-
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.
-
CA 102 Handwritten letter from Schenker to Cotta, dated June 3, 1909
Schenker has sent final proofs of gatherings 10 and 12, but has mislaid those
for 11 and asks for another copy.
-
CA 103 Handwritten postcard from Schenker to Cotta, dated July 7, 1909
Schenker gives his summer address and asks for proofs to be sent
there.
-
CA 104 Handwritten postcard from Schenker to Cotta, dated August 30, 1909
Schenker has returned to Vienna.
-
CA 105 Handwritten postcard from Schenker to Cotta, dated October 27, 1909
The wrong proofs have been sent to Schenker by mistake.
-
CA 106-107 Handwritten letter from Schenker to Cotta, dated December 2, 1909
Schenker explains the necessity for some late interpolations into Kontrapunkt
I. — He may be able to include the title "Professor of Composition and Theory" against his
name on the title-pages of his works, and debates the advantages of such an appointment at
the Vienna Academy against the loss of independence. — Only anonymity has prevented
Harmonielehre from success so far.
-
CA 91 Handwritten letter from Schenker to Cotta, dated January 4, 1909
Schenker explains delay in returning proofs.
-
CA 92 Handwritten letter from Schenker to Cotta, dated January 4, 1909
Schenker directs Cotta to divulge his name on the title-page of the 2nd edn of
Harmonielehre; — He has meanwhile added a long polemic to the Introduction of Kontrapunkt
[I].
-
CA 94 Handwritten postcard from Schenker to Cotta, dated April 8, 1909
Schenker inquires whether a batch of proofs has gone astray, and draws
attention to a review.
-
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.
-
OC 52/33 Typewritten letter from Hertzka (UE) to Schenker, dated January 7, 1909
Hertzka hopes for detailed discussions with Schenker on the
Instrumentations-Tabelle and the Well-tempered Clavier proposal.
-
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.
-
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.
-
OC 52/37 Typewritten postcard from UE (unidentified signatory) to Schenker, dated September
20, 1909
Hertzka is currently away.
-
OC 52/38 Typewritten letter from Hertzka (UE) to Schenker, dated September 25,
1909
Hertzka asks for a visit from Schenker.
-
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 52/390 Handwritten note by Schenker, undated [probably 1909]
Schenker records the refusal of his request for increased honorarium for vol.
II of Handel Organ Concertos, maintaining that his work comstituted more that mere
"arrangements."
-
OC 52/40 Typewritten letter from Hertzka (UE) to Schenker, dated October 20, 1909
UE will search for the Handel organ concerto score.
-
OC 52/402 Typewritten letter from Hertzka (UE) to Schenker, dated March 21, 1909
Hertzka raises several possibilities for amplifying the
Instrumentations-Tabelle, and calls for a meeting.
-
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.
-
OC 52/42 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1909
Hertzka insists that a face-to-face meeting is necessary.
-
OC 52/422 Typewritten letter from Hertzka (UE) to Schenker, dated June 24, 1909
Hertzka confirms the agreed edition of the Chromatic Fantasy & Fugue, and
will send the required editions.
-
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
-
OC 52/43 Typewritten letter from Hertzka (UE) to Schenker, dated November 10, 1909
Hertzka attempts to reassure Schenker that the topics he wanted to discuss did
not involve "changes", only technical matters.
-
OC 52/44 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1909
Hertzka regrets that since printing has not yet begun Schenker cannot have
proofs over Christmas; — He asks for a meeting during the holidays.
-
OC 52/919
Typewritten letter from Hertzka (UE) to Schenker, dated January 11, 1909
Hertzka still hopes to persuade Schenker to take on editing the Well-tempered
Clavier Book II.
-
OC 52/920 Typewritten letter from Hertzka (UE) to Schenker, dated April 1, 1909
Hertzka summarizes the discussion earlier that day.
-
OJ 12/23, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 27,
1909
Adolf Kröner thanks Schenker for his contribution to the Cotta
Album.
-
OJ 12/27, [11] Stenographically handwritten letter from Cotta to Schenker, dated April 10,
1909
Cotta promises the next batch of proofs shortly.
-
OJ 12/9, [2] Handwritten postcard from Karpath to Schenker, dated September 12, 1909
Karpath calls a meeting.
-
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.
-
OJ 13/37, 10 Handwritten letter from Ernst Rudorff to Schenker, dated December 17,
1909
Rudorff reports on situation with his "Eckbert" Overture, and comments
adversely on publishers.
-
OJ 13/37, 6 Handwritten letter from Elisabeth Rudorff to Schenker, dated January 15,
1909
Elisabeth Rudorff thanks Schenker for having UE send copies of his editions of
C. P. E. Bach keyboard pieces and Handel organ concertos for her father's birthday
present.
-
OJ 13/37, 7 Handwritten letter from Ernst Rudorff to Schenker, dated January 25, 1909
Rudorff thanks Schenker for the help he gave his daughter in choosing a
birthday present of Bach and Handel, and for his recent letter; — Laments the death of
Robert Hausmann.
-
OJ 13/37, 8 Handwritten letter from Ernst Rudorff to Schenker, dated November 14,
1909
Rudorff apologizes for his publisher's treating Schenker as a conductor; —
laments that Germany's conductors ignore his music; — asks for help in a matter concerning
an overture of his.
-
OJ 13/37, 9 Handwritten postcard from Ernst Rudorff to Schenker, dated November 15,
1909
Rudorff asks Schenker not to give Jakob Fischer the score of his Herbstlied if
asked.
-
OJ 14/23, [14] Handwritten letter from Seligmann to Schenker, undated [probably autumn
1909]
Seligmann has been unable to get a newspaper to accept an article on Byron’s
Manfred, written by a friend of Schenker’s
-
OJ 15/15, [F] Handwritten letter from Weisse to Schenker, undated
Weisse apologizes that was unable to attend on December 22, and asks Schenker to
reschedule so that he can discuss his latest piano pieces and an "Elfenlied."
-
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.
-
OJ 5/6, [3] Note by Schenker, dated July 5, 1909
Reflection on giving and taking in general and in art
-
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.
-
OJ 6/4, [47] Handwritten letter from Schenker to Moriz Violin, dated November 7, 1909
Schenker has Mittelmann coming, and hopes to complete proofs of Introduction to
the Instrumentationstabelle today and 9th.
-
OJ 6/4, [48] Handwritten letter from Schenker to Moriz Violin, dated November 22, 1909
Schenker proposes program order for forthcoming concert.
-
OJ 7/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated January 26, 1909
Schenker has news to tell him regarding Richard Heuberger and Wilhelm Bopp;
reminds of forthcoming attendance at [a recital by] Artur Schnabel.
-
OJ 7/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909
Schenker must miss seeing an Ibsen play, because the latest batch of proofs of
Kontrapunkt I have to be finished.
-
OJ 7/4, [52] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909
Schenker is in Steinach, awaiting Moriz Violin's arrival.
-
OJ 7/4, [53] Handwritten postcard from Schenker to Moriz Violin, dated August 26, 1909
Schenker leaves Steinach on Sunday [29th].
-
OJ 7/4, [54] Handwritten picture postcard from Jenny Kornfeld to Moriz Violin, dated September 23,
1909
Jenny Kornfeld sends Moriz Violin best wishes for recovery, and greetings to
Fanny Violin; — her husband (Emil Kornfeld) adds his greetings.
-
OJ 7/4, [55] Handwritten postcard from Schenker to Moriz Violin, dated November 5, 1909
Schenker on the delusion of progress; epigonism versus
progress-art.
-
OJ 7/4, [56] Handwritten postcard from Schenker to Moriz Violin, dated December 3, 1909
Schenker reports a conversation with "G." re conducting the "Kreuzstab"
Cantata.
-
OJ 7/4, [57] Handwritten postcard from Schenker and others to Moriz Violin, dated December 13,
1909
Schenker and others ask if Violin can obtain free tickets for a Pugno
recital.
-
OJ 9/31, [22] Stenographically handwritten letter from Cotta to Schenker, dated January 14,
1909
Cotta agrees to reset the title-page of Harmonielehre with Schenker's name as
author, and to distribute the second edition coincident with the release of Kontrapunkt
I.
-
OJ 9/31, [23] Stenographically handwritten letter from Cotta to Schenker, dated June 1,
1909
Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a
publication schedule for the first half-volume.
-
OJ 9/31, [24] Stenographically handwritten letter from Cotta to Schenker, dated December 8,
1909
Cotta welcomes the recognitions that Schenker has been accorded recently, and
hopes they will affect his work propitiously.
-
OJ 9/32, [5] Invoice from Cotta to Schenker, dated September 1, 1909
Invoice for copies of Harmonielehre to Sofie Guttmann and Ernst
Rudorff.
-
WSLB 34 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1909
Schenker returns proof and is willing to correct another.
-
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.
-
WSLB 36 Handwritten letter from Schenker to Hertzka (UE), January 29, 1909
Schenker requests two copies of his Instrumenten-Tabelle, one for Alphons
Rothschild.
-
WSLB 37 Handwritten letter from Schenker to Hertzka (UE), March 28, 1909
Schenker suggests a meeting at Robert Brünauer's home.
-
WSLB 38 Handwritten letter from Schenker to Hertzka (UE), dated April 2, 1909
Schenker thanks Hertzka for his latest letter.
-
WSLB 39 Handwritten letter from Schenker to Hertzka (UE), June 23, 1909
Schenker asks Hertzka to send him two editions of the Bach Chromatic Fantasy
& Fugue that are unknown to him.
-
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 42 Handwritten postcard from Schenker to Hertzka (UE), dated September 20, 1909
The Chromatic Fantasy & Fugue is ready to deliver. Proposes a meeting to
discuss printing.
-
WSLB 43 Handwritten postcard from Schenker to Hertzka (UE), dated October 2, 1909
Schenker asks for a copy of Beitrag zur Ornamentik to be sent to Fritz
Wahle.
-
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.
-
WSLB 45 Handwritten postcard from Schenker to Hertzka (UE), dated October 27,
1909
Schenker is unable to make a meeting before November 2.
-
WSLB 46 Handwritten letter from Schenker to Hertzka (UE), dated October 30, 1909
Schenker warns that he may be delayed or unable to attend the agreed meeting
because of a dental appointment.
-
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 48 Handwritten letter from Schenker to Hertzka (UE), November 12, 1909
Schenker thanks Hertzka for the latest information on the Chromatic Fantasy
& Fugue.
-
WSLB 49 Handwritten postcard from Schenker to Hertzka (UE), dated December 20,
1909
Schenker asks for proofs of his Chromatic Fantasy & Fugue edition over the
Christmas holiday.
-
WSLB 50 Handwritten postcard from Schenker to Hertzka (UE), dated December 22,
1909
Schenker agrees to visit Hertzka, but stipulates no
criticism.
-
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.