Arnold Schönberg an C. F. Peters Corp.
2. Februar 1951
February 2, 1951
President
New York 19, N. Y.
Dear Mr. Hinrichsen:
I am afraid you over-rated my patience.
All the friendliness with which I accepted some
of your unusual dealings were more derived from
the high appreciation which I had for your father,
in the expectation that you have inherited his spirit.
I publish now for 50 years and I have obtained a
reputation of moral sincerity second to none of any
composer of this century. And now you dare question
my artistic reasons for the improvements of my music.
All the friendliness with which I accepted some
of your unusual dealings were more derived from
the high appreciation which I had for your father,
in the expectation that you have inherited his spirit.
I publish now for 50 years and I have obtained a
reputation of moral sincerity second to none of any
composer of this century. And now you dare question
my artistic reasons for the improvements of my music.
Don't you imagine that I am capable to take such
responsibilities myself? Did I not show the whole
civilized world higher respect of the demands of art
than any other composer? Did I not suffer more for
my belief?
responsibilities myself? Did I not show the whole
civilized world higher respect of the demands of art
than any other composer? Did I not suffer more for
my belief?
If I make changes, it is only my own judgement that
counts, not yours or anybody elses.
counts, not yours or anybody elses.
You were offended by a letter of mine without giv-
ving any reason, but probably because I only once
tried to make you understand that advances you offer
and the condition to pay them only later are quite
unusual, and that I did accept them only out of friend-
liness. You allow yourself to be offended, but you
dare question my artistic sincernity.
ving any reason, but probably because I only once
tried to make you understand that advances you offer
and the condition to pay them only later are quite
unusual, and that I did accept them only out of friend-
liness. You allow yourself to be offended, but you
dare question my artistic sincernity.
To the matter in question:
In your letter of November 2, 1950 you write
“... so that I can have the Fantasy ready in print
for the big music convention ... in December.“
This is what I refer to in my last letter.
In your letter of November 2, 1950 you write
“... so that I can have the Fantasy ready in print
for the big music convention ... in December.“
This is what I refer to in my last letter.
If your engraver was not able to read the manuscript
of the Violin Fantasy, than he is incompetent. In
50 years of publishing I did not deliver a better,
more legible manuscript then this. Probably you
selected an engraver who is the least expensive and
there lies the responsibility.
of the Violin Fantasy, than he is incompetent. In
50 years of publishing I did not deliver a better,
more legible manuscript then this. Probably you
selected an engraver who is the least expensive and
there lies the responsibility.
I refuse to answer questions about illegible notes,
unless you are ready to pay an expert who should de-
cide wether my manuscript is poor.
unless you are ready to pay an expert who should de-
cide wether my manuscript is poor.
The war between Germany and America started only in
December 1941. Up to this time Peters had enough op-
portunity to ask me to renew the copyright. If this is
not his duty, it is at least one-half of histhe interest
in this work. But the responsibility for the pro-
tection does not lie on the composer. In no case it isis it
you who is entitled to make difficulties of any attempt
to protect my work.
December 1941. Up to this time Peters had enough op-
portunity to ask me to renew the copyright. If this is
not his duty, it is at least one-half of histhe interest
in this work. But the responsibility for the pro-
tection does not lie on the composer. In no case it isis it
you who is entitled to make difficulties of any attempt
to protect my work.
The new version facilitates performances by reducing
the expenses for extra musicians, by improvement of
the balance, by markation of the Hauptstimme, by numer-
ating the measures, all that reduces rehearsal time con-
siderably.
the expenses for extra musicians, by improvement of
the balance, by markation of the Hauptstimme, by numer-
ating the measures, all that reduces rehearsal time con-
siderably.
The statement you demand is superfluous, because on the
title page will be printed, above my name, New Version
Improved Version made by the Composer. Who is not
satisfied with this can go to hell.
title page will be printed, above my name, New Version
Improved Version made by the Composer. Who is not
satisfied with this can go to hell.
If you refuse to print this new version, you would
have to pay me the rest of my fee and I will publish it
with another publisher of whom I just got an offer.
have to pay me the rest of my fee and I will publish it
with another publisher of whom I just got an offer.
Yours truly,
P. S. Recently I received information from the Copyright Office
in Washington, that the music of an American composer can only
obtain a copyright if all the engraving, printing etc. has
been manufactured in America. There is also something about a
contemporary copyright of a very short duration, which is not
much use. But a small, cheap edition of 100 copies or less
perhaps mimeographed, would obtain a copyright. But you have
to enquire yourself, and will you please not depend only on
my information. Important: I cannot renounce to receive the
copyright.
in Washington, that the music of an American composer can only
obtain a copyright if all the engraving, printing etc. has
been manufactured in America. There is also something about a
contemporary copyright of a very short duration, which is not
much use. But a small, cheap edition of 100 copies or less
perhaps mimeographed, would obtain a copyright. But you have
to enquire yourself, and will you please not depend only on
my information. Important: I cannot renounce to receive the
copyright.
Dear Mr. Hinrichsen:
I am afraid you over-rated my patience.
All the friendliness with which I accepted some
of your unusual dealings were more derived from
the high appreciation which I had for your father,
in the expectation that you have inherited his spirit.
I publish now for 50 years and I have obtained a
reputation of moral sincerity second to none of any
composer of this century. And now you dare question
my artistic reasons for the improvements of my music.
Don't you imagine that I am capable to take such
responsibilities myself? Did I not show the whole
civilized world higher respect of the demands of art
than any other composer? Did I not suffer more for
my belief?
If I make changes, it is only my own judgement that
counts, not yours or anybody elses.
You were offended by a letter of mine without givving any reason, but probably because I only once
tried to make you understand that advances you offer
and the condition to pay them only later are quite
unusual, and that I did accept them only out of friendliness. You allow yourself to be offended, but you
dare question my artistic sincerity.
To the matter in question:
In your letter of November 2, 1950 you write
“... so that I can have the Fantasy ready in print
for the big music convention ... in December.“
This is what I refer to in my last letter.
If your engraver was not able to read the manuscript
of the Violin Fantasy, than he is incompetent. In
50 years of publishing I did not deliver a better,
more legible manuscript then this. Probably you
selected an engraver who is the least expensive and
there lies the responsibility.
I refuse to answer questions about illegible notes,
unless you are ready to pay an expert who should decide wether my manuscript is poor.
The war between Germany and America started only in
December 1941. Up to this time Peters had enough opportunity to ask me to renew the copyright. If this is
not his duty, it is at least one-half of the interest
in this work. But the responsibility for the protection does not lie on the composer. In no case is it
you who is entitled to make difficulties of any attempt
to protect my work.
The new version facilitates performances by reducing
the expenses for extra musicians, by improvement of
the balance, by markation of the Hauptstimme, by numerating the measures, all that reduces rehearsal time considerably.
The statement you demand is superfluous, because on the
title page will be printed, above my name,
Improved Version made by the Composer. Who is not
satisfied with this can go to hell.
If you refuse to print this new version, you would
have to pay me the rest of my fee and I will publish it
with another publisher of whom I just got an offer.
Yours truly,
P. S. Recently I received information from the Copyright Office
in Washington, that the music of an American composer can only
obtain a copyright if all the engraving, printing etc. has
been manufactured in America. There is also something about a
contemporary copyright of a very short duration, which is not
much use. But a small, cheap edition of 100 copies or less
perhaps mimeographed, would obtain a copyright. But you have
to enquire yourself, and will you please not depend only on
my information. Important: I cannot renounce to receive the
copyright.
2. Februar 1951
The Library of Congress
Washington, D.C.
Music Division
Arnold Schoenberg Collection
Washington, D.C.
Music Division
Arnold Schoenberg Collection
Brief, Durchschlag
Zitierhinweis:
Arnold Schönberg an C. F. Peters Corp., 2. Februar 1951, in: Arnold Schönberg: Briefwechsel mit C. F. Peters. Hrsg. von Florian Giering. Version 1.0 vom 02.04.2025. URL: https://schoenberg-peters.at/cfp/letters/letter.5701.