-
OJ 15/8, [1] Typewritten letter from Waldheim–Eberle to Schenker, dated October 20,
1905
Waldheim-Eberle announce commencement of work on of the layout of the
[Instrumentations-]Tabelle, and promise further information in the following
week.
-
OJ 15/8, [3] Handwritten postcard from Waldheim–Eberle to Schenker, dated September 11,
1906
Waldheim-Eberle asks Schenker to visit them regarding the
Instrumentations-Tabelle.
-
OJ 15/8, [5] Typewritten letter from Waldheim–Eberle to Schenker, dated September 24,
1906
Josef Stritzko asserts the honesty of Bernhard Herzmansky [of Doblinger], and
explains Herzmansky's pricing [of Schenker's Instrumentations-Tabelle]; Stritzko resents
having had to renege on his agreement, and is consequently unwilling to help Schenker any
further with finding a publisher.
-
OJ 15/8, [6] Handwritten letter from Waldheim–Eberle to Schenker, dated May 2, 1908
Waldheim-Eberle request a visit from Schenker to discuss his
Instrumentations-Tabelle.
-
OC 52/397 Typewritten letter from Hertzka (UE) to Schenker, dated August 11, 1908
Hertzka agrees to sending of complimentary copies of Beitrag zur Ornamentik. —
Gives progress report on Table of Instrumentation, predicting October
publication.
-
OC 52/27 Typewritten letter from Hertzka (UE) to Schenker, dated October 1, 1908
Hertzka confirms arrangements over Beitrag zur Ornamentik, and asks for
proofing of the Foreword to the Instrumentationstabelle.
-
OC 52/399-401 Typewritten letter from Hertzka (UE) to Schenker, dated December 18, 1908
Hertzka complains at the embarrassment that Schenker has caused him over the
Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes
that Schenker edit Book II of the Well-tempered Clavier in the manner of
Busoni.
-
OC 52/424 Typewritten letter from Hertzka (UE) to Schenker, dated February 7, 1910
While informing Schenker that his edition of the Chromatic Fantasy & Fugue
has not yet gone to the printers/engravers, Hertzka rebuts Schenker's allegation that he has
shown the edition to Godowsky, Robert and others. He raises the possibility of Schenker's
editing other works by J. S. Bach.
-
OC 52/47 Typewritten letter from Hertzka (UE) to Schenker, dated March 12, 1910
Proofs of the Chromatic Fantasy & Fugue edition will not be available by
Easter [March 27]. Hertzka hopes Schenker will be able to correct them in
April.
-
OC 52/48 Typewritten letter from Hertzka (UE) to Schenker, dated April 9, 1910
There is now no hope of the Chromatic Fantasy & Fugue edition being
available for proof-correcting by the middle of April, hence UE may be forced to send the
work to Breitkopf & Härtel. — Hertzka asks for a report on other projects under
discussion.
-
OC 52/262 Typewritten letter from Waldheim–Eberle to Schenker, dated June 3, 1921
Waldheim-Eberle send copies of their text and music fonts, and asks Schenker
to select his choices for his edition of the Beethoven piano sonatas.
-
OC 1B/10-11 Handwritten letter from Schenker to Hertzka (UE), dated February 22‒23, 1922
Schenker returns materials for the Fifth Symphony article, reports a delay in
providing information for the facsimile edition of the "Spring" Sonata, and complains that he
has futilely lavished time on the purification of the German language for the second edition of
Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an
"Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks
how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that
his pupils might make the preparatory graphs.
-
OC 52/362 Typewritten letter from Waldheim–Eberle to Schenker, dated October 10,
1923
Waldheim-Eberle declines to give Schenker the name of the proof corrector, and
directs any concerns to the Administration.
-
OC 54/36 Typewritten postcard from August Demblin (DMV) to Schenker, dated October 13,
1925
Drei Masken Verlag has still not found a suitable printing house, and informs
Schenker that the first Meisterwerk Yearbook cannot be published in 1925.
-
OC 54/42 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 6,
1925
Drei Masken Verlag in Vienna report that Waldheim-Eberle has been chosen as the
printing house for Yearbook I; they ask Schenker for the precise wording of the title of the
book, and issue instructions for dealing with the galley-proofs.
-
OC 54/43 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 18,
1925
New stamps for the printing of Schenker's careted numbers must be ordered before
the proofs of the first Meisterwerk Yearbook can be completed; they will therefore be delayed by
a few days.
-
OC 54/44 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 21,
1925
The printing-house has just received the stamps with the special characters
needed to set the first Yearbook, and the proofs will be ready in a few days.
-
OC 54/45 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated November 28,
1925
The text of Yearbook I has been set, but the music examples will require more
time.
-
OC 54/192 Notes by Schenker, made in November 1925
Notes concerning the production schedule for the first Meisterwerk
yearbook.
-
OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926
Drei Masken Verlag in Munich have now transferred all matters of production
concerning the first Meisterwerk Yearbook to their office in Vienna.
-
OC 54/59 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 21,
1926
Drei Masken Verlag announce that the second galley-proofs are on their way to Schenker and
explain that, owing to the complexity of the publication, it will take time to complete the
corrections to the text and the music examples.
-
OC 54/60 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 25,
1926
Drei Masken Verlag are sending Schenker the second galley-proofs for the first Meisterwerk
Yearbook, together with a separate printout of the music examples.
-
OC 54/62 Typed letter from Alfred Böhme (DMV) to Schenker, dated February 3, 1926
The Vienna branch of Drei Masken Verlag are forwarding Schenker’s request for an
announcement about the Meisterwerk Yearbooks to their Munich office. They explain that
difficulties in printing the music examples have delayed the production of Yearbook
1.
-
OC 54/68 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 4, 1926
Drei Masken Verlag reprimands Schenker for introducing so many changes to the
music examples, and ask him to consider whether he wishes to bear the additional cost of
reingraving the music example plates.
-
OC 54/70 Typed letter from Alfred Böhme (DMV) to Schenker, dated March 15, 1926
Drei Masken Verlag agree to print a list of corrections at the end of Meisterwerk
1, and announce that they have now completed the revision of the volume.
-
OC 54/75 Typed letter from DMV to Schenker, dated April 24, 1926
Drei Masken Verlag will send Schenker new page-proofs for the first gathering, to
ensure that the title-page and the list of printing errors are correct. They also ask about the
binding of the separate pages of musical illustration, and the notice about his earlier
publications.
-
OC 54/76 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 4, 1926
Drei Masken Verlag are sending Schenker the proofs for the first gathering of
his first Meisterwerk Yearbook, with the list of printing errors. There is not enough room
for a special notice about the new series, but they will include the contents of the ten
issues of Der Tonwille.
-
OC 54/77 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 7, 1926
Drei Masken Verlag alert Schenker to the printing error in the proof of
the advertisement page, which was to be included in the first Meisterwerk volume, and ask that
he disregard the imprimatur. They send linen swatches for the cover and recommend using coloured
lettering for the title.
-
OC 54/78 Typed letter from Alfred Böhme (DMV) to Schenker, dated May 14, 1926
A further mistake has been found in the text of the first Meisterwerk
Yearbook, and Schenker is asked to confirm the correction by return of
post.
-
OC 54/79 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 5, 1926
The binding of the first Meisterwerk Yearbook has been transferred to another
firm, mainly because the printing-house of Waldheim-Eberle would not do this work for the
agreed price. Schenker is asked not to press for an early release of the book, before the
bindings have had a chance to dry thoroughly.
-
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 54/121 Typed letter from Waldheim Eberle A. G. to Schenker, dated January 18,
1927
Waldheim-Eberle report – with regret – that they did not get the contract to
engrave the second volume of Das Meisterwerk in der Musik.
-
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.
-
OJ 14/5, [29] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated January 14,
1930
Obtaining a mortgage on the Arzberg [investment property] is delayed; Moriz
Schenker is exploring alternative possibilities of selling. -- He inquires as to the
whereabouts of Hoboken. -- He reports that the [economic] situation in Germany is even worse
than in Austria, because of the war reparations.
-
OC 54/221 Letter from Waldheim-Eberle to Schenker, dated February 13, 1930
Cost estimate of production costs for the third Meisterwerk
yearbook.
-
OC 54/222 Delivery note for a package from Waldheim Eberle to Schenker, dated February 13,
1930
Delivery note for the manuscript of the third Meisterwerk volume, returned to
Schenker by Waldheim Eberle, along with an estimate for production costs (OC
54/221).
-
OJ 10/3, [119] Typewritten letter from Deutsch to Schenker, dated February 26, 1930
In contrast to the uprightness of Schenker’s other pupils, Hans Weisse and
Felix Salzer, Hoboken is described by Deutsch as an unsteady, unfocussed person who may yet
be able to do some good but whose restlessness gives him grounds to fear for the future of
his library, and his own future.
-
OJ 14/5, [30] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated February 27,
1930
Moriz Schenker recommends Heinrich to get a second estimate [for the printing
of Meisterwerk III] from Joseph Eberle in addition to that from Waldheim. -- He hopes to get
an appraisal of the Arzberg property next week.
-
OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930
Schenker reports on two concerts at which Hans Weisse's Octet was performed
for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality
of the voice-leading in general, the construction of the finale movement (a passacaglia) in
particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented
the cost of the rehearsals and concerts, and the provision of food and drink for the
audience; this he compared with Antony van Hoboken's reluctance to help him with the
publication costs of his recent work.
-
OC 54/223 Typed letter from Waldheim Eberle to Schenker, dated March 22, 1930
Waldheim Eberle gratefully acknowledge receipt of Schenker's letter, and are
delighted to have been chosen as the printing house for the third Meisterwerk
volume.
-
OC 54/233 Postal receipt for package from Schenker to Drei Masken Verlag, postmarked August
26, 1930
Postal receipt for package from Schenker containing galley-proofs 1-80 for the
"Eroica" symphony analysis (Das Meisterwerk III).
-
OC 54/234 Postal receipt for package from Schenker to Drei Masken Verlag, postmarked August
28, 1930
Postal receipt for package from Schenker containing galley-proofs for the
final gathering of Das Meisterwerk III.
-
OC 54/236 Postal receipt for package from Schenker to Drei Masken Verlag, postmarked October
6, 1930
Postal receipt for package from Schenker containing page-proofs for the Das
Meisterwerk III.
-
OC 54/240 Postal receipt for package from Schenker to Drei Masken Verlag, postmarked October
17, 1930
Postal receipt for package giving imprimatur for printing Das Meisterwerk
III.
-
OC 54/363 Typewritten letter from Deutsch to Schenker, dated April 14, 1932
Deutsch, recovering from hypertension, apologizes for the strong language in
the postscript in his last letter. He advises Schenker on the pros and cons of ordinary
lithography, photolithography, and photostatic reproduction for the Urlinie graphs for the
Fünf Urlinie-Tafeln.
-
OC 54/342 Handwritten note from Waldheim to Schenker, dated April 19, 1932
Waldheim-Eberle gives number of sheets, format, and price-per-print-run for
Fünf Urlinie-Tafeln.
-
OC 54/344 Handritten note from Waldheim to Schenker, dated May 31, 1932
Waldheim-Eberle notes that 23 blueprints have been acquired
-
OC 54/345 Typewritten letter from Waldheim to Schenker, dated June 1, 1932
Waldheim-Eberle acknowledge's Schenker's order for the printing of his Fünf
Urlinie-Tafeln and await bu June 10 material for the item's wrapper.
-
OJ 10/3, [172] Typewritten postcard from Deutsch to Schenker, dated June 2, 1932
Deutsch asks Schenker where he will be taking his summer holiday. He has an
edition of Beethoven’s Sonata Op. 111 purportedly corrected by Beethoven himself. He hopes
Schenker will visit the Haydn exhibition. He thanks Schenker for an edition from Nagels
Musikarchiv. His suspicions about the authenticity of Schubert’s Quartet for guitar, flute,
viola and cello have been confirmed. Finally, he asks Schenker to look at the introduction
and concluding paragraphs of his study of Mozart early editions.
-
OC 54/346 Typewritten letter from Waldheim to Schenker, dated June 9, 1932
Waldheim-Eberle reports completion of the printing of the Urlinie-Tafelm and
asks whether they should proceed with the wrapper, the design for which they have not yet
received.
-
OC 54/347 Postal receipt for consignment from Schenker to Waldheim, postmarked June 10,
1932
Schenker sends the Foreword to his Fünf Urlinie-Tafeln to
Waldheim-Eberle.
-
OJ 6/8, [13] Handwritten letter, with envelope, from Schenker to Violin, dated June 12,
1932
Schenker refers to his “betrayal” by Herman Roth and shares with Vrieslander’s
letter on the subject. He updates Violin on the forthcoming publication of the Fünf
Urlinie-Tafeln, accusing the Mannes School of getting more publicity and profits from the
sale of the work than it deserves.
-
OC 54/348 Handwritten delivery note from Waldheim to Schenker, dated June 14, 1932
Waldheim-Eberle delivers the proofs and manuscripts of the German-language
title-page and Foreword of the Fünf Urlinie-Tafeln.
-
OC 54/351 Typewritten postcard from Waldheim to Schenker, postmarked June 21, 1932
Waldheim-Eberle has sent copies of the Urlinie-Tafeln to Otto Erich
Deutsch.
-
OC 54/366 Typewritten letter from Deutsch to Schenker, dated June 22, 1932
Deutsch has received the proofs to the Fünf Urlinie-Tafeln, for which he
reckons two days’ work to insure that there are no mistakes. He advises Schenker to have a
sample copy of the cover made, and suggests numbering the graphs, even assigning roman
numerals to them so that they can be put into the correct folder in case a second set of
graphs is published.
-
OC 54/352 Typewritten postcard from Waldheim to Schenker, postmarked June 27, 1932
Waldheim-Eberle: a test-print of the wrapper is on its way to
Schenker.
-
OC 54/370 Typewritten letter from Deutsch to Schenker, dated July 5, 1932
Deutsch has taken upon himself all the business arrangements with Universal
Edition for the publication of the Fünf Urlinie-Tafeln. He finds the pagination inconsistent
and confusing, and makes recommendations about it. He says that things seem to have eased at
U. E. since Alfred Kalmus took over the directorship from Hertzka. His own short book on
Mozart’s Masonic music will be published.
-
OC 54/355 Postal receipt for consignment from Schenker to Waldheim, postmarked July 11,
1932
Schenker sends European and American proofs to
Waldheim-Eberle.
-
OC 54/356 Typewritten letter from Waldheim to Schenker, dated July 12, 1932
Waldheim-Eberle are sending Schenker a second proof of the Foreword of his
Fünf Urlinie-Tafeln and a print of the title-page for the European market, and submitting to
Universal Edition a print of the latter. They enclose a print pull of the grapahs and
request guidance on the page numbering.
-
OC 54/357-358 Typewritten letter and invoice from Waldheim to Schenker, dated July 14,
1932
Waldheim-Eberle submits its pre-invoice for 1,000 copies of Schenker's Fünf
Urlinie-Tafeln.
-
FS 40/1, [10] Handwritten postcard from Schenker to Salzer, dated July 16, 1932
Salzer will receive four copies of Fünf Urlinie-Tafeln, and is asked to
distribute them.
-
OC 54/359 Postal receipt for consignment from Schenker to Waldheim, postmarked [July 16],
1932
Schenker gives his imprimatur to the whole item, and instructions for
distribution.
-
OC 54/360 Typewritten letter from Waldheim to Schenker, dated July 18, 1932
Waldheim-Eberle acknowledge receipt of a proof of the wrapper for the Fünf
Urlinie-Tafeln and will proceed with printing; they list the distribution of
copies.
-
OJ 10/3, [174] Handwritten letter from Deutsch to Schenker, dated July 21, 1932
Deutsch advises Schenker on the wording and placement of an advertisement for
a private seminar in music theory, to be inaugurated in the autumn of 1932. He notes that
Tomay’s invoice for the autography of the Fünf Urlinie-Tafeln was considerably lower than
what was originally estimated. He regrets having to decline an invitation to visit Schenker
during the summer.
-
OC 54/361 Typewritten Invoice from Waldheim to Schenker, dated July 25, 1932
Waldheim-Eberle submits its final invoice for the Fünf
Urlinie-Tafeln.
-
OC 54/362 Typewritten letter from Waldheim to Schenker, dated September 21, 1932
As requested, Waldheim-Eberle has sent a duplicate final invoice to the David
Mannes Music School in New York City.