Letter from C. Kallman to H. W. Henze, October 18, 1960
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Absolute Chronology
Preceding
- 1960-10-10: to Henze
- 1960-07-19: from Henze
Following
- 1961-02-08: to Henze
- 1961-09-25: from Praetorius
Direct Context
Preceding
- 1960-10-10: to Henze
- 1960-07-19: from Henze
Following
- 1961-02-08: to Henze
- 1964-08-06: from Henze
[Typescript]
Enclosed a few additions and corrections, mostly self-explanatory.*
The four lines for Elizabeth explaining her attraction for
Mitty
have been restored be
c
‡ause without them it looks as though she
were clinging to Mitty because she felt sorry for him, which is
what one would think after her scene with him if no other comment
or consideration were made at this point.* And since we discover
at the end that she doesn’t really love Toni
*, to leave out these
lines would make her appear a light-headed girl who has never
loved in any way, not even sexually; and this ma
k
‡es her a rather
shallow heroine. I’m sure you’ll agree. Also, this wound to Toni’s
sexual pride is necessary to make the scene that follows comprehensible.
Anyway, it’s only four more lines, climactic at that, and you should
have no trouble setting them. The other additions are spoken.
That’s all for now. Afe tr[sic] ‡ ‡ Satur da ‡y we can be reached by writing
Professor W.H. Auden
Christ Church
Oxford
England.
Much love
Chester
Translation by
Editorial
Responsibilities
- Editor(s)
- Elena Minetti
- Übertragung
- Elena Minetti; Irmlind Capelle
Tradition
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Text Source: Basel (Schweiz), Paul Sacher Stiftung (CH-Bps), Sammlung Hans Werner Henze, Abteilung: Korrespondenz
Shelf mark: Kallman, ChesterPhysical Description
- Document type: Letter
- dünnes, helles Papier
- Faltung: 3mal quer
- 1 folio
- 1 written page
- Dimensions: 297x210 [mm] (HxW)
- Gelocht.
- Zeilenabstand: 1zeilig
- Absatz nicht eingerückt. Leerzeilen nach jedem Absatz
- Rand links: 4,6 mm
Material
Extent
Condition
Layout
Writing styles
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1.Typescript.
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2.Handwriting, Henze, Hans Werner, pencil.
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3.Handwriting, Kallman, Chester, ball pen (blue).
Text Constitution
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" 1959 (?) 60 ?"added below, handwritten, pencil, supposedly by Henze, Hans Werner
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"c""x" replaced with "c"
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"k""e" replaced with "k"
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"Afe tr"sic
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"… all for now. Afe tr"A handwritten line in blue pen indicates that the two letters "e" and "t" should be reversed when reading.
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"da""ad" replaced with "da"
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Following: handwritten, ball pen (blue), Kallman, Chester
Commentary
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"… 1959 (?) 60 ? 1960"It is not plausible that this letter was written in 1959 since work on the libretto of Elegy of Young Lovers (that Kallman refers to in this letter) had only begun in that Summer. Instead, it is much more conceivable that Kallman sent the corrections and additions together with the letter in October 1960 at a time when the three authors frequently exchanged suggestions on the composition of the music and the libretto.
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"… additions and corrections, mostly self-explanatory."The enclosures mentioned here have not been preserved with the letter. These may, however, be located among the documents kept at the Paul Sacher Foundation.
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"… were made at this point."It is unclear which four lines Kallman is referring to in this sentence. However, from the duet between Elizabeth and Mittenhofer in Act II, Scene V (Personal Questions) and from what Elizabeth tells Toni afterwards in Act II, Scene VII (What must be told), it emerges that she was indeed the poet’s lover and in love with him. For example, Elizabeth sings: "Was I myself when I dreamed / Of becoming his mistress?" […] "The dream came true, didn’t it, / Like in the fairy tales. The goose-girl / Won her Prince. She was supposed / To live happily ever after. / But something happened." […] "Toni, dear, please listen. / I don’t think I can leave him."
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"… she doesn't really love Toni"Elizabeth’s doubts about her love for Toni emerge in Act II, Scene VII (What must be told) when Toni states: "We love each other" and she answers "Do we? / I know I loved my father. Then I thought / I loved your Godfather, then … […] Perhaps not. Perhaps I never was."
