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OJ 6/3, [2] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 2,
1897
Schenker has a recommendation for his compositions from Goldmann via Busoni. He
is working on his Scherzo in C. Violin must visit Prof. Jerusalem.
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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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CA 76 Handwritten letter from Schenker to Cotta, dated April 24, 1908
Schenker asks for a copy of his Harmonielehre to be sent to the Gesellschaft
der Musikfreunde; — He seeks advice regarding Theodor Frimmel and the Beethoven-Jahrbuch,
explaining the delay on Kontrapunkt I.
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WSLB 14 Handwritten letter from Schenker to Hertzka (UE), dated August 19, 1908
Schenker gives list of those to receive a copy of Beitrag zur
Ornamentik.
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WSLB 35 Handwritten letter from Schenker to Hertzka (UE), January 8, 1909
In a letter "ironic in tone" Schenker offers alternative editors for WTC Bk
II. He outlines the work that he has in hand, and regrets his unhappy experience with UE
over Beitrag zur Ornamentik.
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OC 52/919
Typewritten letter from Hertzka (UE) to Schenker, dated January 11, 1909
Hertzka still hopes to persuade Schenker to take on editing the Well-tempered
Clavier Book II.
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WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July
1909]
Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks
it worthy of publication, to send a letter of reference to one or other Viennese newspaper.
He also expresses his satisfaction at how his career is shaping: he has requested and
received generous fees for the editions he has prepared for Universal Edition, and his
theoretical writings for Cotta are also moving along.
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OJ 11/22, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Marchet, Krause) to
Schenker, dated June 21, 1912
The writers announce plans to institute a regular program of lectures under the
auspices of the Gesellschaft der Musikfreunde, and invite Schenker to participate by offering a
lecture or lecture series.
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WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912
Schenker reports improved agreement among the supporters of the planned
Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for
the fee for correcting proofs of Beethovens neunte Sinfonie.
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BNba Frimmel Nachl, [5] Handwritten letter from Schenker to Frimmel, dated August 4, 1912
Schenker reports that he has heard from Mandyczewski that the autograph of
Beethoven's piano sonata Op. 109 is owned by Poldy Wittgenstein. He will need to go to
Berlin for the remaining manuscripts.
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WSLB 129 Handwritten letter from Schenker to Hertzka (UE), dated August 6, 1912
Schenker informs Hertzka that he has been approached by the Gesellschaft der
Musikfreunde with a view to his teaching a course at the Society's new "free high school"
beginning in October, and inquires whether Hertzka will meet his demands so that he can
proceed with Die letzen fünf Sonaten Beethovens.
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WSLB 134 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912
Schenker asks for the first installment of his honorarium for Die letzten fünf
Sonaten Beethovens to be sent, now that he is back in Vienna. — He reports on the
Organization plan, and on progress on Op. 109. — He reiterates his claim for a supplementary
honorarium for proof correction of Beethovens neunte Sinfonie.
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WSLB 143 Handwritten letter from Schenker to Hertzka (UE), dated November 27[–28],
1912
Schenker requests another copy of Beethoven Op. 109, and lists the sources he
has now consulted, the communications with scholars, the cost and time involved, proclaims
the "spectacular" findings made, and the incompetence of all previous editors
unmasked.
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OJ 11/22, [5] Handwritten postcard from the Gesellschaft der Musikfreunde (Bella) to Schenker, dated
March 8[?], [1916]
Mandyczewski invites Schenker to the Archive for March 10.
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WSLB 310 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1919
Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs
while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine
Bibliothek and other tasks.
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OC 52/507-508 Typed letter from Hertzka (UE) to Schenker, dated December 19, 1919
Hertzka is pleased that Louis Koch has given his consent [for Op. 101]; he
suggests that UE obtain certain sources from the Gesellschaft der Musikfreunde Archive on loan
at the office for Schenker to work on; and offers a larger fee for Op. 101, and cautions
Schenker about growing costs of photographic work.
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OJ 10/3, [13] Typewritten postcard from Otto Erich Deutsch to Schenker, dated August 5,
1920
The photograph of Speyer's sketchleaves is still forthcoming. Deutsch has
discovered that a Dr. Wilhelm Kux possesses a further sketchleaf of the "Moonlight" Sonata,
and asks Schenker if he wants Deutsch to try secure a reproduction of it.
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OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30,
1921
The overdue ["Moonlight" Sonata edition] contract is finally ready, and
Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready.
Schenker should expect to receive an edited version of his commentary, and perhaps also an
English translation.
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OC 52/486 Typewritten letter from Otto Erich Deutsch to Julie Kalbeck, Heinrich
Schenker, Eusebius Mandyczewski, and Hugo Schwarz, dated January 3, 1922
Otto Erich Deutsch writes concerning the contract for the series
Musikalische Seltenheiten, of which he is the general editor, and Universal Edition
the publisher. In view of the introduction by UE of "50 to 100" additional copies to
the print-run of 500 in a new luxury edition (handmade paper and half-leather
binding) of each volume, Deutsch seeks to obtain from UE improved royalty returns
for all the volume editors. He makes three recommendations, which he asks the four
current volume editors to affirm.
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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 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924
Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. —
Encloses a draft of a letter to the university music departments chosen to be given copies of
Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution
of complimentary copies of Der Tonwille to needy scholars.
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OJ 12/20, [1] Handwritten postcard from Hedwig Kraus (Gesellschaft der Musikfreunde) to Schenker,
dated June 17, 1925
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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.
-
OC 54/137 Typed letter from Otto Erich Deutsch to Schenker, dated March 16, 1927
Deutsch returns part of the proofs of the second Meisterwerk Yearbook and
provides bibliographical details of a Haydn sketch-leaf to be reproduced for the essay on
“The Representation of Chaos.”
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OJ 10/3, [60] Typewritten express postcard from Deutsch to Schenker, dated April 21,
1927
Deutsch looks forwarded to seeing the Schenkers at Hoboken’s place. The
Society of the Friends of Music would like their print of a Haydn sketchleaf to be returned;
Eusebius Mandyczewki is unable to find a copy of Scarlatti’s Op. 1 (a collection of six
keyboard sonatas).
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OJ 10/3, [69] Typewritten picture postcard from Deutsch to Schenker, dated October 6,
1927
Deutsch regrets that Drei Masken Verlag has not yet sent Schenker his
complimentary copies [of the second Meisterwerk yearbook]; they will send an invoice for the
production costs. Hoboken ought to receive an honor from the Austrian state only after the
Photogrammarchiv is up and running. Deutsch has much to show Schenker from the first
editions of Beethoven sonatas. He wants to arrange a time to go through the corrections to
Schubert’s Symphony in B minor.
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OJ 10/3, [70] Typewritten picture postcard from Deutsch to Schenker, dated October 11,
1927
Deutsch has seen Otto Vrieslander, who surprisingly did not mention the recent
publication of his songs. He explains how different early print-runs of Beethoven’s works
may display telling differences, and how parallel publications in different cities could
sometimes show changes attributable to the composer (as is typically found in
Chopin).
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OJ 10/3, [80] Typewritten postcard from Deutsch to Schenker, dated March 19, 1928
Deutsch reports that Eusebius Mandyczewski, the Archivist at the Gesellschaft
der Musikfreunde, would like to prepare a revised edition of Schubert’s “Unfinished”
Symphony, and asks Schenker if he would be prepared to make his textual notes on the
symphony available to him.
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OJ 11/54, [23] Handwritten letter from Hoboken to Schenker, dated March 21, 1928
Hoboken has still made no progress on photographic work at the Paris
Conservatory. — He will go to Rotterdam and Münster. — Speaks of the importance of his Archive
work and contacts he has made. Will probably go to a concert featuring music of Alban Berg. — He
asks Schenker to intervene with O. E. Deutsch.
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OJ 10/3, [83] Typewritten picture postcard from Deutsch to Schenker, dated April 16,
1928
Deutsch has had sharp words with Max Ast at Austrian Radio. He wants to give a
talk on Schubert’s lost “Gastein” (or “Gmunden”) Symphony and hopes that publicity from the
broadcasting company will eventually lead to the rediscovery of the manuscript. Eusebius
Mandyczewski is preparing a new edition of the “Unfinished” Symphony for Breitkopf &
Härtel; the Philharmonia pocket score, with Schenker’s and Deutsch’s revisions, is now in
print. Deutsch has discovered that the first edition of Beethoven’s Piano Sonata Op. 90
exists in two versions.
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OJ 10/3, [85] Typewritten picture postcard from Deutsch to Schenker, dated May 15, 1928
Deutsch thanks Schenker for his kind words (about his recent radio broadcast)
and describes the difficulties in preparing things for publication in Radio Wien. He informs
Schenker that Brahms’s arrangement of a Schubert song has already been published. He has
discovered that the Guitar Quartet believed to be by Schubert is an arrangement, and that an
early cantata, Die Advokaten, is also based on the work of another
composer.
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WSLB-Hds 191.562 Handwritten letter from Schenker to Deutsch, dated May 17, 1928
Responding to Deutsch’s previous message, Schenker confirms that the
Deutsche Trauermesse must, on musical grounds, be a work by Franz Schubert. He also
agrees with Deutsch that the Quartet for guitar, flute, violin, and cello must be an
arrangement of a work by a fashionable composer of the time.
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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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OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930
Deutsch suggests that Schenker should get Breitkopf & Härtel to publish
his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will
continue to study theory with Schenker while he improves his piano technique in Berlin. --
He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which
predates its publication in Op. 75 by about three years, and asks Schenker to compare the
two version with a sketch from 1798 that was published by Nottebohm.
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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.
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OJ 5/18, 9 Handwritten letter from Schenker to Jonas, dated April 9, 1932
Schenker has presented Furtwängler with a copy of Brahms's arrangement of
Handel's Saul, has told him of Jonas's plan for Furtwängler to perform it, and asked him to give
Jonas access to the score.
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OJ 5/18, 21 Handwritten postcard from Schenker to Jonas, dated December 18, 1932
Schenker acknowledges OJ 12/6, [11] and answers Jonas's question concerning
the organ part of Handel-Brahms Saul. —Asks if Jonas has seen Zuckerkandl's
book.
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OJ 89/9, [2] Handwritten letter from Schenker to Hoboken, undated [October 7, 1933]
Schenker acknowledges receipt of money transfer; — alludes to Jonas's forthcoming
book and two other books now in progress about his work; — refers to a review of his Oktaven u.
Quinten that misunderstands the nature of Brahms's collection.