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OJ 9/6, [1] Handwritten letter from Eugen d'Albert to Schenker, dated February 19,
1894
Eugen d'Albert has instructed his publishers to send Schenker all his
compositions, and asks Schenker to write about them in Die Zukunft.
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OJ 11/42, [19] Handwritten letter from Maximilian Harden to Schenker, dated October 11,
1894
Harden rebuffs accusations by Schenker that seem to involve a delay in
Harden's response to a submission that Schenker hopes to move to another publication, and he
accuses Schenker of reneging on a promise to write about [Johann] Strauss's operetta
Jabuka.
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OJ 9/6, [12] Handwritten letter from Eugen d'Albert to Schenker, dated April 5,
1896
Eugen d'Albert apologizes for not having yet performed Schenker's Zwei
Clavierstücke, Op. 1. He discusses arrangements for pupil Paula Szalit, and incloses
the piano reduction of his opera "Ghismonda," and reports on its Dresden
reception.
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OJ 9/27, [5] Handwritten letter from Busoni to Schenker, dated August 31, 1897
Busoni is pleased to learn that Breitkopf & Härtel has agreed to publish
some of Schenker's compositions. He expects to be in Vienna in December and can then discuss
his proposal to combine three of Schenker's compositions into one Fantasie and other
technical suggestions.
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Sbb B II 4416 Handwritten letter with envelope from Schenker to Busoni, dated September 4,
1897
Schenker admits that, contrary to the remarks in Busoni's previous letter, he
has not yet approached Breitkopf & Härtel [with his compositions], out of fear of
waiving the honorarium. -- he solicits Busoni for an article in Die
Zukunft.
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OJ 9/6, [20] Handwritten letter from Eugen d'Albert to Schenker, dated September 9,
1897
Eugen d'Albert reports difficulty with the Szalit
family.
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OJ 9/27, [6] Handwritten letter from Busoni to Schenker, dated September 11, 1897
Busoni states his willingness to act as a go-between to Schenker and
Breitkopf, and characterizes Breitkopf's approach to composers. The prospect of writing an
article for Die Zukunft is attractive to him.
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Sbb B II 4418 Handwritten letter with envelope from Schenker to Busoni, undated [mid-September
1897?]
Schenker is about to finalize work on his Fantasie and show it to Busoni for
approval. He hints that he would like Busoni to play one of his works in
public.
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OJ 9/6, [24] Handwritten postcard from Eugen d'Albert to Schenker, dated October 28,
1897
Eugen d'Albert seeks to mollify an awkwardness that has arisen between the two
men.
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Sbb B II 4419 Handwritten letter with envelope from Schenker to Busoni, dated February 15,
1898
Schenker sends Busoni what he considers to be the final version of his
Fantasie. He inquires whether Busoni has yet made an approach on his behalf to Breitkopf
& Härtel. He reports an incomplete performance of his Fünf Klavierstücke by Eugen
d'Albert, and the fact that the Neue freie Presse did not review the
concert.
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OJ 9/27, [7] Handwritten letter from Busoni to Schenker, dated February 19, 1898
Busoni acknowledges receipt of Schenker's letter, the manuscript of his
Fantasie, and [a printed copy of] his Fünf Klavierstücke. He praises the Fantasie while
suggesting that the two new linking passages are perhaps over-long. He cautions Schenker
over the subjectivity of the work, and advocates cutting two of the variations from the
final section. He reiterates that he will support the work [while not directly answering
Schenker's question regarding Breitkopf & Härtel].
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Sbb B II 4421 Handwritten letter with envelope from Schenker to Busoni, postmarked March 6,
1898
Schenker pleads to have a few minutes of Busoni's time, and informs him that
Breitkopf & Härtel's acceptance of his Fantasie is almost secured.
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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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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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Sbb B II 4427 Handwritten letter with envelope from Schenker to Busoni, dated January 2,
1899
Schenker thanks Busoni for his latest letter and announces his concert tour
with Johannes Meschaert January 7 to February 3, 1899.— He writes the valediction and
signature in the form of a IV-V-I cadence.
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OJ 6/3, [8] Handwritten letter from Schenker to Moriz Violin, undated [?early July 1899]
Schenker tells Violin not to be troubled by their recent [unspecified] abortive
search: Weinberger is still on their side. He invites Violin to a Trischak [card]
party.
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OJ 6/3, [9] Handwritten letter from Schenker to Moriz Violin, undated [?late July 1899]
Schenker arranges with Violin to meet at the Weinberger headquarters, lunch, and
then for Violin to go on to meet Professor Jerusalem.
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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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OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12,
1908
Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to
Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in
agreement.
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OJ 13/37, 3 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated September
24, 1908
Grunsky thanks Schenker for the copy of his Harmonielehre and praises it; in
particular he approves of its attacks on Wagner, whom he speaks of as a malign
force.
-
OJ 5/35, [3] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, dated September 28,
1908
Schenker comments on Wagner's alterations to Beethoven's Ninth Symphony, and
outlines his own plans, wishing to see Wagner reduced to the same subordinate place as Gluck
[unaware of the provocation this will be to Rudorff!]. — He takes issue with Beyschlag's
interpretation of the turn in Haydn's music.
-
WSLB 21 Handwritten letter from Schenker to Hertzka (UE), dated September 30, 1908
Schenker asks for a copy of his C. P. E. Bach Klavierwerke to be sent to Julius
Röntgen, and of the Beitrag zur Ornamentik, 2nd edition, to Daniel de Lange, since the work is a
rival to the newly-published Beyschlag Die Ornamentik der Musik. — He reports encountering
Willem Andriessen.
-
OJ 13/37, 4 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated October 1,
1908
Grunsky expresses his opinions on the turn in Haydn's music and the status of
Gluck in relation to Mozart and Wagner.
-
WSLB 24 Handwritten letter from Schenker to Hertzka (UE), dated October 31, 1908
The prospect of an English translation of Beitrag zur Ornamentik pleases
Schenker. — He wants to guide UE toward being a global enterprise. — Proofs of Counterpoint
[I] have started arriving from Cotta.
-
WSLB 39 Handwritten letter from Schenker to Hertzka (UE), June 23, 1909
Schenker asks Hertzka to send him two editions of the Bach Chromatic Fantasy
& Fugue that are unknown to him.
-
OC 52/422 Typewritten letter from Hertzka (UE) to Schenker, dated June 24, 1909
Hertzka confirms the agreed edition of the Chromatic Fantasy & Fugue, and
will send the required editions.
-
WSLB 40 Handwritten postcard from Schenker to Hertzka (UE), dated June 26, 1909
Schenker asks for the Röntgen edition of the Chromatic Fantasy & Fugue to
be sent to him.
-
WSLB 41 Handwritten postcard from Schenker to Hertzka (UE), dated July 1, 1909
Schenker asks for the three previously requested editions to be sent as soon as
possible so as to arrive before he departs for vacation.— He also asks for Richard Stöhr's
Harmonielehre.
-
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.
-
OC 52/48 Typewritten letter from Hertzka (UE) to Schenker, dated April 9, 1910
There is now no hope of the Chromatic Fantasy & Fugue edition being
available for proof-correcting by the middle of April, hence UE may be forced to send the
work to Breitkopf & Härtel. — Hertzka asks for a report on other projects under
discussion.
-
OC 52/67 Typewritten letter from Hertzka (UE) to Schenker, dated November 24, 1911
Hertzka is unable to take up Schenker's offer of an arrangement of a Mozart
piano concerto. -- Proofs of Beethovens neunte Sinfonie are expected any
day.
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WSLB 85 Handwritten postcard from Schenker to Hertzka (UE), postmarked November 25,
1911
Schenker corrects Hertzka's misapprehension about his proposed arrangement of
a Mozart piano concerto for two pianos four hands. -- He suggests Breitkopf are stringing
Hertzka along.
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OC 52/68 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911
The printers query the absence of "signatures" from music examples in the
manuscript of Beethovens neunte Sinfonie.
-
WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911
Schenker explains that the music examples without [key] signatures in
Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. --
He approves the use of a quotation from a D'Albert letter for publicity
purposes.
-
OC 52/71 Typewritten letter from Hertzka (UE) to Schenker, dated December 4, 1911
Hertkza acknowledges Schenker's explanation of music examples without [key]
signatures, and suggests an explanatory footnote; corrected proofs should be returned to
UE.
-
WSLB 88 Handwritten letter from Schenker to Hertzka (UE), dated December 6, 1911
Schenker gives instructions as to how measure number should be displayed in
the analysis sections of his monograph Beethoven's neunte Sinfonie.
-
OC 52/72 Typewritten letter from UE to Schenker, dated December 16, 1911
UE forwards to Schenker a letter from the printers including a music example
and ask Schenker to respond.
-
OC 52/73 Typewritten letter from Hertzka (UE) to Schenker, dated December 20, 1911
Hertkza remarks that the corrected proofs of gathering 3 of Beethovens neunte
Sinfonie have significant alterations and additions, the costs of which will be passed on to
Schenker.
-
WSLB 89 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1911
Schenker refutes Hertzka's accusation of "heavy corrections," and his threat
to pass the costs on to him.
-
OC 52/74 Typewritten letter from Hertzka (UE) to Schenker, dated January 2, 1912
Hertkza sends page-proofs of gathering 3, and asks for return of galley-proofs
and the manuscript of Beethovens Neunte Sinfonie.
-
WSLB 91 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and expresses
dismay at the inaccurate work of the typesetters, notably in type-size, marginal numbers,
and alignment within figures.
-
OC 52/75 Typewritten letter from Hertzka (UE) to Schenker, dated January 5, 1912
Hertkza encloses a letter from Breitkopf.
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WSLB 93 Handwritten letter from Schenker to Hertzka (UE), dated January 11, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected; he points out
with labored sarcasm that the printers have omitted the title-pages of each of the four
movements, and suggests how this might be rectified.
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WSLB 94 Handwritten letter from Schenker to Hertzka (UE), dated January 15, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie with imprimatur. -- He
conditionally accepts Hertzka's proposal that he create structural diagrams for movements 2
to 4, giving his justification for intially providing only that for the first
movement.
-
OC 52/77 Typewritten postcard from Hertzka (UE) to Schenker, dated January 16,
1912
Emil Hertka confirms that UE wants Schenker to produce structural diagrams for
movements 2-4 of Beethoven's Ninth Symphony for his monograph on that work.
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OC 52/78 Typewritten letter from Hertzka (UE) to Schenker, dated January 26, 1912
Hertzka notifies Schenker of the impending delivery of page-proofs of his
Beethovens Neunte Sinfonie monograph and asks for speedy return of previous
galley-proofs.
-
WSLB 95 Handwritten letter from Schenker to Hertzka (UE), dated January 28, 1912
Schenker returns page-proofs of Beethovens Neunte Sinfonie, granting
imprimatur providing one problem can be overcome.
-
OC 52/79 Typewritten letter from Hertzka (UE) to Schenker, dated February 6, 1912
Hertzka acknowledges receipt of the formal diagram of movement 2 for, and
gathering 8 of the Beethovens Neunte Sinfonie monograph, and has sent galley-proofs of
gatherings 5 and 6 to Schenker for imprimatur.
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WSLB 97 Handwritten express postcard from Schenker to Hertzka (UE), dated February 7,
1912
Schenker complains at the printers' disregard of his earlier words. He asks
for assurance that he will receive a complete set of proofs to check the cross-citations of
page-numbers.
-
OC 52/80 Typewritten postcard from Hertzka (UE) to Schenker, dated February 7,
1912
Hertzka assures Schenker that he will receive a full set of page-proofs for
checking.
-
WSLB 98 Handwritten letter from Schenker to Hertzka (UE), dated March 4, 1912
Schenker returns page-proofs for gatherings 10 and 11 of Beethovens Neunte
Sinfonie and the formal diagram for movement 3.
-
OC 52/82 Typewritten letter from Hertzka (UE) to Schenker, dated March 15, 1912
Hertzka gives Schenker assurances on the arrival of further
gatherings.
-
WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912
Schenker responds combatively to Hertzka's warning about correction
costs.
-
OC 52/83 Typewritten letter from Hertzka (UE) to Schenker, dated March 20, 1912
Hertzka suggests a fold-out for a particularly large music
example.
-
WSLB 105 Handwritten letter from Schenker to Hertzka (UE), dated March 28, 1912
Schenker will send the complete manuscript only on receipt of written
assurance that it be returned to him later -- He speaks of being not only to "procreator" of
his work but also "a manufacturer, hence a busieness man." -- He implies his refusal to pay
any correction costs. He points out a placement error in gathering 16.
-
OC 52/85 Typewritten letter from B. Rothe (UE) to Schenker, dated April 1, 1912
Miss Rothe assures Schenker that his manuscript of Beethovens neunte Sinfonie
will be returned to him after use, and asks for it to be sent as well as any other proofs in
Schenker's hands.
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WSLB 111 Handwritten letter from Schenker to Hertzka (UE), dated May 16, 1912
Schenker points to inconsistent usage of "Sinfonie" and "Symphonie" in the
type-setting of his monograph Beethovens neunte Sinfonie and suggests adherence to the
former; he submits the Foreword, and asks for one copy of each of his previous UE
publications.
-
OC 52/89 Typewritten letter from Kalmus (UE) to Schenker, dated May 16, 1912
UE sends the final gatherings of Beethovens neunte Sinfonie for Schenker's
approval and reports the total author correction costs.
-
WSLB 117 Handwritter letter from Schenker to Hertzka (UE), dated June 3, 1912
Schenker returns the [complete] proof copy of his Beethovens neunte Sinfonie
with corrections. He asks about the placement of the Table of Contents in the
volume.
-
OC 52/427 Typewritten letter from Hertzka (UE) to Schenker, dated June 3, 1912
Hertzka addresses Schenker's request for an honorarium for correcting proofs
of Beethovens neunte Sinfonie; he counters that the total author corrections have run to 600
Kronen. He is sending the volume to the printers today. -- He commits in principle to the
editing of the last five Beethoven piano sonatas [Erläuterungsausgabe], but on the basis of
the Chromatic Fantasy and Fugue sales he cannot accede to Schenker's demands; he makes a
counter-proposal.
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WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912
Schenker inquires about the print-run and retail cost of his
Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for
clarity on a payment he has just received, stressing his probity.
-
OC 52/437 Typewritten letter from Hertzka (UE) to Schenker, dated August 12, 1912
Die letzten fünf Sonaten: Hertzka finds Schenker's suggested rewording too
general; Beethovens neunte Sinfonie: Hertzka will pay the supplementary fee demanded by
Schenker, but only after 500 copies have been sold.
-
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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OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922
Schenker reports the imminent publication of Tonwille 3, and some new publishing
ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the
Short Preludes by J. S. Bach.
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OJ 11/36, [19] Handwritten letter from Hammer to Schenker, dated September 1, 1925
Hammer explains why he can't just take the test print of his Schenker
mezzotint as the final product. -- He speaks of money difficulties.
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OJ 10/3, [82] Typewritten postcard from Deutsch to Schenker, dated March 26, 1928
Deutsch writes about the sketches for a symphony in E major by Schubert, in
the possession of the Royal College of Music in London. He would like to have a copy made so
that the work can be published – possibly by Oxford University Press. The costs should be
borne by the publisher, not the Photogram Archive, which would nonetheless get a copy of the
reproduction.
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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, [95] Typewritten picture postcard from Deutsch to Schenker, dated October 8,
1928
Deutsch has received information from Breitkopf & Härtel concerning the
three volumes of piano sonatas by Haydn in the collected edition; he thinks that they are
very expensive.
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OJ 11/54, [25] Typed letter from Hoboken to Schenker, dated March 27, 1929
Hoboken has broken off his friendship with Otto Vrieslander after discovering
that the latter has been cheating him.
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OJ 5/7a, [26] (formerly vC 26) Handwritten postcard from Schenker to Cube, dated July 22, 1929
Acknowledges the sonatas Cube sent with OJ 9/34, [19]; reports on Reinhard Oppel
and on Hans Weisse's recent publication success; Schenker approves of Cube's use of pianistic
diminution.
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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 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 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.
-
OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930
Schenker reports on two concerts at which Hans Weisse's Octet was performed
for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality
of the voice-leading in general, the construction of the finale movement (a passacaglia) in
particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented
the cost of the rehearsals and concerts, and the provision of food and drink for the
audience; this he compared with Antony van Hoboken's reluctance to help him with the
publication costs of his recent work.
-
OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930
Weisse has seen Furtwängler, who will write a letter of recommendation to
Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want
to consult Schenker about it, and asks his teacher not to be overly modest about the work of
one of his pupils, and to stress the need for an arrangement of the work for piano four
hands.
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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.
-
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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OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930
Furtwängler encloses a letter from Karl Straube, and cautions Schenker against
publishing with Breitkopf.
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Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19,
1930
Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to
Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with
other publishers and plans for future publications.
-
OC 54/297 Handwritten letter from Furtwängler to Schenker, dated April 19, 1930
Furtwängler has forwarded Schenker's letter on to Straube for direct
reply.
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OC 54/218 Handwritten letter from Karl Straube to Schenker, dated May 14–16, 1930
Straube informs Schenker that, owing to the acute slump in sales of musical
textbooks, he has been unable to secure a publishing deal for the third Meisterwerk yearbook
with both Breitkopf & Härtel and C. F. Peters.
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OC 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930
Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has
resigned his Vienna position.
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OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930
Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about
Schenker difficult to read. He advises him to proceed with the printing of his essay on the
"Eroica" Symphony, even if it proves possible for another publisher to take it over at a
late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for
orchestra or wind band].
-
OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930
Furtwängler reports on his meeting with Breitkopf &
Härtel.
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OC 54/310 Typewritten letter from Deutsch to Schenker, dated July 4, 1930
Deutsch gives further details of the production costs for the third
Meisterwerk yearbook and makes some recommendations, including the printing of the
Urlinie-Tafeln of the "Eroica" as a booklet, not as loose pages.
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OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930
Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed
Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie
Satz.
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OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930
Acknowledging his recent letter to Jeanette, Schenker expresses his regret
that Violin and his son Karl are still troubled by health problems and reports some recent
news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was
in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but
this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many
visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife,
and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected
edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but
Schenker is cautious about this because his paid involvement in the project might result in
work that would jeopardize progress on Der freie Satz. He has been included in the latest
edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain
Rolland's latest Beethoven book.
-
PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker,
dated September 15, 1930
Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to
check in connection with a planned new collected edition of the works of that
composer.
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OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931
In this long and wide-ranging two-part letter, which includes a graphic
analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of
Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post
there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald
Warburg), or even found an institute that would give employment to Felix Salzer and other
Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the
morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg.
For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and
Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes
with a tirade against those who have caused him financial misery (including his brother
Mozio), culminating in a cynical passage in which Schenker advises his friend to look after
himself and engage some dull pedagog to teach conventional theory. In the end, he wishes
Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s
clutches.
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OJ 11/54, [40] Typewritten letter from Hoboken to Schenker, dated July 29, 1932
Hoboken comments on some contemporary music; — he comments adversely on the
new edition by Edouard Ganche of Chopin's works; — he may visit the Schenkers and bring Eva
Boy with him.