OJ 9/34, [9] Handwritten letter from Cube to Schenker, dated October 29, 1927

Cube has had 'flu; reports on his [conservatory] teaching of Schenkerian theory (though disguised from the authorities), his private teaching, his work in composition; he has joined the Reichsverband deutscher Tonkünstler und Musiklehrer. Dunn has sent him his translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that of Vrieslander. He is enjoying using his radio; sends two Galtür portraits; his father has had a son.

OJ 5/7a, [12] (formerly vC 12) Handwritten letter from Schenker to Cube, dated November 9, 1927

Schenker thanks Cube for the pictures enclosed with OJ 9/34, [9] and expresses pleasure at Cube's reports of his teaching, composition, listening to the radio, Urlinie studies, and advocacy of good editions; refers to Vrieslander's planned monograph on Schenker, the prospectus for Meisterwerk I and II, and the call [for the Photogrammarchiv].

OJ 9/34, [11] Handwritten letter from Cube to Schenker, dated April 24, 1928

Cube describes difficulties with his colleagues, loss of pupils, and reactions to his lecture; Scheuermann and Schmemann will put Schenker exhibits in their shop windows, items requested; inquires after Weisse journal plan.

OJ 9/34, [12] Handwritten letter from Cube to Schenker, dated May 24, 1928

Cube acknowledges receipt of the Hammer engravings and reports on the planned Scheuermann exhibition; reports on a forthcoming lecture and seminar, and the growth of his student numbers.

OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928

Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses associated newspaper article; also on recent lecturing and composition activity. He is unlikely to visit Schenker this year; recalls people at Galtür.

OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928

Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to return the Hammer etching.

OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928

Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a "connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next time.

OJ 9/34, [19] Handwritten letter from Cube to Schenker, dated July 18, 1929

Acknowledges two postcards; no word from Eric Voss; reports on teaching activities; reports on composing and sends two sonatas for Schenker's comment.

OJ 5/7a, [26] (formerly vC 26) Handwritten postcard from Schenker to Cube, dated July 22, 1929

Acknowledges the sonatas Cube sent with OJ 9/34, [19]; reports on Reinhard Oppel and on Hans Weisse's recent publication success; Schenker approves of Cube's use of pianistic diminution.

OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929

Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ 9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music, after which publication should ensue. Schenker gives detailed comments, with music examples, on Cube's two piano sonatas, praising them highly and making suggestions for improvement.

OJ 9/34, [21] Handwritten letter from Cube to Schenker, dated June 25, 1930

Acknowledges OJ 5/7a, [29] and offers mitigation for Vrieslander's non-acquaintance with the Urlinie (to which Cube has just introduced new violin teachers). Reports on Erich Voß, and on concert plans at Conservatory. Reports on his teaching. Threat of financial difficulties; he has offered his services to the Hochschule für Musik in Berlin.