Supplementing my confirmation of receiving your letter dated July 26, 1950,
here are my comments to the various pending points:

New version of Opus 16
1. Your new version of Opus 16 is now being engraved and I am confident
to be able to send you proofs early in Spring.

Fantasy for Violin & Piano
2. In order to try to have printed copies ready during the Washington Conven-
tion in December, I asked my printer to rush first with the engraving so
that you can OK the proofs as fast as possible.

Fantasy for Violin & Orchestra
3. (a) You furnish me with the score. I will copy the parts.
(b) I will rent this material, and will pay you once a year 25 % of the
rental fees collected.
(c) Upon your furnishing me with the score, I will pay you $ 50.00 as
advance payment in your share of rental fees collected in the future.
(d) Should I decide to publish a miniature score of this work, I will
certainly pay you 10 % royalty and will pay you the royalty on the 1st
printing (Erste Auflage) as soon as I get the copies from the printer.

Two Short Chorusses
4. (a) Psalm 130 ––– I sent your photostat copy to England and just heard
that the English engraver will have difficulty to engrave the English
text, which I wanted to include, with the Hebrew text; therefore, I
prefer not to publish this chorus and will return to you the photostat
copy as soon as I receive it from England.
(b) The chorus for 4 voices with the text by Dagobert D. Runes –––––– I
certainly am happy to consider publishing this chorus. From the en-
graving viewpoint regarded, I am sure that it will have only one
language textline between the musical staff line, so that my English
engraver will have no difficulty with this engraving. Royalty of 10 %
will be paid to you as soon as the first printing has been delivered
to me by the printers. On future printings, royalties will be paid
in advance, whenever such a future printing will come off the press.
Royalty of the first 400 copies of the 1st printing will be paid, as
soon as you OK the engraved proofs before printing.

Structural Functions of the Harmony
(Die formbildenden Tendenzen der Harmonie) 5. Inasmuch as you are already in negotiation with the Philosophical Library who
in turn are in contact with an English firm, I certainly do not want to disturb
these negotiations. Should, however, these negotiations be without positive
result, I would then like to ask you to send me your manuscript of this text-
book, so that I can consider this publication for my firm here, and for my
brother’s firm in London, and in the German translation for C. F. Peters, in
Frankfurt. When I say I want to consider the publication after your pre-
sent negotiations are without positive results, I naturally mean that I would
then like to judge the expense of publishing this work of yours which consists,
as you say of about 100 typewritten pages of text and a little over 100 pages
of musical examples, because I certainly am convinced that this work of yours
is very important, and such an addition to the Peters Catalogue will
make me proud. I am also convinced that it will be a great help for teaching
this cultural background-knowledge which is so little known at present. In
any event, I do NOT want to cancel your present negotiations.

Your new textbook on Composition and Your New Book on Counterpoint 6. (a) I am indeed happy to hear that you already wrote 3/4 of the 1st volume
of the intended 3 volume edition, and that you might be able to find
time to finish the 1st volume within 2 or 3 months. But I agree with
you that you should consider writing first the 3rd volume: “Counterpoint
After 1750 and in the 19th and 20 Centuries, Especially in Respect to
Beethoven, Mozart, Haydn, Brahms, etc.“
(b) as already written to you, I had to write to my brother Max in England
first in order to find out if he can collaborate with me in the publi-
cation of this vitally important 3 volume publication, because I would
not be financially ready as yet to tackle it alone. To my great satis-
faction, my brother will be only too willing to publish these textbooks
with me.
(c) As soon as you furnish me with the complemented manuscript of one volume,
my brother will have it set up in type in England, and will them send
me the negatives so that in addition to his printing these volumes in
England, I also can print it here, if I decide to do so. Then too, we
may consider the German translation for C. F. Peters, Frankfurt.
(d) Now I submit to you my proposition regarding this 3. volume publication
and would like to hear your comments:

1.	It will be published under the firm name: C. F. PETERS CORPORATION, NEW YORK Hinrichsen Edition Ltd., London
2.	The book will be set up in type in London, financed by my brother and by myself. Your “contribution“ will be to OK the proof reader’s report as soon as I send to you the corrected proofs; inasmuch as correcting the type and the examples in an expensive venture, your manuscript will be turned over to me “foolproof“ to avoid any changes at the proofreading.
3.	As soon as you have the final form of one volume ready, you will mail it to me and upon receipt of the manuscript I will pay you $ 100.00 – an advance royalty on the following royalty agreement: Copies sold in the Western Hemisphere are subject to a 10 % basis, and copies sold outside of the Western Hemisphere are based on a 5 % basis, payable in Dollars to you by C. F. Peters Corporation. As soon as each

volume comes off the press, C. F. Peters Corpor- ation will pay advance royalty on the whole first printing to you, deducting the above mentioned advance payment of $ 100.00. Should my brother alone print this volume, I would then base the advance royalty payment on the English printing of 1000 copies (500 with 10 % royalty to be sold in the Western Hemisphere, and 500 with 5 % royalty in Dollars to be sold outside of the Western Hemisphere). Should I consider a printing in America, my printing in USA would naturally be subject to a 10 % royalty or maybe you prefer that we establish a unified advance payment of 7 1/2 % for any copies printed either in the USA or in England, which might be more practical. Anyhow, C. F. Peters Corporation, New York will be responsible for the royalty earned not only by copies sold in the USA but also by copies sold out- side the Western Hemisphere (which obviously will bring you ready Dollars instead of English pounds or German Marks.)

Now, my dear Mr. Schoenberg, please let me know if you agree to this prop-
osition or if you prefer another solution. May I take the liberty to state
that a low royalty will be of great influence in reducing the retail price
and thus in selling more copies. We as the publishers will certainly spend
all our efforts, and all necessary expense, to create the market for these
needed publications and publish them to your, the entire music world’s and
to our own entire satisfaction. You will be proud of the appearance of this
publication and we will be proud to be the publisher.

In this spirit, I remain

1. With respect to the production of orch. parts, I wonder
whether the old parts are of any use. I possess a set
of a rather well corrected parts, if to use if necessary.

2. I warn you that one proof will not suffice with
my music. Possibly 2 or 3 will be needed.

4. I decided to publish the 130. Psalm [...] only in hebrew
in English phonetics as it is written in the
score. All choruses sing in languages – German,
Italian French English – without knowing the
language. This chorus is of interest, especially
for Jews & Gentiles will be able to sing them
so as they sing the Shema Ysrael of
my Survivor.[...] A second line is accordingly not necessary. This chorus should be Opus 50B th to
the 3x1000 Jahre which is 50A. It is
possible that I add a third work chorus
under the same Opus number. But besides, I
want to tell you that the Vinaver chorus
who had commissioned this chorus will engrave it
& probably his engraving could be shared by
you. If you can accommodate the paper size

with opus 50A.

5. I highly appreciate your attitude towards my
theoretical works, & I am sorry that I did not
know beforehand that there is a possibility to
publish it with you.

I have to confess that I could not accept the
terms which you offer. I think you should give
me at least 3times as much. I can prove
to you, that I got 7 to ten times as much.
That is usually 10 % of the first 2–3,000
copies as advance. If you promise to
[...] keep it a secret th how little you pay
me, I will gladly prefer you as a publisher
because I believe in your honesty & every-
thing you say is very sympathetic to me.
Besides, I know that all the other publishers
are the opposite of this.

This is not a condition "sine qua non“
(except [...] keeping it secret) But it is
an ardent desire because my butcher & grocer
believe more in more money than in less.

I hope I find a copy of S. F. & we can right now
conclude a contract about the German edition.
But who will translate it? I should make it myself
if I were well enough. Let us hope. The

The music examples will be [...] autographed by my
son Georg Sch who is very effecient in correctures &
[...] can deliver engraving-like originals. Also on
transparent paper. I would consider him also for
the production of orch. parts. He charges a little
more than the average Austrian rates.

6. I would have to live 10 at least 10 more years
& be in good health in order to finish more
than the 1st volume of C. P. Let alone all the
3. [...] But what I can finish will be published
by you, Only [...]

7. as I said before, you would have to approach
your rates to what I was accustomed. But
I am sure, if the time comes, we will find a
way in friendship, I will not ask of you what
you cannot afford, but I hope you will take
into cognizance that I live from my production.
[...] So, I hope, all will return out very satisfactorily
& will fortify our friendship.