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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Wienbibliothek im Rathhaus (formerly Wiener Stadt- und Landesbibliothek) Vienna, Austria Documents associated with this entity: Correspondence Handschriftensammlung [Manuscript Collection] This collection contains correspondence between Schenker and Otto Erich Deutsch (24 items), Adalbert Franz Seligmann (17), Karl Weigl (4), Artaria (1), and Johannes Brahms (1). There is no published catalogue. Downloads temporarily removed for testing purposes Correspondence WSLB-Hds 95664 Handwritten letter from Schenker to Seligmann, dated July 22, 1903 Schenker is sending Seligmann a copy of his Beitrag zur Ornamentik, which he hopes will be grounds for receiving a letter of recommendation from Gustav Mahler (for a post at the Vienna Conservatory). The writing of it has caused him great anguish, and there are even more things he wants to say, which would require writing another book, but without a professorship no one will pay attention to him. He also expresses his desire for female companionship, to help with his work. WSLB-Hds 95660 Handwritten postcard from Schenker to Seligmann, dated November 13, 1904 Schenker congratulates Seligmann on his most recent feuilleton in the Neue Freie Presse.. WSLB-Hds 95662 Handwritten postcard from Schenker to Seligmann, dated August 29, 1906 In this amusing message congratulating Seligmann on his latest feuilleton, Schenker comments on the proper speed for the “little duet” between Giovanni and Zerlina and notes the gulf separating the performance of Don Giovanni at the Salzburg Festival (the conductor is not named) and the Mozart performances conducted by Mahler (at the Vienna State Opera). WSLB-Hds 95661 Handwritten postcard from Schenker to Seligmann, dated April 27, 1908 Schenker congratulates Seligmann on his latest feuilleton and shares his own similar views about the relationship between nature and the art of painting. WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July 1909] Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks it worthy of publication, to send a letter of reference to one or other Viennese newspaper. He also expresses his satisfaction at how his career is shaping: he has requested and received generous fees for the editions he has prepared for Universal Edition, and his theoretical writings for Cotta are also moving along. WSLB-Hds 94476 Handwritten letter from Schenker to Seligmann, dated July 17, 1909 Schenker thanks Seligmann for helping him to get a friend’s essay on Byron’s Manfred published in a Viennese newspaper. He then asks whether it would be possible to make a judgment about painters, and paintings, on purely objective grounds, as he (Schenker) has been aiming to do with composers and musical works. WSLB-Hds 95656 Handwritten postcard from Schenker to Seligmann, dated December 3, 1909 Schenker congratulates Seligmann on his latest feuilleton in the Neue Freie Presse, and asks for clarification about a matter concerning an essay on Byron’s Manfred and his friend Moriz Violin. WSLB-Hds 95663 Handwritten letter from Schenker to Seligmann, dated April 26, 1910 Schenker thanks Seligmann for a copy of his recently published collected essays. He announces the imminent publication of the first half-volume of his Kontrapunkt, which has been long in preparation. WSLB-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-Hds 95665 Handwritten letter from Schenker to Seligmann, dated May 31, 1911 Schenker thanks Seligmann for his willingness to help him get a notice placed in the newspapers. WSLB-Hds 95657 Handwritten postcard from Schenker to Seligmann, dated June 6, 1911 Schenker congratulates Seligmann on his latest feuilleton and shares his own similar views about the relationship between nature and the art of painting. WSLB-Hds 94477 Handwritten letter from Schenker to Seligmann, dated May 22, 1912 Schenker congratulates Seligmann on the recent exhibition of his paintings. He is about to send him a copy of his Beethoven’s Ninth Symphony and asks him to read the section on the secondary literature and consider whether the same might be applied to the literature on painting. WSLB-Hds 95658 Handwritten postcard from Schenker to Seligmann, postmarked May 11, 1913 Schenker congratulates Seligmann on his latest feuilleton, especially on the enduring values of the classical and Romantic artists. — His critical edition of Beethoven’s Op. 109 will appear soon. — He has received a personal request from Hugo Riemann to provide biographical details for an entry in Riemann’s Musiklexikon. WSLB-Hds 191.579 Handwritten letter from Otto Erich Deutsch to Schenker, dated June 25, 1913 Schenker informs Otto Erich Deutsch of the whereabouts of the collector Meinert. WSLB-Hds 95654 Handwritten letter from Schenker to Seligmann, dated July 24, 1916 Schenker tells Seligmann that he has arranged for copies of his critical editions of Beethoven’s Op. 110 and Op. 111 to be sent to him. He speaks of the positive interest his works have received in Germany, and about Hugo Riemann asking him to provide autobiographical material for an entry in the next edition of his music lexicon. WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916 Schenker explains why he is reluctant to produce a critical edition with commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could be freed from some of his teaching obligations, and also the autograph manuscript and other sources are missing. He also defends his sharp tongue in discussions of the secondary literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical editions of the late Beethoven piano sonatas). WSLB-Hds 95659 Handwritten postcard from Schenker to Seligmann, dated September 26, 1924 Schenker reports a visit from a Munich art historian, Wilhelm Hausenstein; despite their strong artistic and political differences, the afternoon was entirely civilized. WSLB-Hds 191.557 Handwritten letter from Schenker to Deutsch, dated October 18, 1925 Responding to Deutsch's request, Schenker sends his text for inclusion in the forthcoming Schubert issue of Moderne Welt, and invites the Deutsches for an afternoon snack. WSLB-Hds 191.558 Handwritten letter from Schenker to Deutsch, dated November 7, 1925 Schenker agrees to the cuts to his article, and invites the Deutsches for a snack and chat on November 12 or 15. Schenker is planning to see Heck's Beethoven manuscript. WSLB-Hds 191.559 Handwritten postcard from Schenker to Deutsch, dated June 6, 1927 Schenker asks Deutsch to make inquiries at the British Museum on his behalf, concerning the autograph manuscript of Beethoven’s Sonata Op. 79. He is annoyed with Hertzka for letting someone else take on the editing of Mozart’s piano sonatas for Universal Edition. WSLB-Hds 191.560 Handwritten letter from Schenker to Deutsch, dated January 25, 1928 Schenker comments on the text of Deutsch’s forthcoming radio broadcast about the Photogram Archive, noting in particular that the word “scientific” (wissenschaftlich) has no place in the study of music, which is a unique art form. WSLB-Hds 191.561 Handwritten picture postcard from Schenker to Deutsch, postmarked February 6, 1928 Schenker congratulates Deutsch on his two most recent radio broadcasts, and on his impending appointment as editor of a monthly music journal. WSLB-Hds 191.562 Handwritten letter from Schenker to Deutsch, dated May 17, 1928 Responding to Deutsch’s previous message, Schenker confirms that the Deutsche Trauermesse must, on musical grounds, be a work by Franz Schubert. He also agrees with Deutsch that the Quartet for guitar, flute, violin, and cello must be an arrangement of a work by a fashionable composer of the time. WSLB-Hds 191.563 Handwritten letter from Schenker to Deutsch, dated June 22, 1928 Schenker thanks Deutsch for his birthday greetings, explaining that, although he feels alienated from the musical world of the present day, he is convinced that his work will have a lasting effect on future generations. WSLB-Hds 191.564 Handwritten picture postcard from Schenker to Deutsch, dated and postmarked June 30, 1928 Schenker congratulates Deutsch on being granted the title of “Professor”; he makes an ironic comment on a hypothetical Nobel Prize for music. WSLB-Hds 191.519 Handwritten letter from Frimmel to Schenker, dated beginning of December 1929 [recte 1928] Frimmel thanks Schenker for his good wishes. He is unable to visit Schenker to give him certain information and regarding a supposed Beethoven portrait. WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930 In this 16-page response to a letter from Deutsch, Schenker thanks his correspondent for his unstinting assistance (in relation to the third Meisterwerk yearbook) and underlines the importance of a collected edition of the works of C. P. E. Bach. — He then launches a long and detailed denunciation of Anthony van Hoboken’s character, referring in particular to his treatment of Otto Vrieslander, his ambivalence towards projects associated with the Photogram Archive, and his absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is thoroughly undeserving of a high honor conferred by the Austrian state. WSLB-Hds 191.566 Handwritten letter from Schenker to Deutsch, dated August 5, 1930 Replying to Deutsch’s letter of July 30, Schenker warmly recommends his long-standing pupil Marianne Kahn as a teacher for Deutsch’s brother. -- He then comments at length on a newspaper article by Richard Benz (of which Deutsch had sent a clipping), using a medical metaphor to describe the current pathological state of music. WSLB-Hds 191.567 Handwritten letter from Schenker to Deutsch, dated August 15, [1930] Schenker thanks Deutsch for his careful, helpful reading of the proofs to the third Meisterwerk yearbook. -- Tomay has assigned the autography of the foreground graphs for the second movement of the "Eroica" Symphony to an apprentice; these are full of mistakes and will have to be done again. But Tomay’s own work, on the third and fourth movements, is excellent. -- In a postscript, he comments on his entry in the most recent Meyers Lexikon, and on a review of the second Meisterwerk yearbook in the Deutsche Tonkünstler-Zeitung. WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930 Schenker is sending Deutsch copies of letters written by Leo Kestenberg praising his theories for their practical application to composition and performance, noting that Furtwängler is championing his cause everywhere. -- He then launches into a tirade against the city of Vienna for snubbing him and his work. WSLB-Hds 191.569 Handwritten letter from Schenker to Deutsch, dated September 10, 1930 Schenker requests a meeting with Deutsch and Robert Haas. -- The page-proofs for the third Meisterwerk yearbook will arrive soon. -- Schenker will also look at the early edition of Beethoven’s Sonata Op. 22, recently acquired by Hoboken, and discuss any outstanding matters between them then. WSLB-Hds 191.570 Letter from Schenker to Deutsch in Jeanette Schenker’s hand, dated October 12, 1930 Schenker will follow all of Deutsch’s recent suggestions regarding the page formatting of the third Meisterwerk yearbook, for which he is most grateful. -- He then launches a further attack upon Anthony van Hoboken’s character. WSLB-Hds 191.571 Letter from Schenker to Deutsch, in Jeanette Schenker’s hand, dated October 17, 1930 Enclosing two recent letters from Drei Masken Verlag, Schenker asks Deutsch’s advice on what further action to take, if any. His doctor has pronounced him fit. WSLB-Hds 94479 Handwritten letter from Schenker to Seligmann, dated February 26, 1931 Schenker asks Seligmann to read the opening essay in the third volume of Das Meisterwerk in der Musik. He quotes from a letter to his pupil Hans Weisse which demonstrates the attention his theories have been gaining in Germany, especially Berlin, and expresses his regret that no one in Vienna shows similar respect for him. WSLB-Hds 191.572 Handwritten letter from Schenker to Deutsch, dated April 13, 1931 Schenker explains some of the details of the conclusion he has written for an unfinished, untexted Schubert song, D. 555. WSLB-Hds 191.573 Handwritten postcard from Schenker to Deutsch, dated April 23, 1931 Schenker explains to Deutsch how the text (as yet unwritten) of the Schubert song fragment, D. 555, should fit into his completion. He has heard that Ludwig Karpath has referred to him as Austria’s best music theorist.