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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 (possibly draft or fragment) 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 ("[e]s ist mir nämlich ganz unmöglich die österreichische Musik als einen Sonderbezirk abgetrennt von der deutschen zu sehen"). He asks if this agrees with Schulmeister's vision of the book. Zuckerkandl 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 [see letter from Zuckerkandl to Schulmeister, 1955-04-06] but advises Zuckerkandl to avoid presenting the connection to German music in a way that could be interpreted as political. Böhm invites him to write for Spectrum Austriae and recommends that Zuckerkandl 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, providing 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; and exerpts from the song "Schönbrunner" and a composition by Bruckner.

Outline of a project presenting a comprehensive investivation of the problem of artistic creation, based on Beethoven's sketches. Zuckerkandl reviews the history of Beethoven sketch studies, and argues that they provide a concrete trace of the inner laws and logic of a universal creative process, which can be applied to other composers and possibly other art forms, like poetry and myth. Zuckerkandl lays out a timeline and process for the project, which will take at least two years and will be published as individual essays, which will be collected in a book.

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.

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.

Item is a photograph, signed "For W. G. Hall / In sympathetic remembrance and with heartfelt-good wishes / In the Great Wilderness / Feb. 27th Anno MacMillan I.

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 asks Zuckerkandl to consider how he can arrange the visual elements so that they are applicable to more than one essay.

Zuckerkandl describes the changes he has made to "Law and freedom in the tonal world" in light of the reviewers’ comments and stresses that the book is not meant as a textbook. 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 Zuckerkandl]. 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 07-02, he proposes two more titles [“Musik: die hörbare Gestalt der Welt und der Menschen”, “Die Tongestalt als Hörbild der Welt und der Menschen”].

Zuckerkandl asks if it will be possible to include musical examples as part of his 1960 lecture, 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 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.

Zuckerkandl thanks Fröbe-Kapteyn for her offer of accommodation and announces an upcoming letter.

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.

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.

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.

Document of sale of Zuckerkandl's property in Anne Arundel County, Maryland, to William H. Russell for $23,000.

An essay exploring the facets of music that make possible musical experience, including tone, movement, time, and space. Zuckerkandl writes that the experience of tone is always interpreted in relation to a tonal field, and that the difference between an acoustic event and a musical event is the dynamism of the latter. On movement, he writes that the idea of sound movement is problematic as sounds are not physical things that can move; the solution is to regard the movement of tones as pure movement that is separated from physical space. Time, on the other hand, is always pervaded by tactical experience through the experience of grouping; Zuckerkandl writes that we do not feel rhythm as equal division, but as a series of departures from and returns to an origin point, thus rhythm is musical rhythm is felt as a wave, which can be felt at multiple levels. Musical time is thus felt qualitatively, not as absolute measurement. Finally, Zuckerkandl addresses musical space, rather than as a geometric concept, as a dynamic ordering of tones in relation to each other, into which a person gains insight by placing themselves within the musical space as a participant. Zuckerkandl references prominent figures of Gestalt psychology throughout the article, including Max Wertheimer, Kurt Koffka, and Geza Revesz, as well as other figures from psychology and philosophy. Minor edits in pencil to phrasing.

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 says “the signs” indicate that it is the right time to make the trip [destination unspecified, but likely to Ascona].

Zuckerkandl discusses another clinic Fröbe-Kapteyn recommended, which they will not visit. He goes on to express his excitement with the program and lecturers at the upcoming Eranos conference [1961]. 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.

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 allows the use of the title “Vom Wachstum des Kunstwerks” [for the 1962 conference].

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 that his lecture is developing well, 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.

Fröbe-Kapteyn offers Zuckerkandl and his wife [Marianne] a place to stay at Eranos from October until the end of January.

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 her 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.

Manuscript version almost identical to published version, apart from corrected typos. Page 12 slightly abbreviated, with specific analysis removed in published version. Zuckerkandl's reflections on Schenker's teaching, and its key tenets: to find meaning in the music itself, to treat the masterworks and their composers as teachers, and to use only Urtext editions. Handwritten note on final page explains that the essay was written a few days after Schenker's death.

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.

List of Mrs. Marianne Zuckerkandl's jewelry and their value in Swiss Francs, to be donated to the library of St. John's College Annapolis, per the written request of Viktor Zuckerkandl.

Zuckerkandl mentions a letter Fröbe-Kapteyn wrote to [Emil] Preetorius and he is glad that his participation was a success [likely referring to the 1961 conference]. 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.

Fröbe-Kapteyn writes [dictates] that the preparations for the [1962] conference are going well, and that [Wladimir] Weidlé has accepted to participate. She asks Zuckerkandl to tell him about his personal experiences at Eranos in order to get him familiarized with the environment. She informs that her health is in poor state and that she has contacted physicist Gerald Holton at Harvard with the hopes of having him attend the conference in spite of 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 1961-10-03] 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 in Annapolis, Md.] but he hopes to be productive and that him and his wife [Marianne] are hoping to eventually relocate to Ascona. They will be back in Europe by summertime.

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.