A Letter I Value from a Legendary Pianist

It was in 1989. when I decided to go to various sources and record back-to-back all of the Horowitz transcriptions for the piano.
I remember as a child my first hearing of one of his transcriptions; namely, Danse Macabre of St. Saens. It overwhelmed me, as it was impossible for me to understand how ten fingers could accomplish such feats.
From that time I became interested in the piano transcription in general, and how various composers, especially Liszt, would study through the transcription form methods to constantly research the seemingly illimitable resources of the modern piano.
When I came across further laminations of sound attached to the already daunting experiments of Liszt, as done by Horowitz, I became truly intrigued, and it led me to writing Horowitz in 1989, just a few months before his sudden death in his New York town house, next to his beloved piano.
I wrote a request to him to gain access to his transcriptions in order to study (Good Heavens, not
PLAY-why try?) the methods through which he was able to acquire such an array of sounds in simultaneity that defied description.
I was really positive that he would not reply, as I knew that he followed a strict rule he applied to himself never to reply in letter form any aspect about his work, let alone music in general. I knew that he answered many letters that dealt with subjects such as how many ways to prepare chicken, which I understood he would alternate with fish for his own personal diet. I had read somewhere that lemon sole was one of his favorites.
But to answer a letter dealing with MUSIC! Uh-uh, or so I thought.
But I needed to write that letter just hoping that he knew that there was someone out there among his admirers needing to make such a request. I also felt with some assuredness that others must have requested the same thing of him.
I went into quasi-shock when barely a week after my sending the request, I received a letter from the Maestro, with an apology implied (!!!), stating that sending them would be an impossibility, the reason being that he never had committed any of his transcriptions onto paper. He also wished me well!
By the way, I had also asked for a copy of his own composition, Danse Excentrique , which he often played in his early career, and had recorded several times. He could not supply me with this item as well.
I have the letter safe and sound, and it must be one of very few in number, if he indeed did adhere to his own policy of not answering letters dealing with music.
I consider this little epistle a bit of a treasure.