Warburg refers to Zuckerkandl’s rejection of the definition of Judaism as responsible for reconciliation, peace, and justice on p. 122 of Die Weltgemeinschaft der Juden. Warburg agrees with this notion but considers it does not address the issue of a lack of leadership in the Jewish community. Warburg asks if he should send the copy back to Zuckerkandl or if he can keep it. He then alludes to a future meeting with Zweig, during which they will discuss this problem, among other things. Back of the letter reads “Weltgem d. Juden.”
File consists of manuscript scores and sketches for John Beckwith's "Four Conceits for piano," including the complete manuscript, earlier versions of the composition, and the master score transparencies from the Canadian Music Centre publication (1972). The collection was also titled "Four piano pieces" and an early version of the set included six—not four—conceits. Selections included in the files are:
Bagatelle (December 1945, revised March 1947)
Microcosm (November 1945) [not included in final set]
Contrast (June 1947)
Excursion no. 1 (March 1948)
Excursion no. 2 (March 1948)
Frolic (for Ronaldo) or Frolic I (November 1945, revised 1946) [not included in final set]
Frolic II (January 1946) [not included in final set]
Flower piece (June 1947) [not included in final set].
File consists of two manuscript scores (draft and final versions) for a "setting of text by St. John the Cross (1542-1591), for 6 voices written while studying in Rome."
File consists of a copy of the handwritten masters for "the colourful set of tonal variations [that] is suitable for both educational sor concert use. Not difficult. The tuba part is ad lib." May be performed by any equivalent instrumentation.
File consists of a summary of performances for each of Healey's voluntaries for organ; programs, clippings of reviews, and correspondence with performers; and copies of the publications by Jaymar Music (1971-1972).
File consists of typeset computer score masters and the original manuscript masters for "a simple setting of an ancient text, contain[ing] much unison writing." Text from the 11th century, translated in the English Hymnal, 1907. Revised 1997 and 2006. Part of Healey's Liber Natalis, op. 84.
File consists of correspondence regarding purchase information for "Four conceits for piano" (1945-1948), a copy of John Beckwith's draft program notes for the piece, and a program from a performance by John Beckwith of this piece at the Royal Conservatory of Music (January 6, 1949) alongside his "Five lyrics of the T'ang dynasty."
File consists of the handwritten manuscript score for "the first of six multi-movement works inspired by the voluntaries of 17th and 18th century English composers."
File consists of handwritten transparencies for three movements: Introduction, Allegro, Fugue. "The postlude is in a classic form employed by John Stanley."
File consists of handwritten transparencies for three movements: Larghetto, Recitativo, and Allegro. "The work opens calmly, followed by a free cadenza-like section, which in turn is followed by a rather rambunctious finale."
File consists of handwritten and typescript transparencies, as sent to the publisher, for "an easy anthem suitable for a smaller choir." Text by Paul Bunyan.
File consists of a copy of a review by John Beckwith of the International Federation of Music Students (IFMS) 1950 symposium (March 8-11, 1950), which was held at the Royal Conservatory of Music of Toronto.
File consists of an arrangement of "All or nothing at all" by [Arthur Altman and Jack Lawrence], arranged by [Don Thompson] for drums, bass, rhythm (piano, guitar), [flugelhorn] Guido [Basso].
File consists of a bound copy of the handwritten original score. Healey's note inside reads: "'Lustra' for baritone and orchestra, was to be the first of a set of songs set to poems of Ezra Pound. 'Lustra' was the only one completed—the remainder were not even started. 'Lustra' was composed in Siena, Italy in July 1966 at the Academi Chigiana with Goffredo Petrassi."
Letter from Zuckerkandl to Frau Staudinger telling her that he was shortlisted for a Guggenheim fellowship, but the results will be delayed until mid-April. Asking for advice as he had not planned past mid-March, when the results were supposed to be announced.
File consists of two handwritten transparencies and typeset computer score masters for "a lively setting with medieval stylings". Includes the original version, titled "In Excelsis Gloria". Part of Liber Natalis, op. 84.
File consists of handwritten transparencies and a copy of the manuscript score for Three pieces for solo flute. "The mood covers the gamut from the introspective, to the mock martial and the brilliant." The three pieces are: Adagio, March, Presto.
File consists of a summary of performances for op. 2a and op. 2b, and a copy of the program from the public premiere of Three Pieces for Solo Flute, op. 2b.
File consists of a copy of the manuscript score version for "a version of [Three pieces, op. 2a for solo flute] but containing an accompaniment for piano." The three pieces are: Adagio, March, Presto.
File consists of handwritten manuscript score for "an atmospheric work evoking the nature of an English November." Three movements: Slow, Faster, Slow. Written in celebration of George Bell's 23rd birthday.
File consists of two handwritten transparencies, a typeset edition, and a copy of the published version for "a simple setting of folk-style words. Needs a sensitive performance." Originally titled "Christmas Eve"; renamed for publication by Augsburg (1976). Included in Liber Natalis, op. 84.
File consists of a copy of an unpublished talk that John Beckwith gave at the Royal Ontario Museum Theatre in Toronto in honour of Johann Sebastian Bach's birthday (March 21, 1950).
File consists of manuscript scores for a selection of songs from Twelfth Night, including "When that I was a little tiny boy"; "Come away death"; and "Hey, ho, the wind and the rain." The final set consisted of the last two songs. Texts by William Shakespeare.
Schulmeister introduces himself to Zuckerkandl, suggesting that he may know him either through Zuckerkandl's sister or as editor of Wort und Wahrheit. Schulmeister explains that he is compiling a book to be entitled Spectrum Austriae, and intends to publish it in German and eventually in English. Schulmeister lists the themes to be discussed in the publication and asks if Zuckerkandl would be interested in covering “Music as the Soul of Austria” ("Die Musik als Seele Österreichs").