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.

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).

UMdK Z 312 D/1924, [2] Typewritten internal memorandum of the Akademie für Musik, dated June 27, 1924

Records receipt of UMdK Z 312 D/1924, [1] and includes the texts of letters to be sent to attorney Ernst Lambert and the Ministry of Education.

OJ 12/51, [1] Typewritten letter from Joseph Marx (Akademie für Musik) to Schenker, dated December 13, 1924

Marx has submitted the form of award of the Sophie Deutsch stipends to the Ministry of Education.

OJ 9/4, [1] Typewritten letter from Franz Schmidt (Akademie für Musik) to Schenker, dated October 21, 1925

Schmidt reports the response from the Federal Ministry of Education.

OJ 9/4, [2] Typewritten letter from the Alexander Wunderer (Akademie für Musik) to Schenker, dated December 21, 1926

The accumulated interest is available for distribution for the Sofie Deutsch stipend.

OJ 9/4, [3] Typewritten letter from Joseph Marx and Alexander Wunderer (Akademie für Musik) to Schenker, dated February 3, 1927

Schenker is asked to give the Federal Ministry of Education his opinion as to how the Sofie Deutsch stipends should be adjudicated after his death.

WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930

In this 16-page response to a letter from Deutsch, Schenker thanks his correspondent for his unstinting assistance (in relation to the third Meisterwerk yearbook) and underlines the importance of a collected edition of the works of C. P. E. Bach. — He then launches a long and detailed denunciation of Anthony van Hoboken’s character, referring in particular to his treatment of Otto Vrieslander, his ambivalence towards projects associated with the Photogram Archive, and his absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is thoroughly undeserving of a high honor conferred by the Austrian state.

WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930

Schenker is sending Deutsch copies of letters written by Leo Kestenberg praising his theories for their practical application to composition and performance, noting that Furtwängler is championing his cause everywhere. -- He then launches into a tirade against the city of Vienna for snubbing him and his work.

WSLB-Hds 94479 Handwritten letter from Schenker to Seligmann, dated February 26, 1931

Schenker asks Seligmann to read the opening essay in the third volume of Das Meisterwerk in der Musik. He quotes from a letter to his pupil Hans Weisse which demonstrates the attention his theories have been gaining in Germany, especially Berlin, and expresses his regret that no one in Vienna shows similar respect for him.

OJ 14/23, [23] Handwritten picture postcard from Seligmann to Schenker, undated [February 28, 1931]

Seligmann thanks Schenker for his recent correspondence, is heartened by what Hans Weisse has written (about the reception of Schenker’s work in Berlin); he looks forward to reading about Rameau (in the third Meisterwerk yearbook).

OJ 14/23, [24] Handwritten postcard from Seligmann to Schenker, postmarked March 11, 1931

Seligmann thanks Schenker for sending him the third Meisterwerk yearbook and says he greatly enjoyed learning about Rameau in the opening essay. But, he says, Schenker can hardly be surprised that he is ignored by the Ministry [of Education] if he constantly offends the people who are responsible to the Minister.

OJ 6/8, [20] Handwritten letter from Schenker to Violin, dated January 19, 1933

Schenker gives Violin an account of a three-hour meeting he had with Joseph Marx, who expressed his highest regard for Schenker's theories; he expects that his writings will be adopted by the Vienna Akademie and that Violin will also profit from Marx’s interest and goodwill.

OC 18/23 Typewritten letter from Josef Marx to Schenker, dated February 28, 1933

Marx thanks Schenker for hospitality on January 18. He lacks the influence at the Vienna Akademie to introduce Schenker's theoretical system, but has advocated for the inclusion of Schenker's name on the list of publications to be taken into account in its teaching. He has had Violin's name put down for a forthcoming teaching position, but cannot say how the Ministry of Education will judge that name.

OJ 5/34, [2] Handwritten revised draft letter from Schenker to Alphons Rothschild, in Jeanette Schenker's hand, undated [August 3‒6, 1934]

Draft accompanying letter for a copy of Oswald Jonas's Das Wesen ... — Schenker reiterates his gratitude for previous financial support, and reports that he now has 11 published works, many articles, and entries on him in several general encyclopedias. — Only in Vienna is he unrecognized. — He describes Wilhelm Furtwängler's faith in his theories and the support he has given him. — He mentions his earlier proposal for a Rothschild orchestra.