OJ 14/45, [41] Handwritten letter from Moriz Violin to Schenker, dated January 19, 1925

Violin reports on a successful concert in which he performed both as a soloist and with the Klingler String Quartet. He thanks Schenker for Tonwille 10. He has received a copy of Hans Weisse’s recent vocal quartets, and is puzzled by how a limited talent can write such good music. He is going to see Max Temming, and has received four courteous letters of acknowledgement from university music departments for copies of Der Tonwille.

OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925

Schenker thanks Violin for his recent letter (and enclosure), which contains evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the publication of Weisse's recently published vocal quartets than to his writings. Leaving Der Tonwille behind, which has earned him little money and caused him much misery, he has written a lengthy study of Bach's solo violin works, which will be published in the first volume of Das Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen Kontrapunkts.

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.