OJ 9/6, [5] Handwritten letter from Eugen d'Albert to Schenker, dated July 2,
1894
Eugen d'Albert thanks Schenker for a recommendation of his work. Things
being difficult, he would have had to give up composing had he not also played the
piano. He announces completion of his next opera.
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.
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
OJ 5/15, [2]-[3] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?c. June
1, 1908]
Responding to Grunsky's request, Schenker gives his assessment of Bruckner's
music. First exploring common ground between him and Grunsky, he then offers "technical
reasons" why he regards Bruckner as "possessing minimal powers of invention," therefore
cannot call him a "master." In the process, he compares the "Komponisten" (composers) of the
present day unfavorably with the "Tonsetzer" (tonal craftsmen) of the past.
WSLB 14 Handwritten letter from Schenker to Hertzka (UE), dated August 19, 1908
Schenker gives list of those to receive a copy of Beitrag zur
Ornamentik.
OJ 9/32, [4] Invoice from Cotta to Schenker, dated September 1, 1908
Invoice for copies of Harmonielehre to Busoni, the Gesellschaft der
Musikfreunde, and Löwe.
OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated
[?mid-late September 1908?]
Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf.
Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is
technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than
Haydn, Brahms, and other masters.
OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10,
1909
Schenker, on receipt of the score of a Rudorff choral work, praises its
textural clarity and melodic articulation, comparing them favorably to the writing of the
current generation. — He reports the success of his own recent theory works, and inroads
made into the Vienna Academy for Music and Performance Art.
WSLB 66/67 Handwritten letter from Schenker to Hertzka (UE) + list of names, dated October 19,
1910
Schenker cancels their Thursday meeting. — He argues for sweeping changes to
the draft contract for Beethovens neunte Sinfonie. — He defends his own free speech in the
face of Universal Edition's commercial interests. As with his Chromatic Fantasy & Fugue
edition, UE will never regret publishing the Ninth Symphony monograph. — He also lauds the
prospective editions of the last five Beethoven piano sonatas and volume of J. S. Bach
toccatas in a lofty vision for future publications. — He appends a list of recipients of
complimentary copies of the Chromatic Fantasy & Fugue.
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.
OJ 10/1, [19] Handwritten letter from Dahms to Schenker, undated but presumably May 1,
1916
Dahms laments the state of music and criticism in Berlin. — When the war is over
he plans to draw a line under his life so far and start again.
OJ 10/1, [31] Handwritten letter from Dahms to Schenker, dated November 9, 1917
Dahms is now with the War Ministry in Berlin. He comments on Korngold and
Bruckner.
OJ 6/6, [9] Handwritten triple-letter from Jeanette Kornfeld and Heinrich Schenker to Valerie and
Moriz Violin, dated July 15, 1919
(1) Jeanette to Valerie: offers sympathy and reassurance about her illness;
describes the Tantalier Castle and its romantic associations; (2) Heinrich to Valerie:
recommends eating large quantities; (3) Heinrich to Moriz: supports food theory by reference to
his own proneness to nervous depression; suggests that Valerie recuperate in Zell am
See.
OJ 6/6, [10] Handwritten letter from Heinrich Schenker to Moriz Violin, dated August 17,
1919
Schenker hopes that colleagues will support Moriz Violin. – The court has favored
Emil Kornfeld unduly. – A move to Germany might save Schenker money, but he is uncertain how
many of his pupils would follow him there (only Pairamall has indicated willingness). – He asks
Weisse to act as an intermediary in booking a supply of wood for burning. – Dahms and Weisse are
due for simultanous visits. – He is glad to hear Valerie Violin is better.
OJ 12/11, [5] Handwritten letter from Klenau to Schenker, dated October 21, 1923
Klenau thanks Schenker for advice on performing the "Eroica"
Symphony.
OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21,
1923
In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving
health, and goes on to mention a number of personal successes he has lately had, including a
visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa
solemnis. He has also had some unexpected support from his publisher, who wants to expand Der
Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts
(three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are
overtaking Furtwängler as conductors in Vienna by accepting more modest fees.
OJ 5/18, 9 Handwritten letter from Schenker to Jonas, dated April 9, 1932
Schenker has presented Furtwängler with a copy of Brahms's arrangement of
Handel's Saul, has told him of Jonas's plan for Furtwängler to perform it, and asked him to give
Jonas access to the score.
OJ 5/18, 21 Handwritten postcard from Schenker to Jonas, dated December 18, 1932
Schenker acknowledges OJ 12/6, [11] and answers Jonas's question concerning
the organ part of Handel-Brahms Saul. —Asks if Jonas has seen Zuckerkandl's
book.
OJ 5/18, 47 Handwritten letter from Schenker to Jonas, dated July 22, 1934
Schenker praises Jonas's book highly; gives Hoboken's current address; —
Furtwängler has written a recommendation for Moriz Violin, who would like go to Jerusalem;
asks whether Vrieslander and Oppel are subscribers. — Comments on Bayreuth and
Wagner.