OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926

The composition of a clarinet quintet has kept Weisse from writing to Schenker. Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to meet with him in Vienna to discuss its content.

OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926

Schenker has received indication of part-payment from Cube's father [for Cube's lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has completed a clarinet quintet.

OJ 15/16, [62] Handwritten letter from Weisse to Schenker, dated August 5, 1929

Weisse, absorbed by Schenker's ideas (especially the concept of "tonal space") tells of his plans to write about his teacher's significance as a contemporary theorist. He describes his progress in composition, which includes the completion of a set of six bagatelles for piano and a Clarinet Quintet, and much work on an Octet. He asks about progress on Der freie Satz and about the publication of Schenker's analysis of the "Eroica" Symphony, and reports his and Hertha's joy in parenthood.

OJ 15/16, [63] Handwritten letter from Weisse to Schenker, dated March 3, 1930

Weisse has delayed in replying to Schenker's recent letter because he has been corrected copies of his Clarinet Quintet and Octet, which he will submit to the City of Vienna Prize competition. He asks Schenker to help publicize the first performance of the Octet, at the small auditorium of the Musikverein, and asks for the addresses of Angi Elias and Marianne Kahn so that he can send them personal invitations. His wife is about to give birth to a second child, and he hopes that Schenker's personal doctor Julius Halberstam might also be interested in hearing the Octet.