OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922
Deutsch writes that the "Moonlight" Sonata facsimile edition is still being
printed, and that he cannot make a decision on the production of a second facsimile edition
until the new contract has been agreed with Universal Edition. The contract has been delayed
by Universal Edition's dispute with Drei Masken. If they have to abandon plans for the
facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute, Deutsch
suggests Beethoven's String Quartet Op. 95 as an alternative.
OJ 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922
Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to
reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When
Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven
manuscript.
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 54/132 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.
OJ 6/7, [34] Handwritten letter from Schenker to Moriz Violin, dated June 30, 1927
Schenker answers Violin's birthday greetings letter philosophically. He is
able to work on the final version Der freie Satz at leisure and in good spirits. He reports
on the establishment of an archive of photographic reproductions of autograph and gives an
account of a visit from Violin's sister Fanny: in return for a picture of Karl Violin, he is
enclosing two pictures of himself and one of Jeanette. Finally, he urges his friend to spend
part of the summer in Galtür.
OJ 89/1, [1] Handwritten letter from Schenker to van Hoboken, dated July 3, 1927
Schenker gives Hoboken Furtwängler's summer address and urges him to contact the
latter, which could yield advantage, not least for the Photogrammarchiv. — Has seen Schindler's
Beethoven biography with notes on performance. — Notifies Hoboken of the normalizing of his fee
at 50 schillings per lesson.
OJ 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927
Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927;
encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the
Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk
in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the
Hobokens' trip to Switzerland, reporting on von Cube.
PhA/Ar 56, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
PhA/Ar, [1] Handwritten letter from Schenker to Haas, dated August 14, 1927
Schenker sends Haas copies of the [current version of the]
Appeal.
OJ 11/32, [1] Typed letter from Robert Haas to Schenker, dated August 19, 1927
Acknowledges "Appeal"; looks forward to working with
Schenker.
OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927
Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and
expresses the hope that it will be possible to interest Furtwängler in performance according to
the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and
discusses negotiations with the Austrian National Library and Ministry of Education. — Comments
on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. —
Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig
Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and
Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory.
OJ 11/32, [2] Typed letter from Robert Haas to Schenker, dated September 30, 1927
Haas invites Schenker to view the Photogrammarchiv.
OJ 89/1, [6] Handwritten letter from Schenker to van Hoboken, dated October 4, 1927
Schenker thanks van Hoboken [for subventing Yearbook 2], while complaining at
Drei Masken Verlag's failure to send him his author's copies and its lack of honesty; he praises
Hoboken for his collection and service to mankind.
OJ 11/54, [20] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken inquires whether the next day is a holiday or lesson day,
provisionally suggesting a discussion with Robert Haas.
OJ 11/54, [21] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken confirms meeting with Robert Haas.
OJ 10/3, [74] Typewritten postcard from Deutsch to Schenker, dated November 22, 1927
Deutsch suspects that with the typesetters' "messing up" of Schenker’s revised
copy of Schubert’s “Unfinished” Symphony the material has been made illegible. — He has been
in contact with people regarding a possible radio talk by Schenker, and one by himself on
the redesigning of the Mozarteum. — He reports that the pianist Heinz Jolles would like
Schenker to prepare an edition of one of Beethoven’s variation sets (WoO 80 or the
“Diabelli”), and that Josef Braunstein is gratified to hear of Schenker’s interest in his
recent book on the "Leonore" overtures.
OJ 10/3, [75] Typewritten letter from Deutsch to Schenker, dated December 2, 1927
Deutsch encloses Schenker’s score of the “Unfinished” Symphony that was used
used for the new edition and Alfred Kalmus’s apologetic letter. He mentions the pianist
Heinz Jolles’ interest in Schenker’s editorial work, in the hope that Schenker might at some
point tackle Beethoven’s “Diabelli” Variations.
PhA/Ar 56, [2] Handwritten letter from Schenker to Haas, dated December 7, 1927
Schenker sends Haas photographic copies of five Beethoven
works.
WSLB-Hds 191.560 Handwritten letter from Schenker to Deutsch, dated January 25, 1928
Schenker comments on the text of Deutsch’s forthcoming radio broadcast
about the Photogram Archive, noting in particular that the word “scientific”
(wissenschaftlich) has no place in the study of music, which is a unique art
form.
OJ 11/32, [3] Typed letter from Robert Haas to Schenker, dated March 1, 1928
The Photogrammarchiv has a source that Schenker is at liberty to
consult.
OJ 89/2, [4] Handwritten letter from Schenker to Hoboken, dated March 16, 1928
Schenker speaks of Hoboken's Photogrammarchiv as a "grand contribution," and of
the work to be done there; reports on a copy of Beethoven Sonata, Op. 90, by Archduke Rudolph. —
He will show Hoboken recent articles by Dahms and Vrieslander, and inquires about Hoboken's
birthday.— Furtwängler may come to Vienna permanently.
OJ 89/2, [5] Handwritten letter from Schenker to Hoboken, dated March 26, 1928
Schenker conveys Deutsch's response to van Hoboken's questioning of a planned
facsimile of Schubert sketches. — Schenker discusses strategy for persuading Paris to supply
photographs for the Photogrammarchiv.
OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928
With thanks for birthday greetings, Schenker expresses how highly he values the
Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. —
Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the
success of the Urlinie through Der Tonwille, he no longer considers himself isolated.
OJ 11/54, [24] Typed letter from Hoboken to Schenker, dated August 27, 1928
Hoboken recounts his and his wife's travels through Germany, including encounters
with Thomas Mann and others. He expects to return to Vienna in mid-October.
OJ 89/2, [7] Handwritten letter from Schenker to Hoboken, dated September 5, 1928
The Schenkers have just returned to Vienna. — The "fantastic nature" of the
Hobokens' travels by auto. — The exceptional heat in Galtür. —Salzburg as magnificent but
too small to hold Mozart.
OJ 13/25, [5] Typewritten letter from Rinn to Schenker, dated March 7, 1929
Rinn apologizes for the small format in which the autograph of Schubert's
minuet was reproduced for Schenker's article "Eine Rettung der klassischen Musik-Texte." He
has publicized the work, and intends to send copies of it to university music departments
and inform other newspapers and journals of it. He expresses thanks for the efforts that
Schenker made in contributing to Der Kunstwart, and for his remarks on Bruckner's Ninth
Symphony.
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 89/3, [7] Handwritten letter from Schenker to Hoboken, dated August 5, 1929
Further communications between Hoboken and Vrieslander should now go via
Kromer, not Schenker; Oppel leaves tomorrow; how is house-construction
going?
OJ 10/3, [105] Handwritten letter from Deutsch to Schenker, dated August 21, 1929
In this long letter, Deutsch seeks to explain Vrieslander’s behavior with
regard to the purchase of materials from an unscrupulous antiquarian dealer, and also to
account for Hoboken’s treatment of Vrieslander as a consequence. --- He accepts that funds
to set up a journal linked to the Photogram Archive are not unlimited, but understands why
Schenker cannot devote as much of his own time to the project as Hoboken might expect. ---
He describes Hoboken as a childish character, with little understanding of the world of
ordinary people, who might nevertheless ultimately produce a good piece of
scholarship.
OJ 89/3, [9] Typewritten letter from Hoboken to Schenker, dated September 15, 1929
Hoboken encloses his analytical study of Brahms's Intermezzo, Op. 117, No. 1,
and raises several technical matters. — He reports on his building project, and responds to
Schenker's refusal, in OJ 89/3, [7], to continue acting as intermediary with Vrieslander. —
He encloses a check for his lesson fee.
OJ 10/3, [108] Typewritten letter from Deutsch to Schenker, dated October 7, 1929
Deutsch gives a comprehensive analysis of the prospect of a publication
devoted to the Photogram Archive: its content, its editorship, the frequency of its
appearance, and the publishing houses who might be interested in taking it on.
OJ 10/3, [109] Typewritten picture postcard from Deutsch to Schenker, dated October 14,
1929
Deutsch agrees that there should be momentum associated with the Photogram
Archive, but Haas can probably not be persuaded [to approve of Hoboken’s taking the
editorial duties]. --- He reports that work on Haydn (with Hoboken) has
resumed.
OJ 10/3, [114] Typewritten letter from Deutsch to Schenker, dated January 21, 1930
Deutsch explains that, without a fixed annual budget, the Board of Trustees
[of the Photogram Archive] is unable to function properly. Hoboken didn’t always deal
efficiently with the foreign contributors to the collection; a catalogue has still not been
prepared. And Deutsch has made himself ill by overwork. Hedwig Kraus has taken over the
directorship of the Archive of the Gesellschaft der Musikfreunde, with [Karl] Geiringer as
her assistant – to whom Deutsch would have greatly preferred Luithlen. He has been
exchanging letters with Vrieslander.
OJ 10/3, [120] Handwritten postcard from Deutsch to Schenker, dated March 2, 1930
Deutsch has come across information suggesting that there may be parts, even a
score, of the "Eroica" Symphony with corrections in Beethoven’s hand from the music library
of Archduke Rudolph and still located in Olmütz [Olomouc].
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.
WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930
In this 16-page response to a letter from Deutsch, Schenker thanks his
correspondent for his unstinting assistance (in relation to the third Meisterwerk
yearbook) and underlines the importance of a collected edition of the works of C. P.
E. Bach. — He then launches a long and detailed denunciation of Anthony van
Hoboken’s character, referring in particular to his treatment of Otto Vrieslander,
his ambivalence towards projects associated with the Photogram Archive, and his
absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is
thoroughly undeserving of a high honor conferred by the Austrian
state.
WSLB-Hds 191.569 Handwritten letter from Schenker to Deutsch, dated September 10, 1930
Schenker requests a meeting with Deutsch and Robert Haas. -- The
page-proofs for the third Meisterwerk yearbook will arrive soon. -- Schenker will
also look at the early edition of Beethoven’s Sonata Op. 22, recently acquired by
Hoboken, and discuss any outstanding matters between them then.
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.
PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker,
dated September 15, 1930
Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to
check in connection with a planned new collected edition of the works of that
composer.
OJ 89/4, [5] Handwritten letter from Schenker to Hoboken, dated September 29, 1930
Schenker invites Hoboken to tea to discuss attribution in the collected edition,
and congratulates Hoboken on his endeavor.
PhA/Ar 56, [4] Handwritten letter from Schenker to Haas, dated November 12, 1930
Schenker offers Haas a line of inquiry for tracing Beethoven source
materials.
OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930
The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker
and Hoboken soon.
OJ 11/32, [5] Typed letter from Robert Haas to Schenker, dated November 29, 1930
Accepts Schenker's invitation to Hans Weisse's lecture, and gives two pieces
of information.
OJ 11/32, [6] Handwritten postcard from Robert Haas to Schenker, dated December 5, 1930
Haas is unable to attend [Weisse's lecture].
OJ 11/32, [7] Typewritten letter from Robert Haas to Schenker, dated December 11, 1930
Haas refers to the cancelation of the C. P. E. Bach edition. He explains why
he had to withdraw from Weisse's lecture at the last moment.
OJ 10/3, [135] Handwritten letter from Deutsch to Schenker, dated December 25, 1930
Deutsch’s son Peter has broken a leg ice-skating. He is devastated by the news
of Hoboken’s withdrawal of support for the C. P. E. Bach collected edition). He will discuss
the terms [of payment] regarding the third Meisterwerk yearbook in person, and advises that
review copies be sent out in January.
OJ 10/3, [137] Typewritten letter from Deutsch to Schenker, dated January 24, 1931
Deutsch is sorry not to be able to meet with Schenker and Felix Salzer. — He
is concerned that others may think that he had a part to play in Hoboken’s withdrawing his
financial support for a collected edition of C. P. E. Bach’s works.
OJ 5/7a, [35] (formerly vC 35) Handwritten letter from Schenker to Cube, dated March 28, 1931
Schenker put Cube's Cologne Highschool proposal to van Hoboken, and now reports on the reaction,
discussing the latter's character in so doing.
OJ 11/32, [8] Typed letter from Robert Haas to Schenker, dated June 27, 1931
Haas sends summer greetings, and agrees to advise Angi Elias.
OJ 10/3, [154] Typewritten letter from Deutsch to Schenker, dated October 8, 1931
Deutsch has been in touch with Robert Haas about a civic honor being conferred
upon Hoboken in the hopes of keeping him, the Photogram Archive, and his personal library in
Vienna. He asks if Schenker might request a letter from Furtwängler recommending this
action, and be able to get Julius Korngold to write something about the importance of
Hoboken’s collections.
OJ 10/3, [158] Handwritten picture postcard from Hannah Deutsch to Schenker, dated October 20,
1931
Deutsch’s meeting, first mentioned in his letter of October 16, has been
postponed by two days, until Thursday, October 22.
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 11/32, [9] Handwritten picture postcard from Robert Haas to Schenker, dated December 22, 1931
Seasonal greetings
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.
OJ 11/32, [10] Typed letter from Robert Haas to Schenker, dated July 22, 1932
Haas sends summer greetings and urges holding a Board of Trustees' meeting in
September.
OJ 89/5, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 5,
1932
Hoboken sets out his plans to leave Vienna, pack his furniture and put his
music collection in store, and how he sees the continuation of his lessons with and work
under Schenker.
OJ 11/32, [11] Typed letter from Robert Haas to Schenker, dated September 15, 1932
Haas asks Schenker to call on him in relation to a letter from van Hoboken
regarding the Photogrammarchiv.
OJ 89/5, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 22,
1932
Hoboken is pleased at completion of Der freie Satz and reaffirms his financial
assistance for its printing. — Encloses a letter from Robert Haas and proposes a three-way
meeting. — Refers to the impact of his divorce has on his financial affairs. — May be able
to assist Jonas's publication.
PhA/Ar 56, [5] Handwritten postcard from Schenker to Haas, dated September 28, 1932
Schenker invites Haas to a meeting of the Board of Trustees [of the
Photogrammarchiv].
OJ 11/32, [12] Typed postcard from Robert Haas to Schenker, dated September 29, 1932
Haas accepts Schenker's invitation.
FS 40/1, [14] Handwritten postcard from Schenker to Salzer, dated November 15, [1932]
Schenker acknowledges Salzer's remarks [about Bamberger's performance] and looks
forward to discussing the autograph score of [Beethoven's] Egmont.
OJ 11/32, [13] Typed letter from Robert Haas to Schenker, dated December 22, 1932
Haas gives information about an early copy of a Beethoven
score.
OJ 12/24, [6] Typewritten postcard from Kromer to Schenker, dated May 22, 1933
Kromer will call on Schenker on 24th.
OJ 11/32, [14] Handwritten letter from Robert Haas and Julius von Kromer to Schenker, dated May 24,
1933
Haas is sending requested books of his, and invites borrowing over summer.
Kromer adds PS.
OJ 11/32, [15] Typed letter from Robert Haas to Schenker, dated June 2, 1933
Haas is unable to lend Griesinger's Haydn book over the entire vacation. Sends best wishes
for the summer.
OJ 11/32, [16] Handwritten letter from Robert Haas to Schenker, dated September 10, 1933
Haas expresses pleasure at Schenker's comments on his performance practice
book, and asks if Schenker can donate a copy of Meisterwerk I to the
Archive.
OJ 11/32, [17] Typewritten letter from Robert Haas to Schenker, dated September 20, 1933
Haas promises to have the Griesinger Haydn book delivered, and mentions
several other matters.
PhA/Ar 56, [11] Handwritten letter from Schenker to Kromer, dated October 2, 1933
Schenker returns a loaned book.
OJ 6/8, [28] Handwritten letter from Schenker to Violin, dated December 1, 1933
Schenker is lending Violin a copy of something amusing [a composition by Josef
Knettel] sent to him by Reinhard Oppel. He notes that Hans Wolf wants to leave Vienna early
for the holidays, but Schenker will insist on being paid in full for the lessons scheduled
in December.
OJ 5/18, 57 Handwritten postcard from Schenker to Jonas, dated September 28, 1934
Schenker has written to Furtwängler but doubts whether the latter will be able
to help. — He passes on advice from Robert Haas regarding Hans Wolf's
situation.
OJ 5/18, 59 Handwritten letter from Schenker to Jonas, dated October 16, 1934
Schenker cautions Jonas that he detects "something afoot" with Hoboken and his
wife. — Mentions Hans Wolf's reentry problems and reports on German students coming to him.
—An article on Schenker has been included in Spanish Enciclopedia universale. —Reports on
Zuckerkandl, Breisach, von Cube, and Weisse.
OJ 89/7, [15] Handwritten letter from Schenker to Hoboken, dated December 25, 1934
Schenker and Jeanette thank Hoboken for their Christmas gifts; Shenker alludes to
the forthcoming publication of Der freie Satz as the "summit" of his career, and reports that he
has been invited to inspect the new accommodation for the Photogramarchiv.
OJ 11/54, [41]-[42] Handwritten letter, with envelope, from Hoboken to Schenker, dated January 1,
1935
Hoboken wishes Schenker good health, and strength to complete Der freie Satz.
— He discusses the furniture in the new premises of the Photogram Archive, and gives his
travel plans for January.
OJ 11/32, [18] Handwritten letter from Robert Haas to Jeanette Schenker, dated January 14,
1935
Haas sends commiserations to Jeanette on the death of
Heinrich.