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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.
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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.
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OJ 5/16, [2] Handwritten draft letter from Schenker to Hertzka (UE), dated December 25,
1908
Schenker justifies his selection and treatment of instruments in the
Instrumentations-Tabelle, with acid comments about the English, and dismissal of French
contributions.
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BNba Frimmel Nachl, [3] Handwritten letter from Schenker to Frimmel, dated April 8, 1909
Schenker thanks Frimmel for his copy of Beethoven-Jahrbuch vol. II, and
expresses admiration at Frimmel's editing of the authors' contributions, remarking how
slowly he is proceeding with his own Kontrapunkt. He comments on two of the
contributions.
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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.
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CA 118 Handwritten letter from Schenker to Cotta, dated August 19, 1910
A fire at his hotel causes Schenker to ask whether Cotta has sent him final
proofs recently. — He inquires whether he might travel to Stuttgart to present his plan for
the Handbibliothek in person.
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WSLB 310 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1919
Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs
while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine
Bibliothek and other tasks.
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OC B/159 Typewritten postcard from Wilhelm Altmann to Schenker, dated September 20,
1920
The photographs of Beethoven's Fifth Symphony, first movement, should be
dispatched next week.
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OC B/155 Typewritten letter from Wilhelm Altmann to Schenker, dated December 28,
1920
Altmann reports extra cost of photographic work.
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OC B/156 Typewritten postcard from Wilhelm Altmann to Schenker, postmarked January 18,
1921
Photographing of movements 2-4 of Beethoven's Fifth Symphony will be delayed
until February.
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OC B/148 Typewritten letter from Wilhelm Altmann to Schenker, dated September 9,
1921
Altmann reports on holdings of Handel keyboard works; and on progress in
photographing Beethoven's Symphony No. 5; and thanks Schenker for sending Tonwille 1 and Op.
101.
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OC 54/333-336 Handwritten letter (copy) from Schenker to Klenau, dated October 9‒10,
1923
Schenker offers further advice on performing the "Eroica"
Symphony.
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OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924
Schenker responds to Klenau's remarks on atonal composers and a coming
Renaissance; invites him to visit on a Wednesday.
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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.
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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.
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OC 12/13-14 Handwritten letter from Halm to Schenker dated March 15, 1924 and April 1,
1924
Halm attacks Schenker for condemning Berlioz's melodic practice without
substantiating his argument, and for harsh language. Halm compares Berlioz favorably to
Mendelssohn.
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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.
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PhA/Ar 56, [2] Handwritten letter from Schenker to Haas, dated December 7, 1927
Schenker sends Haas photographic copies of five Beethoven
works.
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PhA/Ar 56, [9] Typewritten letter of confirmation from Schenker to Kromer, dated December 12,
1928
Schenker acknowledges receipt of Beethoven photograms.
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OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929
Schenker thanks Violin for his concerns, describes how they survived the cold
weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished
and that he has written an article about the Photogram Archive, which has acquired over
seven thousand pages of manuscripts. He looks forward to seeing his friend in the
summer.
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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.
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OJ 12/6, [29] Handwritten letter from Jonas to Schenker, dated March 30, 1934
Jonas wishes the Schenkers a happy Easter. — His book expected out April 20:
Jonas wonders if it would be a good idea to ask Furtwängler for a letter for
it.