Letter of June 1, 1927. See David Carson Berry, "Schenker's First 'Americanization': George Wedge, The Institute of Musical Art, and the 'Appreciation Racket'", Gamut 4/1 (2011), Essays in Honor of Allen Forte III, particularly p. 157 and note 43.
Counterpoint, vol. I, p. 74. J. Rothgeb and J. Thym, the translators, quote Cherubini from the original French, which merely says that "conjunct motion better suits strict counterpoint than disjunct motion", but Schenker had written: der fliessende Gesang ist im strengen Stile immer besser as der sprungweise (Kontrapunkt, vol. I, p. 104) ("the fluent melody is always better in strict style than the disjunct one"). Fliessender Gesang not only appears in several 19th-century German translations of Cherubini, but is common in German counterpoint theory from the 18th century and might go back to Fux' description of the flexibili motuum facilitate, the "flexible ease of motions" (Gradus, Liber secundus, Exercitii I, Lectio quinta) or even earlier. N. Meeùs, Schenker's Fliessender Gesang and the Concept of Melodic Fluency, Orfeu 2/1 (2017), pp. 162–63.
