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OJ 9/34, [7] Handwritten letter from Cube to Schenker, dated February 7 1927
Cube reports on his careers as critic and teacher.
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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.
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OJ 8/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated October 5, 1927
Schenker has asked a former pupil (Felix-Eberhard von Cube), who knows Dr.
Simon in Frankfurt, about the likely opening date of a music Hochschule there, but has
received little information in return. the second volume of Meisterwerk will be published
very soon.
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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.
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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."
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PhA/Ar 56, [7] Handwritten postcard from Schenker to Kromer, dated February 2, 1928
Schenker asks Kromer to send copies of the Appeal to Felix-Eberhard von
Cube.
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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.
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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.
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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.
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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.
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OJ 6/7, [39] Handwritten envelope from Schenker to Moriz Violin, postmarked July 22, 1928
Schenker asks about Violin's breakdown, and comments on Halm's avoidance of
fearful situations and on Cube's shop window exhibition.
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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.
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WSLB 400 Handwritten letter (in Jeanette's hand) from Schenker to Hertzka (UE), dated
November 27, 1928
Schenker reports the impact of his Urlinie concept on the educational world
within Germany and in the USA. — He seeks to re-establish a working relationship with UE,
raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical
study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of
NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his
existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the
"Eroica."
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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.
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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.
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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.
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WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930
Schenker is sending Deutsch copies of letters written by Leo Kestenberg
praising his theories for their practical application to composition and
performance, noting that Furtwängler is championing his cause everywhere. -- He then
launches into a tirade against the city of Vienna for snubbing him and his
work.
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OJ 5/18, 1 Handwritten letter from Schenker to Jonas, dated October 7, 1930
In a letter dictated to Jeanette because of eye trouble, but signed and dated by
Heinrich, Schenker tells Jonas that Vrieslander, Roth, and von Cube were unable to support
themselves in Munich and have moved elsewhere.
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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.
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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.
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OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November
26, 1930
Schenker summarizes the achievements and ambitions of several of his pupils
and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse
is the most ambitious of all of these though he is not completely at home in the new theory.
He fears that something might go wrong at Weisse's forthcoming lecture at the Central
Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse
will give a trial run of the lecture at the Schenkers' apartment.
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OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931
In this long and wide-ranging two-part letter, which includes a graphic
analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of
Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post
there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald
Warburg), or even found an institute that would give employment to Felix Salzer and other
Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the
morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg.
For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and
Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes
with a tirade against those who have caused him financial misery (including his brother
Mozio), culminating in a cynical passage in which Schenker advises his friend to look after
himself and engage some dull pedagog to teach conventional theory. In the end, he wishes
Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s
clutches.
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OJ 6/8, [2] Handwritten letter from Schenker to Violin, dated April 14, 1931
Having heard that Weisse is leaving for America, Schenker asks if Violin has
had a response from Cube. He has had a postcard from a pupil of Cube’s, Erich Voss, who
would like to know the content of Der freie Satz.
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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.
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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.
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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.
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OJ 6/8, [7] Handwritten letter from Schenker to Violin, dated October 17, 1931
Schenker offers Violin words of comfort in the light of a misappropriation of
the title “Professor.” He also describes progress on Chopin’s Op. 10, No. 12, and the Bach
Prelude in C major for the Five Analyses in Sketchform, and his work on a document of Anton
Schindler purporting to convey Beethoven’s instructions on the performance of the Op. 14
sonatas.