The reason why I did not answer your letter dated September 30 earlier was that I contacted
all the experts here in New York in order to find a solution to reproduce your revised edition as
reasonable as possible. Finally, I found one firm who is able to enter your corrections in such
a way that it will almost look like engraving. For your convenience, I am attaching herewith a
sample of the handwriting in which the corrections can be added to your score. Inasmuch as this
process takes a lot of time, the price for entering your corrections will be $ 20 per page. Inas-
much as your score contains 58 pages, the total amount of entering your changes will amount to
over $ 1,000. After these changes have been made, I still have to print the score and have to pre-
pare several sets of orchestra parts which would naturally be an additional substantial expense.

The firm who can make the corrections in a perfect way asked me to return the score to you,
because it will be impossible for you to see any proofs; that means that you have to make your
final corrections in the manuscript, and that these corrections will be final, because you will
have no opportunity to look at the proofs before it is being printed. There is no other solution.

I am returning to you today my score with your corrections, so that you can enter your final
corrections, because as above mentioned, there will be no possibility for you to READreproof. If you
can agree to the below mentioned points, I would go ahead immediately and produce the new revised
edition and spend these tremendous amounts. However, I want to make it completely clear to your
in order not to have any future misunderstandings that I can do this only if you agree to these
following points:

1. Your revision will be sent to me with your final corrections inasmuch as the technical
process does not permit to send you any proofs before it is being printed.

2. By having this tremendous cost of production, I am unable to pay you, your proof reader,
or Mr. Hoffmann, any fees, not even $100 to Mr. Hoffmann.

3. We will make a contract that you are entitled to receive 50 % of all performance fees,
rental fees, television fees, or any other possible royalties I might receive for this work, which
will be copyright under the name of C. F. Peters Corporation. Inasmuch as you are sharing 50 %
of all royalties, you will automatically share also 50 % of all expenses in the production of this
work. That means that from all royalties received, the total production cost will be deducted and
after the whole production cost has been deducted, we will then split all future royalties on a
50-50 basis.

4. Inasmuch as I personally feel that there is no necessity of using any other language than
English for your remarks in the score, only English text will be used for explanatory remarks, etc.

5. In connection with your continuous remark that you lost so many performances because
C. F. Peters did not renew the copyright in 1940, I would greatly appreciate it if you would
consider in your viewpoint that the firm of C. F. Peters was confiscated by the
Nazis in 1938, all rights in the copyrights belonged to the American Alien Property Custodian
in 1940, and even if I would have applied for the renewal copyright, they would not have accep-
ted my renewal; however, they would have definitely accepted in 1940, the renewal application
from Arnold Schoenberg as the composer. We are arguing continuously about this point, and I
contacted recently a copyright lawyer in Washington, and he explained to me this situation as
above mentioned. I did that on purpose in order to make it clear to you that you are accusing
me continuously for a loss which you may not have had if the copyright would have been renewed.

I am very, very happy indeed, Mr. Schoenberg, that you want to dedicate this new edition
to the memory of Henri Hinrichsen, and that you state in your letter of September 30 that this
dedication will stay, whether we conclude as agreement of this new reissue or not.