OC 52/386 Handwritten letter from Josef Weinberger to Schenker, dated March 23, 1901
Thanks Schenker for mediating with Julius Röntgen, and confirms acceptance of the
C. P. E. Bach keyboard edition.
OC 52/1 Handwritten postcard from Josef Weinberger (UE) to Schenker, dated May 30,
1901
Weinberger summons Schenker to finalize details over C. P. E. Bach
edition.
OC 52/2 Handwritten letter from Josef Weingartner and Adolf Robitschek (UE), to Schenker, dated
November 9, 1901
Inquires when Schenker's C. P. E. Bach keyboard edition can be
expected.
OC 52/387 Handwritten letter from Josef Weinberger and Hugo Winter (UE) to Schenker, dated
December 28, 1901
Acknowledges receipt of manuscript of C. P. E. Bach Klavierwerke, and has
transferred honorarium.
OC 52/3 Receipt for payment from Universal Edition to Schenker, dated December 31,
1901
Receipt signed by Schenker for payment of honorarium by Universal
Edition
OC 52/4 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902
Asks for the manuscript copy of C. P. E. Bach Klavierwerke to be
returned.
OC 52/5 Handwritten postcard from Stedler(?) (UE) to Schenker, dated July 4, 1902
Annotation on p. VII is impossible.
OC 52/380 Typewritten letter from Weinberger and Winter (UE) to Schenker, dated July 15,
1902
UE has agreed to issue the introduction to Schenker's edition of C. P. E. Bach
keyboard works as a separate publication [Ein Beitrag zur Ornamentation], requests the
manuscript, and transfers the remainder of the honorarium.
OC 52/6 Typewritten letter from Winter and Artaria (UE) to Schenker, dated August 26,
1902
Asks for the manuscript of the Beitrag zur Ornamentik.
OC B/218 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker,
dated September 13, 1902
Gives publication details of Haydn's Scottish Airs.
OC 52/382 Handwritten note by Schenker, dated October 6, 1902
Amount of honorarium
OC 52/381 Typewritten letter from Winter and Weinberger (UE) to Schenker, dated October 6,
1902
UE has transferred the honorarium for the Beitrag zur Ornamentik, apologizes
for the delay, and sends the contract for signing.
OC 52/7 Receipt for payment from Universal Edition to Schenker, dated October 8,
1902
Receipt for payment of honorarium by Universal Edition
OC 52/8 Typewritten letter from Steder(?) (UE) to Schenker, dated July 11, 1903
Weinberger is away; Haydn trios are covered; still welcomes Schenker's choice
of work to edit.
OC 52/9 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 23,
1903
UE offers Schenker the arrangement of Handel organ concertos.
OC 52/10 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 28,
1903
Contract for Handel Organ Concertos received; distribution of complimentary
copies of Beitrag zur Ornamentik.
OC 52/11 Typewritten letter from Steder(?) (UE) to Schenker, dated September 4,
1903
Weinberger will respond re: the Syrian Dances when back.
OC B/216 Handwritten letter from the British Museum (George Knottesford Fortesque) to Schenker,
dated October 30, 1903
Gives the Museum's holdings of Thomson's books of Scottish and Welsh
songs.
OC 52/12 Handwritten letter from E. Ascherberg to Universal Edition, dated January 20,
1904
Ascherberg reports research on ballads arranged by Haydn.
OC 52/13 Typewritten letter from Weinberger and Hardmuth (UE) to Schenker, dated February 3,
1904
UE sends Schenker the bill for British Museum research.
OC 52/14 Handwritten receipt from UE to Schenker, dated June 7, 1904
UE receipt for return of score materials
OC 52/391 Typewritten letter from Weinberger and Herzmansky (UE) to Schenker, dated June 20,
1904
UE refuses to raise Schenker's honorarium for vol. II of the Handel Organ
Concertos.
OC 52/392 Handwritten note by Schenker, dated June 20, 1904
Schenker notes down contents of OC 52/391.
OC 52/393 Typewritten letter from Robitschek and Weinberger (UE) to Schenker, dated June 22,
1904
UE confirms transfer of revised honorarium for Handel Organ Concertos, vol.
I.
OC 52/394 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated October 18,
1904
UE sends proofs of Handel Organ Concertos, vol. I.
OC 52/15 Typewritten letter from Ferdinand Rebay (UE) to Schenker, dated December 3,
1904
UE sends Schenker a set of orchestral scores by Richard Strauss as a
gift.
OC 52/16 Typewritten letter from Weinberger (UE) to Schenker, dated March 1, 1905
UE sends five complimentary copies of Handel Organ Concertos and transfers
honorarium.
OC 52/17 Typewritten letter from Weinberger (UE) to Schenker, dated March 11, 1905
List of recipients of complimentary copies of the Handel Organ
Concertos
OC 52/442 Handwritten letter from Weinberger (UE) to Schenker, dated April 13, 1905
UE is unable to accept an item offered for publication.
OC 52/443 Typewritten letter from Weinberger (UE) to Schenker, dated October 21,
1905
UE is prepared to look at Harmonielehre.
OC 52/18 Typewritten letter from UE to Schenker, dated November 20, 1905
UE is besieged with inquiries about Handel Organ Works, volume
II.
OC 52/19 Typewritten letter from Weinberger (UE) to Schenker, dated November 30,
1905
Weinberger asks when Handel Organ Concertos volume II will be
received.
OC 52/21 Handwritten calling card from Rebay (UE) to Schenker, undated [c. June 12,
1906]
Rebay inquires when UE can expect Handel Organ Concertos, vol.
II.
OC 52/20 Typewritten letter from UE to Schenker, dated June 13, 1906
UE inquires further about Handel Organ Works, volume II, with
threat.
OC 52/395 Typewritten letter from UE to Schenker, dated July 5, 1906
UE asks again for manuscript of Handel Organ Concertos, vol. II, and threatens
to reassign.
OC 52/396 Typewritten letter from UE to Schenker, dated September 28, 1906
UE asks for the score of the Handel organ concertos back; Schenker's name will
not appear on the published arrangements.
OC 52/383 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26,
1908
UE welcomes Schenker's additions to the Beitrag zur Ornamentik and asks for
them as soon as possible.l
OC 52/384 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated March 26,
1908
UE asks for additions to Beitrag zur Ornamentik by the beginning of the
following week.
OC 52/385 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 1,
1908
UE stresses the urgency of supplying additional material for Beitrag zur
Ornamentik.
OC 52/22 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated April 6,
1908
Hertzka threatens to re-issue the first edition of Ornamentik if revisions
don't arrive by the next day.
OC 52/23 Typewritten letter from Hertzka (UE) to Schenker, dated June 30, 1908
Hertzka asks Schenker to visit him to clear up a matter over
payment.
OC 52/421 Typewritten contract (carbon copy) between Schenker and UE, dated June 30,
1908
Contract for Schenker's Instrumentations-Tabelle
OC 52/397 Typewritten letter from Hertzka (UE) to Schenker, dated August 11, 1908
Hertzka agrees to sending of complimentary copies of Beitrag zur Ornamentik. —
Gives progress report on Table of Instrumentation, predicting October
publication.
OC 52/24 Typewritten letter from Hertzka (UE) to Schenker, dated August 25, 1908
Hertzka explains that the last-minute change to Beitrag zur Ornamentik
requested by Schenker would be exorbitantly expensive.
OC 52/25 Typewritten letter from Hertzka (UE) to Schenker, dated August 26, 1908
Hertzka advises that the last-minute corrections for Beitrag zur Ornamentik
will be made by corrigenda sheet. — Complimentary copies will be going out in the next three
days, so Schenker should dispatch any personal notes to the recipients.
OC 52/26 Typewritten letter from Hertzka (UE) to Schenker, dated September 29,
1908
Hertzka has instructed that Schenker's C. P. E. Bach edition be sent to Julius
Röntgen. — He explains the situation over the corrigenda for Beitrag zur Ornamentik. — The
Instrumentations-Tabelle will be published in the next two weeks.
OC 52/27 Typewritten letter from Hertzka (UE) to Schenker, dated October 1, 1908
Hertzka confirms arrangements over Beitrag zur Ornamentik, and asks for
proofing of the Foreword to the Instrumentationstabelle.
OC 52/398 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1908
The Instrumentations-Tabelle is now published. — Hertzka is negotiating an
English translation of Beitrag zur Ornamentik.
OC 52/444 Typewritten letter from Hertzka (UE) to Schenker, dated November 7, 1908
Hertzka details the distribution of first copies of the
Instrumentations-Tabelle. — He makes a bid to publish Kontrapunkt.
OC 52/28 Typewritten letter from Hertzka (UE) to Schenker, dated November 11, 1908
Hertzka has had copies of the Instrumentations-Tabelle sent to Violin and
Gärtner. — He chides Schenker for buying copies at the Gutmann music store.
OC 52/29 Typewritten postcard (book slip) from Hertzka (UE) to Schenker, dated November 23,
1908
The Instrumentations-Tabelle is going into a larger edition, and Hertzka asks
for a meeting.
OC 52/30 Typewritten postcard from Hertzka (UE) to Schenker, date December 16,
1908
Ultimatum: if not delivered by Friday, "supplementary remarks" will be
omitted.
OC 52/399-401 Typewritten letter from Hertzka (UE) to Schenker, dated December 18, 1908
Hertzka complains at the embarrassment that Schenker has caused him over the
Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes
that Schenker edit Book II of the Well-tempered Clavier in the manner of
Busoni.
OC 52/31 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1908
Hertzka sends a copy of Mahillon's guide to instrumentation.
OC 52/32 Typewritten letter from Barbara Rothe (UE) to Schenker, dated December 23,
1908
Ms Rothe returns Schenker's introductory materials for the
Instrumentations-Tabelle.
OC 52/33 Typewritten letter from Hertzka (UE) to Schenker, dated January 7, 1909
Hertzka hopes for detailed discussions with Schenker on the
Instrumentations-Tabelle and the Well-tempered Clavier proposal.
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.
OC 52/34 Typewritten postcard (book slip) from UE (unidentified sign) to Schenker, dated
January 14, 1909
UE confirms sending two items to Elise Rudorff.
OC 52/35 Typewritten letter from Hertzka (UE) to Schenker, dated January 30, 1909
Copies of the Instrumentations-Tabelle will be delived in three days. Hertzka
calls for a meeting.
OC 52/402 Typewritten letter from Hertzka (UE) to Schenker, dated March 21, 1909
Hertzka raises several possibilities for amplifying the
Instrumentations-Tabelle, and calls for a meeting.
OC 52/36 Typewritten letter from Hertzka (UE) to Schenker, dated March 29, 1909
Hertzka welcomes the prospect of a discussion at the home of Robert
Brüunauer.
OC 52/920 Typewritten letter from Hertzka (UE) to Schenker, dated April 1, 1909
Hertzka summarizes the discussion earlier that day.
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.
OC 52/37 Typewritten postcard from UE (unidentified signatory) to Schenker, dated September
20, 1909
Hertzka is currently away.
OC 52/38 Typewritten letter from Hertzka (UE) to Schenker, dated September 25,
1909
Hertzka asks for a visit from Schenker.
OC 52/39 Typewritten letter from Hertzka (UE) to Schenker, dated October 15, 1909
Hertzka encloses a contract for the Chromatic Fantasy & Fugue edition for
signature and return.
OC 52/423 Printed contract, with handwritten entries, between Schenker and UE, dated October 17,
1909
Contract for Schenker's edition of Bach's Chromatic Fantasy &
Fugue
OC 52/40 Typewritten letter from Hertzka (UE) to Schenker, dated October 20, 1909
UE will search for the Handel organ concerto score.
OC 52/41 Typewritten letter from Hertzka (UE) to Schenker, dated October 26, 1909
Hertzka asks for a meeting to discuss the Chromatic Fantasy & Fugue
edition.
OC 52/42 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1909
Hertzka insists that a face-to-face meeting is necessary.
OC 52/43 Typewritten letter from Hertzka (UE) to Schenker, dated November 10, 1909
Hertzka attempts to reassure Schenker that the topics he wanted to discuss did
not involve "changes", only technical matters.
OC 52/44 Typewritten letter from Hertzka (UE) to Schenker, dated December 21, 1909
Hertzka regrets that since printing has not yet begun Schenker cannot have
proofs over Christmas; — He asks for a meeting during the holidays.
OC 52/390 Handwritten note by Schenker, undated [probably 1909]
Schenker records the refusal of his request for increased honorarium for vol.
II of Handel Organ Concertos, maintaining that his work comstituted more that mere
"arrangements."
OC 52/424 Typewritten letter from Hertzka (UE) to Schenker, dated February 7, 1910
While informing Schenker that his edition of the Chromatic Fantasy & Fugue
has not yet gone to the printers/engravers, Hertzka rebuts Schenker's allegation that he has
shown the edition to Godowsky, Robert and others. He raises the possibility of Schenker's
editing other works by J. S. Bach.
OC 52/45 Typewritten letter from Hertzka (UE) to Schenker, dated February 11, 1910
Refuting Schenker's accusations, particularly that UE emphasizes "anti-musical
music," Hertzka says he will print the proposed Bach works as Schenker suggests, and informs
him that the Chromatic Fantasy & Fugue edition will go to press in early
March.
OC 52/46 Typewritten letter from Hertzka (UE) to Schenker, dated March 11, 1910
Hertzka asks Schenker to return a score to the UE Archive.
OC 52/47 Typewritten letter from Hertzka (UE) to Schenker, dated March 12, 1910
Proofs of the Chromatic Fantasy & Fugue edition will not be available by
Easter [March 27]. Hertzka hopes Schenker will be able to correct them in
April.
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 52/49 Typewritten letter from Hertzka (UE) to Schenker, dated April 11, 1910
Hertzka is unable to return, as requested, Schenker's copy of a volume of the
Bach Gesellschaft Edition [vol. 36], and offers an alternative. — He denies having promised
Schenker that the Chromatic Fantasy & Fugue edition would go to engraving in the
Spring.
OC 52/50 Typewritten letter from Hertzka (UE) to Schenker, dated April 19, 1910
Hertzka hopes to have the galley-proofs of the Chromatic Fantasy & Fugue
edition very soon.
OC 52/51 Typewritten letter from Hertzka (UE) to Schenker, dated June 2, 1910
Hertzka notifies Schenker that the proofs of the Chromatic Fantasy & Fugue
edition are about to be delivered.
OC 52/52 Typewritten letter from Hertzka (UE) to Schenker, dated June 20, 1910
Hertzka acknowledges return of first proofs of the Chromatic Fantasy &
Fugue edition, and promises to look out the contracts Schenker has requested.
OC 52/53 Typewritten memorandum from Barbara Rothe (UE) to Schenker, dated July 4,
1910
Miss Rothe encloses copies of two requested contracts.
OC 52/54 Handwritten postcard from UE to Schenker, dated July 28, 1910
Second proofs of the Chromatic Fantasy & Fugue edition are ready for
correcting: UE asks to which address to send them.
OC 52/55 Handwritten postcard from UE to Schenker, dated August 17, 1910
UE acknowledge return of the [second] proofs of the Chromatic Fantasy &
Fugue edition, but request that Schenker return the "original."
OC 52/56 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September 9,
1910
Wöß invites Schenker to call on him to discuss aspects of the Chromatic
Fantasy & Fugue edition.
OC 52/57 Typewritten letter from Josef Venantius von Wöß (UE) to Schenker, dated September
15, 1910
Wöß asks a question concerning the abbreviations list in the Chromatic Fantasy
& Fugue edition.
OC 52/58 Typewritten postcard from UE to Schenker, dated September 15, 1910
Since further issues have arisen in the final proofs of the Chromatic Fantasy
& Fugue edition, Josef von Wöß asks for a visit from Schenker.
OC 52/425 Typewritten letter from UE to Schenker, dated October 14, 1910
UE is transferring Schenker's second honorarium for the Chromatic Fantasy
& Fugue edition, and enclose the publisher's blurb for the monograph Beethoven's Ninth
Symphony.
OC 52/59 Typewritten postcard from Hertzka (UE) to Schenker, dated October 28,
1910
UE is sending out complimentary copies to Schenker's recipient list, and two
copies to himself. It asks Schenker to call in at the office.
OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910
Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition
be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice.
— He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss
plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a
grant from the Ministry of Education.
OC 52/60 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1910
Hertzka is pleased that Schenker's conversation with Wilhelm Bopp has gone
promisingly, and that Schenker is agreeable to the alternating publication of Beethoven and
Bach. — He is sending a new draft contract for Beethovens neunte Sinfonie.
OC 52/431 Typewritten contract (carbon copy) between UE and Schenker for Beethovens neunte
Sinfonie, dated November 6, 1910
Contract for Schenker's monograph Beethovens neunte Sinfonie
OC 52/61 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1910
Hertzka will speak to Wilhelm Bopp to explore the position over the parallel
publication of Beethoven and Bach works, but admits there remains the thorny issue of the
need for a subsidy.
OC 52/62 Typewritten letter from Hertzka (UE) to Moriz Violin, dated January 19,
1911
Hertzka regrets having missed Moriz Violin's concert, and asks for a
list of recipients for his booklet Ueber das Continuo.
OC 52/70 Postal receipt for item from Schenker to Hertzka (UE), postmarked April 30,
1911
Postal receipt for item of April 30, 1911 sent to UE.
OC 1A/1-2 Handwritten letter from Schenker to Wilhelm Bopp (Akademie für Musik), dated May 30,
1911
Schenker has been unable to elicit any response from President [von
Wiener].
OC 1A/1-2 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
OC 1A/3 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
OC 1A/4-5 Handwritten letter, carbon copy, from Schenker to Hans Liebstoeckl, dated May 30,
1911
Schenker asks Liebstöckl to place an announcement [of a lecture series] in the
Illustrirtes Wiener Extrablatt.
OC 52/445 Typewritten letter from Hertzka (UE) to Schenker, dated June 27, 1911
Hertzka explains that the proofs for Schenker's monograph Beethovens neunte
Sinfonie will not be ready before August. — He hopes that an agreement can be reached over
the Beethoven/Bach project.
OC 52/63 Typewritten postcard from UE to Schenker, dated July 27, 1911
UE confirms sending Schenker's edition of the Chromatic Fantasy and Fugue to
Gottfried Galston. Hertzka is on holiday, and will reply on his return.
OC 52/64 Typewritten postcard from UE to Schenker, dated August 8, 1911
UE requests personal data.
OC 52/65 Typewritten postcard from UE to Schenker, dated September 14, 1911
Emil Hertka is away on business; Schenker should wait a day or
two.
OC 52/492 Typewritten letter from Hertzka (UE) to Schenker, dated September 19,
1911
UE cannot proceed with the Beethoven last five sonatas project absent a grant.
Whereas the larger German music publishers might be able to undertake such a work, UE is
still too young to have the investment. -- Proofs of Beethovens neunte Sinfonie will be
available in the Fall, owing to the delay in Schenker's delivery of his manuscript. --
Hertzka expresses delight at the sales of Kontrapunkt 1.
OC 52/66 Typewritten letter from Hertzka (UE) to Schenker, dated October 31, 1911
Schenker will receive the [first] proofs of his Beethovens neunte Sinfonie "in
the course of November."
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.
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.
OC 52/69 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911
Hertkza encloses a letter from Eugen d'Albert and is having the requested book
returned to Schenker.
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.
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.
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.
OC 52/75 Typewritten letter from Hertzka (UE) to Schenker, dated January 5, 1912
Hertkza encloses a letter from Breitkopf.
OC 52/76 Typewritten letter from Hertzka (UE) to Schenker, dated January 12, 1912
Hertkza notifies Schenker of the impending delivery of page-proofs of
Beethovens Neunte Sinfonie, takes note of Schenker's recent comments, and asks him to
consider making structural diagrams for movements 2-4.
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.
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.
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.
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.
OC 52/432 Typewritten letter from Hertzka (UE) to Schenker, dated March 7, 1912
Hertzka invites Schenker to meet him to discuss the plan for an edition of the
Beethoven Ninth Symphony score and other matters.
OC 52/81 Typewritten letter from Hertzka (UE) to Schenker, dated March 9, 1912
Hertzka agrees to the suggested meeting time and place; second proofs of
gatherings 9 and 10 are being dispatched to Schenker.
OC 52/82 Typewritten letter from Hertzka (UE) to Schenker, dated March 15, 1912
Hertzka gives Schenker assurances on the arrival of further
gatherings.
OC 52/403 Typewritten letter from Hertzka (UE) to Schenker, dated March 18, 1912
Second proofs of gatherings 11 and 12 of Schenker's monograph Beethovens
neunte Sinfonie are on their way to him. Hertzka issues a warning on correction costs.
Payment has been authorized for the additional material for his
Instrumentations-Tabelle.
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.
OC 52/84 Typewritten letter from Hertzka (UE) to Schenker, dated March 26, 1912
Gatherings are received and others sent out. Hertzka reiterates his demand for
the complete manuscript and outstanding first proofs.
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.
OC 52/86 Typewritten letter from B. Rothe (UE) to Schenker, dated April 15, 1912
Acknowledging proofs and prelims for Beethovens neunte Sinfonie, UE recommends
adding a subtitle for clarification.
OC 52/87 Typewritten express postcard from UE to Schenker, dated April 16, 1912
Hertzka acknowledges receipt of the Preface to Beethovens neunte
Sinfonie.
OC 52/88 Typewritten letter from Hertzka (UE) to Schenker, dated May 4, 1912
Hertzka asks Schenker to call on him to discuss Beethovens neune
Sinfonie.
OC 52/433 Handwritten letter from Hertzka (UE) to Schenker, dated May 7, 1912
Hertzka explains the reason for his need to see Schenker in person: it
concerns the numbering of bars in the second movement of Beethoven's Ninth Symphony in
Schenker's monograph on that work, and the planned edition of the score of the symphony; but
Hertzka will be away for up to ten days.
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.
OC 52/434 Typewritten letter from Hertzka (UE) to Schenker, with holograph insertions, dated
May 28, 1912
Hertzka invites Schenker to his home for a discussion of the monograph
Beethovens neunte Sinfonie.
OC 52/435 Typewritten postcard from Hertzka (UE) to Schenker, dated May 31, 1912
Hertzka asks Schenker to collect him from his office on June 1 for their
meeting.
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.
OC 52/404 Typewritten letter from Hertzka (UE) to Schenker, dated June 4, 1912
UE sends 100 Kronen in payment for the Instrumentations-Tabelle 2nd
edition.
OC 52/405 Notice of bank transaction, UE to Schenker, dated June 5, 1912
The Austrian Provincial Bank notifies Schenker of 100 Kronen sent to him on
behalf of Universal Edition.
OC 52/493 Typewritten letter from Hertzka (UE) to Schenker, dated June 8, 1912
Hertzka makes a firm proposition on payment for the Beethoven last five
sonatas, and seeks clarification on contact with Dr. Harpner.
OC 52/406 Typewritten letter from Hertzka (UE) to Schenker, dated June 10, 1912
Hertzka explains UE's recent 100 Kronen payment, and answers Schenker's
question on the edition number and retail price of his
Instrumentations-Tabelle.
OC 52/90 Typewritten letter from Hertzka (UE) to Schenker, dated June 28, 1912
Hertzka is unable to complete the contract for Die letzten fünf Sonaten
Beethovens this week; he will send it next week.
OC 52/91 Typewritten letter from Hertzka (UE) to Schenker, dated July 13, 1912
The Chromatic Fantasy edition and Ninth Symphony monograph will be sent as
requested; the [contract for the] Letzen fünf Sonaten edition will be dealt
with.
OC 52/92 Typewritten letter from Hertzka (UE) to Schenker, dated July 19, 1912
Hertzka sends the draft contract for Die letzten fünf Sonaten, and will deal
with the Musicians' Organization in the fall.
OC 52/94 Handwritten and typewritten postcard from UE to Schenker, dated July 23,
1912
Hertzka is out of town.
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.
OC 52/95-96 Typewritten letter from Hertzka (UE) to Schenker, dated August 22, 1912
Die letzten fünf Sonaten: Hertzka backs down on the contested contract clause;
Beethovens neunte Sinfonie: Hertzka refuses to budge on his proposal for the supplementary
honorarium, but assures Schenker of his good will toward him.
OC 52/494 Printed contract, with handwritten entries, between UE and Schenker, dated August
25, 1912
Contract for Schenker's edition of Beethovens letzte fünf Sonaten, with
special clause on correction costs
OC 52/97 Typewritten letter from Hertzka (UE) to Schenker, dated August 28, 1912
In an important letter on the plan for an organization of composers and
concert musicians, Hertzka declares himself willing to be involved, sets out a timetable,
issues a caution, and raises the issue of finance; in dealings with Hugo Heller, UE's and
his own name should not yet be divulged.
OC 1 B/15 Handwritten draft letter from Schenker to Carl Colbert, dated September 15,
1912
Schenker explains why he deprecates strongly giving a student only one lesson a
week and positively recommends two or three; he leaves the matter to Colbert, but gives him a
difficult choice.
OC 52/98 Typewritten letter from Hertzka (UE) to Schenker, dated September 16,
1912
In sending the first installment of Schenker's honorarium for the Last Five
Sonatas of Beethoven, Hertzka apologizes for its delay. — He asks for a meeting about the
Organization.
OJ 52/99 Notification of payment, from the Austrian Provincial Bank to Schenker, dated September
18, 1912
Payment notification of 600 Kronen [from UE].
OC 52/100 Typewritten letter from Hertzka (UE) to Schenker, dated September 27,
1912
Hertzka has tried and failed to telephone Dr. Harpner because he is
ill.
OC 52/101 Typewritten postcard from UE to Schenker, dated October 1, 1912
As instructed, UE has sent Schenker's Beethovens neunte Sinfonie to Ludwig
Karpath.
OC 52/102 Typewritten letter from Hertzka (UE) to Schenker, dated October 3, 1912
Hertzka gives his reaction to a letter from Hugo Heller to
Schenker.
OC 52/103 Handwritten and typewritten postcard from UE to Schenker, dated October 15,
1912
Hertzka is out of town.
OC 52/104 Typewritten letter from Hertzka (UE) to Schenker, dated October 23, 1912
Hertzka will speak with Harpner next week.
OC 52/436 Handwritten note by Schenker, undated [late October, 1912?]
Self-reminder that the requested "supplementary honorarium" of 400 Kronen has
not yet been delivered.
OC B/179 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 31, 1912
Kopfermann informs Schenker which late Beethoven piano sonatas the Library has
autograph pages of, and the arrangements for making photographs.
OC 52/105 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1912
Hertzka returns the compositions by Hans Weisse submitted for consideration,
giving reasons. — He has to stand aside for a time from the "Alliance" [recte Organization]
on health grounds.
OC 52/495 Typewritten letter from Hertzka (UE) to Schenker, dated November 28, 1912
Hertzka is sending another copy of Beethoven Op. 109, and is pleased to hear
of Schenker's discoveries. -- He asks for a discussion regarding the proposed "Alliance"
[recte "Organization"], on which he has some new ideas. -- He may look again at Hans
Weisse's music in 1913.
OC B/205 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated April 26,
1913
Schmidt identifies the autograph manuscript material of Beethoven Op. 111 held
by the Beethoven-Haus, and the extent to which photography of it has been carried
out.
OC B/277 Handwritten calling card from Carl Krebs to Schenker, dated April 27,
1913
Krebs gives information about the whereabouts of Beethoven's Piano Sonata Op.
101, but not of Op. 106.
OC 1A/16-17 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 16,
1913
Schenker regrets that he is unable to offer Newlov lessons in the coming
season.
OC 1A/25-26 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 24,
1913
Schenker says he has not received an alleged letter from Newlov; — he asks about
payment outstanding from 1912/13 season.
OC 1A/27-29 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 25,
1913
Angry letter in which Schenker defends himself against the accusation that he is
demanding a fee that has already been paid: he has all her letters, copies of his own, and all
her payment slips. He describes her unorthodox payment system, comparing it with that of other
pupils. He details her payment record for 1912/13 and insists on payment for June
1913.
OC B/276 Typewritten letter from Louis Koch to Schenker, dated October 3, 1913
Koch will send required information.
OC B/178 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 21, 1913
The Library's photographer has been inundated with work and unable to start on
Schenker's order.
OC B/273 Typewritten letter from Louis Koch to Schenker, dated October 23, 1913
Koch lists the Beethoven manuscript items in his possession.
OC B/274 Postal receipt for a letter from Schenker to Louis Koch, dated October 27,
1913
Postal receipt for letter of October 26, 1913 to Louis Koch.
OC B/272 Typewritten letter from Louis Koch to Schenker, dated October 28, 1913
Koch agrees to supply photographs of Op. 110.
OC B/177 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated October 30, 1913
Kopfermann notifies Schenker of the dispatch of photographs and of the
cost.
OC B/176 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated November 18, 1913
Kopfermann provides an estimate for the photography of Beethoven's Ninth Symphony
that Schenker has requested; and notifies him of another source of this work in the Library's
holdings.
OC B/275 Handwritten letter from Louis Koch to Schenker, dated November 22, 1913
Koch gives the provenance of the Op. 110 manuscript in his possession, and
other information.
OC B/279 Typewritten letter from Leo Liepmannssohn to Schenker, dated November 29,
1913
Liepmannssohn has none of the manuscripts Schenker seeks.
OC B/280 Handwritten letter from Max Meinert to Schenker, dated December 1, 1913
Max Meinert does not know the whereabouts of the autograph manuscripts of Op.
101 and Op. 106.
OC B/204 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
3, 1913
Schmidt suggests Schenker commission the Beethoven-Haus photographer, Heinrich
Rose, direct in ordering photographs of the autograph manuscript of the first movement of
Beethoven's Op. 111. He asks Schenker to supply a copy of his monograph on the Ninth
Symphony to the Beethoven-Haus library.
OC B/203 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
13, 1913
Schmidt thanks Schenker for the copy of his monograph Beethovens neunte
Sinfonie, and raises points of detail about the photography of the three requested
works.
OC B/281 Handwritten letter from Max Meinert to Schenker, dated December 16, 1913
Meinert has been unable to obtain further information.
OC B/175 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated December 20, 1913
Kopfermann inquires after Schenker's photographic requirements.
OC B/174 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to
Schenker, dated December 22, 1913
Kopfermann sends five photographic prints.
OC B/172 Printed form-letter with handwritten additions, from Wilhelm Altmann (Königliche
Bibliothek zu Berlin) to Schenker, dated June 19, 1914
Altmann sends three early editions of Op. 111 on lean.
OC B/173 Postal receipt for a letter sent from the Königliche Bibliothek, Berlin [to Schenker],
June 19, 1914
Postal receipt for packet of June 19, 1914 to Schenker.
OC B/269a-b Postal receipts for a letter and other item from Schenker to Louis Koch, dated November
15, 1915
Postal receipts for letter of November 14, 1915 and separate item to Louis
Koch.
OC B/270 Typewritten letter from Louis Koch to Schenker, dated November 29, 1915
Koch thanks Schenker for a copy of his elucidatory edition of Op. 111, and
reports his Chopin holdings.
OC 1B/5 Letter from Schenker to Evelina Pairamall, dated April 9, 1916
Letter in shorthand, indecipherable
OC 1 B/13 Handwritten draft letter from Schenker to Carl Colbert, dated September 18,
1916
Schenker excuses the raising of the name of Walter Dahms in connection with an
inquiry by Tony Colbert.
OC 1B/9 Handwritten draft letter from Schenker to Halm, dated by later hand [December 29,
1916]
In his first letter to Halm, Schenker knows Halm's work and regards him as an
ally; he affirms that music has few primal laws (Urgesetze) that are immutable. — He cannot
intercede on Halm's behalf with Universal Edition.
OC 16/27-29 Typewritten letter from Siegfried Türkel to Schenker, dated March 10,
1917
Concerning the Sofie Deutsch estate, Siegrfriel Türkel recommends Schenker to
put in a claim for his honorarium without delay.
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.
OC 16/30v-33v Typewritten letter from Siegfried Türkel to Schenker, dated March 13,
1917
Dr. Türkel apologizes for failing to realize that Schenker was a
fellow-lawyer, and announces that the 5,000 Kronen bequeathed in Sofie Deutsch's will have
now reached him.
OC 16/32v Handwritten draft letter fragment from Schenker to Hugo Friedmann, dated March 14,
1917
Final page only, in which Schenker reserves further decisions regarding his
legacies from Sofie Deutsch's will.
OC 1 B/23 Handwritten draft letter from Schenker to Siegfried Türkel, dated March 17,
1917
Schenker encloses a letter from Dr. Hugo Friedmann and comments on it,
ridiculing the lack of sophistication of the wealthy, and asserting his own indifference to
money.
OC 38/146v Fragment of a typewritten letter from Siegfried Türkel to Schenker, dated March 13,
1917
Fragment of letter.
OC 52/203 Typed letter from Hertzka (UE) to Schenker, dated February 5, 1918
Hertzka acknowledges WSLB 292 and apologizes for late reply; he knows nothing of
August Halm's request for review copies of Schenker's other works, but has ordered a complete
set to be sent to him.
OC 52/204 Postal receipt for postcard from Schenker to Hertzka (UE), dated February 5,
1918
postal receipt for registered postcard WSLB 293 from Schenker to Hertzka
OC 1 B/34r Handwritten draft letter from Schenker to Türkel, dated February 24, 1918
Schenker addresses legal obstructions regarding Sofie Deutsch's will, and
threatens to go back on an earlier disclaimer if he continues to be deprived of the inheritance
due to him; notifies Türkel that he has already paid out the first stipend, to Otto Vrieslander,
and has promised the second and third to two composers (unnamed).
OC 52/559 Typed letter from Hertzka (UE) to Schenker, dated March 5, 1918
Hertzka will inquire about a review published in Lausanne; has dispatched Op. 111
to Steglich and encloses invoice and payment order; in light of Brest-Litovsk, he inquires about
Kontrapunkt2 and the Kleine Bibibliothek.
OC 52/205 Typed letter from Hertzka (UE) to Schenker, dated April 10, 1918
Hertzka returns the Bekker review with thanks, and reflects on Schenker's remarks
concerning Urtext editions; he encloses the requested copy of the Gazette de Lausanne.
OC 52/206 Typed postcard from Hertzka (UE) to Schenker, dated April 18, 1918
Hertzka acknowledges return of Gazette de Lausanne article and concurs with
Schenker's view on editing.
OC 52/207 Typed postcard from Ernst Roth (UE) to Schenker, dated May 20, 1919
Hertzka is away and expected back in 8-10 days.
OC 52/923 Typed letter from Hertzka (UE) to Schenker, dated June 6, 1919
Hertzka acknowledges receipt of WSLB 302; he cannot entertain early publication
of Weisse's work but wishes to get to know it now. — He hopes to have work from Schenker's pen
as soon as work for Cotta is finished. — He proposes that the Foreword to Die letzten fünf
Sonaten von Beethoven ... op. 111 be omitted [in an future edition].
OC 1 B/35-40 Handwritten draft letter, in Jeanette Kornfeld/Schenker's hand, from Schenker to
Hertzka (UE), undated [June 10, 1919]
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven ... op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art and all manifestations of human life are inextricably
interconnected. He claims that his pronouncements on politics now will prove correct in the long
run. His sole concern is with the truth; he is not interested in pandering to his readers.
OC 52/208 Postal receipt for letter from Schenker to Hertzka (UE), dated June 13, 1919
Postal receipt for letter WSLB 303 from Schenker to Hertzka
OC 52/924 Typed letter from Hertzka (UE) to Schenker, dated June 16, 1919
Hertzka acknowledges WSLB 303 and seeks a meeting; the Foreword [to Op. 111] will
remain unchanged.
OC 1 B/41-45 Handwritten draft letter from Schenker to Eberhard von Waechter, dated October 17,
1919
Schenker addresses the misunderstanding that has arisen, explaining his
willingness to contribute articles to Der Merker once his current projects are in print.
OC 16/37v-36v Typed letter from Türkel to Schenker, dated November 3, 1919
Tükel reports the contents of a letter he has received from Dr. Friedmann.
OC 52/209 Postal receipt for letter from Schenker to Louis Koch, dated November 3,
1919
Postal receipt for a registered letter from Schenker to Louis
Koch.
OC 52/210 Typed letter from Hertzka (UE) to Schenker, dated November 8, 1919
Hertzka has arranged for a copy of his monograph Beethovens Neunte Sinfone to be
sent, and welcomes Schenker's remarks about resuming work for UE. PS: He is sending the first
issue of Musikblätter des Anbruch.
OC 52/211 Typed letter from Hertzka (UE) to Schenker, dated November 14, 1919
Hertzka will correct the price of Beethovens Neunte Sinfonie and send a copy of
Die letzten fünf Sonaten von Beethoven ... op. 111 to Dolfi Baudrexel. He hopes that Schenker
will contribute to Musikblätter des Anbruch.
OC 52/212-213 Typed letter from Hertzka (UE) to Schenker, dated December 1, 1919
Hertzka is pleased to hear that the availability of the autograph manuscript of
Op. 101 means that the series Die letzten fünf Sonaten von Beethoven can go forward, and is in
agreement with Schenker's proposal to edit the remaining twenty-seven Beethoven sonatas. He asks
for a meeting to discuss the honorarium.
OC 52/214 Typed postcard from Hertzka (UE) to Schenker, dated December 9, 1919
Hertzka agrees to place and time of a meeting on Friday May 12.
OC B/268 Typewritten letter from Louis Koch to Schenker, dated December 10, 1919
Koch asks about the format of the required photography.
OC 16/38v Typed letter from Türkel to Schenker, dated December 13, 1919
Türkel acknowledges letter and requests explanation.
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.
OC B/170 Typewritten letter from Wilhelm Altmann to Schenker, dated January 5,
1920
Altmann will have photographs [of sketches of Beethoven, Op. 101] prepared
upon receipt of application form.
OC 52/446 Typed letter from Hertzka (UE) to Schenker, dated January 14, 1920
Hertzka has not yet gone to Frankfurt.—- He wants to publish the "Moonlight"
Sonata in a series edited by Otto Erich Deutsch. — Would like to do new edition of complete
Beethoven sonatas, but without wholesale reengraving. — Discusses financial arrangements for the
latter, and for the Kleine Bibliothek. — Encloses the contract for Die letzten fünf Sonaten von
Beethoven ... op. 101.
OC 52/509 Typed letter from Hertzka (UE) to Schenker, dated January 22, 1920
Alteration to 1912 contract for Die letzten fünf Sonaten von
Beethoven.
OC B/169 Typewritten letter from Wilhelm Altmann to Schenker, dated dated January 22,
1920
OC 52/215 Typed letter from Hertzka (UE) to Schenker, dated January 23, 1920
Hertzka is sending the publisher's copy of the contract for Die letzten fünf
Sonaten von Beethoven ... op. 101 and the first tranche of honorarium, discusses the facsimile
edition of the "Moonlight" Sonata, raises issues regarding the prospective Beethoven collected
sonatas edition and Kleine Bibliothek, and expresses pleasure that he and Schenker are again in
accord.
OC 16/39v-40v Typed letter from Türkel to Schenker, dated January 26, 1920
Following affirmative reaction from Fritz Mendel, Türkel asks Schenker to call on
him.
OJ 52/216 Notice of Bank Transaction from the Austrian Provincial Bank to Schenker, dated
February 3, 1920
Payment notification of 7,500 Kronen [from UE].
OJ 52/217 Receipt for Bank Transaction from the Austrian Provincial Bank to Schenker, undated
[February 3], 1920
Receipt for sum of 7,500 Kronen [from UE].
OC B/168 Typewritten postcard from Wilhelm Altmann to Schenker, dated February 5,
1920
The photographs of Op. 101 are ready and will be sent.
OC 52/218 Typed letter from Fischmann (UE) to Schenker, dated February 19, 1920
Acting for the Schutzverband deutscher Schriftsteller in Wien, Fischmann offers
Schenker advice on the draft contract for the Kleine Bibliothek.
OC B/168 Typewritten letter from Wilhelm Altmann to Schenker, dated February 25,
1920
Altmann is glad Schenker hopes to visit the Library; photography of Chopin
Etudes Op. 10 is in progress.
OC B/267 Typewritten letter from Louis Koch to Schenker, dated February 27, 1920
Koch is sending photographs separately.
OC B/261 Handwritten invoice from Gustav Rapp & Co. to Schenker, dated March 8,
1920
Invoice for photographic copies [of Beethoven, Op. 101].
OC 52/219 Typed postcard from Rothe (UE) to Schenker, dated March 9, 1920
Vol. II of the Beethoven sonatas is being dispatched to Schenker.
OC B/260 Handwritten letter from Gustav Rapp & Co. to Schenker, dated March 9,
1920
Rapp encloses invoice.
OC B/266 Typewritten postcard from Louis Koch to Schenker, dated March 9, 1920
Koch hopes photographs have arrived.
OC 52/220 Typed letter from Hertzka (UE) to Schenker, dated March 13, 1920
Hertzka thanks Schenker for commiserations, expresses pleasure that the
photographs [of Op. 101] have arrived, and seeks a meeting to discuss the Kleine Bibliothek.
OC 52/223 Handwritten draft contract, in Jeanette Schenker's hand, between UE and Schenker for
the Kleine Bibliothek and Beethoven sonatas edition, undated [March 17,?] 1920
Handwritten draft contract jointly for the Kleine Bibliothek and Beethoven
sonatas edition.
OC B/263 Postal receipt for a payment from Schenker to Gustav Rapp & Co., dated March 19,
1920
Postal receipt for the first of four payments totaling 240
Marks.
OC B/264 Postal receipt for a payment from Schenker to Gustav Rapp & Co., dated March 20,
1920
Postal receipt for the second of four payments totaling 240
Marks.
OC 52/547 Typed letter from Hertzka (UE) to Schenker, dated March 22, 1920
Hertzka sends contracts for the Kleine Bibliotek and Beethoven complete sonatas,
explains the alterations that have been made to these since their recent conversation, and asks
for their signed return. Marginal calculations by Schenker.
OC B/265 Postal receipt for a payment from Schenker to Gustav Rapp & Co., dated March 22,
1920
Postal receipt for the third of four payments totaling 240
Marks.
OC 52/447 Draft Contract between UE and Schenker for the Beethoven Sonatas edition, dated March
23, 1920
Draft contract for the Beethoven Sonatas edition.
OC 52/560 Draft Contract between UE and Schenker for the Kleine Bibliothek, dated March 23,
1920
Draft contract for the Kleine Bibliothek.
OC B/262 Postal receipt for a payment from Schenker to Gustav Rapp & Co., dated March 23,
1920
Postal receipt for the fourth of four payments totaling 240
Marks.
OC 52/221 Typed letter from Hertzka (UE) to Schenker, dated March 26, 1920
Hertzka seeks a meeting to discuss the letter of agreement about the Beethoven
sonatas edition, and laments their difficulty in meeting.
OC 52/222 Typed letter from Fischmann to Schenker, dated March 26, 1920
Fischmann asks Schenker to call on him on March 31.
OC 52/224 Typed letter from Fischmann (UE) to Schenker, dated April 3, 1920
Fischmann gives advice on Schenker's contracts for the Kleine Bibliothek and the
collected Beethoven piano sonatas.
OC 16/41v-42v Typed letter from Türkel to Schenker, dated April 6, 1920
Türkel corrects Schenker and suggests he make inquiries with Friedmann.
OC 52/225 Typed postcard from Hertzka/Rothe (UE) to Schenker, dated April 7, 1920
Hertzka agrees to meet Schenker.
OC 52/408 Typed letter from Hertzka (UE) to Schenker, dated April 12, 1920
Accounts Department informs Schenker that the last edition of Niloff
Instrumentations-Tabelle occurred in 1917, the honorarium for that was paid, but the work is
going to press.
OC 52/409 Typed letter from Hertzka (UE) to Schenker, dated April 12, 1920
Hertzka encloses the contracts for the Kleine Bibliothek and collected Beethoven
sonatas, hoping that it will meet with approval. -- He explains the rise in price of the
Instrumentations-Tabelle.
OC 52/226 Typed letter from Hertzka (UE) to Schenker, dated April 16, 1920
Hertzka agrees to pay extra costs for photography [of Op. 53], but sets
conditions.
OC 52/227 Typed letter from Fischmann (UE) to Schenker, dated April 17, 1920
Fischmann sees two points still outstanding over the contracts for the Kleine
Bibliothek and Beethoven sonatas, and advises him how to handle them.
OC B/162 Typewritten letter from Wilhelm Altmann to Schenker, dated April 19, 1920
Altmann advises Schenker on the early sources of Beethoven piano sonatas in
the Library's possession.
OC 52/228 Typed postcard from Hertzka (UE) to Schenker, dated April 22, 1920
Hertzka regrets the difficulties that Schenker has made over the letter of
agreement, and will be away for several weeks.
OC 32/29v-27v Typed letter from Friedmann to Schenker, dated April 23, 1920
Friedmann asks Schenker if he might explain the situation in
person.
OC 52/229 Typed letter from Hertzka (UE) to Schenker, dated June 24, 1920
Hertzka will meet with Schenker on Friday July 2 to receive the manuscript of
Schenker's Op. 101 monograph and photographs of the "Moonlight" Sonata.
OC 52/410 Typed letter from Hertzka (UE) to Schenker, dated July 2, 1920
The Book-keeper goes through the amounts paid to Schenker on account of the
Niloff [= Schenker] Instrumentations-Tabelle and the print-runs and publication dates of the
editions.
OC 52/230 Typed postcard from UE to Schenker, dated July 5, 1920
UE is sending 7,500 Kronen via Moriz Schenker.
OC 52/448 Typed contract between UE and Schenker for the Beethoven sonatas edition, dated July
10, 1920
Contract between UE and Schenker for the Beethoven sonatas collected edition.
OC 52/517 Typed contract from between UE and Schenker for the Kleine Bibliothek, dated July 10,
1920
Contract between UE and Schenker for the Kleine Bibliothek.
OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920
Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp.
109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek
for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's
attentions.
OC 52/231 Typed letter from Kalmus and Detoni (UE) to Schenker, dated September 8,
1920
Kalmus encloses print samples of type-sizes for the Kleine Bibliothek, and
promises samples of the engraving, and copies requested.
OC 52/411 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 14, 1920
Kalmus is glad Schenker approves of the type samples and gives estimates for the
extent per page, has not yet heard from Wellesz re the "Appassionata" Sonata, is contacting
Hertzka about the "Waldstein" Sonata photography, will send documentary evidence regarding a
1912 payment, and sends copies of Beethoven sonatas.
OC 52/232 Postal receipt for letter from Schenker to Kalmus (UE), dated September 20,
1920
Postal receipt for return of documentary evidence [regarding payment for the
Instrumentations-Tabelle]; notifies of addition to Op. 101.
OC B/159 Typewritten postcard from Wilhelm Altmann to Schenker, dated September 20,
1920
The photographs of Beethoven's Fifth Symphony, first movement, should be
dispatched next week.
OC 52/233 Typed letter from Detoni and Kalmus (UE) to Schenker, dated September 23,
1920
UE is sending over large and small engraving samples of the Kleine Bibliothek for
Schenker's approval, and confirms receipt of the documentary evidence and Schenker's previous
letter.
OC B/158 Handwritten postcard from Wilhelm Altmann to Schenker, dated September 25,
1920
Altmann notifies Schenker of the cost of photographic work
done.
OC B/160 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked September 30,
1920
Postal receipt for return of Lischke edition of[ Beethoven Op.
2].
OC 52/234 Typed postcard from Nella Balassa (UE) to Schenker, dated October 4, 1920
Schenker is asked to send the figure back with messenger.
OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920
Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the
publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about
the autograph manuscript for which Schenker is waiting.
OC 52/235-236 Handwritten delivery note from UE to Schenker, dated October 27, 1920
Delivery of Beethoven sonatas for comparative study.
OC 52/237 Typed letter from Kalmus (UE) to Schenker, dated November 5, 1920
Kalmus confirms that the "Secondary Literature" section of Op. 101 will be set in
small type; he is writing to Paris about the "Appassionata."
OC 52/238 Typed letter from Rothe (UE) to Schenker, dated December 6, 1920
UE are delivering [first] proofs of Op. 111 and second proofs of figures [for
"Schubert: Ihr Bild"].
OC 52/413 Typed letter from Rothe (UE) to Schenker, dated December 7, 1920
500 Kronen transferred for Niloff fifth edition.
OC 52/485 Contract between Otto Erich Deutsch and Schenker, dated December 16, 1920
Contract between Otto Erich Deutsch and Schenker for the facsimile edition of
Beethoven, "Moonlight" Sonata.
OC 52/239-240 Typed letter from Hertzka (UE) to Schenker, dated December 18, 1920
Hertzka and Schenker will discuss the Niloff Instrumentations-Tabelle; Hertzka
offers two alternative solutions to UE's taking over of Kontrapunkt 2.
OC 52/241 Typed letter from Kalmus (UE) to Schenker, dated December 21, 1920
UE acknowledges receipt of the manuscript of "Beethoven's Fifth Symphony" and
notifies Schenker that he will be receiving proofs of Die letzten fünf Sonaten von Beethoven ...
op. 101.
OC B/155 Typewritten letter from Wilhelm Altmann to Schenker, dated December 28,
1920
Altmann reports extra cost of photographic work.
OC 52/561 Typed letter from Hertzka (UE) to Schenker, dated December 30, 1920
Hertzka wishes to discuss the transfer of Kontrapunkt 2 in person. He also wishes
urgently to discuss "The Mission of German Genius." [This crucial letter marks the beginning of
the deterioration of relations between Schenker, Hertzka, and UE between 1920 and 1925.]
OC 52/242 Typed postcard from Hertzka (UE) to Schenker, dated January 3, 1921
Hertzka confirms day and time of meeting.
OC 52/244 Typed letter from Hertzka (UE) to Schenker, dated January 12, 1921
Hertzka sends contracts for NMTP and Kontrapunkt 2, and discusses the take-over
from Cotta, requesting Schenker's estimate of remaining stocks, and asking whether changes would
be required in a second edition of Kontrapunkt I.
OC B/156 Typewritten postcard from Wilhelm Altmann to Schenker, postmarked January 18,
1921
Photographing of movements 2-4 of Beethoven's Fifth Symphony will be delayed
until February.
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.
OC B/146 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked June 17,
1921
Postal receipt for return of Simrock edition of Beethoven Op. 31, No.
3.
OC 24/22 Typewritten postcard from Otto Erich Deutsch to Schenker, dated June 28,
1921
Deutsch thanks Schenker for his postcard of June 26, 1921, and wishes him good
luck in his new home and with his summer trip to Galtür. Deutsch has read issue 1 of
Tonwille with great interest, and hopes that their connoisseur edition will be as
successful.
OC B/152 Handwritten postcard from Wilhelm Altmann to Schenker, dated June 30,
1921
Altmann reports on holdings of Handel keyboard works edition
(1702).
OC 24/20 Handwritten letter from Frimmel to Schenker, dated August 1, 1921
Frimmel acknowledges receipt of a complimentary copy of Tonwille 1, comments
neutrally on Schenker's incursions into politics, imagines something rather different by the
concept of "Tonwille," and while agreeing with the criticism of Riemann thinks it could have
been done more gently. — He asks for review copies of Schenker's editions of Beethoven Op.
110 and 101.
OC 24/4-5 Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 3, 1921
Violin expresses his awe concerning the first issue of Der Tonwille, and declares
himself ready to offer his services in making Schenker's work better understood.
OC B/148 Typewritten letter from Wilhelm Altmann to Schenker, dated September 9,
1921
Altmann reports on holdings of Handel keyboard works; and on progress in
photographing Beethoven's Symphony No. 5; and thanks Schenker for sending Tonwille 1 and Op.
101.
OC 65/57v Handwritten letter from Anna Fried to Schenker, dated September 20, 1921
Anna Fried has to suspend her lessons, hoping to resume
later.
OC 65/59v Handwritten letter from Anna Fried to Schenker, dated December 28, 1921
Anna Fried sends New Year's greetings.
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.
OC 12/1 Handwritten letter from Theodor Frimmel to Deutsch, dated February 22, 1922 (forwarded from Deutsch to
Schenker with marginal note dated Feburary 27, 1922)
Deutsch forwards Schenker a letter from Theodor Frimmel regarding errors in Rolland's Beethoven
biography. In the original letter, Frimmel asks Deutsch to send his regards to the Schenkers.
OC 1B/10-11 Handwritten letter from Schenker to Hertzka (UE), dated February 22‒23, 1922
Schenker returns materials for the Fifth Symphony article, reports a delay in
providing information for the facsimile edition of the "Spring" Sonata, and complains that he
has futilely lavished time on the purification of the German language for the second edition of
Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an
"Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks
how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that
his pupils might make the preparatory graphs.
OC B/147 Printed postcard from Wilhelm Altmann to Schenker, dated April 26, 1922
In a form postcard, Altmann thanks Schenker for his good wishes on his 60th
birthday.
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.
OC B/144 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked September 29,
1922
Postal receipt for return of Simrock edition of Beethoven Op. 14 and arrangement
of Op. 14, No. 1.
OC B/143 Typewritten letter from Wilhelm Altmann to Schenker, dated October 9,
1922
Altmann acknowledges receipt of Der Tonwille and return of two editions, and
refers to Universal Edition.
OC B/142 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked October 16,
1922
Postal receipt for return of early edition of Beethoven Op. 22.
OC 12/7-9 Handwritten letter from Halm to Schenker dated November 6‒10, 1923
Halm has sent the published score of a string quartet to Schenker. —Patronage has
enabled him to publish three volumes of compositions; reports on current and past composition
activities and publications. —Discusses what he has learned from Schenker's theories, and
questions whether it would be a fault were Bruckner's symphonies not to contain the Urlinie;
Halm's book on Bruckner's symphonies has gone into its second edition. —Halm suspects that
Schenker may not "agree with" his compositions, and asks whether Schenker wishes to receives
further scores. —Halm considers socialism a "historical necessity."
OC 82/10 Memorandum of a discussion of the Missa solemnis, dated September 21,
1923
Memorandum of a discussion of the Missa solemnis between Klenau and
Schenker.
OC 54/333-336 Handwritten letter (copy) from Schenker to Klenau, dated October 9‒10,
1923
Schenker offers further advice on performing the "Eroica"
Symphony.
OC 52/483 Handwritten letter from Elias to Schenker dated December 21, 1923
Miss Elias has obtained vols II-III of Schenker's Beethoven piano sonata
edition as a Christmas present for Marianne Kahn.
OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924
Schenker responds to Klenau's remarks on atonal composers and a coming
Renaissance; invites him to visit on a Wednesday.
OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924
Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111;
he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and
its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a
passage exhibiting non-genius in his or Oppel's music and discuss it in Der
Tonwille.
OC 12/13-14 Handwritten letter from Halm to Schenker dated March 15, 1924 and April 1,
1924
Halm attacks Schenker for condemning Berlioz's melodic practice without
substantiating his argument, and for harsh language. Halm compares Berlioz favorably to
Mendelssohn.
OC 12/15-17 Handwritten letter from Halm to Schenker dated April 7, April 14, and May 6,
1924]
Halm again asks Schenker to point out an instance of non-genius in his [Halm's]
music. — Has long believed that foreground (= corporeality) has been neglected at the expense of
background (= spirituality) in music. — Defends Kurth against Schenker's critical remarks. —
Suggests an explanation for the Bruckner classroom incident. — Will send parts of his [A major]
String Quartet and promises a copy of his "Von Grenzen und Ländern". — Accepts offer of
assistance with publication costs. — Comments on Reger.
OC B/183 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 12,
1924
The Library does not possess the autograph of J. S. Bach's Kleine
Präludien.
OC B/184 Typewritten postcard from Wilhelm Altmann to Schenker, dated June 27,
1924
Altmann states the cost of photographing autograph parts of the St Matthew
Passion.
OC B/185 Handwritten postcard from Wilhelm Altmann to Schenker, dated October 30,
1924
Altmann is about to send Schenker the autograph parts of J. S. Bach's St
Matthew Passion, and asks for remittance.
OC B/186 Customs receipt [from Preussische Staatsbibliothek to Schenker], dated November 6,
1924
Receipt from customs for payment ofimport tax [on Bach St. Matthew Passion
parts].
OC B/187 Handwritten postcard from Wilhelm Altmann to Schenker, dated November 14,
1924
Schenker may hold on to the parts of the St Matthew Passion for some
time.
OC B/188 Handwritten letter from Wilhelm Altmann to Schenker, dated November 17,
1924
Altmann asks Schenker to send the balance of the charge for the Bach St
Matthew Passion parts.
OC 54/2 Typed letter from Alfred Einstein & August Demblin (DMV) to Schenker, dated
November 27, 1924
Having had soundings from Otto Vrieslander about taking over the publishing of
Der Tonwille, Drei Masken Verlag now approach Schenker directly, asking him to come to an
agreement with Universal Edition about the the future of the publication.
OC 54/3 Typed letter from Theodor Baumgarten to Schenker, dated December 9, 1924
Schenker’s lawyer, Theodor Baumgarten, advises caution in dealing with Universal
Edition over the winding-up of Der Tonwille, and with Drei Masken Verlag over the future of the
new venture.
OC 54/4 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated
December 9, 1924
Drei Masken Verlag acknowledge the receipt of Schenker’s letter of December 5,
1924.
OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9,
1924
In the light of an exchange of letters with UE, Schenker suggests that the new
publication have a new title (Die Urlinie) but that the old typeface and format be retained.
He suggests that the new periodical should include articles on each of the Chopin etudes and
the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from
all of which book-length studies could subsequently be made.
OC 54/8 Postal receipt for a letter from Schenker to Drei Masken Verlag, dated December 9,
1924
Postal receipt for OC 54/5-7.
OC 54/9 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated
December 22, 1924
DMV acknowledge receipt of Schenker’s letter of December 9, 1924 and promise
to reply after the Christmas holidays.
OC 54/10 Typed letter from Theodor Baumgarten to Schenker, dated January 15, 1925
Baumgarten expresses his concerns about Schenker’s negotiations with a new
publisher, and cautiously advises that his client might instead wish to reach a peaceful
agreement with Universal Edition.
OC 54/11 Typewritten postcard from Otto Vrieslander to Schenker, dated January 19,
1925
Vrieslander thanks Schenker for Tonwille 10, remarks about negotiations with
Universal Edition and Drei Masken Verlag, and promises to send him an offprint of his recent
essay on C. P. E. Bach.
OC 54/12 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January
20, 1925
Drei Masken Verlag offer to publish Schenker's future work as a yearbook,
entitled "Das Meisterwerk in der Musik," in volumes comprising fifteen gatherings (180 pages).
The manuscript would need to be delivered in July in order for the book to be published in time
for Christmas.
OC 54/13 Postal receipt for documents sent by Schenker to Otto Vrieslander, dated January 21, 1925
Postal receipt for unknown item
OC 54/14 Handwritten postcard from Theodor Baumgarten to Schenker, dated January 23,
1925
Baumgarten will let Schenker know whether he is able to visit him the following
Monday (January 26, 1925), to discuss Drei Masken Verlag's letter of January 20 (OC
54/12).
OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24,
1925
Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred
Einstein, whose character he rates highly and who assured him that he was looking forward to
publishing Schenker's work.
OC 54/16-18 Draft letter from Schenker to Drei Masken Verlag, dated January 28, 1925
Schenker agrees to the idea of a yearbook, entitled "Das Meisterwerk in der
Musik," as put forward by Drei Masken Verlag, and now asks for a draft contract to be sent,
and for them to typeset some of his work so that he has an idea how long the manuscript for
the yearbook should be. He also vents his hostility towards Emil Hertzka at Universal
Edition.
OC 54/19 Typewritten letter from August Demblin (DMV) to Schenker, dated February 3,
1925
Replying to Schenker's earlier queries, Drei Masken Verlag explain that Schenker
will receive a royalty of 15% of the selling price of a paperback copy for each Yearbook sold,
whether hardback or paperback. They offer an advance of 500 marks against expected sales at the
time of publication (early November), and can give him half that sum upon receipt of his
manuscript at the end of June.
OC 52/647 Handwritten letter from Moriz Violin to Schenker, dated February 5, 1925
Violin explains why, and how, the number of free copies of Der Tonwille
distributed to German university music departments was reduced from 10 per university to 7.
He has seen Paul Bekker's recent book, which includes a survey of recent trends in music
theory.
OC 54/20-22 Draft of a letter from Schenker to Drei Masken Verlag, dated February 7,
1925
Schenker agrees to the terms of a contract outlined by Drei Masken Verlag. He
requests that Fraktur typeface be used in the printing of his Yearbook, and he also needs to
know the likely dimensions of the book (in words per page) so that he can plan its contents
accordingly. He ends with a diatribe against Emil Hertzka at Universal
Edition.
OC 54/23 Typed letter from August Demblin (DMV) to Schenker, dated February 11, 1925
A copy of the Mozart-Jahrbuch II will be sent to Schenker as a model for
Meisterwerk.
OC 52/639 Handwritten letter from Siegfried Fritz Müller to Schenker, dated February 13,
1925
Siegfried Fritz Müller reports his subscriptions to Tonwille and asks for
clarity regarding dealings with Drei Masken-Verlag.
OC 52/636 Handwritten letter from Robert Brünauer to Schenker, dated February 19,
1925
Robert Brünauer reports on the subscriptions to Der Tonwille that he has taken
out.
OC 54/25 Typed letter from August Demblin (DMV) to Schenker, dated February 21, 1925
Drei Masken Verlag acknowledge Schenker's acceptance of their terms and issue a
contract for the Meisterwerk Yearbooks.
OC 54/26 Postal receipt for a document sent by Schenker to Drei Masken Verlag, dated February
25, 1925
Postal receipt for unknown item
OC 54/27 Postal receipt for a document sent by Schenker to Drei Masken Verlag, dated February
28, 1925
Postal receipt for express letter
OC 54/28 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated March 3,
1925
Drei Masken Verlag is willing to use Der Tonwille as the title of Schenker's
Yearbook, but only with the approval of Hertzka at Universal Edition.
OC 52/648 Handwritten letter from Moriz Violin to Schenker, dated March 5, 1925
Violin sends Schenker receipts for the purchase of Der
Tonwille.
OC B/196 Typewritten letter from Wilhelm Altmann to Schenker, dated March 24, 1925
The St. Matthew Passion parts may be retained until mid-July; Altmann is
pleased at Schenker's move from Universal Edition to Drei Masken Verlag; will not be in
Galtür next summer.
OC 52/644 Handwritten letter from Moriz Violin to Schenker, dated April 21, 1925
Violin has had the order for nine copies of Tonwille 1 placed in Berlin, and
has collected the receipts. He has not heard from Weisse, but attended a performance of his
String Sextet and, like Schenker, found the variations and the trio section of the scherzo
the most successful.
OC 52/618 Handwritten letter from Moriz Violin to Schenker, dated May 26, 1925
Dealing at the same time with a family matter, Violin sends Schenker the
receipt for Max Temming's purchase of subscriptions to Der Tonwille and confirms that the
money for this was sent to the Leipzig office of Universal Edition. He is not planning any
summer holiday this year.
OC 54/29 Typed postcard from August Demblin and Alfred Einstein (DMV) to Schenker, dated June
10, 1925
Drei Masken Verlag requests that Schenker send the manuscript of the first
Meisterwerk Yearbook directly to their Munich office.
OC B/199 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked June 12,
1925
Postal receipt for letter and packet containing Schenker
medallion.
OC 52/631 Handwritten letter from Elias to Heinrich Schenker, dated June 13, 1925
Miss Elias reports on the pricing of issues of Der Tonwille in two music
stores.
OC 52/649 Handwritten letter from Moriz Violin to Schenker, dated June 15, 1925
Violin has received letters from the music departments of two German
universities, which show that the tenth issue of Der Tonwille (published in January 1925)
was not received until June 10.
OC 54/30 Postal Receipt for a package from Schenker to Drei Masken Verlag, dated June 15,
1925
Postal receipt for manuscript of Meisterwerk I dispatched to Drei Masken
Verlag
OC B/190 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked June 15,
1925
Altmann thanks Schenker for the medallion; he will be unable to visit
Galtür.
OC B/197 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked June 20,
1925
Postal receipt for package to Altmann [containing Bach autograph
material]
OC 54/15 Typewritten letter from Moriz Schenker to Heinrich Schenker, dated July 24,
1925
Moriz Schenker tells his brother that he will ask his friend Sobotka to
intervene directly in the matter of obtaining the advance of 250 marks from Drei Masken
Verlag
OC 54/32 Typed letter from Moriz Schenker to Schenker, dated July 28, 1925
Moriz Schenker has seen his friend Sobotka, who will arrange for the advance
from Drei Masken Verlag to be paid into his account.
OC 54/33 Typewritten letter from C. Alberti (DMV) to Schenker, dated September 1,
1925
In response to Schenker's request for proofs for the first Meisterwerk Yearbook,
Drei Masken Verlag explain that they have not yet decided on a printing house. They advise
Schenker to submit his next manuscript earlier in the year, on account of the complexity of the
work.
OC 54/34 Typewritten letter from August Demblin (DMV) to Schenker, dated September 16,
1925
Drei Masken Verlag tell Schenker that a printer for the first Meisterwerk
Yearbook has not yet been found, owing to the high costs of this work, and that first proofs
will not be ready for another two weeks.
OC 54/35 Typewritten postcard from August Demblin (DMV) to Schenker, dated September 22,
1925
Drei Masken Verlag arranges for Schenker to be paid his advance of 250
marks.
OC B/191 Typewritten postcard from Wilhelm Altmann to Schenker, dated October 12,
1925
Conditions under which Altmann could purchase Brahms autograph for
Library.
OC 54/36 Typewritten postcard from August Demblin (DMV) to Schenker, dated October 13,
1925
Drei Masken Verlag has still not found a suitable printing house, and informs
Schenker that the first Meisterwerk Yearbook cannot be published in 1925.
OC 54/37 Copy of letter from Schenker to Drei Masken Verlag, dated October 16,
1925
Expressing his distress at the delays, Schenker expresses his hope that the
first Meisterwerk Yearbook might nonetheless be published by December and, if not, that it
should still bear the date of 1925.
OC 54/38 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated October 16, 1925
Postal receipt for letter OC 54/37
OC 54/39 Typewritten letter from August Demblin (DMV) to Schenker, dated October 19,
1925
Drei Masken Verlag are near agreement with a printer; Yearbook I will be
backdated to 1925.
OC 54/40 Handwritten note by Schenker, dated November 4, 1925
Reminds about proofs.
OC 54/41 Typewritten letter from August Demblin (DMV) to Schenker, dated November 6,
1925
Drei Masken Verlag in Munich have now transferred all matters of production
concerning Meisterwerk I to their office in Vienna.
OC 54/42 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 6,
1925
Drei Masken Verlag in Vienna report that Waldheim-Eberle has been chosen as the
printing house for Yearbook I; they ask Schenker for the precise wording of the title of the
book, and issue instructions for dealing with the galley-proofs.
OC B/198 Postal receipt for a package from Schenker to Wilhelm Altmann, postmarked November 13,
1925
Postal receipt for package to Altmann [containing portrait]
OC 54/43 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 18,
1925
New stamps for the printing of Schenker's careted numbers must be ordered before
the proofs of the first Meisterwerk Yearbook can be completed; they will therefore be delayed by
a few days.
OC 54/44 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 21,
1925
The printing-house has just received the stamps with the special characters
needed to set the first Yearbook, and the proofs will be ready in a few days.
OC 54/45 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 28,
1925
The text of Yearbook I has been set, but the music examples will require more
time.
OC 54/192 Notes by Schenker, made in November 1925
Notes concerning the production schedule for the first Meisterwerk
yearbook.
OC 54/46 Postal receipt for a package from Schenker to Drei Masken Verlag, dated November 30,
1925
Postal receipt for galley-proofs 1-6 and 23 pages of manuscript of Meisterwerk
I.
OC 54/47 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 4,
1925
Postal receipt for galley-proofs 7–13
OC 54/48 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated December 9,
1925
Drei Masken Verlag acknowledge receipt of the Foreword to Meisterwerk I. They
note that he has made a large number of corrections to the proofs, and warn him that, though
they can be incorporated in the final text, he will have to bear the expense if they exceed 10%
of the overall printing costs.
OC 54/49 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 9,
1925
Postal receipt for galley-proofs
OC 54/50 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 15,
1925
Postal receipt for galley-proofs
OC 54/51 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 17,
1925
Postal receipt for galley-proofs
OC 54/52 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 21,
1925
Postal receipt for galley-proofs
OC 54/53 Postal receipt for a package from Schenker to Drei Masken Verlag, dated December 30,
1925
Postal receipt for galley-proofs
OC 54/54 Postal receipt for a package from Schenker to Drei Masken Verlag, dated January 2,
1926
Postal receipt for galley-proofs and engravings
OC 54/55 Postal receipt for a package from Schenker to Drei Masken Verlag, dated January 7,
1926
Postal receipt for proofs
OC 54/56 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 14,
1926
Drei-Masken Verlag says that there are plans to publish the autograph manuscript
of Mozart’s Don Giovanni in facsimile. They are in the process of finishing the first
Meisterwerk Yearbook, note Schenker’s wish for wider Urlinie graphs in future
yearbooks.
OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926
Drei Masken Verlag in Munich have now transferred all matters of production
concerning the first Meisterwerk Yearbook to their office in Vienna.
OC 54/58 Typewritten letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
January 16, 1926
The facsimile edition of Mozart’s Don Giovanni will not be ready for some time; a
facsimile of Beethoven’s Op. 57 is planned, not by DMV but by a Paris
printing-house.
OC 54/59 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 21,
1926
Drei Masken Verlag announce that the second galley-proofs are on their way to Schenker and
explain that, owing to the complexity of the publication, it will take time to complete the
corrections to the text and the music examples.
OC 54/60 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 25,
1926
Drei Masken Verlag are sending Schenker the second galley-proofs for the first Meisterwerk
Yearbook, together with a separate printout of the music examples.
OC 54/61 Double Postal Receipt for packages from Schenker to Drei Masken Verlag, dated
January 29, 1926
Postal receipt for the second set of page-proof corrections for the first Meisterwerk
Yearbook.
OC 54/62 Typed letter from Alfred Böhme (DMV) to Schenker, dated February 3, 1926
The Vienna branch of Drei Masken Verlag are forwarding Schenker’s request for an
announcement about the Meisterwerk Yearbooks to their Munich office. They explain that
difficulties in printing the music examples have delayed the production of Yearbook
1.
OC 54/63 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
February 5, 1926
Drei Masken Verlag invite Schenker to write a short announcement about the
Meisterwerk Yearbook, to be sent to newspapers and music journals in advance of
publication.
OC 54/64 Double Postal Receipt for a package from Schenker to Drei Masken Verlag, dated February 15,
1926
Postal receipts for gatherings 1–4 of the first Meisterwerk Yearbook and for a publicity
note for the series.
OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15,
1926
A draft statement of the principles lying behind Schenker’s Meisterwerk series
of Yearbooks, together with a provisional table of contents for the second
Yearbook.
OC 54/67 Double postal receipt for packages from Schenker to Drei Masken Verlag, dated March
1, 1926
Postal receipt for page-proof corrections for the first Meisterwerk
Yearbook.
OC 54/68 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 4, 1926
Drei Masken Verlag reprimands Schenker for introducing so many changes to the
music examples, and ask him to consider whether he wishes to bear the additional cost of
reingraving the music example plates.
OC 54/69 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 10, 1926
Drei Masken Verlag report a short delay in the production of the first
Meisterwerk Yearbook.
OC 54/70 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 15, 1926
Drei Masken Verlag agree to print a list of corrections at the end of Meisterwerk
1, and announce that they have now completed the revision of the volume.
OC 54/71 Postal Receipt for a package from Schenker to Drei Masken Verlag, dated March 24,
1926
Postal receipt for gatherings 1–8 for Meisterwerk 1.
OC 54/72 Postal Receipt for a package from Schenker to Drei Masken Verlag, dated March 26,
1926
Postal receipt for gatherings 9–12 for Meisterwerk 1.
OC 54/73 Postal Receipt for a package from Schenker to Drei Masken Verlag, dated March 27,
1926
Postal receipt for the final set of gatherings and list of corrections for
Meisterwerk 1.
OC 82/27-28 Handwritten letter from Georg Dohrn to Schenker, dated April 2, 1926
Dohrn inquires as to the performance of the opening of the second movement of
Beethoven's Ninth Symphony.
OC 52/545 Typed postcard from Hugo Winter (UE) to Schenker, dated April 9, 1926
Winter acknowledges order from Otto Bauer.
OC 54/74 Typed letter from Alfred Böhme (DMV) to Schenker, dated April 15, 1926
Drei Masken Verlag inform Schenker that the proof-copy of Meisterwerk 1 has been
sent to Dr. Einstein in Munich for final checking. They confirm that the majority of the music
examples will appear as an unbound supplement at the end of the book, agree to correct two
errors in the typesetting, and confirm the appearance of the cover.
OC 54/75 Typed letter from DMV to Schenker, dated April 24, 1926
Drei Masken Verlag will send Schenker new page-proofs for the first gathering, to
ensure that the title-page and the list of printing errors are correct. They also ask about the
binding of the separate pages of musical illustration, and the notice about his earlier
publications.
OC 54/76 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 4, 1926
Drei Masken Verlag are sending Schenker the proofs for the first gathering of
his first Meisterwerk Yearbook, with the list of printing errors. There is not enough room
for a special notice about the new series, but they will include the contents of the ten
issues of Der Tonwille.
OC 54/77 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 7, 1926
Drei Masken Verlag alert Schenker to the printing error in the proof of
the advertisement page, which was to be included in the first Meisterwerk volume, and ask that
he disregard the imprimatur. They send linen swatches for the cover and recommend using coloured
lettering for the title.
OC 54/78 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 14, 1926
A further mistake has been found in the text of the first Meisterwerk
Yearbook, and Schenker is asked to confirm the correction by return of
post.
OC 54/79 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 5, 1926
The binding of the first Meisterwerk Yearbook has been transferred to another
firm, mainly because the printing-house of Waldheim-Eberle would not do this work for the
agreed price. Schenker is asked not to press for an early release of the book, before the
bindings have had a chance to dry thoroughly.
OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9,
1926
Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two
Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing
article about Schenker in Die Musik; advice for Weisse over choice of
publisher.
OC 54/80 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 11, 1926
Drei Masken Verlag acknowledge receipt of the manuscript of Das Meisterwerk in
der Musik, vol. 2.
OC 54/81 Envelope for item 54/80, dated June 11, 1926
Envelope for a letter confirming receipt of the manuscript for Das Meisterwerk in der Musik, volume 2.
OC 54/82 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated June
14, 1926
The Munich office of Drei Masken Verlag acknowledges receipt of the
manuscript for Das Meisterwerk in der Musik, volume 2.
OC 54/83 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 15, 1926
Drei Masken Verlag are sending Schenker ten hard-bound complimentary copies of
the first Meisterwerk Yearbook, although he may contractually be entitled only to five
hard-bound and five paper-bound copies. They ask him to send the addresses to which review
copies may be sent. (Schenker has made some pencil notes about the receipients of the
complimentary copies.)
OC 54/84 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 16, 1926
Drei Masken Verlag ask Schenker to exchange five paper-bound copies of the
first Meisterwerk Yearbook for five of the hard-bound copies they had recently sent
him.
OC 54/85 Telegram from Drei Masken Verlag to Schenker, dated June 16, 1926
Drei Masken Verlag in Munich acknowledge receipt of the manuscript of the
second Meisterwerk Yearbook.
OC 54/86 Handwritten Note from DMV to Schenker, dated June 17, 1926
Drei Masken Verlag ask Schenker to exchange five paper-bound copies of the
first Meisterwerk Yearbook for five of the hard-bound copies he had recently received from
them.
OC 54/87 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 19, 1926
Drei Masken Verlag inform Schenker that the distribution of the first
Meisterwerk volume will be delayed until their Munich branch have announced the retail
price.
OC 54/88 Typed letter from August Demblin (DMV) to Schenker, dated June 21, 1926
Drei Masken Verlag will arrange to have the remainder of the advance for the
first Meisterwerk Yearbook paid in shillings, but they are reducing the royalties because
the corrections he made exceed 10% of the printing costs. They are also reserving judgment
on the publication of the second Yearbook until they see some sales figures for the first.
(Pencil annotations to the letter indicate Schenker’s displeasure at this
news.)
OC 54/89 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 22, 1926
Drei Masken Verlag in Vienna report having paid the remainder of the advance
for the first Meisterwerk Yearbook into Schenker’s account.
OC 54/90 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 23, 1926
In response to Schenker’s query regarding advance payments for Das Meisterwerk
in der Musik, the Vienna office of Drei Masken Verlag explain that they have instructions
only to offer the remainder of the advance on the first Yearbook, and that no decision has
yet been made with regard to the second.
OC 54/91-92 Draft of a letter from Schenker to DMV in Schenker’s hand, dated June 24,
1926
In response to Drei Masken Verlag’s delay in initiating production of the
second Meisterwerk Yearbook, Schenker points out that the publishers are in breach of
paragraph 8 of the contract between them for not informing him the previous summer. He
threatens them with legal action if he has not had a reply within a week, or if they insist
on delaying production.
OC 54/93 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated June 24,
1926
Postal receipt for the final version of OC 54/91–92.
OC 54/94 Typed letter from Hirsch to Schenker, dated June 26, 1926
Treuga Bank confirm that the General Director has read through the contract
and letters regarding payment for the first Meisterwerk volume. He will send a report as
soon as he has discussed the matter with the Consul General.
OC 54/95 Typed letter from August Demblin (DMV) to Schenker, dated July 9, 1926
Drei Masken Verlag ask Schenker to agree to a delay until October 1926 before
a decision is reached about proceeding with production of the second Meisterwerk
Yearbook.
OC 52/829 Printed return postcard from Harrassowitz Buchhandlung to Schenker, dated July 13,
1926
Harrassowitz's return card requests either a copy of or information about
Schenker's monograph Beethoven V. Sinfonie.
OC 52/907 Typed letter from Hugo Winter (UE) to Schenker, dated July 14, 1926
UE have mailed Schenker's statement of account to Galtür.
OC 54/100 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated July 14,
1926
Postal receipt for final verson of OC 54/96–99.
OC 54/96-99 Draft of a letter from Schenker to Drei Masken Verlag in Jeanette Schenker’s hand
with corrections in Heinrich Schenker’s hand, dated July 14, 1926
Schenker agrees to a delay to the start of production of the second
Meisterwerk volume, but insists that it continue to be understood as a “Yearbook,” i.e. as
part of a series of publications and not as an individual book, and that it bear the year
1926.
OJ 52/897 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July
16, 1926
Receipt for sum of 232.14 shillings [from UE].
OC B/193 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked August 3,
1926
Altmann thanks Schenker for Meisterwerk I and describes his summer
travels.
OC 52/546 Handwritten note by Schenker, dated October 10, 1926
Main points of WSLB 371.
OC 54/101 Typed letter from Drei Masken Verlag (Vienna) to Schenker, dated October 12,
1926
Drei Masken Verlag in Vienna will forward Schenker’s query about the lack of
publicity for the first Meisterwerk Yearbook to their Munich office.
OC 52/831 Typed postcard from Barbara Rothe (UE) to Schenker, dated October 13, 1926
UE have written for review in Rivista musicale italiana.
OC 54/102 Draft of a letter from Schenker to Drei Masken Verlag (Munich), dated October 14,
1926
Schenker reminds the publishers that they were expected to reach a decision –
which he is expecting to be positive – regarding the production of the second Meisterwerk
Yearbook.
OC 54/103 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated October 14,
1926
Postal receipt for a letter to Drei Masken Verlag in Munich requesting a
renewed statement about the publication of Meisterwerk 2.
OC 54/104 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
October 15, 1926
Drei Masken Verlag think that an advertisement for the first Meisterwerk
Yearbook in the December 1926 issue of Die Musik would be timely; they also report that
sales of the book have been slow.
OC 52/832 Typed letter from Barbara Rothe (UE) to Schenker, dated October 26, 1926
Rothe encloses review from Rivista musicale italiana.
OC 54/105-106 Draft of a letter from Schenker to Drei Masken Verlag in Jeanette Schenker’s hand,
dated November 18, 1926
Schenker reminds the publishers once again that they owe him a decision about
starting production of the second Meisterwerk Yearbook; although they have complained about
poor sales, they have done nothing to publicize the book, which would otherwise be unknown
to his adherents in foreign countries.
OC 54/107 Postal Receipt for a letter from Schenker to Drei Masken Verlag, dated November 19,
1926
Postal receipt for final version of OC 54/105-106.
OC 54/108 Typed letter from Alfred Böhme (DMV) to Schenker, dated November 26, 1926
Drei Masken Verlag are not at liberty to make a direct approach to a
retailer’s customers. They suggest that Schenker contact the firm of Gutmann directly, and
that the appeal to his readers is personally composed; they will offer Gutmann a reduction
in the cost of copies ordered or sold by the firm.
OC 54/109 Typed letter from Alfred Einstein (DMV) to Schenker, dated December 11,
1926
Although he is confident that Drei Masken Verlag is not bound to publishing
Schenker’s second Meisterwerk Yearbook, Einstein suggests that the two of them come to a new
financial agreement so that production can take place.
OC 54/110 Typed letter from Alfred Böhme (DMV) to Schenker, dated December 17, 1926
Drei Masken Verlag inform Schenker that a glowing review of the first
Meisterwerk volume has appeared in Der Abend, and ask that he send them details of interested individuals to whom they can forward the review.
OC 52/908 Typed letter from Hugo Winter (UE) to Schenker, dated December 28, 1926
Payments for Beethoven sonatas and Der Tonwille have been transferred.
OC 52/909 Typed letter from Hugo Winter (UE) to Schenker, dated January 4, 1927
Encloses Schenker's royalty statement for the second half of 1926.
OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927
Deutsch thanks Schenker for his recent communications, including a copy of the
contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of
relevant extracts from the correspondence with the publishers. He reports progress in the
establishment of a Photogram Archive at the Austrian National Library, with the cooperation
of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to
photographically reproduce autograph manuscripts are underway at the Beethoven House in
Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that
proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses
his delight in being able to assist Schenker in the promotion of his work.
OC 54/112 Postal Receipt for a letter from Schenker to Otto Erich Deutsch, dated January 8,
1927
Postal receipt for an express letter to Otto Erich Deutsch.
OC 54/113-115 Handwritten notes by Schenker for material sent to Otto Erich Deutsch in January
1927.
These notes form the basis of a letter from Schenker to Otto Erich Deutsch
that gives details of his difficulties with his present publisher (Drei Masken Verlag), and
provides a list of the extracts from the correspondence with DMV, which Jeanette Schenker
has copied out to assist Deutsch in renegotiating a contract to publish Schenker’s second
Meisterwerk Yearbook.
OC 54/116 Typewritten draft of two letters to Drei Masken Verlag, dated January 8 and 10,
1927
This document contains drafts of two alternative letters to Drei Masken
Verlag, one asking them to return the manuscript of the second Meisterwerk Yearbook and
threatening legal action for financial damage, the other authorizing Otto Erich Deutsch as
representative of a group of students who will offer financial support to make it
financially easier for the publishers to bring out the Yearbook.
OC 54/117 Postal receipt for an express letter to Otto Erich Deutsch, dated
January 10, 1927
Postal receipt for an express letter to Otto Erich Deutsch.
OC 54/118 Handwritten message on visiting card, from Otto Erich Deutsch to Schenker, dated
January 14, 1927
Deutsch has secured an agreement with Drei Masken Verlag to publish the second
Meisterwerk Yearbook, and asks Schenker to get in touch.
OC 54/119 Typed letter from August Demblin (DMV) to Schenker, dated January 17,
1927
Drei Masken Verlag agree to publish the second Meisterwerk Yearbook, under
terms suggested by Otto Erich Deutsch, and will send Schenker an advance of 250
marks.
OC 54/120 Typed letter from August Demblin (DMV) to Schenker, dated January 18,
1927
Drei Masken Verlag inform Schenker that they have sent the manuscript of his
second Meisterwerk Yearbook to the typesetter, Mandruck (Munich), from whom he will receive
the galley-proofs.
OC 54/121 Typed letter from Waldheim Eberle A. G. to Schenker, dated January 18,
1927
Waldheim-Eberle report – with regret – that they did not get the contract to
engrave the second volume of Das Meisterwerk in der Musik.
OC 54/122 Handwritten postcard from Alfred Einstein (DMV) to Schenker, dated January 19,
1927
Einstein thanks Schenker for the information provided (via Otto Erich Deutsch)
about the manuscripts of Beethoven’s Ninth Symphony, and uses the opportunity to express his
happiness that production of the second Meisterwerk Yearbook is now
underway.
OC 54/123 Receipt for a bank transaction, undated
Receipt for the advance paid to Schenker for the second Meisterwerk Yearbook.
OC 54/124 Typed letter from Otto Vrieslander to Schenker, dated January 20, 1927
Vrieslander has received the Urlinie graphs for two essays in the second
Meisterwerk Yearbook, and explains to Schenker that he will exercise the utmost care in
preparing them for publication.
OC 54/125 Typed postcard from August Demblin (DMV) to Schenker, dated January 21,
1927
Drei Masken Verlag agree to send Schenker proofs of the text and the music
examples at the same time.
OC 54/126 Typed letter from August Demblin (DMV) to Schenker, dated January 27,
1927
Drei Masken Verlag have enclosed a page of music examples and a letter from
the printers. They request a response as soon as possible.
OC 54/127 Postal receipts for letters to Otto Vrieslander and Drei Masken Verlag
(Munich), dated January 31, 1927
Postal receipts for letters concerning the second Meisterwerk
Yearbook.
OC 54/193 List of review copies for Das Meisterwerk in der Musik, vol. 1
List of review copies for the first Meisterwerk
yearbook.
OC 54/128 Postal receipt for a letter to Otto Vrieslander, dated February 3, 1927
Postal receipt for corrections to the second Meisterwerk volume.
OC 54/129 Typed letter from Otto Vrieslander to Schenker, dated February 10, 1927
Vrieslander assures Schenker that he has prepared the graphs for Mozart’s
Symphony in G minor with the utmost care, with due regard to his
instructions.
OC 54/130 Typed postcard from August Demblin (DMV) to Schenker, dated February 12,
1927
Drei Masken Verlag inform Schenker that the proofs will be sent in the manner
that he has requested.
OC 54/131 Typed postcard from Otto Vrieslander to Schenker, postmarked February 14,
1927
Vrieslander explains the way he has dealt with Schenker’s detailed comments on
the graph of Mozart’s Symphony in G minor.
OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927
Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave
the music examples for the second Meisterwerk volume in order to ensure a flawless
reproduction. He also reports that the width of the pages in the supplement will be
expanded, and notifies Schenker of the changes that he will make to the music examples
following this decision. Vrieslander states he has officially enquired with Einstein about
potential problems in the printing process, making clear that Schenker will not be able to
bear any additional costs for printing errors.
OC 54/133 Copy of a letter from Otto Vrieslander to Alfred Einstein (DMV), dated February 15,
1927
Following Einstein’s determination to have the Urlinie graphs engraved, not
hand-drawn, Vrieslander asks that the engraver pays particular attention to the shape of the
large slurs, and suggests a meeting with the engraver to go over further problems. If the
graphs were relegated to an appendix, they could be as wide as necessary, for sake of
clarity.
OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927
Vrieslander, at pains to ensure that the music illustrations in the second
Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are
having difficulty interpreting Schenker’s music examples. He is putting his own work to one
side in order to work exclusively on creating clear and elegant graphs; he proposes to come
to Vienna in mid-March to go through all his work with Schenker.
OC B/228 Typewritten letter from V. A. Heck to Schenker, dated February 21, 1927
Heck informs Schenker of a Beethoven manuscript in his hands.
OC B/229 Handwritten delivery note from V. A. Heck to Schenker, dated February 21,
1927
Delivery note for manuscript of Beethoven's Fidelio.
OC 54/135 Typed letter from DMV to Schenker, dated February 24, 1927
Drei Masken Verlag inform Schenker that there is a delay with the production
of the music examples for the second Meisterwerk yearbook. They anticipate that he will
receive the proofs soon.
OC B/227 Typewritten letter from V. A. Heck to Schenker, dated February 25, 1927
Heck has sent the sketchleaves for photographic reproduction.
OC 54/136 Typed letter from August Demblin (DMV) to Schenker, dated March 4, 1927
Drei Masken Verlag send Schenker a proof of the Urlinie graph for Chopin’s Op.
15, No. 2, and ask him to correct and return it.
OC B/226 Typewritten letter from V. A. Heck to Schenker, dated March 4, 1927
Heck asks Schenker to proof read the galleys of an article.
OC B/224 Typewritten letter from V. A. Heck to Schenker, dated March 10, 1927
Heck asks Schenker to identify a Beethoven sketchleaf.
OC B/225 Handwritten delivery note from V. A. Heck to Schenker, dated March 10,
1927
Delivery note for Beethoven sketchleaves.
OC B/223 Typewritten letter from V. A. Heck to Schenker, dated March 12, 1927
Heck thanks Schenker for information supplied, and will send a
photograph.
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.”
OC 54/138 Postal receipt for a letter to Otto Erich Deutsch, dated March 17, 1927
Postal receipt for returned Haydn sketches.
OC 54/139 Typed letter from August Demblin (DMV) to Schenker, dated March 18, 1927
In response to queries about the typography in the second Meisterwerk
Yearbook, Drei Masken Verlag ask Schenker to return the proof-sheets with the corrections
indicated, so that they can investigate the specific problems.
OC 54/140 Typed postcard from Otto Vrieslander to Schenker, dated March 24, 1927
Vrieslander, in Vienna, makes arrangements to meet Schenker on March 25 to go
over the music illustrations for the second Meisterwerk Yearbook, leaving the following day
available if necessary.
OC 54/141 Typed postcard from August Demblin (DMV) to Schenker, dated March 24,
1927
Drei Masken Verlag confirm that the facsimile sketch for Haydn’s “Chaos” will
be stereotyped.
OC 54/142 Postal receipt for a package to Drei Masken Verlag (München), dated March 28,
1927
Postal receipt for a package containing materials for Meisterwerk 2 (corrected
engravings, new copies of music examples and the "Chaos" sketch).
OC 54/143 Typed postcard from August Demblin (DMV) to Schenker, dated April 5, 1927
Drei Masken Verlag confirm receipt of the corrected graphs and freshly copied
music examples for Meisterwerk 2.
OC B/222 Typewritten letter from V. A. Heck to Schenker, dated April 12, 1927
Heck sends a Beethoven sketchleaf and asks Schenker's opinion of
it.
OC 54/144 Postal receipt for a package to Drei Masken Verlag (München), dated April 22,
1927
Postal receipt for the first corrected manuscript of Meisterwerk 2 and 9 leaves of stereotypes.
OC 52/833 Postal receipt for item from Schenker to UE, dated April 25, 1927
Postal receipt for corrections to "Appassionata" Sonata
OC 54/145 Typed letter from August Demblin (DMV) to Schenker, dated April 25, 1927
Drei Masken Verlag inform Schenker that they have sent all of the material for
the second Meisterwerk volume to the printers, and that he should expect to receive three
copies of the page proofs and two copies of the music examples in due
course.
OC 52/834 Typed letter from Barbara Rothe (UE), dated April 26, 1927
Rothe acknowledges corrections to the "Appassionata" Sonata and promises
proofs.
OC 54/146 Postal receipt for a package to Drei Masken Verlag (München), dated April 29,
1927
Postal receipt for a package containing 8 pages of engravings for the second
Meisterwerk volume.
OC 54/147 Typed postcard from August Demblin (DMV) to Schenker, dated April 30,
1927
Drei Masken Verlag inform Schenker that they have forwarded the imprimatur
engravings to the printers, along with his query about Fig. 33.
OC 54/148 Typed letter from Mandruck to Schenker, dated May 3, 1927
Mandruck return the original sketches of Haydn's "Representation of Chaos" to
Schenker and inform him that they have prepared the stereotype in accordance with his
wishes.
OC 54/149 Typed postcard from August Demblin (DMV) to Schenker, dated May 3, 1927
Drei Masken Verlag confirm that they have arranged for two copies of the page
proofs for the second Meisterwerk volume to be sent to him, and the third to Otto Erich
Deutsch.
OC 54/150 Typed postcard from Mandruck to Schenker, dated May 4, 1927
Mandruck notify Schenker that a set of galley proofs for the second
Meisterwerk volume will soon arrive.
OC 54/151 Postal receipt for a letter to Otto Erich Deutsch, dated May 4, 1927
Postal receipt for a package containing sketches of music examples for the second
Meisterwerk volume.
OC 54/152 Postal receipt for a letter to Drei Masken Verlag (München), dated May 4,
1927
Postal receipt for a package containing 3 pages of engravings for the second
Meisterwerk volume.
OC 54/153 Postal receipt for a letter to Drei Masken Verlag (München), dated May 6,
1927
Postal receipt for an imprimatur copy of Figure 33 for the second Meisterwerk
volume.
OC 54/154 Typed postcard from August Demblin (DMV) to Schenker, dated May 9, 1927
Drei Masken Verlag confirm receipt of the imprimatur copy of Figure 33 for the
second Meisterwerk volume. They request that Schenker now send the galley proofs for pages
1–30.
OC 54/155 Postal receipt for a letter to Drei Masken Verlag (München), dated May 11,
1927
Postal receipt for a package containing the third page proofs of the second
Meisterwerk volume, and 9 engravings.
OC 54/156 Postal receipt for a letter to Drei Masken Verlag (München), dated May 12,
1927
Postal receipt for a package containing an imprimatur graph of Mozart's G
minor Symphony for the second Meisterwerk volume.
OC 52/835 Typed letter from Kalmus (UE) to Schenker, dated May 13, 1927
Kalmus notifies Schenker that proofs of the newly-revised "Appassionata"
Sonata are on their way.
OC 54/157 Typed postcard from August Demblin (DMV) to Schenker, dated May 13, 1927
Drei Masken Verlag inform Schenker that they have forwarded his requested
corrections to the printing house, and will be in touch soon regarding the completion of the
graphs for the second Meisterwerk volume.
OC 54/158 Typed letter from August Demblin (DMV) to Schenker, dated May 16, 1927
Drei Masken Verlag notify Schenker that they will send him the missing galley
proofs for the second Meisterwerk volume that day, and inform him that his requests for corrections
regarding the Mozart graph have been successfully processed.
OC 54/159 Typed letter from Mandruck to Schenker, dated May 16, 1927
Mandruck enclose the missing galley proofs for the second Meisterwerk volume,
and confirm that the requested changes have been successfully
executed.
OC 54/160 Postal receipt for a letter to Drei Masken Verlag (München), dated May 16,
1927
Postal receipt for page proofs for the second Meisterwerk
volume.
OC 52/836 Postal receipt for item from Schenker to UE, dated May 18, 1927
Postal receipt for proofs of "Appassionata" Sonata
OC 54/162 Typed letter from Mandruck to Drei Masken Verlag, dated May 19, 1927
Mandruck notify Drei Masken Verlag that they have enclosed a new set of proofs
for the second Meisterwerk volume, amended in accordance with Schenker's
wishes.
OC 52/837 Typed postcard from Kalmus (UE) to Schenker, dated May 20, 1927
Kalmus acknowledges the "Appassionata" proofs.
OC 54/161 Postal receipt for a letter to Drei Masken Verlag (München), dated May 20,
1927
Postal receipt for a package containing the second page proofs of Meisterwerk
2.
OC 54/163 Typed letter from August Demblin (DMV) to Schenker, dated May 20, 1927
Drei Masken Verlag notify Schenker that they have enclosed a set of amended
proofs for the second Meisterwerk yearbook.
OC 54/164 Typed letter from August Demblin (DMV) to Schenker, dated May 23, 1927
Drei Masken Verlag confirm receipt of Schenker's imprimatur graphs and amended proofs for
the second Meisterwerk yearbook, assuring him that the requested correction in the Mozart
Symphony has been made.
OC 54/165 Postal receipt for a letter to Drei Masken Verlag (München), dated May 24, 1927
Postal receipt for a package containing the last set of galley proofs for the second Meisterwerk
volume.
OC 52/838 Typed postcard from Kalmus (UE) to Schenker, dated May 27, 1927
Proofs of the defective pages of the revised "Appassionata" Symphony have been
dispatched to Schenker.
OC 54/166 Postal receipt for a letter to Drei Masken Verlag (München), dated May 27,
1927
Postal receipt for a package containing imprimatur copies of music examples
for the second Meisterwerk volume.
OC 54/167 Typed letter from August Demblin (DMV) to Schenker, dated May 30, 1927
Drei Masken Verlag have enclosed the sample proofs of the first two gatherings
for Meisterwerk 2, and request that he responds to their query about the size and placement
of music examples as soon as possible.
OC 52/839 Postal receipt for item from Schenker to UE, dated May 31, 1927
Postal receipt for final proofs of "Appassionata" Sonata
OC 52/840 Typed postcard from Barbara Rothe (UE) to Schenker, dated May 31, 1927
A copy of Schenker's Fifth Symphony monograph has been dispatched to
Vrieslander as requested.
OC 54/168 Postal receipt for a letter to Drei Masken Verlag (München), dated June 1,
1927
Postal receipt for a package containing the first two gatherings for Meisterwerk 2, and a letter agreeing to Mandruck's suggestions regarding the placement of music examples.
OC 54/169 Typed postcard from August Demblin (DMV) to Schenker, dated June 7, 1927
Drei Masken Verlag inform Schenker that the page proofs for the second
Meisterwerk volume will be completed in around two weeks time.
OC 52/841 Typed postcard from Kalmus and unknown signatory (UE) to Schenker, dated June 9,
1927
Acknowledges second proofs of "Appassionata" Sonata.
OC 54/170 Typed postcard from Mandruck to Schenker, dated June 10, 1927
Mandruck have enclosed the first two gatherings of the second Meisterwerk
volume, amended in accordance with Schenker's wishes. They anticipate that he will receive
the remaining page proofs before the end of the month.
OC 54/171 Typed letter from Mandruck to Schenker, dated June 11, 1927
Mandruck enclose two sets of gatherings for the second Meisterwerk yearbook,
along with the galley proofs. They request an explanation regarding Figure
75a.
OC 54/172 Handwritten note by the compositor at Mandruck, dated June 11, 1927
The compositor at Mandruck requests clarification about Figure 75a, which is
missing from their set of music examples for the second Meisterwerk
volume.
OC 54/173 Postal receipt for a letter to Mandruck, dated June 13, 1927
Postal receipt for a package containing Figures 75a and 75b for the second
Meisterwerk volume.
OC 54/174 Typed postcard from Mandruck to Schenker, dated June 14, 1927
Mandruck have enclosed the page proofs for the second Meisterwerk volume, along
with a printout of the galley proofs and gatherings 5–6.
OC 54/175 Typed postcard from August Demblin (DMV) to Schenker, dated June 15, 1927
Drei Masken Verlag enclose a paper sample intended for the second Meisterwerk Yearbook,
and request Schenker's approval.
OC 54/176 Typed letter from Mandruck to Schenker, dated June 17, 1927
Mandruck enclose further page proofs for the second Meisterwerk
volume, along with the corresponding galley proofs.
OC 54/177 Typed letter from August Demblin to Schenker, dated June 21, 1927
Drei Masken Verlag confirm that Schenker's requests regarding the music
examples for the second Meisterwerk volume have been honoured, and inform him that he will
receive a complete copy of the proofs once the pagination has been completed.
OC 54/178 Typed letter from Mandruck to Schenker, dated June 21, 1927
Mandruck have enclosed further page proofs for the second Meisterwerk volume,
and request that he return the previous set as soon as possible.
OC 54/179 Postal receipt for a package to Drei Masken Verlag, dated June 30, 1927
Postal receipt for a package containing gatherings 1–6 the second
Meisterwerk volume.
OC 52/842 Typed postcard from Barbara Rothe to Schenker, dated July 6, 1927
The revised edition of Schenker's "Appassonata" Sonata edition has not yet
appeared.
OC 54/180 Postal receipt for a package to Drei Masken Verlag, dated July 6, 1927
Postal receipt for a package containing corrections to gatherings 7–9 of the
second Meisterwerk volume.
OC 54/181 Typed letter from Mandruck to Schenker, dated July 8, 1927
Mandruck enclose the remaining page proofs for the second Meisterwerk volume,
along with copies of the relevant music examples. They request guidance on the positioning
of the music examples.
OJ 52/898 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July
14, 1927
Receipt for sum of 221.48 shillings [from UE].
OC 54/182 Postal receipt for a package to Drei Masken Verlag, dated July 14, 1927
Postal receipt for a package containing gatherings 10–14 of the second
Meisterwerk yearbook, along with sheets I–XV of the appendix, 2 Urlinie graphs and an original
copy of Tonwille.
OC 54/183 Typed postcard from C. Alberti (DMV) to Schenker, dated August 5, 1927
Drei Masken Verlag inform Schenker that they expect to receive a complete,
corrected copy of the second Meisterwerk volume in around a week, and anticipate that it
will be released in September.
OC 54/184 Typed letter from Mandruck to Schenker, dated August 17, 1927
Mandruck enclose a complete proof-copy of the second Meisterwerk volume, along
with the corresponding graphs, which will be placed in an appendix. They request that
Schenker return an imprimatur copy so they can begin printing.
OC 54/186 Postal receipt for a letter to Drei Masken Verlag, dated August 22, 1927
Postal receipt for a package containing the imprimatur page proofs for the second
Meisterwerk yearbook.
OC 52/843 Typed postcard from Barbara Rothe to Schenker, dated September 7, 1927
A copy of Schenker's new edition of the "Appassionata" Sonata is on its
way.
OC 54/185 Invoice from Drei Masken Verlag to Schenker, dated September 27, 1927
Invoice for the author's copies of the second Meisterwerk volume.
OC 54/187 Receipt for the imprimatur proof of the second Meisterwerk volume, dated September 27, 1927
Receipt for the imprimatur copy of the second Meisterwerk
volume.
OC 54/188 Typed postcard from August Demblin (DMV) to Schenker, dated September 30,
1927
Drei Masken Verlag confirm that the complimentary hardbound copies of the
second Meisterwerk volume are on their way to Schenker, and inform him that the first set of
bound copies will be dispatched from the bindery in the next few days.
OC 54/189 Customs receipt for copies of the second Meisterwerk volume, dated October 5,
1927
Customs receipt for copies of the second Meisterwerk volume.
OC 54/191 List of customs charges, October 21, 1927
List of customs charges for receipt of the second Meisterwerk
volume.
OC 52/844 Typed letter from Ernst Roth (UE) to Schenker, dated December 19, 1927
Roth announces that UE has stitched stocks of Der Tonwille issues together to
form three year-volumes.
OC 52/910 Typed letter from Hugo Winter (UE) to Schenker, dated December 29, 1927
Announces that Schenker's 1927 royalty has been transferred.
OJ 52/899 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated
January 16, 1928
Receipt for sum of 148.02 shillings [from UE].
OC 52/911 Typed letter from Hugo Winter (UE) to Schenker, dated April 27, 1928
Encloses invoice for sending Der Tonwille to San Francisco.
OJ 52/900 Receipt for bank transaction from Post Office Savings Bank, dated July 16,
1928
Receipt for sum of 162.26 shillings [from UE].
OC 52/913 Typed letter from Hugo Winter (UE) to Schenker, dated August 7, 1928
UE has written to the Postal Savings Bank about the royalty
payment.
OC 52/914 Typed letter from Ernst Roth (UE) to Schenker, dated August 20, 1928
UE understands that the royalty payment has now been made.
OC B/300 Typewritten letter from V. A. Heck to Schenker, dated November 24, 1928
Heck consults Schenker on another Beethoven sketchleaf.
OC B/301 Typewritten letter from V. A. Heck to Schenker, dated November 29, 1928
Heck thanks Schenker for information regarding a Beethoven
sketchleaf.
OC 52/846 Typed letter from Kalmus (UE) to Schenker, dated December 1, 1928
Hertzka is away until mid-December.
OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928
Hertzka welcomes Schenker's intention now to produce [his elucidatory edition
of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the
"Eroica" study and Der freie Satz but cannot schedule them until after
1929.
OC 52/915 Typed letter from Hugo Winter (UE) to Schenker, dated December 27, 1928
Announces that Schenker's 1928 royalty has been transferred.
OC 52/849 Typed letter from Hertzka (UE) to Schenker, dated January 15, 1929
Hertzka asks for Schenker's deadline for the "Eroica" monograph decision to be
put off to the end of 1929.
OC 52/850 Typed letter from Hertzka (UE) to Schenker, dated June 21, 1929
No decision on the "Eroica" monograph yet.
OJ 52/901 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July
19, 1929
Receipt for sum of 97.60 shillings [from UE].
OC 52/916 Typed letter from Hugo Winter (UE) to Schenker, dated July 23, 1929
Schenker should have received the statement and money
meantime.
OC 52/851 Typed letter from Kalmus (UE) to Schenker, dated July 24, 1929
Encloses remarks made by Edmund Schmid.
OC 52/852 Typed letter from Ernst Roth (UE) to Schenker, dated July 30, 1929
Names the revisers of the Mozart sonata edition.
OC 52/853 Typed letter from Ernst Roth (UE) to Schenker, with enclosure, dated August 5,
1929
Encloses additional remarks by Edmund Schmid.
OC 52/856 Typed postcard from Ernst Roth (UE) to Reinhard Oppel, dated September 25,
1929
Schenker's Harmonielehre is currently out-of-print, with no reprint
date.
OC 54/194 Typed letter from Drei Masken Verlag, dated November 20, 1929
Invitation to Leon Feuchtwanger's public reading entitled 'From unpublished
Works'.
OC 54/195 Handwritten note with address of Georg Tomay
Address of Georg Tomay.
OC 52/857 Typed letter from Hertzka (UE) to Schenker, dated December 20, 1929
Hertzka is interested in the Albersheim essay; prospects for a re-edition of
Harmonielehre not good.
OC 52/859 Typed postcard from Hugo Winter (UE) to Schenker, dated December 30, 1929
Sum of 1,250 shillings transferred.
OC 52/858 Typed postcard from Alfred Kalmus (UE) to Schenker, dated December 31,
1929
Hertzka will respond after returning mid-January.
OJ 52/902 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated
January 2, 1930
Receipt for sum of 1,250 shillings [from UE].
OC 52/860 Typewritten letter from Hertzka (UE) to Schenker, dated January 16, 1930
Hertzka sees no prospect of publishing the "Eroica" study as a
monograph.
OJ 52/903 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated
January 22, 1930
Receipt for sum of 78 shillings 25 groschen [from UE].
OC 54/221 Letter from Waldheim-Eberle to Schenker, dated February 13, 1930
Cost estimate of production costs for the third Meisterwerk
yearbook.
OC 54/222 Delivery note for a package from Waldheim Eberle to Schenker, dated February 13,
1930
Delivery note for the manuscript of the third Meisterwerk volume, returned to
Schenker by Waldheim Eberle, along with an estimate for production costs (OC
54/221).
OC B/136-138 Handwritten letter from Gerhard Albersheim to Schenker, dated March 20–21,
1930
After correction by Schenker, Albersheim has finalized an article on
Schenker's work, which he will submit to a journal. He will now prepare himself for the
state examinations.
OC 54/223 Typed letter from Waldheim Eberle to Schenker, dated March 22, 1930
Waldheim Eberle gratefully acknowledge receipt of Schenker's letter, and are
delighted to have been chosen as the printing house for the third Meisterwerk
volume.
OC B/139 Typewritten letter from Alfred Einstein (ZfMw) to Schenker, dated March 28,
1930
Einstein returns to Schenker an article submitted by Gerhard Albersheim. -- He
acknowledges receipt of a correction from Schenker.
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.
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.
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.
OC 54/224 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated May 22,
1930
Drei Masken Verlag confirm that they are willing to embark on the publication
of the third Meisterwerk volume, and request further information about the print
run.
OC 54/225 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated May 27,
1930
Drei Masken Verlag will draw up an estimate for the production costs of the
third Meisterwerk volume following receipt of the manuscript.
OC 54/303 Handwritten letter from Deutsch to Schenker, dated May 30, 1930
Schenker is advised to visit the lithographer Karl Piller concerning the
preparation of his music examples and illustrations [for the Eroica monograph]. Deutsch will
write immediately to Drei Masken Verlag about the type of paper to be used.
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.
OC 54/226 Typed Letter from August Demblin (DMV) to Otto Erich Deutsch, dated June 2,
1930
Drei Masken Verlag advise Deutsch to contact Elbemühl A.G. concerning the
supply of paper for the third Meisterwerk volume.
OC 54/227 Typed Postcard from August Demblin (DMV) to Otto Erich Deutsch, dated June 10,
1930
Drei Masken Verlag ask Deutsch to forward the manuscript of the third
Meisterwerk yearbook to Elbemühl, in order to allow them to produce a more precise
estimate.
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 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930
A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would
like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s
calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until
September, if the "Eroica" monograph is to be published by the end of the
year.
OC 54/306 Handwritten receipt from Deutsch to Schenker, dated June 21, 1930
Receipt for the text of Schenker’s study of the Eroica Symphony, [which Deutsch
was to take to the printers for an estimate of the production costs].
OC 54/196 Receipt from Georg Tomay to Schenker, dated June 23, 1930
Receipt for a payment to Georg Tomay
OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930
Furtwängler reports on his meeting with Breitkopf &
Härtel.
OC 54/307 Typewritten letter from Deutsch to Schenker, dated June 27, 1930
Deutsch has been in touch with the production team and the publishers of the
third Meisterwerk yearbook and transmits to Schenker the estimated costs of producing the
book, including details of text printing, lithography and paper. -- In a postscript, he
offers to help with the proof corrections of the text.
OC 54/308 Handwritten picture postcard from Deutsch to Schenker, dated June 28,
1930
A printer’s sample make-up for the third Meisterwerk yearbook is on its way to
Schenker; Deutsch asks Schenker to return it together with his comments.
OC 54/197 Handwritten letter from Georg Tomay to Schenker, dated July 1, 1930
Tomay informs Schenker that Karl Piller has been entrusted with printing the
third Meisterwerk volume. He also encloses a manuscript leaf of Fig. 49 and requests
direction on how to proceed.
OC 54/309 Postal receipt for package sent from Schenker to Deutsch, postmarked July 2,
1930
Schenker returns Röder's sample brochure [for Meisterwerk III] to Deutsch with
Furtwängler letter.
OC 54/198 Postal receipt for a letter from Schenker to Georg Tomay, July 3, 1930
Postal receipt for a package containing Fig. 49 for the third Meisterwerk
volume, along with materials concerning the Finale.
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.
OC 54/199-200 Handwritten letter from Georg Tomay to Schenker, dated July 9, 1930
Tomay encloses the imprints of the music examples for the third Meisterwerk
volume, along with the original manuscripts, and requests clarification on various matters.
He invites Schenker to send corrections at his earliest convenience, and informs him that
the printing of the appendix will be undertaken in Leipzig instead of Vienna owing to a
significant reduction in production costs.
OC 54/219 Invoice from Karl Piller, dated July 12, 1930
Invoice for preliminary printing costs for the third Meisterwerk
volume.
OC 54/201 Receipt from Georg Tomay to Schenker, dated July 14, 1930
Receipt for a payment to Georg Tomay for his work on the third Meisterwerk
volume.
OC 54/202 Postal receipt for a package to Georg Tomay, dated July 14, 1930
Postal receipt for a package containing the corrected proofs of Figures 1–49 for
the third Meisterwerk volume.
OC 54/311 Handwritten letter from Deutsch to Schenker, dated July 14, 1930
Deutsch sends Schenker the contract from Drei Masken Verlag for the third
Meisterwerk yearbook, and asks him to sign it and return it to the publishers. He thinks
that an edition of the [collected] works of C. P. E. Bach is a worthy cause. He hopes that
Hoboken will soon receive the new honor from the Austrian government, for services to
scholarship.
OC 54/312 Handwritten picture postcard from Deutsch to Schenker, dated July 21,
1930
Deutsch is sending the text manuscript of Schenker’s third Meisterwerk
yearbook to Drei Masken Verlag.
OC 54/313 Postal receipt for package sent from Schenker to Deutsch, postmarked July 21,
1930
Schenker sends a 16-page letter and a clipping.
OC 54/220 Receipt from Karl Piller, dated July 22, 1930
Receipt for preliminary printing costs for the third Meisterwerk
volume.
OC 54/203 Handwritten letter from Georg Tomay to Schenker, dated July 24, 1930
Tomay encloses blueprint matrices of select music examples for the third
Meisterwerk yearbook for Schenker's consideration, and anticipates that the pages for the
fourth movement will reach him in approximately one week.
OC 54/204 Handwritten letter from Georg Tomay to Schenker, dated July 26, 1930
Tomay encloses various figures for the third Meisterwerk volume for Schenker's
consideration, and also informs Schenker that he will soon dispatch corrected copies of the
figures concerning movements 1–3 of Beethoven's Third Symphony for his approval to
publish.
OC 52/861 Typed letter from Alfred Kalmus (UE) to Schenker, dated July 28, 1930
50.66 shillings has been transferred.
OC 54/205 Receipt for a payment to Georg Tomay, dated July 28, 1930
Receipt for a payment to Georg Tomay for work on the third Meisterwerk
yearbook.
OC 54/314 Typewritten picture postcard from Deutsch to Schenker, dated July 28,
1930
Deutsch asks Schenker not to return any proof corrections (to the text of the
third Meisterwerk yearbook) until he has seen his own.
OC 54/206 Handwritten letter from Georg Tomay to Schenker, dated July 29, 1930
Tomay responds to Schenker's questions about marking up corrections in the
music examples for the third Meisterwerk volume, and notifies him that he will send
blueprints of the music examples as soon as they have been produced.
OC 54/315 Typewritten letter from Deutsch to Schenker, dated July 30, 1930
Deutsch makes further reports on the anticipated costs of the third
Meisterwerk yearbook. -- He has come across an arrangement of Beethoven’s Op. 74 Quartet as
a symphony and found some important early editions of the Op. 22 Sonata. -- He would like
Schenker to meet his friend [Leopold] Liegler, whose theories about literature resonate with
the concept of Urlinie.
OC 54/207 Handwritten letter from Georg Tomay to Schenker, dated July 31, 1930
Tomay encloses blueprints of music examples for the third Meisterwerk volume
for Schenker's consideration. He anticipates that he will soon be in a position to send
corrected copies of the graphs for movements 1–3 of Beethoven's Third Symphony, with the
hope to secure Schenker's approval to publish.
OC 54/208 Postal receipt for a parcel to Georg Tomay, dated August 4, 1930
Postal receipt for a package containing music examples for the third
Meisterwerk yearbook.
OC 54/209 Postal receipt for a parcel to Georg Tomay, dated August 4, 1930
Postal receipt for a package containing Urlinie graphs for the third
Meisterwerk volume.
OC 54/210 Postal receipt for a parcel to Georg Tomay, dated August 11, 1930
Postal receipt for a package containing Urlinie graphs for
the third Meisterwerk volume.
OC 54/316 Handwritten picture postcard from Deutsch to Schenker, dated August 11,
1930
Deutsch has received the first proofs [of the third Meisterwerk yearbook] from
the printers, and would like to look carefully at them before forwarding them to
Schenker.
OC 54/211 Handwritten letter from Georg Tomay to Schenker, dated August 13, 1930
Tomay encloses sepia prints of music examples for the third Meisterwerk
yearbook, and asks Schenker to check them thoroughly and mark up any final
corrections.
OC 54/212 Postal receipt for a package to Georg Tomay, dated August 16, 1930
Postal receipt for a package containing imprimatur copies of music examples
for the third Meisterwerk volume.
OC 54/213 Postal receipt for a parcel to Georg Tomay, dated August 19, 1930
Postal receipt for a package containing first proof corrections of Urlinie
graphs for the third Meisterwerk volume.
OC 39/1 Handwritten envelope for proofs sent by Deutsch to Schenker, postmarked August 23,
1930
Envelope for proofs.
OC 54/317 Postal receipt, for consignment from Schenker to Deutsch, postmarked August 25,
1930
Schenker sends letters (from Leo Kestenberg to Hans Weisse) to
Deutsch.
OC 54/318 Typewritten picture postcard from Deutsch to Schenker, dated August 27,
1930
Deutsch has no objection to Schenker adding a note about a possible source for
the “Eroica” Symphony in his notes on the text of the work. -- He is happy that reading the
proofs of the third Meisterwerk yearbook has been useful. -- He suggests that the [Austrian]
Minister for Education ought to see the letters that Leo Kestenberg has written about
Schenker’s work. -- He asks Schenker for a possible journalist contact in
Aussig.
OC 54/319 Typewritten picture postcard from Deutsch to Schenker, dated August 30,
1930
Deutsch asks Schenker to suggest a time when the two of them can get together
in Vienna.
OC 54/235 Typewritten postcard from Drei Masken Verlag to Deutsch, dated August 30, 1930,
forwarded to Schenker September 2, 1930
Drei Masken Verlag asks for clarification about what to do with the corrected
galley-proofs they have recently received from Schenker; Deutsch forwards it to Schenker
asking him to reply direct to the publisher.
OC 54/301 Handwritten letter from Furtwängler to Schenker, dated September 2, 1930
Furtwängler wishes to visit Schenker in the Tyrol.
OC 54/214 Handwritten letter from Georg Tomay to Schenker, dated September 11, 1930
Tomay requests 200 shillings for payment to Jahoda, and notifies Schenker of the
outstanding fees for his work on the third Meisterwerk yearbook.
OC 54/320 Handwritten letter from Deutsch to Schenker, dated September 11, 1930
Deutsch asks Schenker to look carefully at two passages in the proofs of the
music examples to the third Meisterwerk yearbook and send them to him immediately. He also
wants Schenker to change the ending of the final item in the yearbook’s
“Miscellanea.”
OC 54/321 Typewritten picture postcard from Deutsch to Schenker, dated September 15,
1930
Deutsch wishes Schenker a speedy recovery from an accident or
illness.
OC 54/322 Handwritten letter from Deutsch to Schenker, dated September 19, 1930
Deutsch cannot see Schenker until Sunday, September 21, 1930.
OC 54/323 Handwritten picture postcard from Deutsch to Schenker, dated September 26,
1930
Deutsch has learned that a number of Beethoven items have been transferred
from Olmütz [now Olomouc, in the Czech Republic] to the monastery at
Kremsier.
OC 54/324 Typewritten picture postcard from Deutsch to Schenker, dated October 3,
1930
Deutsch has learned that the sources that may have once been in Archduke
Rudolph’s collection in Olmütz were not transferred to Kremsier, and that the last footnote
(NB) on p. 87 of the third Meisterwerk yearbook ought to be changed.
OC 54/237 Typewritten letter from Drei Masken Verlag to Schenker, dated October 8,
1930
Drei Masken Verlag say the printers cannot be held responsible for mistakes in
the page-proofs and layout of the third Meisterwerk yearbook that Schenker failed to note in
the galley-proofs. A new set of page-proofs will be issued, and the last section of the book
will be repaginated.
OC 52/862 Invoice from UE to Schenker, dated October 10, 1930
Invoice for Tonwille sent to the Kiel Hochschule students.
OC 54/325 Handwritten letter from Deutsch to Schenker, dated October 11, 1930
Deutsch explains to Schenker which proof corrections may be the author’s
responsibility, and which the printer’s or publisher’s, and advises him to write back to the
publisher but not to get unduly upset about these matters.
OC 54/326 Typewritten picture postcard from Deutsch to Schenker, dated October 12,
1930
Deutsch explains to Schenker that it is a publisher’s duty to contact an
author in the event of some possible errors, especially of a technical nature, even if it
has not actually financed the work itself.
OC 54/238 Typewritten letter from Drei Masken Verlag to Schenker, dated October 14,
1930
Drei Masken Verlag confirms that the printers should not be held responsible
for changes that were not indicated in the galley proofs. They will send printouts of the
music examples and Urlinie pages in a few days; Schenker is asked to approve the way in
which they are bound and inserted into the yearbook.
OC 54/327 Handwritten letter from Deutsch to Schenker, dated October 15, 1930
Deutsch makes some late corrections to the proofs of the third Meisterwerk
yearbook. He also suggests mentioning the supplementary music illustrations and foreground
graphs in the table of contents.
OC 54/215 Handwritten letter from Georg Tomay to Schenker, dated October 17, 1930
Tomay asks whether Schenker has received any new proofs from the printing house, and
sends a gentle reminder concerning the outstanding fees.
OC 54/216 Handwritten receipt from Georg Tomay to Schenker, dated October 18, 1930
Tomay confirms receipt of the outstanding payment for his work on the third Meisterwerk yearbook.
OC 54/328 Typewritten letter from Deutsch to Schenker, dated October 19, 1930
Deutsch suggests a way of placing the loose music illustrations and the bound
graphs of the Urlinien inside the third Meisterwerk yearbook. He invites the Schenkers for a
visit soon, perhaps on Friday, October 24.
OC 54/329 Handwritten letter from Deutsch to Schenker, dated October 24, 1930
Deutsch makes further suggestions about how the musical material for the
"Eroica" – the booklet of Urlinie graphs, and other illustrations (“figures”) – should fit
into the third Meisterwerk yearbook. He also recommends fully paginating the
booklet.
OC 54/330 Handwritten letter from Deutsch to Schenker, dated October 24, 1930
Deutsch recommends three modifications to the layout of the supplements for
the third Meisterwerk yearbook.
OC 52/863 Typewritten letter from Ernst Roth (UE) to Schenker, dated November 4,
1930
Roth supplies the costing requested.
OC 52/864 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 10,
1930
Kalmus reports an inquiry from the Kiel student body.
OC 52/865 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated November 13,
1930
UE have granted permission to the Kiel student body.
OC 54/217 Invoice from Georg Tomay to Schenker, dated November 23, 1930
Handwritten invoice for additional costs incurred in the production of music
examples for the third Meisterwerk volume.
OC 54/331 Typewritten picture postcard from Deutsch to Schenker, dated November 24,
1930
Deutsch has been unable to speak with Mr. Tal [about Roeder’s invoice for the
production of the third Meisterwerk yearbook].
OC 54/332 Handwritten letter from Deutsch to Schenker, dated November 26, 1930
Deutsch thinks that the invoice for the printing and production of the third
Meisterwerk yearbook is reasonable, and that Drei Masken Verlag had underestimated the costs
earlier in the summer. He advises on sellling price to ask for.
OC 52/866 Typewritten postcard from Alfred Kalmus (UE) to Schenker, dated December 10,
1930
UE has sent a complimentary copy of Der Tonwille to Hermann
Rinn.
OC 52/867 Typewritten letter from Hugo Winter (UE) to Schenker, dated December 29,
1930
UE has transferred 1,250 shillings, and sends New Year's best
wishes.
OC 20/402 Handwritten letter from Weisse to Schenker, dated February 20, 1931
Weisse describes the extraordinary success of his second lecture (at the
Society for Music Pedagogy in Vienna). He asks his teacher's opinion about his rhythmic
interpretation of the Bach's Prelude in D minor, BWV 926, and of the third movement of
Brahms's String Quartet in C minor, Op. 51, No. 2.
OC 50/14 Typewritten letter from Elsa Bienenfeld to Schenker, dated July 15, 1931
Bienenfeld explains her disagreement with Schenker’s acceptance in an article
of a Mozart letter of questionable authenticity, and inquires whether in the event of a
negative judgment he still wishes there to be a review.
OC 38/155v Handwritten letter (fragment) from Violin to Schenker, dated July 18,
1931
Violin’s son collapsed while away on a school holiday, but is now recovering.
The family are about to move to a new apartment in Hamburg, and Violin is sending Schenker a
copy of the prospectus for the Schenker Institute.
OC 18/40 Handwritten picture postcard from Karpath to Schenker, undated, postmarked October 13,
1931
Karpath asks Schenker for a telephone call or visit.
OC 18/41 Handwritten picture postcard from Karpath to Schenker, dated October 21,
1931
Karpath offers to draft a document according to Schenker's
suggestions.
OJ 38/338 Incomplete handwritten letter from Elias to Schenker, undated [c. June 16,
1932]
Miss Elias sends best wishes for the Schenkers' vacation in
Igls.
OC 18/34 Typewritten letter from Arthur Waldeck to Schenker, dated September 22, 1932
Waldeck expresses an interest in translating Schenker' Harmonielehre into
English, and asks to send sample passages.
OC 44/22 Typewritten letter from Jonas to Schenker, dated November 10, 1932
Jonas acknowledges letter from Schenker and gives initial list of subscribers
with number of copies; he reports on two of his latest publications.
OC 18/42 Handwritten picture postcard from Karpath to Schenker, dated November 15,
1932
Karpath asks Schenker to phone him.
OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20,
1932]
In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.
OC 18/35 Typewritten letter from Arthur Waldeck to Schenker, dated November 21, 1932
Waldeck will report back to Schenker and send sample
translations.
OC 18/32-33 Handwritten letter from Weisse to Schenker, dated November 28, 1932
Weisse is uneasy about disparity among translations of Schenker's writings
into English, and suggests that he work with potential translators to arrive at an agreed
set of technical terms. He has renewed contact with Vrieslander, who has sent him a copy of
his recently published songs and Ländler. His work in New York is going well and his family
is thriving, but he sees and hears about a great deal of suffering, on account of the
economic collapse in America.
OC 18/37-38 Handwritten letter from Furtwängler to Schenker, dated December 10, 1932
Furtwängler shares Schenker's assessment of Ludwig Karpath, and has not
written a letter for publication. — He has been exploring possibilities for Schenker in
Berlin, particularly taking over a masterclass at the Akademie der Künste, with additional
lectures at the Stern'sches Conservatory. — He has heard from Hans Weisse. — He encloses a
review by Herman Roth, and comments on the latter's character.
OC 38/346v Handwritten letter from Violin to Schenker, dated December 22, 1932
In this partly incoherent message which responds to Schenker’s recent letters,
especially that of December 19, Violin urges his friend to remain optimistic. He will
discuss things with Furtwängler that should be beneficial. He asks to borrow Hindemith’s
letter to Schenker.
OC 38/341v Handwritten letter from Moriz and Fanny Violin to Schenker, dated December 24,
1932
Violin asks Schenker’s opinion about a reply to a letter he sent to Joseph
Marx, who had been in Constantinople (Istanbul) for the purpose of regenerating a music
conservatory there; he encloses a copy of Marx’s reply, which mentions Schenker in
particular.
OC 18/43 Typewritten letter from Karpath to Schenker, dated December 31, 1932
Karpath answers Schenker's accusations against Joseph Marx among others, in a
placatory manner. — He encourages Schenker to ask Furtwängler for the awaited letter. — He
will contact Marx and Franz Schmidt.
OC 30/40 Handwritten letter from Trude Kaff to Schenker, dated December 31, 1932
Trude Kaff sends New Year greetings to Heinrich Schenker and thanks him for
the instruction that he gave her, which has influenced her ever since.
OC 18/15 Typewritten letter from Josef Marx to Schenker, dated January 2, 1933
Marx welcomes Schenker's views, and will visit him upon his return from the
Graz region.
OC 18/29 Typewritten letter from Frederick E. Auslander to Schenker, dated January 5,
1933
Auslander seeks permission from Schenker and his publishers to translate some of
his works.
OC 30/41 Handwritten letter from Schenker to Trude Kaff, undated [c. January 5,
1933]
Unfinished, unsent letter of thanks from Schenker to Trude
Kaff.
OC 18/18 Typewritten postcard from Marx to Schenker, dated January 14, 1933
Marx will visit Schenker on January 16 at 5.30 p.m.
OC 18/19 Typewritten postcard from Marx to Schenker, dated January 15, 1933
Marx changes his visit from January 16 to January 18.
OC 38/340v Handwritten letter from Moriz Violin to Fanny Violin, dated January 15,
1933
Moriz Violin reports to his sister Fanny on the use of money for Karl; adjures
her to be steadfast; says the doctor holds out possibility for recovery; asks for any news
on discussions between Schenker and Josef Marx; and wishes he could be in Vienna and with
little Karl. [This letter was passed to Heinrich Schenker.]
OC 18/44 Typewritten letter from Karpath to Schenker, dated January 23, 1933
Karpath reports that Joseph Marx is a candidate again for the Directorship of
the Academy. — He will advocate to Marx and to Karl Kobald that Schenker be appointed as a
professor at the Academy. — He says that he will write a letter to
Furtwängler.
OC 18/45 Handwritten postcard from Josefine Violin to Karpath, dated January 23, 1933
Josefine Violin informs Karpath of the death of Karl Violin. Karpath sends
Schenker the card, and complains in an annotation about the disrespectful mode of
address.
OC 18/46 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated January 30,
1933
Covering letter for a letter of recommendation (OC 18/47) by Furtwängler for
Schenker.
OC 18/50 Typewritten letter from Furtwängler to Schenker, dated January 30, 1933
Furtwängler encloses copies of two letters he has sent to Ludwig
Karpath.
OC 18/47 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated February 6,
1933
Letter of recommendation by Furtwängler, which stresses expressly Schenker's
great significance as a music theorist.
OC 18/51 Typewritten letter from Karpath to Schenker, dated February 10, 1933
Karpath reports receipt of the letters from Furtwängler and that he is not
very happy with them. He will however submit the letter of recommendation to the President
of the Academy, Karl Kobald.
OC 18/52 Typewritten letter (carbon copy) from Karpath to Furtwängler, including a
typewritten annotation from Karpath to Schenker, dated February 15, 1933
Karpath sends the copy of a letter to Furtwängler. He again shows himself
discontented with the latter's letter. In his letter to the conductor he asks for another
letter of recommendation.
OC 18/53 Handwritten letter from Karpath to Schenker, dated February 17, 1933
Karpath stresses that Furtwängler's testimonial is unusable for putting
Schenker forward to the authorities [i.e. in the Ministry of Education] as a candidate for a
professorship.
OC 18/54 Handwritten letter from Karpath to Schenker, dated February 24, 1933
Karpath reports a conversation with Academy President Karl Kobald about a
position for Schenker, and regrets being unsuccessful. Kobald and Marx would have
recommended Schenker for a newly established "Austro-American course." Karpath asks for a
meeting with Schenker.
OC 18/23 Typewritten letter from Josef Marx to Schenker, dated February 28, 1933
Marx thanks Schenker for hospitality on January 18. He lacks the influence at
the Vienna Akademie to introduce Schenker's theoretical system, but has advocated for the
inclusion of Schenker's name on the list of publications to be taken into account in its
teaching. He has had Violin's name put down for a forthcoming teaching position, but cannot
say how the Ministry of Education will judge that name.
OC 18/55 Handwritten letter from Furtwängler to Schenker, dated March 2, 1933
Furtwängler asks if he can visit Schenker that evening.
OC 18/30 Typewritten letter from Frederick E. Auslander to Schenker, dated April 8,
1933
Auslander and Weisse plan to wait for clarity over the Marx Harmonielehre plan. —
Meanwhile, Auslander will publish extracts from Schenker's works in a magazine, with a view to
complete translations later.
OC 18/59 Typewritten letter from Furtwängler to Schenker, dated May 17, 1933
Furtwängler asks to call on Schenker on May 20.
OC 44/41 Handwritten letter from Hans Weisse to Schenker, dated June 2, 1934
Weisse will send Schenker his Variations and Fugue for 2 pianos when copies
are ready; he is glad to learn that Oswald Jonas's book will soon be published. He describes
the beauty of Tenants Harbor, Maine, where his family is spending the summer
vacation.
OC 18/36 Typewritten letter from Arthur Waldeck to Schenker, dated June 3, 1934
After the failure of his initiative to fund a translation of Harmonielehre,
Waldeck tells Schenker of his plan to coauthor with Nathan Broder an article introducing
Schenker's theory [to English-speaking readers].
OC 44/16 Handwritten letter from Robert Brünauer to Schenker, dated August 8, 1934
Brünauer reacts favorably to Oswald Jonas's newly published
book.
OC 44/4 Printed and handwritten birth annnouncement from the Cube family to Schenker, dated
August 12, 1934
Birth announcement of John-Carsten von Cube.
OC 44/45 Handwritten picture postcard from Hans Wolf to Schenker, dated August 28,
1934
Wolf has read to the end of the C. P. E. Bach chapter on thoroughbass, and is
going to reread it now: it is "magnificent."
OC 44/42 Handwritten letter from Willfort to Schenker, dated September 1, 1934
Willfort gives particulars of his radio concert, implicitly hoping Schenker will
listen to it.
OC 44/20 Handwritten postcard from Jonas to Schenker, dated [September 3, 1934]
Jonas would like to pay a visit to Schenker; — he has heard nothing from
Hoboken; — he is remaining in Vienna.
OC 44/18 Handwritten notecard from Elias to Schenker, dated September 5, 1934
Miss Elias inquires how Heinrich and Jeanette are, following their return
home.
OC 44/12 Handwritten postcard from Wilhelm Altmann to Schenker, dated September 10,
1934
Altmann thanks Schenker for sending Oswald Jonas's book, and will cite it in
his Tonkünstler-Lexikon, with entries on Jonas and Salzer. — He reminisces on his Galtür
visit and recounts his publication plans.
OC 44/13 Handwritten picture postcard from Carl Bamberger to Schenker, dated September 12,
1934
Bamberger aks Schenker to listen to a recital on the radio and give his
opinion, and inquires whether he may visit Schenker during the week.
OC 44/37 Handwritten postcard from Salzer to Schenker, dated September 15, 1934
Salzer asks to visit Schenker on Tuesday or Wednesday, and gives his new address.
OC 44/36 Handwritten postcard from Salzer to Schenker, dated September 17, 1934
Salzer cannot visit on Tuesday after all.
OC 44/21 Handwritten postcard from Jonas to Schenker, dated September 18, [1934]
Jonas is back in Berlin; reports on elucidatory editions, and seeks advice; —
he refers to Klemperer and Furtwängler, — he has received letter from Landshoff; —
forthcoming lectures in Vienna.
OC 44/15 Handwritten letter from Robert Brünauer to Schenker, dated September 20,
1934
Brünauer asks Schenker to put Moriz Violin in touch with Adalbert Franz
Seligmann.
OC 44/19 Handwritten notecard from Elias to Schenker, dated September 20, 1934
Miss Elias thanks Schenker for the constant concern he shows for her
troubles.
OC 44/43 Handwritten letter from Jonas and Hans Wolf to Schenker, dated September 24,
1934
Jonas reports on complimentary copies of Das Wesen and the plans for the
elucidatory editions. — He hopes to enlist Furtwängler in supporting Hans Wolf's application
to reenter Austria from Germany, but thinks a letter from Schenker to Furtwängler would be
more effective.
OC 44/44 Handwritten letter from Hans Wolf to Schenker, dated September 25, 1934
Wolf is prevented from returning to Vienna from Hamburg by new conditions of
entry to Austria. He comments on a recently published article by Schenker.
OC 44/23 Handwritten letter from Marianne Kahn to Schenker, dated September 29,
1934
Miss Kahn commits to her 1934/35 lesson schedule with Schenker. She reports on
her own pupil cohort.
OC 44/46 Handwritten postcard from Jonas and three others to Schenker, dated October 2,
1934
Jonas has spoken to Furtwängler, who will proceed on the matter of Hans
Wolf.
OC 44/47 Handwritten letter from Hans Wolf to Schenker, dated October 19, 1934
Wolf has receive authorization to enter Austria.
OC 44/9 Handwritten letter from Jonas to Schenker dated October 27, 1934
Jonas acknowledges OJ 5/18, 59 and 60; Hoboken has no reason to complain about
his behaviour. — As a result of Hoboken's distribution of complimentary copies, Jonas has
received letters of appreciation. —Reacts critically to Willi Reich and his magazine 23. —
Describes plans for forthcoming events in Hamburg.
OC 44/8 Handwritten postcard from Cube to Schenker, dated October 29, 1934
Cube gives the publisher of Schäfke's Geschichte der Musikästhetik, and reports the prospect of a
permanent position.
OC A/265 Handwritten letter from Hans Wolf to Schenker, dated October 29, 1934
Back in Vienna, Wolf gives his new address, and suggests times for his
lessons.
OC 44/6 Handwritten postcard from Hans Wolf to Schenker, dated October 30, 1934
Further to his previous letter, Wolf indicates his availability on
Tuesdays.
OC 44/2 Handwritten letter from Salzer to Schenker, undated [November 5, 1934]
Salzer asks to see Schenker in order to set up a lesson time.
OC A/287 Handwritten letter from Carl Bamberger to Schenker, dated December 11,
1934
Bamberger wishes to visit Schenker to report on his time in
Russia.
OC A/291 Handwritten picture postcard from Komorn to Schenker, dated December 22,
1934
Mrs. Komorn send Christmas and New Year's best wishes.
OC A/297 Handwritten letter from Carl Bamberger to Schenker, dated December 24,
1934
Bamberger sends best wishes for the New Year, and inquires about a
visit.