OJ 9/6, [2] Handwritten letter from Eugen d'Albert to Schenker, dated March 8,
1894
Eugen d'Albert will be in Vienna for two days and seeks a first meeting
with Schenker.
OJ 9/6, [13] Handwritten letter from Eugen d'Albert to Schenker, dated April 24,
1896
A conflict of loyalty over concert agent obliges Eugen d'Albert to
decline a concert with Arnold Rosé.
OJ 9/6, [14] Handwritten letter from Eugen d'Albert to Schenker, dated January 2,
1897
Eugen d'Albert acknowledges receipt of Schenker's Zwei Clavierstücke,
Op. 1, which he hopes to perform in the near future, and notifies Schenker of errors
in the libretto of his "Die Abreise." He apprises Schenker of his next time in
Vienna. He is negotiating for a publisher for Schenker's future compositions, and
sends New Year good wishes.
Sbb B II 4428 Handwritten letter from Schenker to Busoni, dated January 3, 1899
Schenker asks whether Busoni could play an orchestral concert in February,
acknowledging that there might be a conflict with Busoni's current agent.
Sbb B II 4430 Handwritten letter with envelope from Schenker to Busoni, dated January 7,
1900
Schenker has played his Syrische Tänze to Eduard Hanslick and reports the
favorable remarks Hanslick made about Busoni. The first public performance of the Dances has
been postponed because of illness.
OJ 6/3, [19] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked November 1?,
1900
Schenker offers Violin advice on the planning of a concert and its financing,
promising to have his Hamlet incidental music ready in time. He reports on fees at the Leiners
and Wieners.
OJ 9/6, [34] Handwritten postcard from Eugen d'Albert to Schenker, dated January 6,
1902
Eugen d'Albert proposes they meet on January 10.
Sbb B II 4432 Handwritten letter with envelope from Schenker to Busoni, dated September 9,
1903
Schenker informs Busoni that the Schoenberg orchestrations will reach him by
October 9. He has taken soundings over the suggested title change and now permits Busoni to
go ahead with the change, though with a reservation. He hopes to bring Alphons Rothschild to
the performance.
WSLB 20 Handwritten letter from Schenker to Hertzka (UE), dated September 28, 1908
Schenker asks for a copy of his C. P. E. Bach keyboard works to be sent to Julius
Röntgen. — He inquires about the corrigenda sheet for the Beitrag zur Ornamentik, and the
publication date of the Instrumentations-Tabelle.
WSLB 25 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1908
Schenker asks for copies of the Instrumentations-Tabelle to be sent to Violin
and Gärtner. — He has bought two copies of the Beitrag zur Ornamentik at the Gutmann music
store.
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.
WSLB 109 Handwritten letter from Schenker to Hertzka (UE), dated April 29, 1912
Schenker sends first and second proofs with comments.
JOB 94-3, [4] Handwritten postcard from Schenker to Hammer dated January 21, 1923
Schenker alerts Hammer to the publication of Tonwille 3.
OJ 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9,
1923
Having settled into country life in the Tyrol, Schenker returns to his work, in
particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks
Violin’s opinion about a subscription plan for a periodical that would appear four times a year
(instead of the current two), and hopes that his friend might spare a few days to visit him in
Galtür.
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.
OJ 6/7, [11] Handwritten letter from Schenker to Moriz Violin, dated November 6, 1924
Schenker has received a photographic reproduction of the opening chorus of Bach's
St Matthew Passion. — Gives account of delays to the publication of Tonwille 8/9 and 10, blaming
Hertzka for being slow to send work to the engraver, and has written to him with a request to
dissolve the Tonwille contract with UE. — Refers to a recent review by (Julius) Korngold, and
recounts a long story about his piano dealer, Bernhard Kohn.
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.
OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925
Schenker thanks Violin for his recent letter (and enclosure), which contains
evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark
contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the
publication of Weisse's recently published vocal quartets than to his writings. Leaving Der
Tonwille behind, which has earned him little money and caused him much misery, he has written a
lengthy study of Bach's solo violin works, which will be published in the first volume of Das
Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen
Kontrapunkts.
OJ 9/12, [3] Handwritten letter from Carl Bamberger to Schenker, dated February 23,
1925
As a follow-up to his previous letter, Bamberger gives a full account of the
number of subscriptions to Der Tonwille that he has either instigated himself or encouraged
others to take on.
OJ 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925
Making preparations with his solicitor for the legal action against Universal
Edition, Schenker asks Violin to find out whether Max Temming paid for the additional
subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of
Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk
yearbook and asks Violin whether he has yet made summer plans and whether these might include a
trip to Galtür.
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 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 54/108 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.