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OJ 9/3, [1] Handwritten letter from Guido Adler to Schenker, dated October 25, 1901
The Vienna chapter of the International Music Society invites Schenker to give
a lecture.
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OJ 9/3, [2] Handwritten letter from Guido Adler to Schenker, dated July 2, 1902
Adler inquires whether Schenker is willing give his lecture for the [Vienna
chapter of the] International Music Society in the coming season.
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OJ 9/3, [3] Handwritten letter from Guido Adler to Schenker, dated October 5, 1902
Adler inquires whether Schenker is willing give a further lecture for the
[Vienna chapter of the] International Music Society in the coming season.
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OJ 14/23, [6] Handwritten postcard from Seligmann to Schenker, postmarked July 25, 1903
Seligmann congratulates Schenker on his Beitrag zur Ornamentik, which he finds
excellent. He hopes that Mahler will write him a letter of reference, and believes that
Guido Adler would also assist him in obtaining a teaching post at the Vienna
Conservatory.
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OJ 12/38, [1] Handwritten letter from Hans Liebstöckl to Schenker, November 29, [1906]
Liebstöckl regrets having annoyed Schenker by unwantedly disclosing his name as
author of Harmonielehre in the Illustrirtes Wiener Extrablatt, promises to write about it
"conscientiously," and disclaims being a Reger adherent.
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UG 32/5, [1] Handwritten letter from Schenker to Guido Adler, dated April 21, 1914
Letter of recommendation for Hans Weisse
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OJ 12/26, [2] Typewritten letter from the Rothschild Artists' Foundation to Schenker, dated
December 3, 1916
The Rothschild Artists' Foundation invites Schenker to serve on a panel of
jurors with Guido Adler and Alfred Grünfeld.
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OC 1 B/19-20 Handwritten draft letter from Schenker to Hugo Friedmann, dated March 12,
1917
In light of the bequests to him in Mrs. Deutsch's will, Schenker seems to
remind Friedmann that she had also placed at his disposal in 1916 a sum of 10,000 Marks to
support his future publications. He wishes to make clear that that sum remains in place in
addition to the legacy and pension bestowed on him now in her will. He also expresses the
misgivings he has on the stipends implemented via the will. He is also anxious not to have
lost the first pension payment.
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OJ 8/3, [57] Handwritten postcard from Schenker to Moriz Violin, dated April 7, 1918
Schenker has implemented the increase in fee, for his pupils, and describes how
intolerable life is in Vienna; -- is trying with dificulty to book summer lodgings; -- reports
Weisse's declining of the invitation to contribute to the Schenker Festschrift; -- he is working
hard on his library.
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DLA 69.930/4 Handwritten letter from Schenker to Halm, dated December 9, 1918
Schenker recounts to Halm how Sofie Deutsch had set up a trust for needy artists,
leaving Schenker to identify beneficiaries. Schenker offers to transfer 1,600 Kroner to him from
this trust.
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OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October
16, 1920
Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking
a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit
Wally next Sunday.
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OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921
Weisse has completed a string quartet, the parts of which are being copied out,
after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as
a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept
because his knowledge of English is insufficient. He enquires about the progress of Schenker's
current projects.
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OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924
Schenker names ten universities that should receive complimentary copies of Der
Tonwille, explaining that university music departments (Seminare) are more suitable recipients
than conservatories and other types of music schools. With 1924 coming to an end, he will resign
from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The
latter have agreed to publish his study of Beethoven's Sonata Op. 106
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OJ 9/3, [4] Typewritten letter from Guido Adler to Schenker, dated February 10, 1926
Invitation to join the Conference Committee of the Beethoven Centennial
Celebration 1927.
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OJ 9/3, [5] Typewritten letter from Adler to Schenker, dated January 28, 1927
Invitation to give a lecture to the conference associated with the Beethoven
Centennial Celebration [March 1927].
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OJ 5/3, [1] Handwritten draft letter from Schenker to Adler, dated February 7, 1927
Schenker declines invitation to give lecture.
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OJ 5/9, [1] Handwritten draft letter from Schenker to Deutsch, dated February 28,
1927
Schenker explains to Deutsch why he does not want to be considered for
an honor from the Austrian Republic. He thanks Deutsch (and Karl Kobald) for their
kind intention to put his name forward.
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OJ 9/3, [6] Typewritten letter from Guido Adler to Schenker, dated April 4, 1927
Schenker is asked to have his photograph taken as a collaborator in the
Beethoven Centennial Celebration.
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OJ 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927
Deutsch tells Schenker that the second edition of Schindler’s Beethoven
biography is available, but not the first. --- He explains at length a misunderstanding over
the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal
Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph
manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram
Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports
on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and
expresses his regret that Drei Masken Verlag have been slow to prepare the second
Meisterwerk yearbook for publication.
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OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929
In a long letter, Deutsch thanks Schenker for encouraging him to apply for the
post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the
previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of
play at the Archive, above all on its insecure position. — He also expresses his regret that
Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors
from the Vienna Academy, and that some of the players are no longer enthusiastic about them;
he hopes to start a new initiative of that sort in the autumn. — He is in good standing with
Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his
recent trip to Italy, and thinks that he might have become an art historian had he gotten to
know the country earlier.
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OJ 10/3, [114] Typewritten letter from Deutsch to Schenker, dated January 21, 1930
Deutsch explains that, without a fixed annual budget, the Board of Trustees
[of the Photogram Archive] is unable to function properly. Hoboken didn’t always deal
efficiently with the foreign contributors to the collection; a catalogue has still not been
prepared. And Deutsch has made himself ill by overwork. Hedwig Kraus has taken over the
directorship of the Archive of the Gesellschaft der Musikfreunde, with [Karl] Geiringer as
her assistant – to whom Deutsch would have greatly preferred Luithlen. He has been
exchanging letters with Vrieslander.
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UG 32/5, [2] Handwritten letter from Schenker to Guido Adler, dated May 31, 1933
Schenker thanks Adler for the offprint of his Brahms article.
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OJ 6/8, [24] Handwritten letter from Schenker to Violin, dated May 9, 1933
Schenker suggests a possible time for Wolf’s first lesson, and a schedule for
him and Miss Weber. He is surprised to hear that Violin is thinking of emigrating to
Palestine, and suggests that the Jews there should come to Vienna to study with himself as a
“first-class Jew.” Their summer plans are not yet fixed.