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OJ 11/42, [11] Handwritten postcard from Maximilian Harden to Schenker, dated April 13,
1894
Harden wonders whether it is worth publishing an article by Schenker on
Verdi's Falstaff now that the production has moved on from Berlin to Paris.
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OJ 13/29, [4] Handwritten letter from Rosenthal to Schenker, dated December 31, 1901
Rosenthal responds to Schenker regarding the effect of "habit and prejudice"
on the performer; wishes to discuss phrasing-slurs in Chopin with him.
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WSLB 35 Handwritten letter from Schenker to Hertzka (UE), January 8, 1909
In a letter "ironic in tone" Schenker offers alternative editors for WTC Bk
II. He outlines the work that he has in hand, and regrets his unhappy experience with UE
over Beitrag zur Ornamentik.
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WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909
Schenker resists attending a meeting with Hertzka and von Wöß regarding the
printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an
author to control over his own material; and makes claims for the introduction to his
Instrumentations-Tabelle, which was not accepted for inclusion in 1908
reprinting.
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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.
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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."
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OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26,
1920
Replying to Schenker's postcard of November 20th, Deutsch writes that the
connoisseur edition is to be reproduced using photolithography, and repeats the particulars
of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his
sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from
Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111).
Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks
for sight of the draft of Schenker's Preface.
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DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922
Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on
Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him;
speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting
Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in
public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker,
Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's
publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a
delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development"
and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to
become brain); Schenker deplores "artifice" (French) as against nature (German). — Things
French: praises German superiority over French in its joy of work. — Higher Plane: the German
should not abase himself before the Frenchman.
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OJ 11/36, [11] Handwritten letter from Hammer to Schenker, dated January 5, 1923 [recte
1924]
Hammer refers to the making of a portrait; — he discusses German and Austrian art
with respect to Italian and French; — he comments favorably on Der Tonwille, but defends the art
of the French.
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OJ 11/54, [1] Handwritten letter from Hoboken to Schenker, dated October 20, 1924
Hoboken encloses photographs; reports his summer travel; is now living in
Paris.
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JOB 94-3, [12] Handwritten letter from Schenker to Hammer, dated August 23, [1925]
Heinrich and Jeanette consider the test proof of the Schenker mezzotint
finished and urge him to finalize it. Heinrich tells Hammer about Anthony van
Hoboken.
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OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925
Van Hoboken reports on his recent travels, describing the house that he has
rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he
thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on
October 13, 1925; encloses $60 in advance monthly payment.
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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.
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OJ 11/54, [12] Handwritten letter from van Hoboken to Schenker, dated January 28, 1927
Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. —
He reports on library visits in London and Paris, discusses manuscripts and conditions for
photography, purchases. — He plans no further trips this season.
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WSLB 375 Handwritten letter from Schenker to UE, dated April 25, 1927
Having gained access to the facsimile of the "Appassionata" Sonata, Schenker
sends revisions to his edition.
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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.
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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.
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OJ 11/54, [19] Handwritten letter from van Hoboken to Schenker, dated September 29, 1927
Van Hoboken reports receipt of Meisterwerk II and reports progress in
photographing manuscripts in London and Paris.
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OJ 10/1, [101] Handwritten postcard from Dahms to Schenker, undated [c. November 14,
1927]
Meisterwerk 2 has still not arrived; Dahms gives an address in Nice.
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OJ 11/54, [22] Handwritten letter from Hoboken to Schenker, dated March 11, 1928
Hoboken recounts the difficulties he is having in getting 2,500 photographs of
autograph manuscripts made at the Paris Conservatory.
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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.
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OJ 11/54, [23] Handwritten letter from Hoboken to Schenker, dated March 21, 1928
Hoboken has still made no progress on photographic work at the Paris
Conservatory. — He will go to Rotterdam and Münster. — Speaks of the importance of his Archive
work and contacts he has made. Will probably go to a concert featuring music of Alban Berg. — He
asks Schenker to intervene with O. E. Deutsch.
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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.
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OJ 10/3, [85] Typewritten picture postcard from Deutsch to Schenker, dated May 15, 1928
Deutsch thanks Schenker for his kind words (about his recent radio broadcast)
and describes the difficulties in preparing things for publication in Radio Wien. He informs
Schenker that Brahms’s arrangement of a Schubert song has already been published. He has
discovered that the Guitar Quartet believed to be by Schubert is an arrangement, and that an
early cantata, Die Advokaten, is also based on the work of another
composer.
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OJ 11/54, [25] Typed letter from Hoboken to Schenker, dated March 27, 1929
Hoboken has broken off his friendship with Otto Vrieslander after discovering
that the latter has been cheating him.
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WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930
Schenker is sending Deutsch copies of letters written by Leo Kestenberg
praising his theories for their practical application to composition and
performance, noting that Furtwängler is championing his cause everywhere. -- He then
launches into a tirade against the city of Vienna for snubbing him and his
work.
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OJ 10/1, [104] Typewritten letter from Dahms to Schenker, dated February 7, 1931
Dahms is looking forward to reading Meisterwerk III and inquires after Der
freie Satz. — He has cut himself off from Berlin and Germany; his marital situation has
finally been resolved, and he and his wife and child have settled in Paris.
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OJ 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931
Deutsch reports illness in his family over the summer. -- He is glad to see
Schenker’s article on the lost Mozart letter in print, and mentions other places in which it
was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which
have, however, been misrepresented in the press.
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OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
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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
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OJ 89/6, [11] Handwritten letter from Schenker to Hoboken, dated December 25, 1933
Schenker speaks of recent articles by O. E. Deutsch and I. Citkowitz, and
reports on former pupils Hupka and Breisach.