WSLB 9 Handwritten letter from Schenker to Hertzka (UE), dated June 23, 1908
Schenker promises a list of people in German to receive complimentary copies of
Ornamentik, and a new proposal.
OC 52/425 Typewritten letter from UE to Schenker, dated October 14, 1910
UE is transferring Schenker's second honorarium for the Chromatic Fantasy
& Fugue edition, and enclose the publisher's blurb for the monograph Beethoven's Ninth
Symphony.
WSLB 65 Handwritten letter from Schenker to Hertzka (UE), dated October 17, 1910
Schenker acknowledges the second honorarium for Chromatic Fantasy & Fugue,
and will appear at Hertzka's office on October 20.
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.
OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910
Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition
be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice.
— He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss
plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a
grant from the Ministry of Education.
OC 52/60 Typewritten letter from Hertzka (UE) to Schenker, dated November 5, 1910
Hertzka is pleased that Schenker's conversation with Wilhelm Bopp has gone
promisingly, and that Schenker is agreeable to the alternating publication of Beethoven and
Bach. — He is sending a new draft contract for Beethovens neunte Sinfonie.
OC 52/431 Typewritten contract (carbon copy) between UE and Schenker for Beethovens neunte
Sinfonie, dated November 6, 1910
Contract for Schenker's monograph Beethovens neunte Sinfonie
WSLB 70 Handwritten letter from Schenker to Hertzka (UE), dated November 7, 1910
Schenker suggests either a Hertzka-Bopp or a Hertzka-Schenker meeting to
discuss the combined release of the last Beethoven piano sonatas and Book 2 of the
Well-tempered Clavier.
OC 52/61 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1910
Hertzka will speak to Wilhelm Bopp to explore the position over the parallel
publication of Beethoven and Bach works, but admits there remains the thorny issue of the
need for a subsidy.
WSLB 74 Handwritten letter from Schenker to Hertzka (UE), dated December 19, 1910
Affected by his elderly mother's illness, Schenker asks for an advance of 500
Kronen on account of his manuscript, due for imminent delivery.
OJ 5/34, [1] Handwritten draft letter from Schenker to Alphons Rothschild, incompletely dated
[March 2, 1911]
Highly rhetorical letter in which Schenker thanks Alphons Rothschild for the
financial support for his first two volumes, and notifies him of the forthcoming monograph
on Beethoven's Ninth Symphony.
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 75 Handwritten letter from Schenker to Hertzka (UE), dated May 17, 1911
The manuscript of Beethovens Neunte Sinfonie will be handed over complete
tomorrow. — Academy Director Wilhelm Bopp still favors the planned Bach-Beethoven editions
scheme, and Schenker awaits a summons from President Carl von Wiener.— Schenker argues the
case for UE to publish his arrangements of two C. P. E. Bach concertos and a work by
Handel.
WSLB 76 Handwritten letter from Schenker to Hertzka (UE), dated May 19, 1911
Schenker acknowledges a package from UE..
OC 1A/1-2 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
OC 1A/3 Handwritten letter from Schenker to Graf, dated May 30, 1911
Schenker requests Graf to publish an announcement of lectures in the autumn of
1911, which are to anticipate the subject of the Der freie Satz. He regards a book by Nottebohm
that he has often been consulting recently as exceptional.
OC 1A/4-5 Handwritten letter, carbon copy, from Schenker to Hans Liebstoeckl, dated May 30,
1911
Schenker asks Liebstöckl to place an announcement [of a lecture series] in the
Illustrirtes Wiener Extrablatt.
WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911
Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie
in time to take on vacation, and inquires as to his proposal for UE to publish the score of
the Ninth Symphony with original markings. — No summons to interview with Academy President
von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade
against von Wiener and the Academy's teachers.
OC 52/445 Typewritten letter from Hertzka (UE) to Schenker, dated June 27, 1911
Hertzka explains that the proofs for Schenker's monograph Beethovens neunte
Sinfonie will not be ready before August. — He hopes that an agreement can be reached over
the Beethoven/Bach project.
OJ 14/23, [17] Handwritten lettercard from Seligmann to Schenker, dated July 25, 1911
Seligmann has found a newspaper article that Schenker was looking for. He is
recuperating in Ischl.
WSLB 81 Handwritten letter from Schenker to Hertzka (UE), dated September 14,
1911
Schenker demands to know whether UE is interested in publishing his planned
edition of the last five Beethoven piano sonatas; -- Inquires how the proofs of Beethovens
neunte Sinfonie stand; And draws attention to the favorable sales of Kontrapunkt
1.
OC 52/492 Typewritten letter from Hertzka (UE) to Schenker, dated September 19,
1911
UE cannot proceed with the Beethoven last five sonatas project absent a grant.
Whereas the larger German music publishers might be able to undertake such a work, UE is
still too young to have the investment. -- Proofs of Beethovens neunte Sinfonie will be
available in the Fall, owing to the delay in Schenker's delivery of his manuscript. --
Hertzka expresses delight at the sales of Kontrapunkt 1.
WSLB 83 Handwritten letter from Schenker to Hertzka (UE), dated October 28, 1911
Schenker hotly contests Hertzka's allegation that he delivered the material
for Beethovens neunte Sinfonie late, and details the pre-history of the
project.
OC 52/66 Typewritten letter from Hertzka (UE) to Schenker, dated October 31, 1911
Schenker will receive the [first] proofs of his Beethovens neunte Sinfonie "in
the course of November."
WSLB 84 Handwritten letter from Schenker to Hertzka (UE), dated November 19, 1911
Schenker offers UE an arrangement of the Mozart A major piano concerto,
arguing the case for its publication despite existing editions. -- He is impatiently
awaiting proofs of his monograph Beethovens neunte Sinfonie.
OC 52/67 Typewritten letter from Hertzka (UE) to Schenker, dated November 24, 1911
Hertzka is unable to take up Schenker's offer of an arrangement of a Mozart
piano concerto. -- Proofs of Beethovens neunte Sinfonie are expected any
day.
WSLB 86 Handwritten letter from Schenker to Hertzka (UE), dated November 30, 1911
Schenker acknowledges receipt of the first galley-proofs of Beethovens neunte
Sinfonie and asks for return of his copy of Grove's book on the Beethoven
symphonies.
OC 52/68 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911
The printers query the absence of "signatures" from music examples in the
manuscript of Beethovens neunte Sinfonie.
WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911
Schenker explains that the music examples without [key] signatures in
Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. --
He approves the use of a quotation from a D'Albert letter for publicity
purposes.
WSLB 88 Handwritten letter from Schenker to Hertzka (UE), dated December 6, 1911
Schenker gives instructions as to how measure number should be displayed in
the analysis sections of his monograph Beethoven's neunte Sinfonie.
OC 52/72 Typewritten letter from UE to Schenker, dated December 16, 1911
UE forwards to Schenker a letter from the printers including a music example
and ask Schenker to respond.
OC 52/73 Typewritten letter from Hertzka (UE) to Schenker, dated December 20, 1911
Hertkza remarks that the corrected proofs of gathering 3 of Beethovens neunte
Sinfonie have significant alterations and additions, the costs of which will be passed on to
Schenker.
WSLB 90 Handwritten letter from Schenker to Hertzka (UE), dated January 1, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and draws
attention to errors on the part of the typesetters.
OC 52/74 Typewritten letter from Hertzka (UE) to Schenker, dated January 2, 1912
Hertkza sends page-proofs of gathering 3, and asks for return of galley-proofs
and the manuscript of Beethovens Neunte Sinfonie.
OC 52/75 Typewritten letter from Hertzka (UE) to Schenker, dated January 5, 1912
Hertkza encloses a letter from Breitkopf.
WSLB 92 Handwritten letter from Schenker to Hertzka (UE), dated January 10, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected and a letter
from Breitkopf &Härtel.
WSLB 93 Handwritten letter from Schenker to Hertzka (UE), dated January 11, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie corrected; he points out
with labored sarcasm that the printers have omitted the title-pages of each of the four
movements, and suggests how this might be rectified.
OC 52/76 Typewritten letter from Hertzka (UE) to Schenker, dated January 12, 1912
Hertkza notifies Schenker of the impending delivery of page-proofs of
Beethovens Neunte Sinfonie, takes note of Schenker's recent comments, and asks him to
consider making structural diagrams for movements 2-4.
WSLB 94 Handwritten letter from Schenker to Hertzka (UE), dated January 15, 1912
Schenker returns proofs of Beethovens Neunte Sinfonie with imprimatur. -- He
conditionally accepts Hertzka's proposal that he create structural diagrams for movements 2
to 4, giving his justification for intially providing only that for the first
movement.
OC 52/77 Typewritten postcard from Hertzka (UE) to Schenker, dated January 16,
1912
Emil Hertka confirms that UE wants Schenker to produce structural diagrams for
movements 2-4 of Beethoven's Ninth Symphony for his monograph on that work.
OC 52/78 Typewritten letter from Hertzka (UE) to Schenker, dated January 26, 1912
Hertzka notifies Schenker of the impending delivery of page-proofs of his
Beethovens Neunte Sinfonie monograph and asks for speedy return of previous
galley-proofs.
WSLB 95 Handwritten letter from Schenker to Hertzka (UE), dated January 28, 1912
Schenker returns page-proofs of Beethovens Neunte Sinfonie, granting
imprimatur providing one problem can be overcome.
WSLB 96 Handwritten letter from Schenker to Hertzka (UE), dated February 3, 1912
Schenker returns page-proofs of Beethovens Neunte Sinfonie and the structural
diagram for movement 2.
OC 52/79 Typewritten letter from Hertzka (UE) to Schenker, dated February 6, 1912
Hertzka acknowledges receipt of the formal diagram of movement 2 for, and
gathering 8 of the Beethovens Neunte Sinfonie monograph, and has sent galley-proofs of
gatherings 5 and 6 to Schenker for imprimatur.
WSLB 97 Handwritten express postcard from Schenker to Hertzka (UE), dated February 7,
1912
Schenker complains at the printers' disregard of his earlier words. He asks
for assurance that he will receive a complete set of proofs to check the cross-citations of
page-numbers.
OC 52/80 Typewritten postcard from Hertzka (UE) to Schenker, dated February 7,
1912
Hertzka assures Schenker that he will receive a full set of page-proofs for
checking.
OJ 12/9, [5] Handwritten letter from Karpath to Schenker, dated March 3, 1912
Karpath expresses approval of Schenker's Kontrapunkt I and Moriz Violin's book on
the continuo. —He thinks highly of Violin and of Hans Weisse as a composer.
WSLB 98 Handwritten letter from Schenker to Hertzka (UE), dated March 4, 1912
Schenker returns page-proofs for gatherings 10 and 11 of Beethovens Neunte
Sinfonie and the formal diagram for movement 3.
OC 52/432 Typewritten letter from Hertzka (UE) to Schenker, dated March 7, 1912
Hertzka invites Schenker to meet him to discuss the plan for an edition of the
Beethoven Ninth Symphony score and other matters.
WSLB 100 Handwritten postcard from Schenker to Hertzka (UE), dated March 13, 1912
Schenker proposes that his book Beethovens neunte Sinfonie and the edited full
orchestral score be published as separate volumes, and promises the additional revised text
of his Instrumentations-Tabelle the next day.
OC 52/82 Typewritten letter from Hertzka (UE) to Schenker, dated March 15, 1912
Hertzka gives Schenker assurances on the arrival of further
gatherings.
OJ 15/15, [G] Handwritten letter from Weisse to Schenker, dated March 16, [1912]
Weisse sends a newspaper clipping for Schenker's possible use in his Ninth
Symphony monograph.
WSLB 102 Handwritten letter from Schenker to Hertzka (UE), dated March 17, 1912
Schenker returns proofs of gather 16 of his monograph Beethovens neunte
Sinfonie.
OC 52/403 Typewritten letter from Hertzka (UE) to Schenker, dated March 18, 1912
Second proofs of gatherings 11 and 12 of Schenker's monograph Beethovens
neunte Sinfonie are on their way to him. Hertzka issues a warning on correction costs.
Payment has been authorized for the additional material for his
Instrumentations-Tabelle.
WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912
Schenker responds combatively to Hertzka's warning about correction
costs.
OC 52/84 Typewritten letter from Hertzka (UE) to Schenker, dated March 26, 1912
Gatherings are received and others sent out. Hertzka reiterates his demand for
the complete manuscript and outstanding first proofs.
WSLB 106 Handwritten letter from Schenker to Hertzka (UE), dated April 14, 1912
Schenker returns proofs for his Instrumentations-Tabelle and Beethovens neunte
Sinfonie, and prelims and Foreword of the latter, with comments. He raises the issue of
English and French translations for the monograph.
OC 52/86 Typewritten letter from B. Rothe (UE) to Schenker, dated April 15, 1912
Acknowledging proofs and prelims for Beethovens neunte Sinfonie, UE recommends
adding a subtitle for clarification.
OC 52/87 Typewritten express postcard from UE to Schenker, dated April 16, 1912
Hertzka acknowledges receipt of the Preface to Beethovens neunte
Sinfonie.
WSLB 108 Handwritten letter from Schenker to Hertzka (UE), dated April 19, 1912
Schenker returns proofs for his Instrumentations-Tabelle and five gatherings
of Beethovens neunte Sinfonie, pointing out a serious error. He also responds on the title
of the latter.
WSLB 109 Handwritten letter from Schenker to Hertzka (UE), dated April 29, 1912
Schenker sends first and second proofs with comments.
OC 52/88 Typewritten letter from Hertzka (UE) to Schenker, dated May 4, 1912
Hertzka asks Schenker to call on him to discuss Beethovens neune
Sinfonie.
OC 52/433 Handwritten letter from Hertzka (UE) to Schenker, dated May 7, 1912
Hertzka explains the reason for his need to see Schenker in person: it
concerns the numbering of bars in the second movement of Beethoven's Ninth Symphony in
Schenker's monograph on that work, and the planned edition of the score of the symphony; but
Hertzka will be away for up to ten days.
WSLB 112 Handwritten letter from Schenker to Hertzka (UE), dated May 11, 1912
Schenker responds to Hertzka's suggestions on bar numbering in the Scherzo of
Beethoven's Ninth Symphony as reflected in Schenker's monograph and the proposed new edition
of the score, and offers a counter-proposal; he also responds on the formal terminology. --
He inquires as to the number of copies of the new edition of the Niloff
Instrumentations-Tabelle so far released.
WSLB 111 Handwritten letter from Schenker to Hertzka (UE), dated May 16, 1912
Schenker points to inconsistent usage of "Sinfonie" and "Symphonie" in the
type-setting of his monograph Beethovens neunte Sinfonie and suggests adherence to the
former; he submits the Foreword, and asks for one copy of each of his previous UE
publications.
OC 52/89 Typewritten letter from Kalmus (UE) to Schenker, dated May 16, 1912
UE sends the final gatherings of Beethovens neunte Sinfonie for Schenker's
approval and reports the total author correction costs.
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-Hds 94477 Handwritten letter from Schenker to Seligmann, dated May 22, 1912
Schenker congratulates Seligmann on the recent exhibition of his paintings. He
is about to send him a copy of his Beethoven’s Ninth Symphony and asks him to read the
section on the secondary literature and consider whether the same might be applied to the
literature on painting.
WSLB 114 Handwritten postcard from Schenker to Hertzka (UE), dated May 24, 1912
Schenker puts another proposal on how to present the bar numbering of the
Scherzo of Beethoven's Ninth Symphony in the text and diagram of his
monograph.
OC 52/434 Typewritten letter from Hertzka (UE) to Schenker, with holograph insertions, dated
May 28, 1912
Hertzka invites Schenker to his home for a discussion of the monograph
Beethovens neunte Sinfonie.
WSLB 116 Handwritten letter from Schenker to Hertzka (UE), dated June 2, 1912
Schenker observes acidly that the Ninth Symphony score project has been
dropped. He asks [in the face of the threat of author correction cost demands] for an
honorarium for correcting the proofs of his monograph Beethovens neunte Sinfonie. He demands
to know whether Hertzka is serious about the plan for an edition of the last five Beethoven
sonatas. He repeats his inquiry as to the number of copies of his Instrumentations-Tabelle,
2nd edition, that have so far been released.
OC 52/427 Typewritten letter from Hertzka (UE) to Schenker, dated June 3, 1912
Hertzka addresses Schenker's request for an honorarium for correcting proofs
of Beethovens neunte Sinfonie; he counters that the total author corrections have run to 600
Kronen. He is sending the volume to the printers today. -- He commits in principle to the
editing of the last five Beethoven piano sonatas [Erläuterungsausgabe], but on the basis of
the Chromatic Fantasy and Fugue sales he cannot accede to Schenker's demands; he makes a
counter-proposal.
WSLB 118 Handwritten letter from Schenker to Hertzka (UE), date June 4, 1912
Schenker urges Hertzka to contact Dr. Harpner in connection with the planned
Organization. He reiterates his demands regarding payment for the planned last five
Beethoven sonata edition, specifying the sums, and disputes Hertzka's
counterargument.
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 120 Handwritten letter from Schenker to Hertzka (UE), dated June 9, 1912
A long letter, biblical in tone, in which Schenker prophesies that a "Flood of
the moderns" will come to pass, and in Noah's ark his works will "occupy the place of
honor," and that a "bright new light" will establish Universal Edition as superior to the
German publishers. He accepts Hertzka's terms for the Beethoven Last Five Sonatas edition
for now. He again urges Hertzka to contact Dr. Harpner regarding the planned Organization of
Creative and Performing Musicians. He encourages Hertzka to deal more generously with Hans
Weisse.
BNba Frimmel Nachl, [4] Handwritten letter from Schenker to Frimmel, dated June 13, 1912
Schenker asks for guidance on the location of autograph manuscripts of
Beethoven's last five piano sonatas, in particular that of Op. 109.
WSLB 122 Handwritten telegram draft from Schenker to Hertzka (UE), dated June 24,
1912
Schenker asks why Beethovens neunte Sinfonie has not yet
appeared.
WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912
Schenker reports improved agreement among the supporters of the planned
Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for
the fee for correcting proofs of Beethovens neunte Sinfonie.
OJ 15/16, [5] Handwritten letter from Weisse to Schenker, dated June 27, 1912
Weisse asks to be informed of Schenker's contact with Emil Hertzka; Mahler's
Ninth Symphony is "filth"; Schenker's Beethovens Neunte Sinfonie has just appeared and he will
study it.
WSLB 124 Handwritter letter from Schenker to Hertzka (UE), dated June 27, 1912
Schenker asks for copies of his Beethovens neunte Sinfonie to be sent to
himself and others. -- He reports that the Gesellschaft der Musikfreunde has invited him to
teach.
WSLB 126 Handwritten letter from Schenker to Hertzka (UE), dated July 11, 1912
Schenker has referred a textual anomaly in Beethoven Op. 109 to Ernst Rudorff,
and asks for the contract for Die letzten fünf Sonaten to be sent to him.
OC 52/91 Typewritten letter from Hertzka (UE) to Schenker, dated July 13, 1912
The Chromatic Fantasy edition and Ninth Symphony monograph will be sent as
requested; the [contract for the] Letzen fünf Sonaten edition will be dealt
with.
OJ 13/37, 14 Handwritten letter from Rudorff to Schenker, dated July 18, 1912
Rudorff writes admiringly of Schenker's new book, Beethovens Neunte Sinfonie;
— He responds to Schenker's question about the whereabouts of the autograph manuscript of
Beethoven's Piano Sonata in E major, Op. 109, speaking also of his own former editorial
work.
WSLB 128 Handwritten letter from Schenker to Hertzka (UE), dated July 21, 1912
Beethovens neunte Sinfonie: Schenker justifies the higher number of proof
corrections and reiterates his demand for a supplementary honorarium. -- Die letzten fünf
Sonaten: he objects to a clause in the draft contract concerning correction costs, and
emphasizes the expenses that he himself is incurring in preparing the
edition.
OJ 15/6, [10] Handwritten letter from Fritz Wahle to Schenker, dated July 26, 1912
Fritz Wahle thanks Schenker profusely for sending him his book on Beethoven’s
Ninth Symphony, which he will read through quickly. He has acquired a copy of the score of
the work.
OJ 15/15,[I] Handwritten letter from Weisse to Schenker, dated August 4, [1912]
Weisse reports of progress with his string quintet; expresses his delight at
Schenker's monograph on Beethoven's Ninth Symphony, and speaks of "a bridge between art and
theory"; and expresses misgivings about Moriz Violin's pamphlet on the Vienna Academy. He
appeals to Schenker to give him piano lessons, and reports other matters.
WSLB 129 Handwritten letter from Schenker to Hertzka (UE), dated August 6, 1912
Schenker informs Hertzka that he has been approached by the Gesellschaft der
Musikfreunde with a view to his teaching a course at the Society's new "free high school"
beginning in October, and inquires whether Hertzka will meet his demands so that he can
proceed with Die letzen fünf Sonaten Beethovens.
OJ 15/16, [8] Handwritten letter from Weisse to Schenker, dated August 10, 1912
Weisse speaks of Schenker's monograph on Beethoven's Ninth Symphony and progress
with his own string quintet; — reiterates his desire to transfer from Violin to Schenker for
piano lessons; — refers to lectures that he is about to take with Guido Adler, and quotes from
Florence May's biography of Brahms. — He will write to Lorle Meissner; — gives his address in
Pontresina.
OC 52/437 Typewritten letter from Hertzka (UE) to Schenker, dated August 12, 1912
Die letzten fünf Sonaten: Hertzka finds Schenker's suggested rewording too
general; Beethovens neunte Sinfonie: Hertzka will pay the supplementary fee demanded by
Schenker, but only after 500 copies have been sold.
WSLB 130 Handwritten letter from Schenker to Hertzka (UE), dated August 14, 1912
In the most aggressive letter yet on Hertzka's approach over honoraria and
correction costs, Schenker asserts that UE ought to subsidize his works through the takings
on the lucrative works of others. UE acquires Schenker's works for a fraction of their true
value, yet is held responsible for UE's costs. Schenker refuses to sign the draft contract
for his Die letzten fünf Sonaten Beethovens with an implied threat of
withdrawal.
OC 52/95-96 Typewritten letter from Hertzka (UE) to Schenker, dated August 22, 1912
Die letzten fünf Sonaten: Hertzka backs down on the contested contract clause;
Beethovens neunte Sinfonie: Hertzka refuses to budge on his proposal for the supplementary
honorarium, but assures Schenker of his good will toward him.
WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912
Schenker returns the contract for Die letzten fünf Sonaten von Beethoven
signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to
Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that
tradition, which will spawn a new generation of composers superior to the present
"cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau
der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der
Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of
Musicians project in the fall.
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.
WSLB 134 Handwritten letter from Schenker to Hertzka (UE), dated September 7, 1912
Schenker asks for the first installment of his honorarium for Die letzten fünf
Sonaten Beethovens to be sent, now that he is back in Vienna. — He reports on the
Organization plan, and on progress on Op. 109. — He reiterates his claim for a supplementary
honorarium for proof correction of Beethovens neunte Sinfonie.
OJ 15/6, [12] Handwritten notecard from Fritz Wahle to Schenker, dated September 25,
1912
Fritz Wahle thanks Schenker for his book on Beethoven’s Ninth Symphony and
expresses his agreement about the concept of program music. He hopes that the two of them
could get together for a few hours, and sends his greetings to their mutual friend Moriz
Violin.
OJ 9/30, [4] Handwritten letter from Tony Colbert to Schenker, dated September 27, 1912
Mrs. Colbert suggests works she might study. -- She is enjoying Schenker's (newly
published) monograph on Beethoven's Ninth Symphony.
WSLB 138 Handwritten postcard from Schenker to Hertzka (UE), dated September 30,
1912
Ludwig Karpath has complained at not having received a review copy of
Schenker's Beethovens neunte Sinfonie. — Schenker prompts Hertzka on the often demanded
supplementary honorarium for proof correction of the monograph.
OC 52/101 Typewritten postcard from UE to Schenker, dated October 1, 1912
As instructed, UE has sent Schenker's Beethovens neunte Sinfonie to Ludwig
Karpath.
WSLB 139 Handwritten letter from Schenker to Hertzka (UE), dated October 3, 1912
Schenker forwards a letter from Hugo Heller [from Germany] and asks how he
should handle the matter [of the proposed Organisation], pointing out that a comparable
movement has already be launched in Germany.
WSLB 140 Handwritten letter from Schenker to Hertzka (UE), dated October14, 1912
Dr. Harpner is recovered; Schenker hopes to see Hugo Heller shortly. -- He
prompts yet again for the "supplementary honorarium."
WSLB 143 Handwritten letter from Schenker to Hertzka (UE), dated November 27[–28],
1912
Schenker requests another copy of Beethoven Op. 109, and lists the sources he
has now consulted, the communications with scholars, the cost and time involved, proclaims
the "spectacular" findings made, and the incompetence of all previous editors
unmasked.
OJ 12/9, [6] Handwritten letter from Karpath to Schenker, dated April 3, 1913
Karpath exchanges newspaper clippings with Schenker. — Announces a forthcoming
review of Schenker's monograph on Beethoven's Ninth Symphony (1912). — Tells of a potential new
pupil for Schenker who is currently studying with Schreker. — Complains at being persecuted by
supporters of Schoenberg.
OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913
Hammer approaches Schenker regarding piano lessons for his wife.
OJ 5/27, [2] Handwritten letter from Schenker to Evelina Pairamall, dated November 12,
1913
Schenker thanks Evelina Pairamall warmly for sending him an article by
Saint-Saens on manuscripts in Berlin, which covers an autograph manuscript of Beethoven's Ninth
Symphony, and reports to her his own work on another autograph of that work. -- He asks if she
is returning to Vienna soon, and promises to show her his discoveries, concluding with a joke
employing musical technical terms.
BNba 304g, [1] Handwritten letter from Schenker to F. A. Schmidt (Beethoven-Haus), dated November 27,
1913
Schenker asks the Beethoven-Haus to prepare and supply him with photographs of
the autograph manuscript of the first movement of Beethoven's Piano Sonata in C minor, Op. 111,
and announces the publication of his Erläuterungsausgabe of Op. 109 and monograph on Beethoven's
Ninth Symphony.
OC B/204 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
3, 1913
Schmidt suggests Schenker commission the Beethoven-Haus photographer, Heinrich
Rose, direct in ordering photographs of the autograph manuscript of the first movement of
Beethoven's Op. 111. He asks Schenker to supply a copy of his monograph on the Ninth
Symphony to the Beethoven-Haus library.
BNba 318, [2] Handwritten letter from Schenker to F. A. Schmidt, dated December 9, 1913
Schenker states that he is writing a letter placing an order for photographs of
Beethoven piano sonatas Op. 111, Op. 27, No. 2, and Op. 28, and hoping that Schmidt will extend
his permission to cover the latter two manuscripts.
OC B/203 Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Schenker, dated December
13, 1913
Schmidt thanks Schenker for the copy of his monograph Beethovens neunte
Sinfonie, and raises points of detail about the photography of the three requested
works.
BNba 304g, [3] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to Ernst Zitelmann, dated
December 14, 1913
Schmidt consults Zitelmann as to whether Schenker should be granted permission
for photography of Beethoven's sonatas Op. 27, No. 2 and Op. 28; then proceeds to other
Beethoven-Haus business.
BNba 304g, [4] Handwritten letter from F. A. Schmidt (Beethoven-Haus) to an unknown colleague,
dated December 14, 1913
Schmidt suggests that permission for photography of Beethoven's sonatas Op.
27, No. 2 and Op. 28 should be granted to Schenker; and deals with other Beethoven-Haus
business.
OJ 15/16, [24] Handwritten letter from Weisse to Schenker, dated September 17, 1914
Commenting on an article by Paumgartner, Weisse asks to come and play some new
compositions, and warns that he may be called up for war service.
WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916
Schenker explains why he is reluctant to produce a critical edition with
commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could
be freed from some of his teaching obligations, and also the autograph manuscript and other
sources are missing. He also defends his sharp tongue in discussions of the secondary
literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical
editions of the late Beethoven piano sonatas).
OJ 11/35, 7 Handwritten letter from Halm to Schenker, dated January 20, 1918
Acknowledges DLA 69.930/2, January 17, 1918. Schenker has accused him of a
contradiction, and he concedes it, referring to several of his publications. UE has not
responded to his request for review copies of Schenker's works, so suggests a reciprocal
exchange.
OJ 6/6, [7] Handwritten letter from Schenker to Moriz Violin, dated March 20, 1918
[50th Festschrift:] Schenker intends not to influence anyone in their decision to
contribute or not. — [Personal issues:] Schenker agrees to draw a line under issues discussed in
OJ 6/6, [6]; however, he accounts for his epistolary silence regarding Valerie Violin, including
the possible contact with Seligmann; he attempts to explain the matter of the jars of jam and
the absence of visits to Schönbrunn, describing vividly how tirelessly Jeanette works and how
dependent they both are on Sunday for work time; he expresses outrage that he and Jeanette live
so poorly while his pupils live lives of luxury, commenting bitterly on state of play over the
Sofie Deutsch stipend; he wishes the Violins well for their 6-month stay in Marburg.
OJ 11/30, [1] Handwritten postcard from Wilibald Gurlitt to Schenker, dated October 7,
1918
Gurlitt expresses admiration for Schenker's Beethovens Neunte Sinfonie, and
inquires whether his "Formenlehre" or "Kunst des Vortrags" has yet been published.
WSLB 301 Handwritten postcard from Schenker to Hertzka (UE), dated December 22, 1918
Schenker asks for a copy of his Neunte Sinfonie to be sent to Bernhard Seidmann.
WSLB 306 Handwritten postcard from Schenker to Hertzka (UE), dated November 2, 1919
Schenker requests a copy of his Ninth Symphony monograph, stipulating conditions;
he will decide shortly whether to resume work for UE.
OC 52/210 Typed letter from Hertzka (UE) to Schenker, dated November 8, 1919
Hertzka has arranged for a copy of his monograph Beethovens Neunte Sinfone to be
sent, and welcomes Schenker's remarks about resuming work for UE. PS: He is sending the first
issue of Musikblätter des Anbruch.
WSLB 307 Handwritten letter from Schenker to Hertzka (UE), dated November 13, 1919
Schenker teases Hertzka over his offical's price calculation for Beethovens
Neunte Sinfonie; asks for Die letzten fünf Sonaten ... op. 111 for Dolfi Baudrexel; comments
caustically on the first issue of Musikblätter des Anbruch.
WSLB 308 Handwritten letter from Schenker to Hertzka (UE), dated November 22, 1919
Schenker sends adjusted payment for two items received; his Kleine Bibliothek
will shake up the contributors to Musikblätter des Anbruch.
OJ 12/11, [6] Handwritten letter from Klenau to Schenker, dated December 28, 1923
Klenau praises Schenker's monograph Beethovens Neunte Sinfonie; regrets being
unable to visit Schenker and Schenker's being unable to attend his performance of the Missa
solemnis.
OC 12/249 Handwritten letter (copy) from Schenker to Klenau, dated January 4, 1924
Schenker responds to Klenau's remarks on atonal composers and a coming
Renaissance; invites him to visit on a Wednesday.
OC 54/16-18 Draft letter from Schenker to Drei Masken Verlag, dated January 28, 1925
Schenker agrees to the idea of a yearbook, entitled "Das Meisterwerk in der
Musik," as put forward by Drei Masken Verlag, and now asks for a draft contract to be sent,
and for them to typeset some of his work so that he has an idea how long the manuscript for
the yearbook should be. He also vents his hostility towards Emil Hertzka at Universal
Edition.
OC 82/27-28 Handwritten letter from Georg Dohrn to Schenker, dated April 2, 1926
Dohrn inquires as to the performance of the opening of the second movement of
Beethoven's Ninth Symphony.
OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928
Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses
associated newspaper article; also on recent lecturing and composition activity. He is unlikely
to visit Schenker this year; recalls people at Galtür.
WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated
November 27, 1928
Schenker reports the impact of his Urlinie concept on the educational world
within Germany and in the USA. — He seeks to re-establish a working relationship with UE,
raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical
study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of
NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his
existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the
"Eroica."
Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19,
1930
Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to
Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with
other publishers and plans for future publications.
OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20,
1932]
In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.
OJ 6/8, [14] Handwritten letter, with envelope, from Schenker to Violin, dated December 19,
1932
In this characteristically long end-of-year letter to his friend, Schenker
mentions his forthcoming edition of Brahms’s study of consecutive octaves and fifths,
Jonas’s book on his achievements as a theorist, Zuckerkandl’s book on opera, and the
possibility of an English translation of his Theory of Harmony.
OJ 89/7, [2] Handwritten letter from Schenker to Hoboken, dated January 13, 1934
Schenker encourages Hoboken to continue to live in Vienna, praising its racial
diversity; — Der freie Satz is near completion; — sales of Beethovens Neunte Sinfonie are going
well.
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.