OJ 9/6, [D] Handwritten postcard from Eugen d’Albert to Schenker, undated
Eugen d'Albert extends an invitation to Schenker.
OJ 9/6, [F] Handwritten calling card from Eugen d’Albert to Schenker, undated
Eugen d'Albert invites the Schenkers to the the Opera.
OJ 9/6, [L] Handwritten letter from Eugen d’Albert to Schenker, undated
Eugen d'Albert cancels and suggests an alternative
time.
OJ 9/6, [N] Handwritten letter from Eugen d’Albert to Schenker, undated
Eugen d'Albert will try to free himself up for a meeting
tomorrow.
OJ 9/6, [1] Handwritten letter from Eugen d'Albert to Schenker, dated February 19,
1894
Eugen d'Albert has instructed his publishers to send Schenker all his
compositions, and asks Schenker to write about them in Die Zukunft.
OJ 9/6, [2] Handwritten letter from Eugen d'Albert to Schenker, dated March 8,
1894
Eugen d'Albert will be in Vienna for two days and seeks a first meeting
with Schenker.
OJ 9/6, [3] Handwritten letter from Eugen d'Albert to Schenker, dated March 14,
1894
Eugen d'Albert regrets their having been unable to meet, and looks
forward to making Schenker's acquaintance soon.
OJ 9/6, [4] Handwritten letter from Eugen d'Albert to Schenker, dated April 25,
1894
Eugen d'Albert looks forward to seeing Schenker's most recent article,
and agrees to Schenker's postponing until the Fall his feature article on d'Albert.
He thanks Schenker for taking an interest in his work.
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.
OJ 9/6, [6] Handwritten letter from Eugen d'Albert to Schenker, dated August 11,
1894
Eugen d'Albert promises his biographical jottings by the end of next
week and reports on progress with his new opera.
OJ 9/6, [7] Handwritten letter with inclosure from Eugen d'Albert to Schenker, dated
September 2, 1894
Eugen d'Albert incloses his autobiographical contribution to Schenker's
forthcoming feature article in Die Zukunft. He apologizes for the non-arrival of the
MS piano reduction of his new opera, Ghismonda, which he describes as a
"psychological character sketch," and thanks Schenker for his
interest.
OJ 9/6, [8] Handwritten letter from Eugen d'Albert to Schenker, dated September 7,
1894
Eugen d'Albert asks for the piano reduction of his opera Ghismonda back
urgently.
OJ 11/42, [17] Handwritten letter from Maximilian Harden to Schenker, dated September 8,
1894
Harden welcomes an article by Schenker on Eugen d'Albert, and encourages
Schenker to get d'Albert to revise an autobiographical sketch that will precede Schenker's
article.
OJ 9/6, [9] Handwritten letter from Eugen d'Albert to Schenker, dated September 8,
1894
Eugen d'Albert provides further information about his relationship with
Franz Liszt.
OJ 11/42, [18] Handwritten postcard from Maximilian Harden to Schenker, dated October 4,
1894
Harden urges Schenker to press Brahms [for material on Bülow]; he thinks that
d'Albert will benefit from Schenker's article about him in Die Zukunft; he reports cordial
impressions of Humperdinck from Cosima and Siegfried Wagner; and he asks whether an article
he wrote was any good.
OJ 9/6, [10] Handwritten letter from Eugen d'Albert to Schenker, dated December 10,
1894
Eugen d'Albert regrets having been able to find a time for them to meet
while he was in Vienna, and gives his temporary forthcoming
address.
OJ 9/6, [11] Handwritten letter from Eugen d'Albert to Schenker, dated March 30,
1895
Eugen d'Albert gives his forthcoming moves and return dates to
Vienna.
OJ 11/42, [23] Handwritten letter from Maximilian Harden to Schenker, dated May 30, 1895
Harden tells Schenker that a submission from d'Albert would be welcomed; he
encourages Schenker to send him a copy of a previously published lecture which he will
consider publishing despite usual practise; and he asks whether Brahms or Rosenthal will
contribute any Bülow letters to Die Zukunft.
OJ 9/6, [12] Handwritten letter from Eugen d'Albert to Schenker, dated April 5,
1896
Eugen d'Albert apologizes for not having yet performed Schenker's Zwei
Clavierstücke, Op. 1. He discusses arrangements for pupil Paula Szalit, and incloses
the piano reduction of his opera "Ghismonda," and reports on its Dresden
reception.
OJ 9/6, [13] Handwritten letter from Eugen d'Albert to Schenker, dated April 24,
1896
A conflict of loyalty over concert agent obliges Eugen d'Albert to
decline a concert with Arnold Rosé.
OJ 9/6, [14] Handwritten letter from Eugen d'Albert to Schenker, dated January 2,
1897
Eugen d'Albert acknowledges receipt of Schenker's Zwei Clavierstücke,
Op. 1, which he hopes to perform in the near future, and notifies Schenker of errors
in the libretto of his "Die Abreise." He apprises Schenker of his next time in
Vienna. He is negotiating for a publisher for Schenker's future compositions, and
sends New Year good wishes.
OJ 9/6, [15] Handwritten postcard from Eugen d'Albert to Schenker, dated January 27,
1897
Eugen d'Albert is in Vienna and seeks a meeting with
Schenker.
OJ 9/6, [16] Handwritten calling card from Eugen d'Albert to Schenker, dated January 28,
1897
Eugen d'Albert invites Schenker to Hotel Bristol at 5
o'clock.
OJ 9/6, [17] Printed invitation from Eugen d'Albert to Schenker, dated April 1,
1897
Eugen d'Albert invites Schenker to the first performance of his opera
"Gernot."
OJ 9/6, [18] Handwritten letter from Eugen d'Albert to Schenker, dated May 8,
1897
Eugen d'Albert expresses his determination to study and perform
Schenker's piano pieces in the coming winter, and alludes to Schenker's forthcoming
meeting with Paula Szalit.
OJ 5/19, 3 Handwritten letter from Schenker to Kalbeck, dated May 10, 1897
Schenker asks Kalbeck to listen to some of his
compositions.
Sbb B II 4413 Handwritten letter with envelope from Schenker to Busoni, dated May 18,
1897
Schenker reports that Karl Goldmark wrote him a glowing recommendation to
Edition Peters on the strength of which he approached Peters, who expressed their regrets.
He seeks Busoni's advice and help. Eugen d'Albert has undertaken to play something of his
during the winter. He draws Busoni's attention to an article he has
published.
OJ 9/27, [2] Handwritten letter from Busoni to Schenker, undated [c. May 20, 1897]
Busoni acknowledges receipt of a packet of Schenker's compositions. He suggests
that Schenker might combine three of the piano pieces into a single three-section work. He will
not now be able to visit Mannheim, where the two men were planning to meet.
OJ 9/6, [19] Handwritten letter from Eugen d'Albert to Schenker, dated June 11,
1897
Eugen d'Albert suggests his opera "Rubin" might be better suited to the
Viennese public than "Gernot," which he considers an advance on the former. He asks
Schenker for his reservations about "Gernot." He raises a question about Schenker's
piano "Fantasie", Op. 2.
OJ 9/6, [20] Handwritten letter from Eugen d'Albert to Schenker, dated September 9,
1897
Eugen d'Albert reports difficulty with the Szalit
family.
OJ 9/6, [21] Handwritten postcard from Eugen d'Albert to Schenker, dated September 13,
1897
Eugen d'Albert has no alterations to make to Schenker's Fünf
Klavierstücke.
Sbb B II 4418 Handwritten letter with envelope from Schenker to Busoni, undated [mid-September
1897?]
Schenker is about to finalize work on his Fantasie and show it to Busoni for
approval. He hints that he would like Busoni to play one of his works in
public.
OJ 9/6, [22] Handwritten postcard from Eugen d'Albert to Schenker, dated October 18,
1897
Eugen d'Albert has disclaimed responsibility for Paula Szalit because her
family is insisting that she play (in public) throughout the coming winter.
OJ 9/6, [23] Handwritten letter from Eugen d'Albert to Schenker, dated October 21,
1897
Eugen d'Albert gives his travel plans for the late Fall. He describes
the difficult situation with Paula Szalit and her family.
OJ 9/6, [24] Handwritten postcard from Eugen d'Albert to Schenker, dated October 28,
1897
Eugen d'Albert seeks to mollify an awkwardness that has arisen between the two
men.
OJ 9/6, [25] Handwritten letter from Eugen d'Albert to Schenker, dated November 21,
1897
Eugen d'Albert asks Schenker to write about two of his operas; he will
have nothing further to do with Paula Szalit.
OJ 9/6, [26] Handwritten postcard from Eugen d'Albert to Schenker, dated November 24,
1897
Eugen d'Albert is not aware of having been guilty of "uncollegial behavior" to
a third party.
OJ 9/6, [28] Handwritten letter from Eugen d'Albert to Schenker, dated January 17,
1898
Eugen d'Albert promises to play some of Schenker's piano compositions in
recitals, and asks to meet.
OJ 5/19, 6 Handwritten letter from Schenker to Max Kalbeck, undated [c. January 20,
1898]
Schenker writes of impending performances of his piano music by Eugen
d'Albert and Ferruccio Busoni, and of the latter's enthusiasm.
OJ 5/19, 5 Handwritten letter from Schenker to Kalbeck, dated February 14,
1898
Kalbeck's remarks have helped alleviate an unwelcome surprise by Eugen
d'Albert.
Sbb B II 4419 Handwritten letter with envelope from Schenker to Busoni, dated February 15,
1898
Schenker sends Busoni what he considers to be the final version of his
Fantasie. He inquires whether Busoni has yet made an approach on his behalf to Breitkopf
& Härtel. He reports an incomplete performance of his Fünf Klavierstücke by Eugen
d'Albert, and the fact that the Neue freie Presse did not review the
concert.
OJ 9/6, [29] Handwritten letter from Eugen d'Albert to Schenker, undated [late
February/March 1898]
Eugen d'Albert sends Schenker the libretto, orchestral score, and piano
reduction of his opera Die Abreise for study and then forwarding to Gustav Mahler.
Schenker's piano pieces should be played no fewer than five at a
time.
OJ 9/6, [30] Handwritten letter from Eugen d'Albert to Schenker, dated May 4,
1898
Eugen d'Albert asks for return of the orchestral score of his opera Die
Abreise, and seeks recent compositions by Schenker.
OJ 9/6, [31] Handwritten letter from Eugen d'Albert to Schenker, dated October 6,
1898
Eugen d'Albert asks whether it would be appropriate to invite Gustav
Mahler to a performance of a vocal-orchestral piece. He encloses a photograph of
himself. He asks about Schenker's compositions.
OJ 9/6, [31a] Handwritten postcard from Eugen d’Albert to Schenker, postmarked November 14,
[1899]
Eugen d'Albert thanks Schenker for his "Syrian Dances" for piano duet, and
sends the piano reduction of his opera "Kain."
Sbb B II 4430 Handwritten letter with envelope from Schenker to Busoni, dated January 7,
1900
Schenker has played his Syrische Tänze to Eduard Hanslick and reports the
favorable remarks Hanslick made about Busoni. The first public performance of the Dances has
been postponed because of illness.
OJ 9/6, [32] Handwritten postcard from Eugen d'Albert to Schenker, dated September 2,
1900
Eugen d'Albert gives the schedule of forthcoming performances of his
opera.
OJ 9/6, [33] Handwritten letter from Eugen d'Albert to Schenker, dated October 17,
1900
Eugen d'Albert reports the success of his operas "Kain" and "Die
Abreise" in Prague and Dresden, and points out that Vienna is the only sizeable
German[sic] stage not to have staged "Die Abreise."
OJ 6/3, [20] Handwritten letter with envelope from Schenker to Moriz Violin, dated December 11,
[1900]
Schenker again raises the question of fees for the Wiener and Leiner families,
and suggests a way that they can resolve the differences. He is pleased that a song by him, sung
by Eduard Gärtner, was well received.
OJ 9/6, [34] Handwritten postcard from Eugen d'Albert to Schenker, dated January 6,
1902
Eugen d'Albert proposes they meet on January 10.
OJ 6/4, [26] Handwritten letter from Schenker to Moriz Violin, undated [? March 1903]
Schenker sees prospects for himself, and believes likewise for Violin. He
supports Violin returning to Vienna.
OJ 9/6, [35] Handwritten letter from Eugen d'Albert to Schenker, dated July 18,
1903
Eugen d'Albert agrees to look out for vacant posts suitable for Schenker
while he is in Germany. He hopes to see him at his forthcoming premiere in Prague,
and looks forward his new [C. P. E. Bach keyboard works] edition.
WSLB-Hds 95664 Handwritten letter from Schenker to Seligmann, dated July 22, 1903
Schenker is sending Seligmann a copy of his Beitrag zur Ornamentik, which he
hopes will be grounds for receiving a letter of recommendation from Gustav Mahler (for a
post at the Vienna Conservatory). The writing of it has caused him great anguish, and there
are even more things he wants to say, which would require writing another book, but without
a professorship no one will pay attention to him. He also expresses his desire for female
companionship, to help with his work.
OJ 9/6, [36] Handwritten postcard from Eugen d'Albert to Schenker, dated November 22,
1903
Eugen d'Albert reports a position vacant in Frankfurt.
OJ 9/6, [37] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 7,
1903
Eugen d'Albert expresses sympathy for Schenker's
indisposition.
OJ 9/6, [38] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 30,
1903
Eugen d'Albert needs to see Schenker urgently.
OJ 9/6, [39] Handwritten postcard from Eugen d'Albert to Schenker, dated May 25, 1905
Eugen d'Albert acknowledges receipt of a package from Schenker and indicates
that he will remain in Italy until the Fall.
OJ 9/6, [40] Handwritten letter from Eugen d'Albert to Schenker, dated June 3,
1905
Eugen d'Albert asks to hold on to the "book" that Schenker has sent him
until mid-June.
OJ 9/6, [41] Handwritten letter from Eugen d'Albert to Schenker, dated June 15,
1905
Eugen d'Albert gives reasons why he cannot use "Amor und Psyche" as a
basis for a composition. He asks whether Schenker will be in Prague for the première
of his opera "Flauto Solo."
OJ 9/6, [42] Handwritten letter from Eugen d'Albert to Schenker, dated July 11,
1905
Eugen d'Albert asks about the Vienna Volksoper as a suitable venue for
his opera "Flauto Solo," and the ethics of not approaching Gustav Mahler
first.
OJ 9/6, [44] Handwritten letter from Eugen d'Albert to Schenker, dated November 8,
1905
In this significant letter, Eugen d'Albert agrees [to help Schenker find
a publisher for his Harmonielehre] and has already written to Brockhaus. He seeks to
interest Schenker in his new opera "Flauto Solo," the première of which, in Prague,
is in four days' time.
OJ 9/31, [2] Stenographically handwritten letter from Cotta to Eugen d’Albert, dated November 14,
1905
Following Eugen d'Albert's intervention on Schenker's behalf, Cotta is asking
to see the manuscript of Harmonielehre.
OJ 9/6, [45] Stenographic memorandum from Max Brockhaus Musikverlag to Eugen d'Albert,
dated November 14, 1905
Brockhaus replies negatively to Eugen d'Albert's inquiry [re:
publication of Schenker, Harmonielehre]; memo forwarded to
Schenker.
OJ 9/31, [3] Stenographically handwritten letter from Cotta to Schenker, dated November 15,
1905
Cotta will consider Schenker's proposal further, and asks for sight of the
manuscript.
OJ 9/6, [45a] Handwritten letter from Eugen d’Albert to Schenker, undated [c. November 18,
1905]
Having recommended Schenker's Harmonielehre to J. G. Cotta, publisher,
Eugen d'Albert hands the matter over to Schenker. He proposes a meeting after his
recital on November 23, and thanks Schenker for attending the première of his opera
"Flauto solo" in Prague.
OJ 9/6, [45b] Handwritten letter from Eugen d’Albert to Schenker, undated [Spring
1906]
Eugen d'Albert thanks Schenker for [Strauss's] "Salome" and finds it
execrable.
OJ 9/6, [43] Handwritten letter from Eugen d’Albert to Schenker, undated [November 1,
1906[?]]
Eugen d'Albert complains of his treatment by Gustav Mahler over the
forthcoming première of his opera "Flauto Solo"; he asks Schenker to contact Rudolf
Lothar.
OJ 9/6, [46] Handwritten letter from Eugen d'Albert to Schenker, dated December 15,
1906
Eugen d'Albert asks Schenker to put the word out to the Viennese press
that he was deliberately kept in the dark over the première of his opera "Flauto
Solo" at the Vienna Court Opera and feels much aggrieved. Lothar has not contacted
him.
CA 61 Handwritten letter from Schenker to Cotta, dated December 27, 1906
Schenker asks for a copy to be sent to Eugen d'Albert.
OJ 12/27, [3] Stenographically handwritten letter from Cotta to Schenker, dated December 29,
1906
Cotta has sent a complimentary copy of Harmonielehre to Eugen
d'Albert.
OJ 9/6, [47] Handwritten postcard from Eugen d'Albert to Schenker, postmarked February 4,
1907
Eugen d'Albert asks if Schenker is coming to the concert, otherwise suggests a
time to meet.
OJ 9/6, [48] Handwritten postcard from Eugen d'Albert to Schenker, postmarked February 21,
1908
Eugen d'Albert invites Schenker to attend the dress rehearsal of his opera
"Tiefland."
OJ 9/6, [49] Handwritten postcard from Eugen d'Albert to Schenker, postmarked February 29,
1908
Eugen d'Albert thanks Schenker for his congratulations.
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 9/6, [50] Handwritten postcard from Eugen d'Albert to Schenker, postmarked August 21,
1908
Eugen d'Albert asks Schenker to pick him up at his hotel to go to the dress
rehearsal.
OJ 9/6, [51] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 10,
1908
Eugen d'Albert hopes to see Schenker at his Friday concert so that they can
talk afterwards.
OJ 9/6, [52] Handwritten letter from Eugen d’Albert to Schenker, dated November 27,
1911
Eugen d'Albert inquires whether Schenker would be interested in taking
on a female pupil.
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.
OJ 9/6, [52a] Handwritten postcard from Eugen d’Albert to Schenker, undated [?December 1,
1911]
Eugen d'Albert write that "the lady" is an American, and that he should not be
held responsible for her.
OC 52/69 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911
Hertkza encloses a letter from Eugen d'Albert and is having the requested book
returned to Schenker.
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.
OJ 9/6, [53] Handwritten postcard from Eugen d’Albert to Schenker, dated December 20,
1911
Eugen d'Albert tries to arrange a meeting with Schenker.
OJ 9/6, [54] Handwritten postcard from Eugen d’Albert to Schenker, postmarked December 26,
1911
Eugen d'Albert invites Schenker to tea on the 30th.
OJ 9/6, [55] Handwritten letter from Eugen d’Albert to Schenker, dated February 12,
1912
Eugen d'Albert asks Schenker's opinion of his opera "Verschenkte
Frau."
OJ 9/6, [56] Handwritten postcard from Eugen d’Albert to Schenker, postmarked May 11,
1912
Eugen d'Albert has instructed Felix Hupka to call on Schenker, and asks
Schenker to listen to his compositions.
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.
OJ 9/6, [57] Handwritten letter from Eugen d’Albert to Schenker, dated June 11,
1912
Eugen d'Albert suggests they attend a concert together on June
24.
WSLB 121 Handwritter letter from Schenker to Hertzka (UE), dated June 13[?], 1912
Schenker reports the state of play [on the Organisation] and again urges
Hertzka to contact Dr. Harpner.
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 9/6, [57a] Handwritten postcard from Eugen d’Albert to Schenker, undated [July/August
1912]
Schenker has sent Eugen d'Albert a text as a possible basis for an opera
libretto, and d'Albert explains his reasons for rejecting it.
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.
OC 52/97 Typewritten letter from Hertzka (UE) to Schenker, dated August 28, 1912
In an important letter on the plan for an organization of composers and
concert musicians, Hertzka declares himself willing to be involved, sets out a timetable,
issues a caution, and raises the issue of finance; in dealings with Hugo Heller, UE's and
his own name should not yet be divulged.
OJ 9/6, [55a] Handwritten letter from Eugen d’Albert to Schenker, undated [?May 10,
1912]
Eugen d'Albert proposes that Schenker take on a 15-year old
musician.
OJ 13/29, [8] Handwritten letter from Rosenthal to Schenker, dated November 10, 1912
Rosenthal apologizes for mishandling of ticket issue, and raises the matter of
forming an artists' organization.
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 9/6, [58] Handwritten letter from Eugen d’Albert to Schenker, dated December 4,
1912
Eugen d'Albert thanks Schenker for his communication, and hopes to meet
with him, perhaps in mid-December.
OJ 9/6, [59] Handwritten calling card from Eugen d’Albert to Schenker, dated April 19,
1914
Eugen d'Albert thanks Schenker for his [50th birthday]
congratulations.
OJ 15/16, [23] Handwritten letter from Weisse to Schenker, dated July 16, 1914
Weisse thanks Schenker for clippings of two articles from the Münchener Zeitung.
Returning them, he critiques Alexander Berrsche's references there to the theory of the trill as
expounded in Schenker's Beitrag zur Ornamentik.
OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930
A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would
like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s
calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until
September, if the "Eroica" monograph is to be published by the end of the
year.