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Sbb B II 4422 Handwritten letter with envelope from Schenker to Busoni, dated May 5,
1898
Breitkopf & Härtel have accepted his Fantasie; Schenker hopes now to get
the piece well known. — He asks for a second time whether Busoni will permit him to dedicate
the piece to him. — He hopes to attend Busoni's series of historical concerts in
Berlin.
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OJ 14/1, [5] Handwritten letter from Felix Hupka to Schenker, dated November 18, 1921
Hupka reports on his latest concert, in Munich. Otto Vrieslander and Herman Roth
were present, and Hupka reports their critical reactions to his program. He visited the home of
Paul Hirsch.
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OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925
Continuing the story of the ongoing financial battle against Hertzka and
Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid
for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the
order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr.
Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek
a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned
royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact –
outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this
issue is still in demand, despite Hertzka's claims to the contrary. He has attended a
performance of Hans Weisse's Sextet, of which he found the variation movement and the trio
section of the scherzo to be the most satisfactory parts.
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OJ 11/51, [1] Typed letter from Hindemith to Schenker, dated October 25, 1926
Finding his name mentioned adversely in Meisterwerk 1, Hindemith writes that
he has always striven to fulfill in his own work the fundamental truths that are stated in
Schenker's books. He encloses two scores, and is convinced Schenker will find the Urlinie in
them.
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OJ 10/3, [52] Typewritten postcard from Deutsch to Schenker, dated January 15, 1927
Deutsch asks Schenker if a (recent) edition of Beethoven’s Ninth Symphony was
based on the facsimile edition. He has sent the manuscript (of Schenker’s second Meisterwerk
yearbook) to the publishers. A Haydn facsimile and a Handel print can be discussed
later.
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OJ 10/3, [53] Typewritten postcard from Deutsch to Schenker, dated January 16, 1927
Deutsch asks Schenker what he wrote about Domenico Scarlatti and Chopin as
non-German geniuses, for his forthcoming trip to Sweden. He has learned that Schubert was
paid for two summers’ teaching for the Esterházy family; he has valued two song manuscripts
belonging to the family at 4,000 marks.
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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 9/34, [10] Handwritten letter from Cube to Schenker, dated January 30, 1928
Cube reports progress in his class and private teaching, performance of his
compositions, his forthcoming lecture; outlines plan for an exhibition in Duisburg to celebrate
Schenker's 60th birthday; has heard nothing of Hoboken's "Aufruf."