{"value"=>"<p>Kauder's papers consist of correspondence, concert programs, scores and writings. Most of this series is in German or Dutch.</p> <p>The correspondence is with friends and colleagues. The four correspondents with the most letters are the poet and philosopher Rudolf Pannwitz; Siegmund Levarie, a musicologist; Willem Valkenier, a French Horn player; and H.F. Schimmerling. Valkenier inspired many of Kauder's compositions for horn. Most of his correspondence with Kauder is water-damaged and unavailable for research pending conservation treatment.</p> <p>The correspondence with the Dutch poet Albert Verwey contains some of his typed poems. The Pannwitz and Verwey letters discuss Kauder's settings of their work. Kauder also maintained correspondence with Mea Nijland-Verwey, possibly the poet's wife. The Carol Brice letters discuss Kauder's settings of Verwey.</p> <p>Not all the correspondence is original. The Egon Lustgarten letters are computer prints of transcribed correspondence. The folder of Otto Kauder correspondence contains only letters from Hugo Kauder to his son. This series also contains a folder of correspondence discussing a festival of Kauder's music held at the Massachusetts Institute of Technology in 1957, and a poetry notebook kept by Kauder which mostly contains quotes of Goethe.</p> <p>The concert programs date from Kauder's entire career. Posthumous concert programs appear in Series II.</p> <p>The scores are arranged and sub-arranged by instrumentation: chamber music, keyboard, orchestral, vocal, and other. See Series II for lists of Kauder's compositions. Nearly all of the scores are in manuscript form, or reproductions of manuscripts. Multi-instrumental pieces have both scores and parts unless otherwise noted.</p> <p>By far the greatest number of scores are for chamber music. These are for solos, duos, trios, quartets, quintets and sextets, all for varying combinations of string and wind instruments. Included are solos for violin, French horn, English horn, flute and cello; duets for two violins, violin and cello, and unique combinations such as oboe and French horn; trios of similar combinations; 30 string quartets, as well as quartets mixing woodwinds, piano and strings; and quintets and sextets of equally unique orchestrations.</p> <p>The keyboard works are mostly for piano but also contain three organ works. One of the piano pieces, <span class=\"title\">Passacaglia</span>, contains notes and information about the piece researched by Otto Kauder. Another, <span class=\"title\">Twelve Suites</span>, contains correspondence dating from 2002-2005 between Otto Kauder and Paola Prestini (a publisher).</p> <p>The orchestral works are mostly concerti or symphonies, but also include smaller orchestral pieces.</p> <p>The vocal music contains choral pieces and works for voice or voices and instruments. In addition to a <span class=\"title\">Requiem</span> and settings of folk songs, the choral music holds five books of music used in a chorus Kauder directed. These books may contain arrangements by other composers. Only the third Choral Book has a content listing. The second Choral Book contains settings of Goethe.</p> <p>The works for voice and instruments are divided into texts by single authors, by multiple authors, and by unknown authors/traditional songs. They are for voice and piano unless otherwise noted. Kauder most often set texts by Goethe, Nietzsche, Stefan George, Albert Verwey, Otto Zur Linde and Rudolf Pannwitz. He also created settings for James Joyce, Christian Morgenstern, Eduard Mörike, Rudolf Paulsen, Alfred Mombert and George Trakl, among others. Kauder's \"musical drama\", <span class=\"title\">Merlin</span>, was written in collaboration with Pannwitz. The unknown authors heading mostly contains folksongs, but also has two folders of collected songs, one for voice and instruments and the other for three voices, which do not specify authors.</p> <p>The scores under \"other\" contain arrangements of the music of other composers, incidental dramatic music, exercises, and score fragments and sketches. The arrangements include music by Schumann, Bach and Handel. The dramatic music is for two plays by Rudolf Pannwitz.</p> <p>Kauder's writings consist of typed essays and clippings of published newspaper articles. Portions of this material, particularly the essay <span class=\"title\">Counterpoint</span>, may have been published wholly or in part. Other essay titles are <span class=\"title\">History of Music</span>, <span class=\"title\">Musicology Considerations</span>, and <span class=\"title\">Some Thoughts On Musical Education</span>. The general file includes the newspaper articles and unfinished manuscripts.</p>"}