Today I have the pleasure of answering Mr. Hoffmann's cordial letter which was written in answer to my letter of February 12th. First of all, I do sincerely hope that you have recuperated completely.

Let me express my appreciation for returning the contracts duly signed so promptly. I certainly have agreed to the very few changes which you made in connection with the wording of certain passages in the contract. I have signed both copies of the contract already and have forwarded them to my attorney so that he can stamp them with my corporation seal, and I will then return one copy to you early next week. I the meantime, it is a great pleasure for me to attach herewith four folders with the following contents:

I.	Photostat of manuscript.
II.	The proof which has been checked by Dr. Hill of the Library of Congress and to which he refers in his let ter, which I attached to one of my last letters to you.
III.	One extra proof containing just the correction of the proof-reader, without any indication of Dr. Hill's questions.
IV.	Second extra proof, containing just the correction of the proof-reader, without any indication of Dr. Hill's questions.

The reason for sending you the extra proof in folder III and IV is that you asked me some time ago to furnish you with extra proofs so that you could show these proofs to Violinists, in connection with the Violin Part of your Opus 47. In order not to delay the publication, the Violin Part has already been edited, (under edited, I understand fingering, etc., naturally without changing any notes whatsoever) by Watson Forbes, whom you undoubtedly know, is one of the stoutest Schoenberg admirers in England.

May I point out that any corrections which you want to make, also in connection with Dr. Hill's letter, should all be made on the proof which is contained in folder II; however, please do return the contents of all the folders at the same time when you return your final corrections to me. In one of my previous letters to you, I asked you to make as few corrections as possible in order not to increase the expenses of engraving; however, today I leave it up to you to make any corrections as you want to, even if this would mean to have a page engraved a second time, due to the fact that my endeavors are to make the publication of your Opus 47 as correct and as beautiful as possible. I order not to lose any time, I am taking the liberty of suggesting to you that all corrections on questions to be clarified will be clearly indicated in the Piano Part and in the Violin Part, so that it would not be necessary to send you another proof before printing this work.

With my letter of September 7, 1950, I sent to you a check in the amount of $ 80.00, covering 10 % royalty on 400 copies at the retail price of $ 2.00 each. I am enclosing herewith my check in the amount of $ 120.00, covering the royalty of 10 % on the remaining 600 copies of the First Printing. Recently I mentioned to you that I thought a retail price of $ 2.00 would be correct; however, in connection with the recent price increase for paper, engraving, and printing, I believe there would be no objection from all viewpoints concerned to establish a retail price of $ 2.50. If ou agree with me, I will establish a retail price of $ 2.50 and will send you an additional check of $ 50.00, covering the difference of 10 % royalty on the First Printing.

I already mentioned in my last letter that I might be able to give you some good news in connection with the present protection of the “Old“ Version of your Opus 16. I finally received the report from the Library of Congress and the news is certainly good, because my Father had Opus 16 properly renewed on February 2, 1940. Inasmuch as the renewal can be made only in the name of the author or composer, this 1940 renewal was made in your behalf. So that no other publisher or any performer will be able in the future to say that there is no official assignment of the renewal copyright by the composer to C. F. PETERS or that such parties who are interested not to pay any royalties to the composer will make a statement that you, personally, did not renew it and that the firm C. F. PETERS was not able to renew it without your permission, it is now necessary to have a document registered in Washington containing some kind of statement by you to me that the firm, C. F. PETERS certainly was empowered by you to renew the copyright in your name and that you have transferred this copyright to C. F. PETERS CORPORATION. In order not to leave a loophole for performing organizations not to pay any royalties, I will contact now a copyright lawyer in order to find out the correct wording of such a document in order to protect you, and naturally at the same time me. As soon as I have established the right wording, I will forward same to you and will then ask you to sign it, so that I will be able to have it recorded in Washington. This will make it possible for not only the Improved Version, but also the Old Version to be completely protected. It certainly will be a pleasure for me to guarantee you 50 % of all rental fees which I will collect in America.

Additional good news which I can report to you concerning the Improved Version of Opus 16 is that I just received a report this morning concerning the Improved Version, which is progressing nicely, and that there are only ten more pages of the Score to be engraved. After proper proof-reading has been done, I will forward same to you for your approval.

Inasmuch as this letter of mine contains only good news, I would like to take this occasion to offer my apologies to you, personally, and also to Mr. Hoffmann, if you feel that I expressed myself occasionally in my letters to you a little bit too forceful; however, I can assure you that it was never my intention to be so, or to create such an impression.