May I, at first express my great joy about your let-
ter from July 18, 1950. You cannot imagine how pleasant
it is to me to meet here in America a publisher who is
so different from all I had the experience here: a
publisher who is a friend of the composer, who likes
his music and his theories and constantly follows his
development. In other words, not a publisher who con-
siders publishing serious music as prestige music – as
he calls it, but I should not forget Carl Engel who was
different.

I will send you in a few days a copy of the Fantasy for
Violin. May I tell you that I consider making of it a
version for orchestra as soon as I have time. I would
like to learn whether you would be ready also to publish
this.

Now let me at first tell you that I agree with the way
you propose refunding me. I accept your proposition with
pleasure that I am always payed a royalty for every 1,000
copies and I appreciate it very much that you consider
paying this royalty to me before the copies are sold,
at once after the new edition has been printed. It is
a pity that I have this opportunity to be in such good
standing with you only when the time where I produced
very much is a little in the past. But still I would like
to mention which of my works are available for publica-
tion. I have recently written two little choruses, one
of them – I don't know whether you would like to have
it – is with Hebrew text. But I think I could also make
a version in which the English or German text is under-
lined. It is the 130th Psalm. The other is a small song
for chorus in four voices (the psalm is for six voices)
and its text is a poem by Dagobert D. Runes who is the
president of Philosophical Library.

Besides, I have not yet published my book Structural
Functions of the Harmony, which whose German title
probably will be: Die Formbildenden Tendenzen der Harmonie .
[I] regret very much that I did not know you would be in-
✎ [ter]ested in such a thing, otherwise I would have offered

it to you immediately. But now I am in negotiations
with Philosophical Library, who on their part negotiate
with an English firm who wants to publish an English version
of it for England. Still there remains the German edition,
but I have to mention that I am not in the position to
make the translation myself.

I wonder, in case I can cancel these negotiations, whether
you would be interested to see the work and could you
publish it? It consists of about 100 typewritten pages
of text and a little over 100 pages of musical examples.
I think it deals with a quite new subjects and its solutions
to things which have up to now never been considered, and
I think it will be a great help for teaching this cultural
backround-knowledge which at present is so little known.

You know perhaps also that I have many years ago started
a textbook on composition, and that I for years always
intend finishing it. The same is true with the book on
counterpoint – or rather it should consist of three
volumes. I have written the first volume, perhaps 3/4
of its size and I have made all the examples of it,
and if I find the time, I could probably finish it inwithin
two or three months. But maybe I consider writing first
the third volume of this whole work. This would then be:
Counterpoint in the 19th and 20th Centuries, especially
in respect to Beethoven, Mozart, Haydn and Brahms. This
is a subject which has not yet been treated by anyone else,
as much as I know, and I think I can contribute something
new to musical theory.

I am looking forward to your reaction to all these sub-
jects, and I hope I can send you in a few days a copy
of the Fantasy which will be returned to me very soon.