OJ 11/42, [21] Handwritten letter from Maximilian Harden to Schenker, dated November 24,
1894
Harden encourages Schenker to write articles on the string quartet and on
[Johann] Strauß and Humperdinck, but not on Brahms. — He explains why he lost his temper
with Schenker in an earlier letter (see OJ 11/42, [19]). — He urges Schenker to procure some
corresondence between Rosenthal and Rubenstein for publication in Die Zukunft; and he casts
aspersion on Die Zeit.
Sbb B II 4419 Handwritten letter with envelope from Schenker to Busoni, dated February 15,
1898
Schenker sends Busoni what he considers to be the final version of his
Fantasie. He inquires whether Busoni has yet made an approach on his behalf to Breitkopf
& Härtel. He reports an incomplete performance of his Fünf Klavierstücke by Eugen
d'Albert, and the fact that the Neue freie Presse did not review the
concert.
Sbb B II 4431 Handwritten letter from Schenker to Busoni, undated [c. February 5, 1900]
Schenker congratulates Busoni on the birth of a son. The Neue freie Presse
does not support Schenker's music because he does not belong to the Heuberger "clique." He
[and Moriz Violin] are playing the Syrische Tänze again on the 20th. He hopes to come to
Berlin, and encloses a "portrait."
Sbb B II 3550 Handwritten letter from Schenker to Busoni, dated August 30, 1903
In response to Busoni's expressed desire to include the Syrische Tänze,
orchestrated, in a concert later in the year, Schenker admits that he would prefer, if
possible, to orchestrate the work himself rather than using the orchestration on which
Schoenberg was currently working.
Sbb B II 4424 Handwritten letter from Schenker to Busoni, dated October 8, 1903
The orchestral parts of Schoenberg's orchestration of Schenker's Syrische
Tänze have been dispatched to Busoni: Schenker comments on their degree of clarity and
correctness, and offers advice on performance. He will be attending rehearsals in Berlin.
Weinberger have asked that the existing title be retained. -- Schenker reports on
prospective performances of his works. He also reports on good chances of receiving a theory
professorship at the Vienna Conservatory, and doesn't want Jewishness associated with his
compositions lest this should impair those chances.
WSLB-Hds 95660 Handwritten postcard from Schenker to Seligmann, dated November 13, 1904
Schenker congratulates Seligmann on his most recent feuilleton in the Neue
Freie Presse..
WSLB-Hds 95662 Handwritten postcard from Schenker to Seligmann, dated August 29, 1906
In this amusing message congratulating Seligmann on his latest feuilleton,
Schenker comments on the proper speed for the “little duet” between Giovanni and Zerlina and
notes the gulf separating the performance of Don Giovanni at the Salzburg Festival (the
conductor is not named) and the Mozart performances conducted by Mahler (at the Vienna State
Opera).
CA 58 Handwritten letter from Schenker to Cotta, dated November 24, 1906
Schenker lists the journals for which the five music critics (as listed in CA
56) to receive review copies write.
CA 60 Handwritten letter from Schenker to Cotta, dated December 3, 1906
Schenker asks for a further review copy to be sent to Richard
Robert.
OJ 12/27, [2] Stenographically handwritten letter from Cotta to Schenker, dated December 4,
1906
Cotta has carried out wishes expressed in CA 60.
CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909
Schenker raises again the splitting of Kontrapunkt into two half-volumes, or
even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the
Academy of Music, despite his being in a constant state of feud with all officialdom. — The
Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of
his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading
work" on the subject; he argues the case for splitting the work on "psychological" and
"technical" grounds.
OJ 9/31, [23] Stenographically handwritten letter from Cotta to Schenker, dated June 1,
1909
Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a
publication schedule for the first half-volume.
WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July
1909]
Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks
it worthy of publication, to send a letter of reference to one or other Viennese newspaper.
He also expresses his satisfaction at how his career is shaping: he has requested and
received generous fees for the editions he has prepared for Universal Edition, and his
theoretical writings for Cotta are also moving along.
WSLB-Hds 94476 Handwritten letter from Schenker to Seligmann, dated July 17, 1909
Schenker thanks Seligmann for helping him to get a friend’s essay on Byron’s
Manfred published in a Viennese newspaper. He then asks whether it would be possible to make
a judgment about painters, and paintings, on purely objective grounds, as he (Schenker) has
been aiming to do with composers and musical works.
OJ 14/23, [14] Handwritten letter from Seligmann to Schenker, undated [probably autumn
1909]
Seligmann has been unable to get a newspaper to accept an article on Byron’s
Manfred, written by a friend of Schenker’s
WSLB-Hds 95656 Handwritten postcard from Schenker to Seligmann, dated December 3, 1909
Schenker congratulates Seligmann on his latest feuilleton in the Neue Freie
Presse, and asks for clarification about a matter concerning an essay on Byron’s Manfred and
his friend Moriz Violin.
CA 132 Handwritten letter from Schenker to Cotta, dated October 13, 1910
Schenker incloses a reaction to the Preface of Kontrapunkt 1 by Adalbert
Seligmann. —He assures Cotta that their printing and production costs bill will be paid
promptly.
OJ 9/31, [28] Stenographically handwritten letter from Cotta to Schenker, dated October 15,
1910
Cotta has already sent a copy of vol. II/1 to Ernst Rudorff.
OJ 9/18, [2] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated January
14, 1911
Bopp regrets that he was unable to attend Schenker's chamber music
concert.
WSLB-Hds 94478 Handwritten letter from Schenker to Seligmann, undated [shortly before May 31,
1911]
Schenker reports the completion of work on Beethoven’s Ninth Symphony and
enlists Seligmann’s help in placing notices in Viennese newspapers advertising a planned
series of lectures on modern music (cacophony).
WSLB-Hds 95665 Handwritten letter from Schenker to Seligmann, dated May 31, 1911
Schenker thanks Seligmann for his willingness to help him get a notice placed
in the newspapers.
OJ 14/23, [16] Handwritten lettercard from Seligmann to Schenker, postmarked June 1,
1911
Seligmann gives Schenker a revised version of his newspaper notice, which he
thinks will be published in the next two days.
WSLB-Hds 95657 Handwritten postcard from Schenker to Seligmann, dated June 6, 1911
Schenker congratulates Seligmann on his latest feuilleton and shares his own
similar views about the relationship between nature and the art of
painting.
OJ 8/1, [13] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 29,
1911
Schenker has booked four seats for the theater [for Wedekind:
Erdgeist].
WSLB 113 Handwritten letter from Schenker to Hertzka (UE), dated May 18, 1912
Schenker asks to see the entire volume of his monograph on Beethoven's Ninth
Symphony again for a final check, and urges that the work be published in time for the
Vienna Music Festival Week, and that UE be advertizing the book now in
Germany.
WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912
Schenker inquires about the print-run and retail cost of his
Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for
clarity on a payment he has just received, stressing his probity.
WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26,
1912]
Recounting the backstory of the move to found an [Austrian] organization of
musicians, and painting it as a rearguard action by performers against the dominance of Neue
freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an
approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to
the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he
complains at the timid tone of Universal Edition's advertising of his own
works.
OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der
Musikfreunde), dated September 27, 1912
Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav
Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he
lodges his complaint at the way in which he has been treated, which he considers impolite and
publicly demeaning, and withdraws his offer of lectures.
OJ 5/45, [1] Copy letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated June 17,
1915
In a six-page letter, and following harsh exchanges the previous day, Schenker
castigates Weisse for trying to avoid paying for four lessons, speaking of his own difficulties
in managing the profession of private teacher, and the unfair ways in which artists are treated
financially.
JOB 94-3, [11] Handwritten picture postcard from Schenker to Hammer, dated July 26, 1925
Schenker inquires as to Hammer's whereabouts, referring to a current scandal
surrounding the Albertina gallery in Vienna. He asks about "the first
print."
OJ 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926
Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon
as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern
music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He
is not optimistic that humanity in general will truly understand the classics, which
underscores the important of his (and Violin's) mission.
OJ 89/1, [7] Handwritten letter from Schenker to van Hoboken, dated December 5, 1927
Schenker praises a notice in the Neue freie Presse about the Photogrammarchiv,
and speaks of the task that lies ahead.
OJ 89/3, [2] Handwritten letter from Schenker to Hoboken, dated July 6, 1929
Schenker encloses a newspaper clipping regarding a Haydn manuscript find, and the
statement from Vrieslander.
PhA/Ar 56, [3] Handwritten letter from Schenker to Haas, dated July 6, 1929
Schenker draws Haas's attention to an article in the Neue Freie Presse
regarding Haydn manuscripts.
OJ 10/3, [126] Handwritten letter from Deutsch to Schenker, dated May 11, 1930
Deutsch asks for Schenker’s advice on the programming of an evening “Serenade”
of orchestral and choral music, to be conducted by Robert Heger.
OJ 10/3, [144] Handwritten picture postcard from Deutsch to Schenker, dated March 13,
1931
In this cryptic message, Deutsch creates a relationship among Beethoven,
Schenker, the music critic Julius Korngold, and the writer on music Richard
Specht.
OJ 6/8, [3] Handwritten letter from Schenker to Violin, dated May 24, 1931
Schenker sends Violin clippings of a positive anonymous review of Das
Meisterwerk 3, and an article by Bruno Walter from the Neue freie Presse mentioning
him.
OJ 10/3, [159] Typewritten letter from Deutsch to Schenker, dated October 23, 1931
Deutsch enumerates three points arising from his meeting the previous day
(October 22, 1931) with Robert Haas and Wilhelm Weckbecker: that the minister (for
education) should be approached regarding the conferral of a civic honor upon Anthony
Hoboken by the Austrian state; that Hoboken’s character and reputation should in the
meantime be “cleaned up,” by appealing to the Vienna police authorities; that Hoboken should
invite – separately – Weckbecker and Ludwig Karpath to his home to examine his personal
library. He asks Schenker to get in touch with Karpath about this, but to do so tactfully
and with reference to these three points.
OJ 10/3, [160] Typewritten letter from Deutsch to Schenker, dated October 24, 1931
Deutsch is pleased that his “plotting” to obtain for Hoboken a civic honor
from the Austrian state is working so far. He has spoken on the telephone with Ludwig
Karpath and will see him next week. Hoboken’s character seems not to have been blotted by an
incident in Munich some time ago: whatever misdeed he may have for which he had been
accused, and which led to his (brief) incarceration, can never be proved.
OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and
Heinrich Schenker’s hand, dated November 11‒16, 1931
FS 40/1, [5] Handwritten letter from Schenker to Salzer, dated December 28, 1931
Schenker replies that there will not be a seminar meeting on January 1. — Draws
attention to a feuilleton.
OJ 11/54, [37] Handwritten letter from Hoboken to Schenker, dated January 1, 1932
Hoboken sends New Year's greetings, refers to an article about the Photogram
Archive, and outlines his travel plans.
FS 40/1, [11] Handwritten picture postcard from Schenker to Salzer, dated August 7, 1932
Schenker is delighted that Salzer's injury is less serious than portrayed in the
Neue Freie Presse
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.
OJ 8/5, [15] Handwritten postcard from Schenker to Violin, dated February 15, 1933
Schenker reports reading a newspaper article in which Arnold Schoenberg was
not offered a post at the Vienna Academy, and draws from it a parallel with Violin and
himself.
OJ 89/6, [9] Handwritten letter from Schenker to Hoboken, dated July 25, 1933
In writing of Hoboken's prospects as a composer, Schenker is not interested in
creating imitation Bachs and Brahmses. — He delights in Cortot's visit to the Photogram
Archive - but Cortot belongs to the already convinced. — He makes observations on some
inclosed feuilletons, and gives information about Goos.
OJ 89/6, [10] Typewritten letter (carbon copy), from Hoboken to Schenker, dated August 5,
1933
Hoboken is gratified by Schenker's praise of his song compositions; — He will
continue his Chopin projects someday, but is preoccupied with the worsening European
political situation; — He comments on Kleiber, Max Graf, on Goos's estimate of Schenker's
importance, and returns newspaper clippings that Schenker has sent him with
comments.
OJ 89/7, [5] Handwritten letter from Schenker to Hoboken, dated February 25, 1934
Schenker comments on Eva van Hoboken's visit [of February 18]; — Encloses a
collection of articles, praises Hoboken's opposition to Ganche, and comments sardonically about
Schering, Kretzschmar, and Riemann.
OJ 5/34, [2] Handwritten revised draft letter from Schenker to Alphons Rothschild, in Jeanette
Schenker's hand, undated [August 3‒6, 1934]
Draft accompanying letter for a copy of Oswald Jonas's Das Wesen ... —
Schenker reiterates his gratitude for previous financial support, and reports that he now
has 11 published works, many articles, and entries on him in several general encyclopedias.
— Only in Vienna is he unrecognized. — He describes Wilhelm Furtwängler's faith in his
theories and the support he has given him. — He mentions his earlier proposal for a
Rothschild orchestra.
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.