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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.
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OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920
Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp.
109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek
for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's
attentions.
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OC 52/231 Typed letter from Kalmus and Detoni (UE) to Schenker, dated September 8,
1920
Kalmus encloses print samples of type-sizes for the Kleine Bibliothek, and
promises samples of the engraving, and copies requested.
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OC 52/233 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 23,
1920
UE is sending over large and small engraving samples of the Kleine Bibliothek for
Schenker's approval, and confirms receipt of the documentary evidence and Schenker's previous
letter.
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OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920
Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the
publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about
the autograph manuscript for which Schenker is waiting.
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OC 52/237 Typed letter from Kalmus (UE) to Schenker, dated November 5, 1920
Kalmus confirms that the "Secondary Literature" section of Op. 101 will be set in
small type; he is writing to Paris about the "Appassionata."
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OJ 10/3, [24] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 24,
1921
Deutsch reports that the "Moonlight" Sonata edition is almost finished, but
because of translation problems he has asked Dr. Kalmus to show Schenker the latest revision
of the English preface. Schenker's photographic reproductions will be returned once a sample
print-out of the edition has been prepared and approved. The edition will launch in the
autumn, and Schenker's fee will have increased because of the delay.
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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.
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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.
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BerkAE 7/898, [4] Handwritten postcard from Schenker to Deutsch, dated January 16, 1927
Schenker responds to Deutsch’s request for information about the recent
facsimile edition of Beethoven’s Ninth Symphony, and the new edition of the symphony
published by the Philharmonischer Verlag. He had made changes to the text of the first
movement, but subsequently withdrew from the editing.
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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.
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OC 52/837 Typed postcard from Kalmus (UE) to Schenker, dated May 20, 1927
Kalmus acknowledges the "Appassionata" proofs.
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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.
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OC 52/841 Typed postcard from Kalmus and unknown signatory (UE) to Schenker, dated June 9,
1927
Acknowledges second proofs of "Appassionata" Sonata.
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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.
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OJ 12/8, [1] Typed letter from Kalmus (UE) to Schenker, dated October 10, 1927
Kalmus explains the situation over Beethoven Sonata Op. 78.
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OJ 10/3, [72] Typewritten picture postcard from Deutsch to Schenker, dated October 24,
1927
Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with
Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished”
Symphony. Kalmus said that time was pressing and he was unable to show the two men the
changes before the work went to press.
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OJ 10/3, [73] Typewritten postcard from Deutsch to Schenker, dated November 14, 1927
Deutsch has had a telephone call from Alfred Kalmus, who reported that
Schenker’s revised copy of Schubert’s “Unfinished” Symphony has been messed up, that it will
be returned to him, with a second, clean copy, and that Kalmus may visit Schenker to
apologize for this. – Deutsch will lend Schenker a copy of stories by Balzac, two of which
may be of interest from a musical point of view. He also hopes that work can be found for
the precocious Gerald Warburg.
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OJ 10/3, [74] Typewritten postcard from Deutsch to Schenker, dated November 22, 1927
Deutsch suspects that with the typesetters' "messing up" of Schenker’s revised
copy of Schubert’s “Unfinished” Symphony the material has been made illegible. — He has been
in contact with people regarding a possible radio talk by Schenker, and one by himself on
the redesigning of the Mozarteum. — He reports that the pianist Heinz Jolles would like
Schenker to prepare an edition of one of Beethoven’s variation sets (WoO 80 or the
“Diabelli”), and that Josef Braunstein is gratified to hear of Schenker’s interest in his
recent book on the "Leonore" overtures.
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OJ 71/19, [1] Typewritten letter from Alfred Kalmus (WPhV) to Otto Erich Deutsch, dated November
30, 1927
Kalmus thanks Deutsch for his recent help with a Schubert publication, then
reports that one of their editors mistakenly added changes to Schenker’s annotated copy of
the “Unfinished” Symphony which was to be used for the new edition. He apologizes for the
error, and is returning Schenker’s copy together with another copy of the score into which
Schenker’s original notations have been entered as accurately as possible.
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OC 52/846 Typed letter from Kalmus (UE) to Schenker, dated December 1, 1928
Hertzka is away until mid-December.
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OC 52/851 Typed letter from Kalmus (UE) to Schenker, dated July 24, 1929
Encloses remarks made by Edmund Schmid.
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OC 52/858 Typed postcard from Alfred Kalmus (UE) to Schenker, dated December 31,
1929
Hertzka will respond after returning mid-January.
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OC 52/861 Typed letter from Alfred Kalmus (UE) to Schenker, dated July 28, 1930
50.66 shillings has been transferred.
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OC 52/864 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 10,
1930
Kalmus reports an inquiry from the Kiel student body.
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OC 52/865 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 13,
1930
UE have granted permission to the Kiel student body.
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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.
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OJ 8/5, [12] Handwritten postcard from Schenker to Violin, dated November 7, 1932
Schenker reports that Joseph Marx wants to adopt a revised version of his
Harmonielehre for the students at the Akademie für Musik und darstellende Kunst in
Vienna.
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OJ 89/5, [9] Handwritten letter from Schenker to Hoboken, dated November 7, 1932
Schenker reports that the [Vienna] Akademie wishes to introduce his Harmonielehre
into its curriculum in an abridged version. — The Gesellschaft der Musikfreunde has granted
consent.
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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.
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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.
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OJ 89/5, [13] Handwritten letter from Schenker to Hoboken, dated December 17, 1932
Schenker thanks Hoboken for the lesson fee, and reports that as he worked through
Brahms's file of Oktaven und Quinten, he found a piece of work in his own hand! — He reports
progress on Der freie Satz.
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OeNB H Autogr.856/20-1 Handwritten letter from Schenker to Josef Marx, dated December 25, 1932
Schenker has read articles by Marx in a newspaper expressing disatisfaction at
musical life in Vienna; Schenker asks urgently to have a face-to-face meeting with Marx to
discuss these matters and probably others concerning Moriz Violin.
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OJ 6/8, [16] Handwritten letter from Schenker to Violin, dated December 29, 1932
Schenker advises Violin to keep up the pressure on Josef Marx regarding a
possible position at the Vienna Akademie; he will do the same. He again discourages his
friend from approaching Anthony van Hoboken with an appeal for financial
assistance.
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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.
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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.
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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.
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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.
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OJ 89/6, [4] Handwritten letter from Schenker to Hoboken, dated March 22, 1933
Schenker thanks Hoboken for money transferred, for contact with Dlabač, and
for information about Jonas. — Oktaven u. Quinten may be published within three weeks. —
Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations
about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled
for his course [at Mannes School]; and Furtwängler deems Schenker the "great music
theorist."
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OJ 15/16, [92] Handwritten letter from Hans Weisse to Schenker, dated May 23, 1933
Weisse thanks Schenker for Brahms's Oktaven u. Quinten, which he finds too
specialist a work to be of use to the uninitiated in Schenker's approach, and therefore does
not recommend for translation into English or use as a textbook. He reports a brief meeting
with Alfred Kalmus and a recent concert of his works, including a new violin sonata. He
gives Schenker his summer holiday address.
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OJ 89/7, [2] Handwritten letter from Schenker to Hoboken, dated January 13, 1934
Schenker encourages Hoboken to continue to live in Vienna, praising its racial
diversity; — Der freie Satz is near completion; — sales of Beethovens Neunte Sinfonie are going
well.
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OJ 89/7, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 15,
1934
Hoboken explains his indecision over future residence in
Vienna.
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OJ 89/7, [4] Handwritten letter from Schenker to Hoboken, dated January 17, 1934
Hoboken will probably not need to send money [for printing costs of Der freie
Satz] until 1935.
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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.
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FS 40/1, [21] Handwritten letter from Schenker to Salzer, dated March 25, 1934
Schenker cancels the seminar for March 30, and sends Easter greetings. — Is keen
to read the manuscript of Salzer's book. — Reports letter from Weisse regarding an English
translation of Harmonielehre.
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OJ 5/18, 49 Handwritten letter from Schenker to Jonas, dated August 2, 1934
Schenker expresses heartfelt thanks to Jonas for his book; their project is
fundamentally one of "present-day Jewry." — An excerpt from Der freie Satz is to appear in
Der Kunstwart. —Schenker has had to give up Willfort and Kraus because of their negligence
regarding the planned Urlinie-Tafeln vol. II.
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OJ 11/54, [41]-[42] Handwritten letter, with envelope, from Hoboken to Schenker, dated January 1,
1935
Hoboken wishes Schenker good health, and strength to complete Der freie Satz.
— He discusses the furniture in the new premises of the Photogram Archive, and gives his
travel plans for January.
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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.
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OJ 10/18, [13] Handwritten letter from Elias to Jeanette Schenker dated August 1, 1935
Jeanette Schenker, currently in Hofgastein, has decided where to live in the
future; that involves leaving Keilgasse. — Elias supports Jeanette in her view of a new
edition of Harmonielehre. — Elias is surprised to hear the plan for a Schenker Institute in
Vienna. — She regrets that Schenker's aphorisms will not be published by Ungar. — She has
been unable to meet with Moriz Violin regarding the "Appassionata" Sonata. — She is reading
Der freie Satz.