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, [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, [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, [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 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 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, [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.