Following Britten's four-week stay in hospital in March 1968, we see a change in the pattern and nature of the letters. There is a gap until January 1970, and then only very sporadic correspondence, with nothing at all from Pears until 1973. There are a number of possible explanations – the most obvious being that they had begun to communicate much more regularly by telephone. This was made easier by the advent of international direct dialling in 1970, as well as the installation in 1969 of a second, private line in The Red House for their personal use (as distinct from the office line, which would have been answered by assistants). Letters were therefore no longer the easiest or most discreet way for them to communicate when apart. During this period we see mainly short greetings from Britten at home when forwarding mail to Pears, as well as birthday cards, or cheerful postcards from Pears while on his travels – and more often than not they make mention of a recent or planned phone call.

Another reason for the lack of correspondence in these years was simply that they were busy and together for much of the time. The establishment of Snape Maltings as a hub of musical activity following its inaugural concert at the beginning of the 1967 Festival saw an expansion of events throughout the year – the concert series Spring at the Maltings and Summer at the Maltings, in which Britten and Pears were involved often as organisers as well as performers, began during this period. It was also a favoured recording venue for Britten in his longstanding relationship with Decca. Then the destruction of the Hall by fire in June 1969 dealt them a huge blow personally as well as professionally, and their full attention for the next year was focused on financing the rebuilding, including a fundraising recital tour of the US from October 1969, as well as Britten's acceptance of new commissions. He reports briefly to Pears from Wolfsgarten in January 1970: ‘I slog away at O.W.’ (Letter 315) about his progress on the television opera Owen Wingrave, a BBC commission which would help fund the building work, intended to be filmed in the reconstructed Maltings after the precedent had been set by the recording there of Peter Grimes for television in February 1969.