-
CA 110 Handwritten postcard from Schenker to Cotta, dated February 6, 1910
Schenker asks for proof-ties.
-
CA 111 Handwritten postcard from Schenker to Cotta, dated May 1, 1910
Schenker asks urgently for remaining galley-proofs of Counterpoint
1.
-
CA 112 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated June
16, 1910
Cotta asks Schenker for manuscript of the prelims and any supplements for
Kontrapunkt I, and for a publicity blurb.
-
CA 114 Handwritten letter from Schenker to Cotta, dated June 30, 1910
Schenker promises manuscript of prelims for Kontrapunkt 1.
-
CA 115 Handwritten letter from Schenker to Cotta, dated July 4, 1910
Schenker encloses manuscript of all prelims for Kontrapunkt 1. He mentions
recent publication of his edition of J. S. Bach's Chromatic Fantasy and Fugue, and speaks of
his plans for a Handbibliothek, for which he will present a proposal to Cotta. He announces
his departure and gives his summer address.
-
CA 116 Carbon copy of stenographically handwritten letter from Cotta to Schenker, dated July
6, 1910
Cotta acknowledges receipt of the manuscript prelims of Kontrapunkt 1 and
reiterates its request for material for its publicity blurb.
-
CA 117 Handwritten letter and publicity material from Schenker to Cotta, dated July 17,
1910
Covering letter with draft publicity material for Kontrapunkt 1. Schenker
promises to return proof of Preface.
-
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.
-
CA 120 Handwritten postcard from Schenker to Cotta, dated September 6, 1910
Schenker asks whether Counterpoint [1] will be published in September, and
promises his "plans" soon.
-
CA 121-122 Handwritten letter from Schenker to Cotta, dated September 10, 1910
Schenker explains the basis for his "Handbibliothek," suggests an overarching
title and a separate title for the proposed first booklet, on Beethoven's Ninth Symphony. He
promises to return the manuscript of vol. II/1.
-
CA 125 Handwritten letter from Schenker to Cotta, dated September 15, 1910
Schenker asks Cotta to correct the page-count for Kontrapunkt
1.
-
CA 127 Handwritten letter from Schenker to Cotta, dated September 20, 1910
Schenker asks for a copy of Kontrapunkt 1 to be sent to Ernst Rudorff and
copies of that and Harmonielehre to be sent to Jenny Kornfeld at her Aussig
address.
-
CA 128 Handwritten letter from Schenker to Cotta, dated September 29, 1910
Schenker asks for a review copy of Kontrapunkt 1 to be sent to Ludwig
Karpath.
-
CA 129 Handwritten postcard from Schenker to Cotta, dated October 3, 1910
Schenker redirects the copies of Harmonielehre and Kontrapunkt I destined for
Jenny Kornfeld to his own address in Vienna.
-
CA 132 Handwritten letter from Schenker to Cotta, dated October 13, 1910
Schenker incloses a reaction to the Preface of Kontrapunkt 1 by Adalbert
Seligmann. —He assures Cotta that their printing and production costs bill will be paid
promptly.
-
CA 134-135 Handwritten letter from Schenker to Cotta, dated October 21, 1910
Schenker divulges the identity of his benefactor, explains why there has been
a delay in payment by the Rothschild Bank, and promises payment by sometime in
January.
-
CA 136 Handwritten letter from Schenker to Cotta, dated October 23, 1910
Schenker asks that a review copy of Kontrapunkt 1 be sent to Max Graf;
incloses a review.
-
CA 139 Handwritten postcard from Schenker to Cotta, dated October 25, 1910
Schenker asks for a copy of his Harmonielehre to be sent to Prof. Robert Fuchs
at the Vienna Academy.
-
OC 52/424 Typewritten letter from Hertzka (UE) to Schenker, dated February 7, 1910
While informing Schenker that his edition of the Chromatic Fantasy & Fugue
has not yet gone to the printers/engravers, Hertzka rebuts Schenker's allegation that he has
shown the edition to Godowsky, Robert and others. He raises the possibility of Schenker's
editing other works by J. S. Bach.
-
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.
-
OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910
Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition
be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice.
— He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss
plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a
grant from the Ministry of Education.
-
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
-
OC 52/45 Typewritten letter from Hertzka (UE) to Schenker, dated February 11, 1910
Refuting Schenker's accusations, particularly that UE emphasizes "anti-musical
music," Hertzka says he will print the proposed Bach works as Schenker suggests, and informs
him that the Chromatic Fantasy & Fugue edition will go to press in early
March.
-
OC 52/46 Typewritten letter from Hertzka (UE) to Schenker, dated March 11, 1910
Hertzka asks Schenker to return a score to the UE Archive.
-
OC 52/47 Typewritten letter from Hertzka (UE) to Schenker, dated March 12, 1910
Proofs of the Chromatic Fantasy & Fugue edition will not be available by
Easter [March 27]. Hertzka hopes Schenker will be able to correct them in
April.
-
OC 52/48 Typewritten letter from Hertzka (UE) to Schenker, dated April 9, 1910
There is now no hope of the Chromatic Fantasy & Fugue edition being
available for proof-correcting by the middle of April, hence UE may be forced to send the
work to Breitkopf & Härtel. — Hertzka asks for a report on other projects under
discussion.
-
OC 52/49 Typewritten letter from Hertzka (UE) to Schenker, dated April 11, 1910
Hertzka is unable to return, as requested, Schenker's copy of a volume of the
Bach Gesellschaft Edition [vol. 36], and offers an alternative. — He denies having promised
Schenker that the Chromatic Fantasy & Fugue edition would go to engraving in the
Spring.
-
OC 52/50 Typewritten letter from Hertzka (UE) to Schenker, dated April 19, 1910
Hertzka hopes to have the galley-proofs of the Chromatic Fantasy & Fugue
edition very soon.
-
OC 52/51 Typewritten letter from Hertzka (UE) to Schenker, dated June 2, 1910
Hertzka notifies Schenker that the proofs of the Chromatic Fantasy & Fugue
edition are about to be delivered.
-
OC 52/52 Typewritten letter from Hertzka (UE) to Schenker, dated June 20, 1910
Hertzka acknowledges return of first proofs of the Chromatic Fantasy &
Fugue edition, and promises to look out the contracts Schenker has requested.
-
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.
-
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 52/60 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1910
Hertzka is pleased that Schenker's conversation with Wilhelm Bopp has gone
promisingly, and that Schenker is agreeable to the alternating publication of Beethoven and
Bach. — He is sending a new draft contract for Beethovens neunte Sinfonie.
-
OC 52/61 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1910
Hertzka will speak to Wilhelm Bopp to explore the position over the parallel
publication of Beethoven and Bach works, but admits there remains the thorny issue of the
need for a subsidy.
-
OJ 11/25, [2] Handwritten letter from Graf to Schenker, dated May 17, 1910
Graf justifies his request for a discussion, refused by Schenker, about some
details in Beethoven's "Leonora" overtures.
-
OJ 11/29, [5] Handwritten letter from Grunsky to Schenker, dated December 1, 1910
Grunsky thanks Schenker for the gift of his Chromatische Phantasie und Fuge,
and criticizes it for excessive polemic.
-
OJ 12/27, [12] Stenographically handwritten letter from Cotta to Schenker, dated September 14,
1910
In response to Schenker's outline of his prospective Handbibliothek, Cotta
advise against its publication before that of vol. III [Niedergang]; and would not be able
to entertain the project until after publication of vol. III.
-
OJ 12/27, [13] Stenographically handwritten letter from Cotta to Schenker, dated September 21,
1910
Cotta reasserts its unwillingness to consider publication of the
[Handbibliothek] project until after publication of vol. III.
-
OJ 12/27, [14] Stenographically handwritten postcard from Cotta to Schenker, dated October 27,
1910
Cotta has sent a complimentary copy of Harmonielehre to Robert
Fuchs.
-
OJ 13/26, [2] Handwritten postcard from Richard Robert to Schenker, dated October 13,
1910
Robert acknowledges receipt of Kontrapunkt I, and expresses his admiration for
it.
-
OJ 13/37, 10a Printed form letter from Rudorff to Schenker, dated January, 1910
Rudorff thanks all his birthday well-wishers.
-
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.
-
OJ 13/37, 12 Handwritten letter from Ernst Rudorff to Schenker, dated October 20, 1910
Rudorff tells Schenker of Heinemann's book against Wagner; — Simrock is
sending Schenker Rudorff's Third Symphony.
-
OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16,
1910
Rudorff approves of the [highly controversial] Introduction to Schenker's
Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and
Fugue, raising some technical matters.
-
OJ 14/23, [15] Handwritten postcard from Seligmann to Schenker, postmarked October 14,
1910
Seligmann thanks Schenker for his kind words about the most recent feuilleton
(on artistic life in Vienna).
-
OJ 14/23, [A] Handwritten letter from Seligmann to Schenker, undated, c. 1910?
This letter concerns a member of the Thorsch family, and a course of lessons
and payment, and advice on the attitudes of aristocratic families.
-
OJ 14/44, [1] Handwritten letter from the Vereinigung Wiener Musikreferenten (Theodor Antropp and
Paul Stauber) to Schenker, dated September 30, 1910
The Association invites Schenker to give a lecture series on Beethoven's Ninth
Symphony.
-
OJ 15/15,[D] Handwritten letter from Weisse to Schenker, dated July 20, [1910]
Weisse has ‒ unfairly, in his view ‒ been failed in Latin. He is spending the
summer in Ischl, and asks Schenker if he could visit him in the Dolomites, even if for a
short time, to prove that he is not as immature as some of his schoolteachers seem to
think.
-
OJ 15/6, [8] Handwritten letter from Fritz Wahle to Schenker, dated October 7, ?1910
Fritz Wahle thanks Schenker for sending him his latest book -- almost
certainly the first half-volume of Kontrapunkt; he has looked through the table of contents
and read the introduction. He hopes that the two of them could get together
sometime.
-
OJ 15/6, [9] Handwritten letter from Fritz Wahle to Schenker, dated November 10, 1910
Fritz Wahle thanks Schenker for sending him a copy of his critical edition of
Bach’s Chromatic Fantasy and Fugue. He agrees with all of Schenker’s remarks on performance,
adding that all serious musicians will learn a great deal from the performance markings of
the masters.
-
OJ 6/4, [49] Handwritten letter from Schenker to Violin, dated [July] 9, 1910
Schenker announces his arrival in the Karerpass, speaks of the costs, and
outlines his concerns over money, including money he has to send to his mother on August 1. — He
will write a letter to a female patron. — He describes the magnificence of the mountain
views.
-
OJ 6/4, [50] Handwritten letter from Schenker to Violin, dated July 22, 1910
Joking about some humorous rhyming verse of Violin's, Schenker reports that he
has sent off an important letter, and asks Violin to send him 12 swim-bladders. — He has defied
the cost of laundry in the Karerpass, being still worried about money. — He comments on Max
Graf's recent support of Schoenberg.
-
OJ 6/4, [51] Handwritten letter from Schenker to Violin, dated August 19, 1910
Schenker sends Violin 50 florins in partial repayment of a debt, expressing
anxieties about his financial situation. — No word yet from Cotta. — The effect of the hotel
fire on hotel businesses. — Emil Kornfeld arrives today.
-
OJ 6/4, [52] Handwritten letter from Schenker to Violin, dated September 23, 1910
Schenker gives Violin his reactions to Wilhelm Bopp's cancelation of a planned
"historical" concert of music by C.P.E. and J.S. Bach and Handel at the Akademie, and urges that
they adhere to their original plan.
-
OJ 7/4, [60] Handwritten postcard from Schenker to Violin, dated March 14, 1910
Schenker will see Violin tomorrow. He has been "pumped" by Robert
Hirschfeld.
-
OJ 7/4, [61] Handwritten postcard from Schenker to Violin, dated March 23, 1910
Schenker suggests they return the due borrowed items to the Archive
together.
-
OJ 7/4, [62] Handwritten postcard from Schenker to Violin, dated April 8, 1910
Schenker gives Violin his opinion, and has a draft letter to show
him.
-
OJ 7/4, [63] Handwritten postcard from Schenker to Violin, dated June 3, 1910
Proofs of the Chromatic Fantasy & Fugue have arrived.
-
OJ 7/4, [64] Handwritten postcard from Schenker to Violin, dated July 4, 1910
Schenker has sent all materials to Cotta and is about to depart [for
Karerpass].
-
OJ 7/4, [65] Handwritten picture postcard from Schenker and Jenny Kornfeld to Violin, dated July 12,
1910
Heinrich asks Violin to bring tarot cards; Jenny Kornfeld asks for
sunshine.
-
OJ 7/4, [66] Handwritten picture postcard from Schenker to Violin, dated August 2, 1910
Schenker awaits impatiently a letter from Violin; second proofs of the Chromatic
Fantasy are imminent.
-
OJ 7/4, [67] Handwritten postcard from Schenker to Violin, dated August 11, 1910
Schenker has had an ear blockage removed and can hear again.
-
OJ 7/4, [68] Handwritten postcard from Schenker to Violin, dated September 21, 1910
Schenker reports a proposition that Robert Hirschfeld has put to him, and
suggests lunch in Vienna.
-
OJ 7/4, [69] Handwritten postcard from Jenny Kornfeld and Heinrich Schenker to Violin, dated
December 9, 1910
Jenny Kornfeld asks to speak with Moriz Violin re her divorce petition. Heinrich
gives his availability and reports on his mother's situation.
-
OJ 9/18, [1] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated October
13, 1910
Bopp is pleased that matters have been settled, and hopes to make Schenker's
acquaintance.
-
OJ 9/30, [A] Handwritten calling card from Carl and Toni Colbert to Schenker, undated
The Colberts remind Schenker that he promised to visit their home when Paul
Szalit was there.
-
OJ 9/30, [C] Printed invitation from Carl and Toni Colbert, undated [c. October 1, 1910]
The Colberts announce that they are "at home" on the second and fourth Friday of
each month from November to May.
-
OJ 9/31, [25] Stenographically handwritten letter from Cotta to Schenker, dated June 27,
1910
Cotta reiterates the requests made in CA 112.
-
OJ 9/31, [26] Stenographically handwritten letter from Cotta to Schenker, dated August [20?],
1910
In response to CA 118, Cotta advises Schenker to send his proposal for a
Handbibliothek in advance of a possible visit to Stuttgart to present it in
person.
-
OJ 9/31, [27] Stenographically handwritten letter from Cotta to Schenker, dated October 4,
1910
Publication of Kontrapunkt 1 having taken place this day, Cotta confirms the
orders of complimentary and review copies to Jenny Kornfeld, Ernst Rudorff, Ludwig Karpath,
and Schenker himself.
-
OJ 9/31, [28] Stenographically handwritten letter from Cotta to Schenker, dated October 15,
1910
Cotta has already sent a copy of vol. II/1 to Ernst Rudorff.
-
OJ 9/31, [29] Stenographically handwritten letter from Cotta to Schenker, dated October 24,
1910
Cotta hopes that Schenker will honor his contract to pay the publishing costs
[of Kontrapunkt 1] in January.
-
OJ 9/31, [30] Stenographically handwritten letter from Cotta to Schenker, dated October 26,
1910
Cotta has sent a review copy [of Kontrapunkt 1] to Max Graf and welcomes a
recent favorable notice of that work.
-
OJ 9/32, [13] Handwritten letter and sales report for 1909 for Harmonielehre from Cotta, dated
September 6, 1910
1909 sales report for Harmonielehre, with covering letter
-
OJ 9/32, [26] Stenographically handwritten sales report from Cotta, dated [?December 31],
1910
1910 sales report for Kontrapunkt 1
-
OJ 9/32, [6] Invoice from Cotta to Schenker, dated September 4, 1910
Invoice for the printing and publishing costs of Kontrapunkt
1.
-
WSLB 51 Handwritten letter from Schenker to Hertzka (UE), dated February 6, 1910
Schenker complains that others have been allowed to see his Chromatic Fantasy
& Fugue, whereas he has not yet received proofs.
-
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 55 Handwritten letter from Schenker to Hertzka (UE), dated April 5, 1910
Schenker presses again for proofs of the Chromatic Fantasy & Fugue
edition, so as to coordinate them with his work on Kontrapunkt 1.
-
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 58 Handwritten letter from Schenker to Hertzka (UE), dated April 12, 1910
Schenker thanks Hertzka for his help
-
WSLB 59 Handwritten postcard from Schenker to Hertzka (UE), dated April 16, 1910
Schenker reasserts his claim that his Chromatic Fantasy & Fugue edition
will be seriously delayed. — He urges Hertzka to give more attention to his
work.
-
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 61 Handwritten letter from Schenker to Hertzka (UE), dated June 3, 1910
Schenker acknowledges receipt of the first proofs his Chromatic Fantasy &
Fugue edition, and comments on the high number of errors.
-
WSLB 62 Handwritten letter from Schenker to Hertzka (UE), dated June 10, 1910
Schenker reports that he is busy correcting proofs of his Chromatic Fantasy
& Fugue edition, and hopes to have returned them by the end of June, and even to correct
and approve the second proofs if available.
-
WSLB 63 Handwritten letter from Schenker to Hertzka (UE), dated August 8, 1910
Schenker has dispatched the second proof of his Chromatic Fantasy & Fugue
edition from Karerpass to Vienna, and outlines his travel plans for the remaining
summer.
-
WSLB 64 Handwritten letter from Schenker to Hertzka (UE), dated October 10, 1910
Schenker asks for one copy of the Chromatic Fantasy &
Fugue.
-
WSLB 65 Handwritten letter from Schenker to Hertzka (UE), dated October 17, 1910
Schenker acknowledges the second honorarium for Chromatic Fantasy & Fugue,
and will appear at Hertzka's office on October 20.
-
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.
-
WSLB 68 Handwritten letter from Schenker to Hertzka (UE), dated October 21, 1910
Schenker reports an encounter with Wilhelm Bopp.
-
WSLB 69/71 Handwritten letter + inclosure from Schenker to Hertzka (UE), dated November 1,
1910
Text of flyer for Chromatic Fantasy & Fugue edition, with covering note
discussing plan for last five Beethoven piano sonatas in combination with Well-tempered
Clavier, Book 2.
-
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.
-
WSLB 73 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1910
Schenker has received gratitude from abroad for his edition of the Chromatic
Fantasy & Fugue, and asks for a copy to be sent to Otto Vrieslander. — He accuses the
Viennese of hostility and intellectual theft.
-
WSLB 74 Handwritten letter from Schenker to Hertzka (UE), dated December 19, 1910
Affected by his elderly mother's illness, Schenker asks for an advance of 500
Kronen on account of his manuscript, due for imminent delivery.
-
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.