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Creditanstalt

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Correspondence

  • WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916

    Schenker explains why he is reluctant to produce a critical edition with commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could be freed from some of his teaching obligations, and also the autograph manuscript and other sources are missing. He also defends his sharp tongue in discussions of the secondary literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical editions of the late Beethoven piano sonatas).

  • OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925

    Weisse asks Schenker to look at some suitable frames for Hammer's portrait of him. He reports that several autograph manuscripts of Brahms are being put up for sale, of which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest theoretical concepts are being taught at Damrosch's music school in New York.

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