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Documents comprising this correspondence:

• OJ 5/7a, [1] (formerly vC 1) Handwritten postcard from Schenker to Cube, dated October 19, 1924

  Schenker sends Cube a prospective student, and recommends level of payment.

• OJ 9/34, [1] Handwritten letter from Cube to Schenker, dated January 21, 1925

  Cube has had to extend his holiday to take care of his father, who has been forced to abandon his second marriage under pressure from his firm.

• OJ 5/7a, [2] (formerly vC 2) Handwritten letter from Schenker to Gustav von Cube, dated September 13, 1925

  Schenker explains to Cube's father why his first teaching assignment went awry, but promises to continue to help him; he suggests Anthony van Hoboken may be able to assist him.

• OJ 9/34, [2] Handwritten letter from Cube to Schenker, dated August 14, 1926

  Cube is having difficulty getting his father to pay Schenker for lessons given over the previous year, and asks Schenker to write firmly to the latter; speaks of his attempts to make contacts within Düsseldorf artistic circles.

• 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 5/7a, [4] (formerly vC 4) Handwritten postcard from Schenker to Cube, dated September 4, 1926

  Schenker acknowledges Cube's note, sends best wishes, and refers to Der freie Satz.

• OJ 5/7a, [5] (formerly vC 5) Handwritten letter from Schenker to Cube, undated [c. October 7, 1926]

  Schenker praises Cube's talent as a writer; informs Cube of forthcoming article on Schenker by Vrieslander with portrait by Hammer; expresses his wish that Cube's father would pay all that he owes him.

• OJ 9/34, [3] Handwritten letter from Cube to Schenker, dated November 25, 1926

  Cube asks for a letter of recommendation to be sent to the Provincial School Council.

• OJ 5/7a, [6] (formerly vC 6) Handwritten postcard from Schenker to Cube, dated November 28, 1926

  Schenker acknowledges receipt OJ 9/34, [3]; has written letter of recommendation to Koblenz authorities, and supporting letter to recipient.

• OJ 9/34, [4] Handwritten letter from Cube to Schenker, dated December 14, 1926

  Cube was not given recognition, and has to take an examination for purposes of the appointment. Sends Christmas greetings.

• OJ 5/7a, [7] (formerly vC 7) Handwritten postcard from Schenker to Cube, dated December 19, 1926

  Schenker acknowledges receipt OJ 9/34, [4], and asks to be told outcome.

• OJ 9/34, [5] Handwritten letter from Cube to Schenker, dated December 31, 1926

  Teaching situation has been resolved; asks Schenker's advice on an Urlinie graph; will hear from Conservatory in New Year; sends New Year's greetings.

• OJ 9/34, [6] Handwritten letter from Cube to Schenker, dated January 24, 1927

  Acknowledges Schenker's reply and corrections. There will be no problem with his teacher's examination in May. Reports on recent activities.

• OJ 5/7a, [8] (formerly vC 8) Handwritten postcard from Schenker to Cube, undated [January 31, 1927]

  Schenker wishes Cube well in his new job, offers encouragement over his graphing technique, and praises his writing.

• OJ 9/34, [7] Handwritten letter from Cube to Schenker, dated February 7 1927

  Cube reports on his careers as critic and teacher.

• OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927

  Schenker acknowledges and returns Cube's review; reports on the progress of his own publications.

• OJ 9/34, [8] Handwritten letter from Cube to Schenker, dated May 28, 1927

  Cube reports on the state teaching examination, on which he was graded "satisfactory," deploring the way it was conducted.

• OJ 5/7a, [10] (formerly vC 10) Handwritten letter from Schenker to Cube, dated June 1, 1927

  Schenker congratulates Cube on appointment to professorship; reports that Oppel has been appointed to a professorship at the Leipzig Conservatory, and on the spread of Schenker's theory elsewhere; looks forward to visit from Cube.

• OJ 5/7a, [11] (formerly vC 11) Handwritten postcard from Schenker to Cube, dated September 7, 1927

  Schenker acknowledges Cube's postcards; Cube will receive the appeal [for photostats of MSS].

• 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, [10] Handwritten letter from Cube to Schenker, dated January 30, 1928

  Cube reports progress in his class and private teaching, performance of his compositions, his forthcoming lecture; outlines plan for an exhibition in Duisburg to celebrate Schenker's 60th birthday; has heard nothing of Hoboken's "Aufruf."

• OJ 5/7a, [13] (formerly vC 13) Handwritten letter from Schenker to Cube, dated February 12, 1928

  Schenker expresses joy at Cube's report of his class and private teaching; refers to Hoboken's "Aufruf" and Vrieslander's prospectus; reports Weisse's plan for a monthly periodical; thanks Cube for his efforts with book dealers in Duisburg and Essen.

• 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 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928

  Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.

• 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 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928

  Schenker sends Cube an article written for the Beethoven centenary festival and suggests a "connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA; outlines summer plans.

• OJ 5/7a, [16] (formerly vC 16) Handwritten picture postcard from Schenker to Cube, dated July 3, 1928

  Schenker inquires whether Cube has encounted obstacles to his plans.

• 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 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928

  Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises recent article by Cube, but corrects overstated connection between himself and Brahms and Joachim.

• OJ 5/7a, [18] (formerly vC 18) Handwritten postcard from Schenker to Cube, dated September 6, 1928

  Freier Satz will be prepared for publication this year; gives news of former pupils and supporters.

• OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928

  Schenker has received large-format Urlinie charts from Harry Hahn and recommends format to Cube.

• 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 5/7a, [20] (formerly vC 20) Handwritten postcard from Schenker to Cube, dated October 8, 1928

  Schenker acknowledges receipt of Hammer portrait; urges Cube when in Cologne to visit Gerhard Albersheim's parents and Felix Hupka.

• 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 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928

  Sends best wishes for Cologne lecture-series; is planning to issue a folder of Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv, which will be officially opened on November [25]. The "counter-examples" should be taken slowly.

• OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929

  Cube is listening by radio to music being performed in Vienna. The two caricatures are his fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous lectures, and forthcoming lecture series.

• OJ 9/34, [17] Handwritten letter from Cube to Schenker, dated April 5, 1929

  Miss Edith Sauerbrey may call on Schenker.

• OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)

  Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17], and offers advice and a warning: ordinary people are not interested in beauty in art, but look for quick, easy judgments.

• OJ 9/34, [18] Handwritten letter from Cube to Schenker, dated May 14, 1929

  Cube explores the possibility of a student of his, Erich Voss, studying with Schenker.

• OJ 5/7a, [23] (formerly vC 23) Handwritten letter from Schenker to Cube, dated May 15, 1929

  Gerhard Albersheim will leave a space in Schenker's calendar that Schenker offers to Erich Voss; will teach him himself because Weisse may not be up to date with Der freie Satz; Voss to contact him.

• OJ 5/7a, [24] (formerly vC 24) Handwritten postcard from Schenker to Cube, dated July 6, 1929

  Schenker has heard again from Erich Voß about lessons and shows signs of annoyance. Has completed his "Eroica" study, and Der freie Satz looms.

• OJ 5/7a, [25] (formerly vC 25) Handwritten postcard from Schenker to Cube, dated July 14, 1929

  Voß is coming to Vienna.

• 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, [20] Handwritten letter from Cube to Schenker, January 2, 1930

  Offers New Year greetings; reports on his current mood, on the Conservatory, his private teaching, and publication plans. Describes Urlinie of C major Prelude from WTC I. Reports on compositional activity and reading.

• OJ 5/7a, [28] (formerly vC 28) Handwritten letter from Schenker to Cube, dated January 12, 1930

  Acknowledges OJ 9/34, [20], and gives detailed critique of Cube's analysis of the C major Prelude from WTC I, including graphs; advises on additional reading and Cube's plans to publish the analysis.

• OJ 5/7a, [29] (formerly vC 29) Handwritten postcard from Schenker to Cube, undated [June 8, 1930]

  Schenker sends copy of Vrieslander's article and comments on it, comparing it unfavorably with Meisterwerk III; inquires about Cube's "article," asks whether Erich Voß is with him; reports departure date for Galtür.

• 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.

• OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930

  Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie Satz.

• OJ 5/7a, [31] (formerly vC 31) Handwritten letter from Schenker to Cube, dated November 1, 1930

  Dr. Leo Kestenberg of the Prussian Ministry of Art and Education has, at Furtwangler's recommendation, asked Hans Weisse to deliver three lectures on Schenker's theory in Berlin, to be repeated elsewhere. Cube should take heart from this turn of events.

• OJ 5/7a, [32] (formerly vC 32) Handwritten postcard from Schenker to Cube, dated November 7, 1930

  Schenker denies knowing a pupil-imposter; advises Cube to wait until after Weisse's lectures in Berlin.

• OJ 5/7a, [33] (formerly vC 33) Handwritten postcard from Schenker to Cube, dated November 10, [1930]

  Discusses attendance at Weisse's forthcoming lecture in Berlin; refers to two articles in Die Musik.

• OJ 9/34, [22] Handwritten letter from Cube to Schenker, dated November 22, 1930

  Cube thinks attending Weisse's lectures would enable him to make contact with "people of stature" in Berlin, where he would like to teach Schenker's theory, and asks Schenker for the time and place, referring to the difficulties of travel in these "catastrophic times." Will check up on Reichert. Has been invited to give six lectures locally, and has a concert of his compositions coming up.

• OJ 5/7a, [34] (formerly vC 34) Handwritten postcard from Schenker to Cube, dated December 5, 1930

  Gives dates and place of Weisse's lectures in Vienna.

• OJ 9/34, [23] Handwritten letter from Cube to Schenker, dated February 10, 1931

  Cube acknowledges issue of Der Kunstwart; encloses a letter from Walter Braunfels responding to his plans to establish a Rhineland base for Schenkerian teaching at the Cologne Hochschule für Musik; wonders whether Anthony van Hoboken might be approached for financial assistance on this, and if so how the approach should be made.

• OJ 5/7a, [35] (formerly vC 35) Handwritten letter from Schenker to Cube, dated March 28, 1931

  Schenker put Cube's Cologne Highschool proposal to van Hoboken, and now reports on the reaction, discussing the latter's character in so doing.

• OJ 9/34, [24] Handwritten letter from Cube to Schenker, dated April 25, 1931

  Cube is busy disposing of his house and dealing with his father's estate; he is moving to Hamburg to work with Moriz Violin after a short holiday.

• OJ 9/34, [25] Handwritten letter from Cube to Schenker, dated May 9, 1931

  Cube describes his feelings and final dealings with the Conservatory in Duisburg, and preparations for work with Violin in Hamburg; he reports on his two best pupils, Erich Voss and Lieselotte Müller.

• OJ 5/7a, [36] (formerly vC 36) Handwritten postcard from Schenker to Cube, dated June 6, 1931

  Schenker will write to Cube from Galtür, with Mozart calling card.

• OJ 5/7a, [37] (formerly vC 37) Handwritten postcard from Schenker to Cube, dated June 12, 1931

  Schenker sends pieces by Hans Weisse; promises letter from Galtür.

• OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931

  Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice; comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete rest.

• OJ 9/34, [26] Handwritten letter from Cube to Schenker, dated August 19, 1931

  Cube informs Schenker that Moriz Violin's son has been taken ill; Cube sends Schenker a copy of the Schenker Institute prospectus.

• OJ 5/7a, [39] (formerly vC 39) Handwritten postcard from Schenker to Cube, undated [August 22, 1931]

  Acknowledges OJ 9/34, [26] and asks for further copies of the prospectus of the Schenker Institute, Hamburg.

• OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931

  Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at a lecture given by Hans Weisse.

• OJ 9/34, [28] Handwritten letter from Cube to Schenker, dated October 16, 1931

  Cube reports enrollment and quality of students at the Schenker Institute, Hamburg; his own teaching is increasingly small-group-tuition based, drawing on Tonwille and Meisterwerk. Karl Violin is recovering.

• OJ 9/34, [29] Handwritten letter from Cube to Schenker, dated October 20, 1931

  Encloses graph of J. S. Bach, Wohltemperirtes Clavier, Book I, Prelude in C major and asks Schenker's opinion of several aspects of his graphing.

• OJ 5/7a, [40] (formerly vC 40) Handwritten letter from Schenker to Cube, undated [c. October 29, 1931]

  Angi Elias has made a fair copy of Cube's latest graph of the C major Prelude (Wohltemperirtes Clavier, Book I), which Schenker may use in his seminar; Cube to write thanking Elias; Schenker comments on changes to Cube's graph.

• OJ 5/7a, [41] (formerly vC 41) Handwritten postcard from Schenker to Cube, dated January 14, 1932

  Schenker acknowledges a [non-extant] letter, and asks for a clipping from the Frankfurter Allgemeine Zeitung.

• OJ 9/34, [30] Handwritten letter from Cube to Schenker, dated January 16, 1932

  Cube encloses the requested clipping and an explanatory letter.

• OJ 5/7a, [42] (formerly vC 42) Handwritten letter from Schenker to Cube, dated January 20, 1932

  Schenker acknowledges an enclosed review and letter, and comments on [Ludwig] Rottenberg. That music has cohesiveness (Zusammenhang) has finally been recognized; this must be disseminated.

• OJ 9/34, [31] Handwritten letter from Cube to Schenker, dated May 8, 1932

  Cube sends Schenker an Urlinie graph of Schubert's song "Der Dopplegänger," and offers an extended commentary. Describes his work and state of mind, and comments on working with Moriz Violin; he expresses fears for the Hamburg Schenker Institut. He has just got married.

• OJ 9/34, [32] Handwritten letter from Cube to Schenker, dated May 11, 1932

  Cube reports a conversation with Moriz Violin.

• OJ 9/34, [33] Handwritten letter from Cube to Schenker, dated July 2, 1932

  Cube outlines, with music examples and graphs, a theory of tonal system and modal mixture based on "the series of 5ths," "the closed-up circle of 5ths," and "differentiation of the resultant intervals in a diatonic projection" as a scale. He asks for Schenker's reaction.

• OJ 5/7a, [43] (formerly vC 43) Handwritten postcard from Schenker to Cube, dated July 6, 1932

  Schenker acknowledges OJ 11/54, [33], and reports publication of songs and Ländler by Vrieslander.

• OJ 9/34, [34] Handwritten letter from Cube to Schenker, dated September 12, 1932

  Cube outlines the conflict between Moriz Violin and the school authorities over inspection of the Hamburg Schenker-Institut, portrays his own differences of opinion with Violin, and asks for Schenker's opinion.

• OJ 5/7a, [44] (formerly vC 44) Handwritten postcard from Schenker to Cube, postmarked September 16, 1932

  In response to OJ 9/34, [34], Schenker thinks Cube right, but would need to see the inspection before giving judgment.

• OJ 9/34, [35] Handwritten letter from Cube to Schenker, dated December 7, 1932

  Cube reports on his current state of mind, his work on a Bach graph (commenting on a graph by Angi Elias), promises to send an article on Schenker that has appeared in the Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl Violin.

• OJ 9/34, [36] Handwritten letter from Cube to Schenker, dated May 1, 1933

  Thanks Schenker for sending Brahms's Octaven u. Quinten, expresses his longing for Der freie Satz, sends an example of his work, and expresses concern over his future.

• OJ 5/7a, [45] (formerly vC 45) Handwritten letter from Schenker to Cube, dated May 6, 1933

  Schenker congratulates Cube on the submitted work and offers analytical comments; and laments the economic conditions for musicians.

• OJ 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933

  Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political developments in Germany, and attributes his threatened hunger to Violin's return to Vienna.

• OJ 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933

  Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism; someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard from Furtwängler.

• OJ 5/7a, [48] (formerly vC 48) Handwritten postcard from Schenker to Cube, dated September 16, 1933

  Schenker acknowledges OJ 9/34, [38], and reports on publications by Oswald Jonas, and the activities of Reinhard Oppel and Otto Vrieslander.

• OJ 5/7a, [47] (formerly vC 47) Handwritten letter from Schenker to Cube, dated July 18, 1933

  Schenker reports on a newspaper article and abortive radio program about his theory, by Theo Goos; also on Jonas's forthcoming book, on van Hoboken, Moriz Violin, and Hans Wolf; and on progress with Der freie Satz.

• OJ 9/34, [38] Handwritten letter from Cube to Schenker, dated September 7, 1933

  Cube reports on his poor health and straitened cirumstances, teaching at two conservatories and private pupils; he eagerly awaits Der freie Satz, and reports on his investigation of diatonic systems.

• OJ 9/34, [39] Handwritten letter from Cube to Schenker, dated April 29, 1934

  Cube has broken his silence; believes he is defeated: encloses letter from his employer; will try to enlist Furtwängler's support. He is known as "the" Schenkerian; others now avoid Schenker's name to protect themselves. Does Schenker know of any possibility for him and his family in Austria? Encloses graph.

• OJ 5/7a, [49] (formerly vC 49) Handwritten postcard from Schenker to Cube, dated May 8, 1934

  Schenker congratulates Cube on the graph he has sent, and reports on Der freie Satz and the continuation of the Urlinie-Tafeln.

• OJ 9/34, [40] Handwritten letter from Cube to Schenker, June 2, 1934

  Quotes part of a letter from the Reichsmusikkammer regarding grounds for his dismissal, and reports subsequent conversation with the Conservatory administration. Encloses review of a recent lecture. Includes revised Ursatz for Bach Prelude in body of letter. Inquires about Hans Wolf, and reports on Furtwängler.

• OJ 9/34, [41] Handwritten letter from Cube to Schenker, dated June 7, 1934

  Acknowledges a (non-extant) letter in which Schenker had expressed dismay at a review (enclosed with OJ 9/34, [40]) of a recent lecture by Cube, who explains the circumstances under which he had to disguise the source of some of his ideas: Schenkerian theory is regarded as "Jewish rubbish," and is no longer discussed; one has to choose one words carefully.

• OC 44/4 Printed and handwritten birth annnouncement from the Cube family to Schenker, dated August 12, 1934

  Birth announcement of John-Carsten von Cube.

• OJ 5/7a, [50] (formerly vC 50) Handwritten picture postcard from Schenker to Cube, dated August 18, 1934

  Best wishes for birth.

• OJ 9/34, [42] Handwritten letter from Cube to Schenker, dated October 4, 1934

  Quotes letter from Furtwängler in extenso touching on reasons for dismissal and articulating the importance of Schenker's theory; Cube describes the impact of this letter on his Director. The names of Schenker, Halm, and Kurth were deleted from a recent text of his, and censorship has been imposed. Describes his own recent activities. Outlines his geometric theory of the diatonic components of tonality. Encloses photograph of his wife and son; describes hardships. Denies rumors that he has cheated Moriz Violin, and refers to the resulting backlash on him: Violin has a "complex", feels downtrodden by everyone.

• OJ 5/7a, [51] (formerly vC 51) Handwritten letter from Schenker to Cube, dated October 26, 1934

  Acknowledges OC 9/34, [42], and its contents; comments on the "youth of today" – organic connection is the best thing for them; asks publisher of Schäfke book. Once Der freie Satz is in print, he will give his mind to the continuation of the Urlinie-Tafeln. Schenker's name is included in the Spanish Enciclicopedia universale.

• OC 44/8 Handwritten postcard from Cube to Schenker, dated October 29, 1934

  Cube gives the publisher of Schäfke's Geschichte der Musikästhetik, and reports the prospect of a permanent position.