-
OC 1A/1-2 Handwritten letter from Schenker to Wilhelm Bopp (Akademie für Musik), dated May 30,
1911
Schenker has been unable to elicit any response from President [von
Wiener].
-
OC 1A/1-2 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
-
OC 1A/3 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
-
OC 1A/4-5 Handwritten letter, carbon copy, from Schenker to Hans Liebstoeckl, dated May 30,
1911
Schenker asks Liebstöckl to place an announcement [of a lecture series] in the
Illustrirtes Wiener Extrablatt.
-
OC 52/445 Typewritten letter from Hertzka (UE) to Schenker, dated June 27, 1911
Hertzka explains that the proofs for Schenker's monograph Beethovens neunte
Sinfonie will not be ready before August. — He hopes that an agreement can be reached over
the Beethoven/Bach project.
-
OC 52/492 Typewritten letter from Hertzka (UE) to Schenker, dated September 19,
1911
UE cannot proceed with the Beethoven last five sonatas project absent a grant.
Whereas the larger German music publishers might be able to undertake such a work, UE is
still too young to have the investment. -- Proofs of Beethovens neunte Sinfonie will be
available in the Fall, owing to the delay in Schenker's delivery of his manuscript. --
Hertzka expresses delight at the sales of Kontrapunkt 1.
-
OC 52/62 Typewritten letter from Hertzka (UE) to Moriz Violin, dated January 19,
1911
Hertzka regrets having missed Moriz Violin's concert, and asks for a
list of recipients for his booklet Ueber das Continuo.
-
OC 52/63 Typewritten postcard from UE to Schenker, dated July 27, 1911
UE confirms sending Schenker's edition of the Chromatic Fantasy and Fugue to
Gottfried Galston. Hertzka is on holiday, and will reply on his return.
-
OC 52/64 Typewritten postcard from UE to Schenker, dated August 8, 1911
UE requests personal data.
-
OC 52/65 Typewritten postcard from UE to Schenker, dated September 14, 1911
Emil Hertka is away on business; Schenker should wait a day or
two.
-
OC 52/66 Typewritten letter from Hertzka (UE) to Schenker, dated October 31, 1911
Schenker will receive the [first] proofs of his Beethovens neunte Sinfonie "in
the course of November."
-
OC 52/67 Typewritten letter from Hertzka (UE) to Schenker, dated November 24, 1911
Hertzka is unable to take up Schenker's offer of an arrangement of a Mozart
piano concerto. -- Proofs of Beethovens neunte Sinfonie are expected any
day.
-
OC 52/68 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911
The printers query the absence of "signatures" from music examples in the
manuscript of Beethovens neunte Sinfonie.
-
OC 52/69 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911
Hertkza encloses a letter from Eugen d'Albert and is having the requested book
returned to Schenker.
-
OC 52/70 Postal receipt for item from Schenker to Hertzka (UE), postmarked April 30,
1911
Postal receipt for item of April 30, 1911 sent to UE.
-
OC 52/71 Typewritten letter from Hertzka (UE) to Schenker, dated December 4, 1911
Hertkza acknowledges Schenker's explanation of music examples without [key]
signatures, and suggests an explanatory footnote; corrected proofs should be returned to
UE.
-
OC 52/72 Typewritten letter from UE to Schenker, dated December 16, 1911
UE forwards to Schenker a letter from the printers including a music example
and ask Schenker to respond.
-
OC 52/73 Typewritten letter from Hertzka (UE) to Schenker, dated December 20, 1911
Hertkza remarks that the corrected proofs of gathering 3 of Beethovens neunte
Sinfonie have significant alterations and additions, the costs of which will be passed on to
Schenker.
-
OJ 12/9, [3] Handwritten letter from Karpath to Schenker, dated March 10, 1911
Karpath answers Schenker's reproaches that neither Violin's Über das sogenannte
Continuo nor the first half-volume of his Kontrapunkt have been announced or reviewed in the
Neues Wiener Tagblatt.
-
OJ 12/9, [4] Handwritten postcard from Karpath to Schenker, dated May 29, 1911
Karpath promises Schenker he will publish an announcement [about the lecture
series "The Decline of the Art of Music"].
-
OJ 14/23, [16] Handwritten lettercard from Seligmann to Schenker, postmarked June 1,
1911
Seligmann gives Schenker a revised version of his newspaper notice, which he
thinks will be published in the next two days.
-
OJ 14/23, [17] Handwritten lettercard from Seligmann to Schenker, dated July 25, 1911
Seligmann has found a newspaper article that Schenker was looking for. He is
recuperating in Ischl.
-
OJ 15/15, [J] Handwritten letter from Weisse to Schenker, dated July 9, [1911]
On summer holiday with little in the way of fixed plans, Weisse will be working
on some new piano pieces and asks Schenker's advice about form in the Ballade, Fantasy, and
Rondo.
-
OJ 15/16, [1] Handwritten letter from Weisse to Schenker, dated August 6, 1911
Weisse reports that he has reworked his fifth waltz and composed two other piano
pieces. He will now switch to composing songs, and asks a question about setting poems with more
than three stanzas.
-
OJ 15/16, [2] Handwritten letter from Weisse to Schenker, dated December 8, 1911
Weisse has a new piano piece to show Schenker, and asks to come the next
day.
-
OJ 5/27, [1] Excerpt from a letter from Schenker to Evelina Pairamall, dated August 20,
1911
Schenker contrasts "elemental drives" with "artistic creations," the latter
based on "falsehoods" except in the works of geniuses.
-
OJ 5/34, [1] Handwritten draft letter from Schenker to Alphons Rothschild, incompletely dated
[March 2, 1911]
Highly rhetorical letter in which Schenker thanks Alphons Rothschild for the
financial support for his first two volumes, and notifies him of the forthcoming monograph
on Beethoven's Ninth Symphony.
-
OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 18, 1911
Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes
about his planned refutation of the theories of Hugo Riemann and the need to establish his own
theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes
more somberly about the coming autumn and its difficulties.
-
OJ 6/5, [2] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 26, 1911
With Heinrich and Jenny Kornfeld still in Sulden (Tyrol), Heinrich alludes to
the uncertainty about their return on account of a recent storm and destruction to the road;
— they have decided that, on return to Vienna, Jenny shall stay in a hotel until an
apartment is found for her; — Violin is asked to mail a letter to Schenker's attorney which
concerns Jenny's maintenance payments; Jenny reports that she is unrecognized in
Sulden.
-
OJ 6/5, [3] Handwritten letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
September 26, 1911
Seemingly in response to a cry for companionship, Heinrich and Jenny Kornfeld express
their willingness to help, and ask what would be best.
-
OJ 6/5, [4] Handwritten letter from Jenny Kornfeld and Heinrich Schenker to Moriz Violin, dated October 5,
1911
Jenny Kornfeld gives Violin an account of the verdict of October 3, 1911 on her divorce
plea.
-
OJ 8/1, [10] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated September 11,
1911
Schenker complains that Violin has failed to turn up for an agreed meeting at the
right place. He comments favorably on a new composition by Violin. He is going to the Pollaks in
the evening.
-
OJ 8/1, [11] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 9,
1911
In promising to visit Violin, Schenker gives details of the lessons he has to
give over three days; — reports pending visit by Vrieslander.
-
OJ 8/1, [12] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 10,
1911
Citing Hebbel, and referring to the mystery "Frau O.," Schenker speaks of
Violin's unreliability, and also of Jenny Kornfeld's financial
difficulties.
-
OJ 8/1, [13] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 29,
1911
Schenker has booked four seats for the theater [for Wedekind:
Erdgeist].
-
OJ 8/1, [14] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 3,
1911
Schenker complains of Violin's dilatoriness, and asks to meet
him..
-
OJ 8/1, [15] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
November 5, 1911
Schenker reports a difficult encounter with "Frau O."; also reports a first
victory in Jenny Kornfeld's divorce application.
-
OJ 8/1, [16] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 7,
1911
Schenker urges Violin to request Hertzka send a copy of his Continuo
essay.
-
OJ 8/1, [17] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
November 27, 1911
Schenker reports the impossibility of Jenny Kornfeld's defending herself in her
divorce plea; and Jenny writes that she has had to send an inventory of all her chattels to Emil
Kornfeld.
-
OJ 8/1, [2] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated April 15, 1911
A jokey message giving the menu of a meal eaten in Pressbaum.
-
OJ 8/1, [3] Handwritten picture postcard from Jenny Kornfeld and Heinrich Schenker to Moriz Violin,
dated June 11, 1911
Heinrich Schenker and Jenny Kornfeld report the delights of the Vienna
Woods.
-
OJ 8/1, [4] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated July 1,
1911
Schenker reports on Jeanette's and his journey to Sulden.
-
OJ 8/1, [5] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated July 10, 1911
Schenker asks why Violin is silent about visiting them.
-
OJ 8/1, [6] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
July 22, 1911
Violin has written an unclear letter: Schenker presses him to say why he isn't
coming to visit; and Jenny Kornfeld urges him not to be so poor a
correspondent.
-
OJ 8/1, [7] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated August 4,
1911
Schenker inquires after Violin's location and company; — reports his work on
Riemann's theories.
-
OJ 8/1, [8] Handwritten picture postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz
Violin, dated August 27, 1911
Schenker and Jeanette vie with short stanzas. — Heinrich reports a walk to
Gomagoi.
-
OJ 8/1, [9] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
September 8, 1911
Schenker asks if a letter has arrived at Violin's address, and asks for it to be
forwarded to him if so.
-
OJ 9/18, [2] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated January
14, 1911
Bopp regrets that he was unable to attend Schenker's chamber music
concert.
-
OJ 9/18, [3] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 24,
1911
Bopp asks for a meeting with Schenker.
-
OJ 9/18, [4] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 27,
1911
Bopp warns Schenker of his unavailability one day.
-
OJ 9/18, [5] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated May 16,
1911
Bopp sends Schenker an invitation to a concert.
-
OJ 9/30, [1] Handwritten letter from Tony Colbert to Schenker, undated [January 1911?]
Mrs. Colbert regrets that she will not be able to take piano lessons during
February.
-
OJ 9/4, [4] Handwritten invitation, with typewritten envelope, from the Akademie für Musik to
Schenker, undated [May 16?, 1911]
Invitation to a student concert at the Akademie.
-
OJ 9/6, [52] Handwritten letter from Eugen d’Albert to Schenker, dated November 27,
1911
Eugen d'Albert inquires whether Schenker would be interested in taking
on a female pupil.
-
OJ 9/6, [52a] Handwritten postcard from Eugen d’Albert to Schenker, undated [?December 1,
1911]
Eugen d'Albert write that "the lady" is an American, and that he should not be
held responsible for her.
-
OJ 9/6, [53] Handwritten postcard from Eugen d’Albert to Schenker, dated December 20,
1911
Eugen d'Albert tries to arrange a meeting with Schenker.
-
OJ 9/6, [54] Handwritten postcard from Eugen d’Albert to Schenker, postmarked December 26,
1911
Eugen d'Albert invites Schenker to tea on the 30th.
-
WSLB 75 Handwritten letter from Schenker to Hertzka (UE), dated May 17, 1911
The manuscript of Beethovens Neunte Sinfonie will be handed over complete
tomorrow. — Academy Director Wilhelm Bopp still favors the planned Bach-Beethoven editions
scheme, and Schenker awaits a summons from President Carl von Wiener.— Schenker argues the
case for UE to publish his arrangements of two C. P. E. Bach concertos and a work by
Handel.
-
WSLB 76 Handwritten letter from Schenker to Hertzka (UE), dated May 19, 1911
Schenker acknowledges a package from UE..
-
WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911
Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie
in time to take on vacation, and inquires as to his proposal for UE to publish the score of
the Ninth Symphony with original markings. — No summons to interview with Academy President
von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade
against von Wiener and the Academy's teachers.
-
WSLB 78 Handwritten letter from Schenker to Hertzka (UE), dated July 23, 1911
Schenker asks that a copy of his Chromatic Fantasy & Fugue edition be send
to Gottfried Galston. —He reports creation of his "Die Kunst des Vortrags" and "Kunst und
Kritik". —He is pleased that the Beethoven/Bach project may yet be realized, and justifies
his editorial stance with reference to Rodin and architecture, and suggests it might be
published in Germany as retribution against Bopp and Wiener. —He is working now on
Counterpoint II for Cotta.
-
WSLB 79 Handwritten letter from Schenker to UE, dated August 18, 1911
Schenker provides requested personal data.
-
WSLB 80 Handwritten postcard from Schenker to Hertzka (UE), dated September [2]0,
1911
Schenker gives an ultimatum for Hertzka's decision on the Bach-Beethoven
plan.
-
WSLB 81 Handwritten letter from Schenker to Hertzka (UE), dated September 14,
1911
Schenker demands to know whether UE is interested in publishing his planned
edition of the last five Beethoven piano sonatas; -- Inquires how the proofs of Beethovens
neunte Sinfonie stand; And draws attention to the favorable sales of Kontrapunkt
1.
-
WSLB 82 Handwritten postcard from Schenker to Hertzka (UE), dated September 20,
1911
Schenker laments the withdrawal of Wilhelm Bopp from the planned
Bach-Beethoven edition project. -- He contests Hertzka's use of the term "Text-Kritik" to
characterize his Beethoven last five sonatas project.
-
WSLB 83 Handwritten letter from Schenker to Hertzka (UE), dated October 28, 1911
Schenker hotly contests Hertzka's allegation that he delivered the material
for Beethovens neunte Sinfonie late, and details the pre-history of the
project.
-
WSLB 84 Handwritten letter from Schenker to Hertzka (UE), dated November 19, 1911
Schenker offers UE an arrangement of the Mozart A major piano concerto,
arguing the case for its publication despite existing editions. -- He is impatiently
awaiting proofs of his monograph Beethovens neunte Sinfonie.
-
WSLB 85 Handwritten postcard from Schenker to Hertzka (UE), postmarked November 25,
1911
Schenker corrects Hertzka's misapprehension about his proposed arrangement of
a Mozart piano concerto for two pianos four hands. -- He suggests Breitkopf are stringing
Hertzka along.
-
WSLB 86 Handwritten letter from Schenker to Hertzka (UE), dated November 30, 1911
Schenker acknowledges receipt of the first galley-proofs of Beethovens neunte
Sinfonie and asks for return of his copy of Grove's book on the Beethoven
symphonies.
-
WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911
Schenker explains that the music examples without [key] signatures in
Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. --
He approves the use of a quotation from a D'Albert letter for publicity
purposes.
-
WSLB 88 Handwritten letter from Schenker to Hertzka (UE), dated December 6, 1911
Schenker gives instructions as to how measure number should be displayed in
the analysis sections of his monograph Beethoven's neunte Sinfonie.
-
WSLB 89 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1911
Schenker refutes Hertzka's accusation of "heavy corrections," and his threat
to pass the costs on to him.
-
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 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 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.