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.”
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.
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").
Zuckerkandl hesitantly expresses interest in writing for Spectrum Austriae. He explains that he feels it impossible to separate Austrian music from German music and specifies that characteristics of Austrian music are inspired by the landscape of the country. Zuckerkandl further recommends Heinrich Schnitzler, director and teacher of theater history, for work on Spectrum Austriae.
Böhm responds to a letter forwarded to him by Otto Schulmeister regarding Zuckerkandl's potential contribution to Spectrum Austriae. Böhm agrees with Zuckerkandl's statements but advises Zuckerkandl to avoid presenting the connection to German music in a manner that could be interpreted as political. Böhm invites Zuckerkandl to write for Spectrum Austriae and recommends that he respond directly to Schulmeister.
Zuckerkandl responds to Böhm and Schulmeister, agreeing to write an article for Spectrum Austriae. He clarifies that the musical history of Austria is connected to “landscape.” Zuckerkandl requests “a collection of Austrian folksongs” from Schulmeister, which is unavailable to him in the USA.
Schulmeister is sending over preliminary contracts for Zuckerkandl to sign and return. Schulmeister further specifies the content desired for Spectrum Austriae. He asks that Zuckerkandl clarify what kind of folk songs he has in mind and will search for folk song collections in antique stores.
Schulmeister writes to Zuckerkandl asking for an update regarding Zuckerkandl's contribution to Spectrum Austriae. Schulmeister requests that Zuckerkandl provide instructions for any visual materials he would like to include.
Zuckerkandl responds to Schulmeister regarding the status of his contribution to Spectrum Austriae. He also provides a brief project timeline. Zuckerkandl specifies the types of images required for his article. These include portraits of Haydn, Mozart, Beethoven, Bruckner, and Schubert; images of locales related to Beethoven; images of the cities of Vienna, Salzburg, and various locations therein; compositional sketches of Beethoven, Mozart, and Schubert; excerpts from the song "Schönbrunner" [possibly Joseph Lanner, Die Schönbrunner, Op. 200] and a composition by Bruckner.
Collection contains photographs, programs, and press notices of his performances; manuscripts of songs written for him by composers including Castelnuovo-Tedesco, Lalo and Pizzetti; five collections of published songs; a scrapbook of programs from his first year as manager of the Metropolitan Opera.
Essay draft that addresses the idea that Beethoven could not write fugues. Compares Beethoven's fugal technique to Bach's, sets out two principal forces (polarity and intensification), and analyses these principles at work, together with the concept of sonata form, in the Grosse Fuge. Light handwritten edits in Zuckerkandl's hand to phrasing; no edits in content.
The memorandum of agreement outlines the terms agreed upon between Zuckerkandl and Princeton University Press. 1. Zuckerkandl grants exclusive rights to publish and 2. guarantees that he is the sole author of the work and the work does not infringe any copyright, contain any unlawful or libelous matter, and does not invade the privacy of any other individual. 3. The Press assumes all publishing and printing expenses. 4. Zuckerkandl agrees not to publish the same or similar material with any other publisher and 5-6. commits to deliver the entire manuscript and associated materials. 7. Both Zuckerkandl and the Press agree to full cooperation in the editing process, as well as in the event of 8. author’s alterations or editing errors. 9. Zuckerkandl agrees to revise subsequent editions and to supply additional material if necessary. 10. The Press provides insurance of materials to the amount provided by Zuckerkandl. 11. Zuckerkandl and the Press agree to a bi-annual royalty payment rate and schedule on U.S. and international sales. 12. Zuckerkandl grants exclusive sales and licensing rights to the Press. 13. Zuckerkandl is entitled to 10 free copies and discounted copies. 14. Zuckerkandl and the Press agree to the terms of termination of contract. 15. Zuckerkandl agrees to present the Press the first offer of publication on his next work. 16. Zuckerkandl and the Press agree to the terms of transfer or assignment of rights to heirs and/or others.
Schulmeister explains to Zuckerkandl that they have decided to include the images from all essays in a single section of the publication and that Zuckerkandl’s requests cannot be met exactly. Schulmeister suggests that Zuckerkandl reconsider his selection of the images keeping in mind the formatting decisions of the editors.
Zuckerkandl describes the changes he has made to Law and Freedom in the Tonal World (eventually published as The Sense of Music) in light of the reviewers’ comments. He suggests In Search of a Listener’s Knowledge of Music as a new title.
Zuckerkandl references a letter he wrote earlier in June [possibly 1959] outlining ideas for a possible lecture at Eranos [date unspecified] for which he received no answer. Zuckerkandl hopes that he may have an exchange of ideas with Knoll in order to plan for an Eranos lecture. Zuckerkandl is writing to [John] Barrett for the same purpose and has already been in touch with [Vaun] Gillmor from the Bollingen Foundation about this matter. Postscript explains that Zuckerkandl has been looking over previous yearbooks searching for points of interest and references [Adolf] Portmann’s remarks about hearing in the 1953 yearbook as a promising entry point.
Zuckerkandl thanks Fröbe-Kapteyn for the invitation to the upcoming Eranos conference and mentions that he has known about Eranos for twenty years. Zuckerkandl states he has begun work on a second volume of Sound and Symbol [Man the Musician] in which he wishes to discuss musical sound as a vehicle for the self-realization and self-knowledge of man. He proposes a few titles for his 1960 lecture [“Die Tongestalt”, “Wesen und Sinn der Tongestalt”, “Der Mensch im Spiegel der Tongestalt”], asking Fröbe-Kapteyn which one she prefers, or whether he should think of a different title.
Fröbe-Kapteyn approves of Zuckerkandl’s title for the 1960 lecture [unspecified, likely “Die Tongestalt”]. Zuckerkandl asks to have his lecture placed somewhere in the middle of the conference so he has an opportunity to absorb the atmosphere and the ideas of the other lecturers. He considers this important to the development of his own work.
Zuckerkandl addresses Fröbe-Kapteyn’s recent poor health and asks if she can recommend a medical center for Zuckerkandl’s wife [Marianne]. He is concerned that his title [for the 1960 conference] might be vague or misleading, so he proposes an alternative [“Tongestalt als Selbsterkenntnis”]. On the back, handwritten on February 7, he proposes two more titles [“Musik: die hörbare Gestalt der Welt und der Menschen,” “Die Tongestalt als Hörbild der Welt und der Menschen”].
Zuckerkandl discusses another clinic Fröbe-Kapteyn recommended, which he and his wife Marianne will not visit. He goes on to express his excitement with the program and lecturers at the upcoming Eranos conference [August 1960]. Zuckerkandl has learned that the Végh quartet will be performing two concerts and asks if he can know their program beforehand, so that he may make connections to it during his own lecture. Indicates the title of his lecture will be “Die Tongestalt.”
Zuckerkandl asks if it will be possible to include musical examples as part of his 1960 lecture [“Die Tongestalt”], to be performed by himself at the piano, which he thinks will make his lecture more meaningful. He briefly discusses his travel plans with his wife [Marianne].
Zuckerkandl explains that he will be able to manage his lecture [“Die Tongestalt,” at the Eranos 1960 conference] without a piano and that a different instrument might suffice. Details travel preparations for the summer.
Zuckerkandl thanks Fröbe-Kapteyn for her generosity and trust, for appointing him to the new committee [unspecified, possibly a program committee for the Eranos conferences], and for founding and maintaining the Eranos conferences. Zuckerkandl’s wife [Marianne] is at a sanatorium in Tegernsee, but still in poor health.
Fonds consists of material relating to Kathleen Parlow's personal life and her musical career, including photographs, correspondence, daybooks, sheet music, concert programs, press, and personal material.
Essay on the novel Christian Wahnschaffe by Jakob Wasserman. Zuckerkandl summarizes the qualities of the main character, Christian, and his search to understand social injustice by understanding and experiencing the suffering of the oppressed. Presents portraits of several secondary characters, the abstract ideals that they represent, and the roles that they play in Christian's journey. Zuckerkandl concludes that the novel is advocating for a new world order, as the current model is unsustainable; the solution is not in a single formula such as communism, but instead presents the character Ruth as the ideal for humanity. Minor edits in pen correcting typos.
Collection of autographed letters, signed (ALS) and typed letters, signed (TLS) from: Marion Bauer ; William Berwald ; Alberto Bimboni (2) ; Hanson Booth (2) ; Gena Branscombe ; Eddy Brown ; Renee Chemet ; Benjamin de Casseres ; Geza and Norah de Kresz (3) ; William H. Goschen ; Henry Hadley (2) ; Philip James (2) ; Alberto Jonas ; Christiaan Kriens ; Luigi von Kunits ; Jane Rogers ; Lazare Saminsky ; Vladimir Shavitch ; Ed Stringham ; Oliver Strunk ; Deems Taylor ; R. W. Woiceske ; Mabel Wood-Hill.
Zuckerkandl reports his wife's [Marianne] improving health, and states that they may be ready for the trip to Ascona soon. He asks if October 10 will be a timely date to arrive. He also asks if it will be possible to make use of Fröbe-Kapteyn’s telephone and if she can arrange to have a cleaning maid helping daily during their stay.
Fröbe-Kapteyn discusses possibilities for Zuckerkandl’s request for a cleaning maid. She recommends her own, Corinna, who will be occupied mornings until November 10, but will otherwise be at Zuckerkandl’s service. She describes the living facilities and the heating system and says Zuckerkandl will be able to telephone if he needs anything. She mentions being recently indisposed by a case of neuritis.
Zuckerkandl informs Fröbe-Kapteyn that he has heard about Carl Jung’s passing. He reflects on Jung’s role and significance at Eranos. Writing now from Tegernsee, he explains the four-day journey was very arduous. Zuckerkandl is excited about re-establishing contact at Eranos and sends Fröbe-Kapteyn the address for Dr. Wladimir Weidlé so she can invite him to Eranos.
Zuckerkandl expresses concern based on not having heard from Fröbe-Kapteyn in some time. He informs her that his lecture is developing well [“Der singende und der sprechende Mensch,” for Eranos 1961] in which he will talk about space and complementarity. Zuckerkandl relates a dinner shared with [Emil] Preetorius, and [Wladimir] Weidlé and his wife. Zuckerkandl is convinced Weidlé is an ideal candidate for Eranos, he cites a passage from an article on the reconciliation of spiritual and natural sciences titled “Biologie de l’art” published in Diogène April 1957. Preetorius is busy with his project and will be bringing many materials to Eranos. The postscript mentions a cookbook that Zuckerkandl will return to Fröbe-Kapteyn.
Zuckerkandl is aware of Katzenstein’s [?] passing. He tries to console Fröbe-Kapteyn who is dealing with seasonal depression [Winterschatten]. Although it leaves a gap in the conference program, it has been decided that letting Sir Hubert [?] go was best, since his work did not relate well to the work of Zuckerkandl, [Alfred] Portmann, [Gershom] Scholem, [Henry] Corbin, and [Erich] Neumann on man and sound. Zuckerkandl will arrive at Ascona in a week.
Zuckerkandl thanks Fröbe-Kapteyn for an offer of accommodation. Explains that his wife [Marianne] is very weak as a result of a lung infection and its treatment, so her recovery is very slow. Due to the state of her health and need for someone to care for her, Zuckerkandl decides he cannot accept Fröbe-Kapteyn’s offer of accommodation at Eranos. He alludes to a 1-2 week stay in Germany in late fall, during which Zuckerkandl’s sister will care for his wife.
Zuckerkandl mentions a letter Fröbe-Kapteyn wrote to [Emil] Preetorius and that he [Zuckerkandl] is glad that Preetorius’s participation was a success. He offers to write to [Wladimir] Weidlé about Eranos, should Fröbe-Kapteyn wish that he does. Zuckerkandl mentions that after they parted ways, his wife [Marianne] fell and hurt her arm, requiring a brief hospitalization. They will be flying out on Saturday [September 16]. After some uncertainty, Zuckerkandl confirms that they will be moving permanently back to Europe in the summer of the following year, and that she can count on his presence at the next Eranos conference. He explains that certain signs [unspecified] indicate to him that he should leave America.
Essay on the search for a meaningful life and the spiritual crisis of the modern age. Writes that the current age has lost the balance required for spiritual satisfaction, focusing only on wealth and speed. This has been blamed on technology, but Zuckerkandl writes that technology is a symptom of the larger machine of capitalism. Capitalism transforms space and time from quality into quantities to be filled. The person who has adapted to capitalism is the "career man," who defines himself in terms of profession and thus finds meaning from external factors rather than within, leading to spiritual apathy. People tolerate this because they have been led to believe in the absolute value of work, without question the goal of the work. The apparent solution, communism, falls short because it also is concerned with mere quantity; a true solution depends on the possibility of genuine spiritual interpersonal connections. Ends with an excerpt from Stefan George's "Das Zeitgedicht." Minor edits in Zuckerkandl's hand to phrasing and punctuation.
Collection consists of materials relating to musical life in Toronto, Ontario. The collection includes photographs of various Canadian and European musicians, including various photographs of Canadian Opera Company productions from the late 1980s and early 1990s, autographs from various opera singers and musicians from the late-nineteenth century, three scrapbooks with newspaper clippings and programs, and a collection of songs published in the Toronto Evening Telegram at the end of the nineteenth century.
Fröbe-Kapteyn writes [dictates] that the preparations for the  conference are going well, and that [Wladimir] Weidlé has accepted to participate. She asks Zuckerkandl to tell Weidlé about his personal experiences at Eranos to get him familiarized with the environment. She informs Zuckerkandl that her health is in a poor state and that she has contacted physicist Gerald Holton at Harvard with the hopes of having him attend the conference despite the difficulties [as a lecturer at the 1962 conference; difficulties are unspecified].
Ritsema thanks Zuckerkandl for his lecture at the 1961 Eranos conference and communicates other participants’ appreciation for his lecture. Ritsema shares that Olga Fröbe-Kapteyn’s health is stable but she is experiencing regular pain. He discusses some plans for her upcoming 80th birthday [October 19].
Zuckerkandl reflects on the importance Eranos has had on his life and work. He thanks Fröbe-Kapteyn for making such things a reality for him. He explains that his stay in America transitioned from a possible “final station” to a “passing station” through which he has found another starting point. This new beginning for him is back in Europe. He thanks Fröbe-Kapteyn for creating a place where people can come together to share their ideas about man and art, and briefly alludes to his topic for the 1962 conference [about the relationship of man to his work]. He mentions a work by [Wladimir] Weidlé on the transcendence of artworks that fascinated him, says that [Emil] Preetorius might be interested in attending next year’s conference as auditor, and that [Yehudi] Menuhin seems to also be interested. Zuckerkandl suggests a possible arrangement with the Végh quartet.
Ritsema sends Zuckerkandl photographs from the 1961 Eranos conference and updates him on Olga Fröbe-Kapteyn’s October [19th] birthday celebration and worsening health. Ritsema informs Zuckerkandl that he has filed an application with the Bollingen Foundation to publish his work on the “I Ging” [I Ching], and Ritsema has listed Zuckerkandl as a possible reviewer. In preparation for planning the 1962 conference, Fröbe-Kapteyn and Ritsema will be hosting some [unspecified] attendees in January to present some of Ritsema’s work on the I Ching.
Zuckerkandl reflects on the last year and the impact Fröbe-Kapteyn has had on his life. He says he is considering a few possibilities [for the 1962 lecture] and that he is pleased with the beginning of his lecture. Zuckerkandl is getting some rest during the Christmas vacation. He has been teaching advanced mathematics and a seminar on the bible, for which [Gershom] Scholem’s Eranos work is useful. He has not been able to work on his own research. Zuckerkandl enjoyed [Alfred] Portmann’s Eranos lecture [likely 1961] and he is glad to read it in print, a copy sent to him from Fröbe-Kapteyn. Zuckerkandl plans to write to [Wladimir] Weidlé soon. He tells of a young student [unnamed] in mathematics and technology he has recently met, who is very interested in the work at Eranos, but questions why physics and man’s relation to technology is left out. Zuckerkandl will continue to speak to him, and will consider inviting him as a listener, provided it can be supported. [Continuing on the margins of the letter] Zuckerkandl proposes two titles [“Werk und Wachstum im künstlerischen Schaffen” and “Vom Wachstum des Kunstwerks”] and mentions he would like to be able to spend more leisurely time with Fröbe-Kapteyn, wishing her a happy new year.
Zuckerkandl reminisces about his friendship and correspondence with Ritsema [references a “3-month-old letter,” likely from October 3, 1961] and thanks Ritsema for his friendship. Olga Fröbe-Kapteyn forwarded [Alfred] Portmann’s lecture [unspecified, presumably for Eranos 1961] to Zuckerkandl, who admires the document. He is very pleased to have been accepted into the Eranos circle as a contributing member. Zuckerkandl asks about a seminar Ritsema will be holding later that year [on his work on the I Ching] at Ascona and regrets that he cannot attend. Finally, he shares that times are challenging [at St. John’s College] but he hopes to be productive and that he and his wife [Marianne] are hoping to eventually relocate to Ascona. They will be back in Europe by summertime.
Fröbe-Kapteyn announces that the program for the conference will be printed at the end of the month. She selects one of Zuckerkandl’s titles [“Werk und Wachstum im künstlerischen Schaffen”]. She apologizes for the lack of correspondence provoked by her ongoing poor health.
Zuckerkandl is no longer fond of the old title [for his 1962 lecture, possibly “Werk und Wachstum im künstlerischen Schaffen”]. He proposes “Vom Wachstum des Kunstwerks” and a scratched-out suggestion. As he had done in the past, he gives Fröbe-Kapteyn the choice of title [between “Werk und Wachstum” and “Vom Wachstum des Kunstwerks”]. Zuckerkandl is pleased with an upcoming publication [unspecified, possibly the 1961 conference annual]. He greets Fröbe-Kapteyn and everyone at [Rudolf] Ritsema’s seminar.