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Sbb B II 4413 Handwritten letter with envelope from Schenker to Busoni, dated May 18,
1897
Schenker reports that Karl Goldmark wrote him a glowing recommendation to
Edition Peters on the strength of which he approached Peters, who expressed their regrets.
He seeks Busoni's advice and help. Eugen d'Albert has undertaken to play something of his
during the winter. He draws Busoni's attention to an article he has
published.
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Sbb B II 4426 Handwritten letter from Schenker to Busoni, undated [September/October
1898]
Schenker reports that he has had two sets of proofs for his Fantasie from B
& H; he announces that Simrock has accepted his Ländler for piano; he encloses some
choruses and asks Busoni to send a recommendation to Siegfried Ochs.
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OJ 15/12, [A] Handwritten calling card from Weinberger to Schenker[?], undated
Message regarding song[?] compositions.
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OJ 5/19, 8 Handwritten letter from Schenker to Kalbeck, dated September [recte November?]
6, 1899
Schenker asks to play his Syrische Tänze and Op. 10 to
Kalbeck.
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OJ 12/7, 7 Handwritten letter from Kalbeck to Schenker, dated November 4, 1905
Kalbeck feels that he cannot help advocate Schenker's book
[Harmonielehre] to Simrock, but wishes Schenker well.
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CA 1-2 Handwritten letter from Schenker to Cotta, dated November 8, 1905
This is Schenker's initial approach to Cotta: he asks the firm to consider
publishing volume I of his Neue Musikalische Theorien und Phantasien, explains his
anonymity, points out the book's attacks of certain composers, explains his choice of
preferred publisher.
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WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909
Schenker resists attending a meeting with Hertzka and von Wöß regarding the
printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an
author to control over his own material; and makes claims for the introduction to his
Instrumentations-Tabelle, which was not accepted for inclusion in 1908
reprinting.
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OJ 13/37, 8 Handwritten letter from Ernst Rudorff to Schenker, dated November 14,
1909
Rudorff apologizes for his publisher's treating Schenker as a conductor; —
laments that Germany's conductors ignore his music; — asks for help in a matter concerning
an overture of his.
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OJ 13/37, 10 Handwritten letter from Ernst Rudorff to Schenker, dated December 17,
1909
Rudorff reports on situation with his "Eckbert" Overture, and comments
adversely on publishers.
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OJ 13/37, 12 Handwritten letter from Ernst Rudorff to Schenker, dated October 20, 1910
Rudorff tells Schenker of Heinemann's book against Wagner; — Simrock is
sending Schenker Rudorff's Third Symphony.
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OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16,
1910
Rudorff approves of the [highly controversial] Introduction to Schenker's
Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and
Fugue, raising some technical matters.
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WSLB 130 Handwritten letter from Schenker to Hertzka (UE), dated August 14, 1912
In the most aggressive letter yet on Hertzka's approach over honoraria and
correction costs, Schenker asserts that UE ought to subsidize his works through the takings
on the lucrative works of others. UE acquires Schenker's works for a fraction of their true
value, yet is held responsible for UE's costs. Schenker refuses to sign the draft contract
for his Die letzten fünf Sonaten Beethovens with an implied threat of
withdrawal.
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OC B/151 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 10,
1921
Altmann sends Schenker Beethoven Op. 31, No. 3 in the Simrock edition on
loan.
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OC B/145 Typewritten letter from Wilhelm Altmann to Schenker, dated September 25,
1922
Altmann has dispatched two items to Schenker, and asks Schenker to instruct UE
to send copies of Der Tonwille to the Preussische Staatsbibliothek.
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OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925
In a wide-ranging letter, Schenker sends Violin money for arranging the order of
Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative,
Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action.
Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact
that does not prevent him from earning huge fees for conducting in New York. He has turned down
a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish
to spend some time with him in Galtür. He enquires about the personal difficulties that Violin
writes about in his letter, and asks him to say more; they will invite his sister for a visit.
He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor
Hammer is not yet finished.
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OJ 89/3, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 22,
1929
Hoboken gives his view on Vrieslander's honorarium demand.— He is not yet
finished with analyzing Brahms Op. 117, No. 1.
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OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929
Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ
9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music,
after which publication should ensue. Schenker gives detailed comments, with music examples, on
Cube's two piano sonatas, praising them highly and making suggestions for
improvement.
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OJ 89/3, [9] Typewritten letter from Hoboken to Schenker, dated September 15, 1929
Hoboken encloses his analytical study of Brahms's Intermezzo, Op. 117, No. 1,
and raises several technical matters. — He reports on his building project, and responds to
Schenker's refusal, in OJ 89/3, [7], to continue acting as intermediary with Vrieslander. —
He encloses a check for his lesson fee.
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OJ 10/3, [109] Typewritten picture postcard from Deutsch to Schenker, dated October 14,
1929
Deutsch agrees that there should be momentum associated with the Photogram
Archive, but Haas can probably not be persuaded [to approve of Hoboken’s taking the
editorial duties]. --- He reports that work on Haydn (with Hoboken) has
resumed.
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OJ 14/45, [81] Handwritten letter from Violin to Schenker, dated December 19, 1929
Violin has two possible publishers for the "Eroica" monograph. One of these he
names as Rather in Leipzig, which has recently bought up Simrock. The other, Breitkopf &
Härtel, has been suggested by Furtwängler, who believes that the proposal would be supported
by Karl Straube. Violin also considers the possibility replying to a recent article by
Schoenberg.
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OJ 5/9, [2] Handwritten letter from Schenker to Deutsch, dated April 3, 1930
Schenker confirms that a Beethoven sketch for "Neue Liebe, neues Leben" is
related to the earlier of his two settings of the song. Although he is grateful for
Nottebohm’s work on the Beethoven sketches, he transcribed only from the surface, not from
the depths of the composition. -- In a postscript, Schenker complains that, in a recent
feuilleton, the music critic Julius Korngold has quoted his terminology (e.g.
Auskomponierung) but failed to mention his name.
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OJ 10/3, [124] Typewritten letter from Deutsch to Schenker, dated April 4, 1930
Deutsch thanks Schenker for confirming the relationship of a Beethoven sketch
to his song "Neue Liebe, neues Leben," which Gustav Nottebohm had
misunderstood.
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OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10,
1930]
Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major
piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working
on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." --
Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. --
He asks about Furtwängler's studies with Schenker.
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OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933
Schenker returns four essays with praise. Salzer is informed that the price
for Jonas's Einführung has been set too high; Schenker advises caution with
Hoboken.