OJ 89/7, [6] Handwritten letter from Schenker to Hoboken, dated February 27, 1934

Schenker speaks of an invitation received from the Reichsmusikkammer in Berlin.

OJ 89/7, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 15, 1934

Hoboken outlines plans to expand publicity for the Photogram Archive. — Reports re his work on Chopin's Scherzo Op. 54, which he will bring to his April 3 lesson. — Refers to the invitation to Schenker to contribute to the journal of the Reichsmusikkammer.

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, [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.

Diary entry by Schenker for 26 February 1934