Supplementing my last letter, I want to report to you the following:

1. The two engraved sample pages from Oscar Herbert are entirely unsatisfatory,
not only from my viewpoint as a publisher, but it would definitely be extremely bad
for you as a composer to present your new version to the music world in this engraved
fashion.

2. The engraving is extremely uneven, the letters of the instruments are unevenly
engraved, the stems are not low enough engraved in the plate, in order to create
perfect printing, the phrasing gets mixed up with the notes; in brief, this type of
engraving is entirely satisfactory for popular Dance orchestrations, but definitely
not for a Schoenberg work! Furthermore, the 8 by 11 size of the plate is more than
awkward and not the customary size for a Symphonic Orchestra Score.

3. The price which Mr. Herbert quoted me is a tremendous total sum, namely,
about $ 753, for engraving. In addition to it, I have to make black-white proofs here
in New York, because Mr. Herbert advised me that he is unable to furnish them to me
(undoubtedly he realizes that his engraving is not suitable for black-white proofs).
This additional expense, and about $ 700 for extracting the parts and copying them
on autograph paper, and about $ 700 to $ 1,000 to print the score, brings the whole
cost for C. F. Peters Corporation to more than $ 2,000 for this one publication and,
as mentioned to you in the beginning of our correspondence, this is an amount I
just cannot spend for one publication in the second year of my business operation
in New York.

4. I am leaving at noon for England on January 27 and, if you send me right
now via Airmail Special Delivery your new version of Op. 16, ready for engraving,
I will take it with me to England, and will then give an order to an English printer
to go ahead with the production. Inasmuch as I have a credit in English pounds in
England (which I cannot transfer into dollars for the reason of English currency
restrictions), I will spend this credit in producing a beautiful score of which you
also will be proud of. So that you can get a better judgment on the English
workmanship, I am enclosing a sample from a recent English job.

So, in case your manuscript reaches me before noon on January 27, (Friday),
the manuscript and I will arrive safely in London on January 28, and I will contact
immediately the English printer I know, and who is doing such beautiful work. As

soon as he finishes the job, I will send you his proofs for proof reading.
I will then have the few corrections made in the plate in England, and receive
black-white prints from England, and will then print your work right here in
New York on my new 80 lbs. paper, which has been specially manufactured for
me during the last month, and which will be exclusively used from now on for
printing PETERS EDITION.

5. I am confirming to you herewith that I feel that it is all right in
basing our contract, in accordance with your wish, on the standart E. B. Marks
contract, to which we added the various points we agreed to in our correspondence.
I will be back by the end of March and will then, in accordance with your request,
prepare the contract, and I am sure that there will be no difficulty in our
signing this contract, inasmuch as the contents of the contract will be based
on everything you agreed to. In order to give you proof of my spirit of full
cooperation and, in order to express my deep appreciation for your realizing the
problem which I have with the engraving of the new version of Op. 16, I will make
a payment on royalties in the amount of $ 200 in advance to you, as soon as I
return from Europe.

6. I will arrive in England on January 28 and will stay in England until
January 30, and will then go to the continent. I will be returning to England
on March 3, and will stay there for about one week so, in case you get this
letter too late for forwarding to me the manuscript of the new version, so that
I can take it with me on January 27 to London, would you please be so kind as
to forward the manuscript to Mr. Walter Hinrichsen, c/o Hinrichsen Edition, Ltd.,
25 Museum Street, London WCl, England, by first-class mail, registered, with
return receipt, so that I can discuss the matter with my printer in England on
March 3 when I return to England. By the end of March, I expect to be back in
New York and hope to be able to give you at that time the exact date when you
can expect the proofs from me. Once more, I would like to explain my deep
appreciation for your consideration in this matter. I certainly would be proud
to be the publisher of the new version of Arnold Schoenberg's Op. 16; however,
from the above mentioned, you realize that no other alternative is possible for
me.

With great esteem,