 13 January 1922

Diary entry by Schenker for 16 January 1922

Diary entry by Schenker for 18 January 1922

Diary entry by Schenker for 25 January 1922

Diary entry by Schenker for 1 February 1922

Diary entry by Schenker for 3 February 1922

Diary entry by Schenker for 9 February 1922

Diary entry by Schenker for 13 February 1922

Diary entry by Schenker for 20 February 1922

Diary entry by Schenker for 22 February 1922

Diary entry by Schenker for 27 February 1922

Diary entry by Schenker for 1 March 1922

Diary entry by Schenker for 4 March 1922

Diary entry by Schenker for 6 March 1922

Diary entry by Schenker for 8 March 1922

Diary entry by Schenker for 13 March 1922

Diary entry by Schenker for 14 March 1922

Diary entry by Schenker for 15 March 1922

Diary entry by Schenker for 16 March 1922

Diary entry by Schenker for 25 March 1922

Diary entry by Schenker for 30 March 1922

Diary entry by Schenker for 31 March 1922

Diary entry by Schenker for 3 April 1922

Diary entry by Schenker for 5 April 1922

Diary entry by Schenker for 13 April 1922

Diary entry by Schenker for 19 April 1922

Diary entry by Schenker for 27 April 1922

Diary entry by Schenker for 29 April 1922

Diary entry by Schenker for 8 May 1922

Diary entry by Schenker for 18 May 1922

Diary entry by Schenker for 7 June 1922

Diary entry by Schenker for 14 June 1922

Diary entry by Schenker for 17 June 1922

Diary entry by Schenker for 5 July 1922

Diary entry by Schenker for 6 July 1922

Diary entry by Schenker for 12 July 1922

Diary entry by Schenker for 22 July 1922

Diary entry by Schenker for 25 July 1922

Diary entry by Schenker for 28 July 1922

Diary entry by Schenker for 31 July 1922

Diary entry by Schenker for 1 August 1922

Diary entry by Schenker for 2 August 1922

Diary entry by Schenker for 8 August 1922

Diary entry by Schenker for 9 August 1922

Diary entry by Schenker for 23 August 1922

Diary entry by Schenker for 25 August 1922

Diary entry by Schenker for 28 August 1922

Diary entry by Schenker for 30 August 1922

Diary entry by Schenker for 31 August 1922

Diary entry by Schenker for 2 September 1922

Diary entry by Schenker for 3 September 1922

Diary entry by Schenker for 4 September 1922

Diary entry by Schenker for 6 September 1922

Diary entry by Schenker for 8 September 1922

Diary entry by Schenker for 12 September 1922

Diary entry by Schenker for 16 September 1922

Diary entry by Schenker for 23 September 1922

Diary entry by Schenker for 25 September 1922

Diary entry by Schenker for 2 October 1922

Diary entry by Schenker for 9 October 1922

Diary entry by Schenker for 10 October 1922

Diary entry by Schenker for 11 October 1922

Diary entry by Schenker for 13 October 1922

Diary entry by Schenker for 14 October 1922

Diary entry by Schenker for 18 October 1922

Diary entry by Schenker for 19 October 1922

Diary entry by Schenker for 2 November 1922

Diary entry by Schenker for 3 November 1922

Diary entry by Schenker for 4 November 1922

Diary entry by Schenker for 7 November 1922

Diary entry by Schenker for 17 November 1922

Diary entry by Schenker for 18 November 1922

Diary entry by Schenker for 20 November 1922

Diary entry by Schenker for 24 November 1922

Diary entry by Schenker for 29 November 1922

Diary entry by Schenker for 30 November 1922

Diary entry by Schenker for 1 December 1922

Diary entry by Schenker for 13 December 1922

Diary entry by Schenker for 16 December 1922

Diary entry by Schenker for 23 December 1922

Diary entry by Schenker for 27 December 1922

Diary entry by Schenker for 29 December 1922

Diary entry by Schenker for 30 December 1922

Diary entry by Schenker for 12 January 1923

Diary entry by Schenker for 15 January 1923

Diary entry by Schenker for 17 January 1923

Diary entry by Schenker for 22 January 1923

Diary entry by Schenker for 24 January 1923

Diary entry by Schenker for 2 February 1923

Diary entry by Schenker for 12 February 1923

Diary entry by Schenker for 13 February 1923

Diary entry by Schenker for 20 February 1923

Diary entry by Schenker for 21 February 1923

Diary entry by Schenker for 24 February 1923

Diary entry by Schenker for 27 February 1923

Diary entry by Schenker for 2 March 1923

Diary entry by Schenker for 3 March 1923

Diary entry by Schenker for 5 March 1923

Diary entry by Schenker for 10 March 1923

Diary entry by Schenker for 20 March 1923

Diary entry by Schenker for 21 March 1923

Diary entry by Schenker for 31 March 1923

Diary entry by Schenker for 4 April 1923

Diary entry by Schenker for 18 April 1923

Diary entry by Schenker for 20 April 1923

Diary entry by Schenker for 21 April 1923

Diary entry by Schenker for 27 April 1923

Diary entry by Schenker for 29 April 1923

Diary entry by Schenker for 8 May 1923

Diary entry by Schenker for 14 May 1923

Diary entry by Schenker for 22 May 1923

Diary entry by Schenker for 29 May 1923

Diary entry by Schenker for 1 June 1923

Diary entry by Schenker for 4 June 1923

Diary entry by Schenker for 6 June 1923

Diary entry by Schenker for 9 June 1923

Diary entry by Schenker for 10 June 1923

Diary entry by Schenker for 13 June 1923

Diary entry by Schenker for 21 June 1923

Diary entry by Schenker for 22 June 1923

Diary entry by Schenker for 28 June 1923

Diary entry by Schenker for 30 June 1923

Diary entry by Schenker for 3 July 1923

Diary entry by Schenker for 5 July 1923

Diary entry by Schenker for 6 July 1923

Diary entry by Schenker for 7 July 1923

Diary entry by Schenker for 8 July 1923

Diary entry by Schenker for 11 July 1923

Diary entry by Schenker for 14 July 1923

Diary entry by Schenker for 17 July 1923

Diary entry by Schenker for 25 July 1923

Diary entry by Schenker for 29 July 1923

Diary entry by Schenker for 10 August 1923

Diary entry by Schenker for 11 September 1923

Diary entry by Schenker for 12 September 1923

Diary entry by Schenker for 14 September 1923

Diary entry by Schenker for 15 September 1923

Diary entry by Schenker for 17 September 1923

Diary entry by Schenker for 18 September 1923

Diary entry by Schenker for 20 September 1923

Diary entry by Schenker for 21 September 1923

Diary entry by Schenker for 22 September 1923

Diary entry by Schenker for 27 September 1923

Diary entry by Schenker for 1 October 1923

Diary entry by Schenker for 6 October 1923

Diary entry by Schenker for 8 October 1923

Diary entry by Schenker for 10 October 1923

Diary entry by Schenker for 16 October 1923

Diary entry by Schenker for 20 October 1923

Diary entry by Schenker for 29 October 1923

Diary entry by Schenker for 30 October 1923

Diary entry by Schenker for 5 November 1923

Diary entry by Schenker for 6 November 1923

Diary entry by Schenker for 8 November 1923

Diary entry by Schenker for 9 November 1923

Diary entry by Schenker for 19 November 1923

Diary entry by Schenker for 23 November 1923

Diary entry by Schenker for 28 November 1923

Diary entry by Schenker for 30 November 1923

Diary entry by Schenker for 3 December 1923

Diary entry by Schenker for 5 December 1923

Diary entry by Schenker for 6 December 1923

Diary entry by Schenker for 8 December 1923

Diary entry by Schenker for 13 December 1923

Diary entry by Schenker for 15 December 1923

Diary entry by Schenker for 17 December 1923

Diary entry by Schenker for 20 December 1923

Diary entry by Schenker for 23 December 1923

Diary entry by Schenker for 27 December 1923

Diary entry by Schenker for 28 December 1923

Diary entry by Schenker for 22 January 1924

Diary entry by Schenker for 24 January 1924

Diary entry by Schenker for 26 January 1924

Diary entry by Schenker for 29 January 1924

Diary entry by Schenker for 30 January 1924

Diary entry by Schenker for 7 February 1924

Diary entry by Schenker for 18 February 1924

Diary entry by Schenker for 22 February 1924

Diary entry by Schenker for 23 February 1924

Diary entry by Schenker for 27 February 1924

Diary entry by Schenker for 29 February 1924

Diary entry by Schenker for 7 March 1924

Diary entry by Schenker for 8 March 1924

Diary entry by Schenker for 10 March 1924

Diary entry by Schenker for 14 March 1924

Diary entry by Schenker for 19 March 1924

Diary entry by Schenker for 20 March 1924

Diary entry by Schenker for 24 March 1924

Diary entry by Schenker for 25 March 1924

Diary entry by Schenker for 27 March 1924

Diary entry by Schenker for 28 March 1924

Diary entry by Schenker for 29 March 1924

Diary entry by Schenker for 31 March 1924

Diary entry by Schenker for 2 April 1924

Diary entry by Schenker for 3 April 1924

Diary entry by Schenker for 4 April 1924

Diary entry by Schenker for 9 April 1924

Diary entry by Schenker for 10 April 1924

Diary entry by Schenker for 11 April 1924

Diary entry by Schenker for 18 April 1924

Diary entry by Schenker for 22 April 1924

Diary entry by Schenker for 24 April 1924

Diary entry by Schenker for 25 April 1924

Diary entry by Schenker for 1 May 1924

Diary entry by Schenker for 3 May 1924

Diary entry by Schenker for 13 May 1924

Diary entry by Schenker for 20 May 1924

Diary entry by Schenker for 25 May 1924

Diary entry by Schenker for 26 May 1924

Diary entry by Schenker for 28 May 1924

Diary entry by Schenker for 30 May 1924

Diary entry by Schenker for 31 May 1924

Diary entry by Schenker for 5 June 1924

Diary entry by Schenker for 11 June 1924

Diary entry by Schenker for 13 June 1924

Diary entry by Schenker for 6 July 1924

Diary entry by Schenker for 12 July 1924

Diary entry by Schenker for 14 July 1924

Diary entry by Schenker for 16 July 1924

Diary entry by Schenker for 17 July 1924

Diary entry by Schenker for 18 July 1924

Diary entry by Schenker for 19 July 1924

Diary entry by Schenker for 22 July 1924

Diary entry by Schenker for 23 July 1924

Diary entry by Schenker for 1 August 1924

Diary entry by Schenker for 7 August 1924

Diary entry by Schenker for 16 August 1924

Diary entry by Schenker for 20 August 1924

Diary entry by Schenker for 22 August 1924

Diary entry by Schenker for 23 August 1924

Diary entry by Schenker for 27 August 1924

Diary entry by Schenker for 29 August 1924

Diary entry by Schenker for 2 September 1924

Diary entry by Schenker for 3 September 1924

Diary entry by Schenker for 6 September 1924

Diary entry by Schenker for 10 September 1924

Diary entry by Schenker for 13 September 1924

Diary entry by Schenker for 16 September 1924

Diary entry by Schenker for 19 September 1924

Diary entry by Schenker for 20 September 1924

Diary entry by Schenker for 22 September 1924

Diary entry by Schenker for 23 September 1924

Diary entry by Schenker for 24 September 1924

Diary entry by Schenker for 26 September 1924

Diary entry by Schenker for 29 September 1924

Diary entry by Schenker for 2 October 1924

Diary entry by Schenker for 3 October 1924

Diary entry by Schenker for 6 October 1924

Diary entry by Schenker for 9 October 1924

Diary entry by Schenker for 20 October 1924

Diary entry by Schenker for 21 October 1924

Diary entry by Schenker for 23 October 1924

Diary entry by Schenker for 27 October 1924

Diary entry by Schenker for 28 October 1924

Diary entry by Schenker for 4 November 1924

Diary entry by Schenker for 13 November 1924

Diary entry by Schenker for 14 November 1924

Diary entry by Schenker for 15 November 1924

Diary entry by Schenker for 17 November 1924

Diary entry by Schenker for 18 November 1924

Diary entry by Schenker for 19 November 1924

Diary entry by Schenker for 20 November 1924

Diary entry by Schenker for 22 November 1924

Diary entry by Schenker for 24 November 1924

Diary entry by Schenker for 25 November 1924

Diary entry by Schenker for 28 November 1924

Diary entry by Schenker for 1 December 1924

Diary entry by Schenker for 4 December 1924

Diary entry by Schenker for 5 December 1924

Diary entry by Schenker for 9 December 1924

Diary entry by Schenker for 12 December 1924

Diary entry by Schenker for 20 December 1924

Diary entry by Schenker for 23 December 1924

Diary entry by Schenker for 24 December 1924

Diary entry by Schenker for 17 January 1925

Diary entry by Schenker for 21 January 1925

Diary entry by Schenker for 24 January 1925

Diary entry by Schenker for 28 January 1925

Diary entry by Schenker for 31 January 1925

Diary entry by Schenker for 1 February 1925

Diary entry by Schenker for 4 February 1925

Diary entry by Schenker for 5 February 1925

Diary entry by Schenker for 7 February 1925

Diary entry by Schenker for 9 February 1925

Diary entry by Schenker for 11 February 1925

Diary entry by Schenker for 14 February 1925

Diary entry by Schenker for 21 February 1925

Diary entry by Schenker for 27 February 1925

Diary entry by Schenker for 3 March 1925

Diary entry by Schenker for 12 March 1925

Diary entry by Schenker for 20 March 1925

Diary entry by Schenker for 21 March 1925

Diary entry by Schenker for 24 March 1925

Diary entry by Schenker for 27 March 1925

Diary entry by Schenker for 28 March 1925

Diary entry by Schenker for 30 March 1925

Diary entry by Schenker for 31 March 1925

Diary entry by Schenker for 6 April 1925

Diary entry by Schenker for 10 April 1925

Diary entry by Schenker for 21 April 1925

Diary entry by Schenker for 28 April 1925

Diary entry by Schenker for 4 May 1925

Diary entry by Schenker for 14 May 1925

Diary entry by Schenker for 15 May 1925

Diary entry by Schenker for 5 June 1925

Diary entry by Schenker for 9 June 1925

Diary entry by Schenker for 12 June 1925

Diary entry by Schenker for 23 June 1925

Diary entry by Schenker for 24 June 1925

Diary entry by Schenker for 4 July 1925

Diary entry by Schenker for 8 July 1925

Diary entry by Schenker for 9 July 1925

Diary entry by Schenker for 26 July 1925

Diary entry by Schenker for 30 July 1925

Diary entry by Schenker for 15 August 1925

Diary entry by Schenker for 27 August 1925

Diary entry by Schenker for 28 August 1925

Diary entry by Schenker for 11 September 1925

Diary entry by Schenker for 12 September 1925

Diary entry by Schenker for 14 September 1925

Diary entry by Schenker for 14 October 1925

Diary entry by Schenker for 17 October 1925

Diary entry by Schenker for 25 October 1925

Diary entry by Schenker for 30 October 1925

Diary entry by Schenker for 22 November 1925

Diary entry by Schenker for 10 December 1925

Diary entry by Schenker for 14 December 1925

Diary entry by Schenker for 16 December 1925

Diary entry by Schenker for 19 December 1925

Diary entry by Schenker for 21 December 1925

Diary entry by Schenker for 23 December 1925

Diary entry by Schenker for 1 January 1926

Diary entry by Schenker for 12 February 1926

Diary entry by Schenker for 7 April 1926

Diary entry by Schenker for 12 July 1926

Diary entry by Schenker for 16 July 1926

Diary entry by Schenker for 17 July 1926

Diary entry by Schenker for 21 July 1926

Diary entry by Schenker for 1 October 1926

Diary entry by Schenker for 10 October 1926

Diary entry by Schenker for 15 October 1926

Diary entry by Schenker for 28 October 1926

Diary entry by Schenker for 2 November 1926

Diary entry by Schenker for 17 December 1926

Diary entry by Schenker for 29 December 1926

Diary entry by Schenker for 30 December 1926

Diary entry by Schenker for 3 January 1927

Diary entry by Schenker for 5 January 1927

Diary entry by Schenker for 11 January 1927

Diary entry by Schenker for 9 March 1927

Diary entry by Schenker for 13 March 1927

Diary entry by Schenker for 25 April 1927

Diary entry by Schenker for 28 April 1927

Diary entry by Schenker for 16 May 1927

Diary entry by Schenker for 18 May 1927

Diary entry by Schenker for 24 May 1927

Diary entry by Schenker for 27 May 1927

Diary entry by Schenker for 30 May 1927

Diary entry by Schenker for 31 May 1927

Diary entry by Schenker for 1 June 1927

Diary entry by Schenker for 11 June 1927

Diary entry by Schenker for 30 June 1927

Diary entry by Schenker for 9 July 1927

Diary entry by Schenker for 15 July 1927

Diary entry by Schenker for 18 July 1927

Diary entry by Schenker for 8 September 1927

Diary entry by Schenker for 12 October 1927

Diary entry by Schenker for 11 December 1927

Diary entry by Schenker for 20 December 1927

Diary entry by Schenker for 21 December 1927

Diary entry by Schenker for 22 December 1927

Diary entry by Schenker for 23 December 1927

Diary entry by Schenker for 30 December 1927

Diary entry by Schenker for 3 January 1928

Diary entry by Schenker for 11 January 1928

Diary entry by Schenker for 13 January 1928

Diary entry by Schenker for 26 April 1928

Diary entry by Schenker for 2 May 1928

Diary entry by Schenker for 16 July 1928

Diary entry by Schenker for 9 August 1928

Diary entry by Schenker for 13 August 1928

Diary entry by Schenker for 23 August 1928

Diary entry by Schenker for 21 October 1928

Diary entry by Schenker for 27 November 1928

Diary entry by Schenker for 3 December 1928

Diary entry by Schenker for 5 December 1928

Diary entry by Schenker for 23 December 1928

Diary entry by Schenker for 29 December 1928

Diary entry by Schenker for 2 January 1929

Diary entry by Schenker for 14 January 1929

Diary entry by Schenker for 24 January 1929

Diary entry by Schenker for 28 January 1929

Diary entry by Schenker for 29 January 1929

Diary entry by Schenker for 24 June 1929

Diary entry by Schenker for 19 July 1929

Diary entry by Schenker for 24 July 1929

Diary entry by Schenker for 26 July 1929

Diary entry by Schenker for 27 July 1929

Diary entry by Schenker for 2 August 1929

Diary entry by Schenker for 7 August 1929

Diary entry by Schenker for 9 August 1929

Diary entry by Schenker for 1 October 1929

Diary entry by Schenker for 1 January 1930

Diary entry by Schenker for 17 January 1930

Diary entry by Schenker for 22 January 1930

Diary entry by Schenker for 23 January 1930

Diary entry by Schenker for 6 February 1930

Diary entry by Schenker for 23 July 1930

Diary entry by Schenker for 30 July 1930

Diary entry by Schenker for 31 July 1930

Diary entry by Schenker for 8 October 1930

Diary entry by Schenker for 13 October 1930

Diary entry by Schenker for 23 October 1930

Diary entry by Schenker for 5 November 1930

Diary entry by Schenker for 11 November 1930

Diary entry by Schenker for 14 November 1930

Diary entry by Schenker for 17 November 1930

Diary entry by Schenker for 18 November 1930

Diary entry by Schenker for 29 November 1930

Diary entry by Schenker for 8 December 1930

Diary entry by Schenker for 11 December 1930

Diary entry by Schenker for 30 December 1930

Diary entry by Schenker for 31 December 1930

Diary entry by Schenker for 7 January 1931

Diary entry by Schenker for 22 January 1931

Diary entry by Schenker for 24 January 1931

Diary entry by Schenker for 28 January 1931

Diary entry by Schenker for 14 February 1931

Diary entry by Schenker for 23 April 1931

Diary entry by Schenker for 25 April 1931

Diary entry by Schenker for 14 May 1931

Diary entry by Schenker for 16 May 1931

Diary entry by Schenker for 27 June 1931

Diary entry by Schenker for 4 July 1931

Diary entry by Schenker for 21 July 1931

Diary entry by Schenker for 24 July 1931

Diary entry by Schenker for 25 July 1931

Diary entry by Schenker for 30 July 1931

Diary entry by Schenker for 1 November 1931

Diary entry by Schenker for 30 December 1931

Diary entry by Schenker for 31 December 1931

Diary entry by Schenker for 25 January 1932

Diary entry by Schenker for 2 February 1932

Diary entry by Schenker for 3 March 1932

Diary entry by Schenker for 28 June 1932

Diary entry by Schenker for 7 July 1932

Diary entry by Schenker for 11 July 1932

Diary entry by Schenker for 14 July 1932

Diary entry by Schenker for 15 July 1932

Diary entry by Schenker for 16 July 1932

Diary entry by Schenker for 18 July 1932

Diary entry by Schenker for 27 July 1932

Diary entry by Schenker for 29 July 1932

Diary entry by Schenker for 30 July 1932

Diary entry by Schenker for 3 August 1932

Diary entry by Schenker for 25 October 1932

Diary entry by Schenker for 2 January 1933

Diary entry by Schenker for 6 January 1933

Diary entry by Schenker for 18 January 1933

Diary entry by Schenker for 21 January 1933

Diary entry by Schenker for 23 January 1933

Diary entry by Schenker for 3 February 1933

Diary entry by Schenker for 4 February 1933

Diary entry by Schenker for 8 February 1933

Diary entry by Schenker for 16 February 1933

Diary entry by Schenker for 17 February 1933

Diary entry by Schenker for 24 February 1933

Diary entry by Schenker for 11 March 1933

Diary entry by Schenker for 14 March 1933

Diary entry by Schenker for 18 March 1933

Diary entry by Schenker for 1 April 1933

Diary entry by Schenker for 11 April 1933

Diary entry by Schenker for 14 April 1933

Diary entry by Schenker for 15 April 1933

Diary entry by Schenker for 20 April 1933

Diary entry by Schenker for 21 April 1933

Diary entry by Schenker for 25 April 1933

Diary entry by Schenker for 27 April 1933

Diary entry by Schenker for 28 April 1933

Diary entry by Schenker for 29 April 1933

Diary entry by Schenker for 2 May 1933

Diary entry by Schenker for 3 May 1933

Diary entry by Schenker for 5 May 1933

Diary entry by Schenker for 2 July 1933

Diary entry by Schenker for 19 July 1933

Diary entry by Schenker for 22 July 1933

Diary entry by Schenker for 24 July 1933

Diary entry by Schenker for 26 July 1933

Diary entry by Schenker for 30 December 1933

Diary entry by Schenker for 31 December 1933

Diary entry by Schenker for 16 February 1934

Diary entry by Schenker for 17 February 1934

Diary entry by Schenker for 20 February 1934

Diary entry by Schenker for 4 March 1934

Diary entry by Schenker for 22 March 1934

Diary entry by Schenker for 25 March 1934

Diary entry by Schenker for 26 March 1934

Diary entry by Schenker for 27 March 1934

Diary entry by Schenker for 29 March 1934

Diary entry by Schenker for 24 April 1934

Diary entry by Schenker for 26 April 1934

Diary entry by Schenker for 27 April 1934

Diary entry by Schenker for 5 May 1934

Diary entry by Schenker for 16 May 1934

Diary entry by Schenker for 7 June 1934

Diary entry by Schenker for 12 June 1934

Diary entry by Schenker for 23 June 1934

Diary entry by Schenker for 10 July 1934

Diary entry by Schenker for 11 July 1934

Diary entry by Schenker for 17 July 1934

Diary entry by Schenker for 21 July 1934

Diary entry by Schenker for 23 July 1934

Diary entry by Schenker for 27 July 1934

Diary entry by Schenker for 6 August 1934

Diary entry by Schenker for 7 August 1934

Diary entry by Schenker for 8 August 1934

Diary entry by Schenker for 8 September 1934

Diary entry by Schenker for 10 September 1934

Diary entry by Schenker for 12 September 1934

Diary entry by Schenker for 19 September 1934

Diary entry by Schenker for 26 September 1934

Diary entry by Schenker for 27 September 1934

Diary entry by Schenker for 8 October 1934

Diary entry by Schenker for 17 October 1934

Diary entry by Schenker for 30 October 1934

Diary entry by Schenker for 13 November 1934

Diary entry by Schenker for 16 November 1934

Diary entry by Schenker for 18 November 1934

Diary entry by Schenker for 20 November 1934

Diary entry by Schenker for 1 December 1934

Diary entry by Schenker for 4 December 1934

Diary entry by Schenker for 6 December 1934

Diary entry by Schenker for 7 December 1934

Diary entry by Schenker for 29 December 1934

Diary entry by Schenker for 3 January 1935

OC 3/3: Oct 1919-Jun 1920 Richard Figdor: lessons: Oct 1919-Jan 1920

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

OC 2/p. 60, [3] Review: Bekker, "Musiker-Faksimiles"