Letter from H. W. Henze to M. Barnet, February 11, 1974
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Absolute Chronology
Preceding
- 1973-12-10: to Sacher
- 1974-01-19: from Enzensberger
Following
- 1974-04-08: to Weil
- 1974-02-15: from Barnet
[Manuscript]
00047 Marino (Roma)‡
Venecia 11 II 1974 Muy querído Miguel:
tengo una carta de Leo Brouwer, pero ese loco ha
olvidado de escribir su dirección.* Por eso te pido de telefonar a él y dar a
él‡ mis saludos, siempre mas‡ revolucionarios, y decír a el‡ que me ha echo‡ mucha
lastima‡ que no me ha‡ llamado por telefono‡ (a veces ha perdido mi número,
es Roma 9388328)* cuando estuve‡ en Europa. Ademas‡ había la huelga
postal, [las] cartas en Italia nunca llegaban. Y lo que quieres cuentar‡ a él de
lo que voy a cuentar‡ a ti[,]
que lo los cuentes‡. ¡mi gramatica‡, que
me perdenen‡ los dioses Yoruba!* oye Miguel, por fin tenemos una
fecha para
“La Cubana“ (Canción de Rachel): es Marzo-Abril de el‡
año proximo‡, en el teatro de lo‡ estado, Munich‡
.* Puede ser que antes
de
Munich‡
los hacen sea‡
Londres
(Peter Hall)‡
sea‡
Roma
(Franco Enriquez)‡ pero todavía no està decidido
eso,* mientras la fecha de
Munich‡
ya la sé y nunca cambia‡. Estoy muy
contento. – En ese‡ momento se oye el ruido +‡ (la corna?‡) de un gran barco
que entra en el puerto de esa‡ ciudad. Venecia, como‡ la quiero.* Para mi‡ es
un lugar muy japones‡ , muy tierno, con ojos orientales, pelo blue. Tomamos
mucho thè‡, escuchamos musica‡. Ambos trabajamos. He empezado [a] escribir mi obra
teatral con texto de Edward Bond.
El titulo‡ es “Privates“
* (el grado
mas‡ bajo milital‡ en la[sic]‡
Inglaterra, pero tiene un doble sentito‡ o dos es una emoción
00047 Marino (Roma)‡
muy grande para mi‡, ya he escrito dos escenas. Lo hago en dos versiones, una en
inglés, una en aleman‡ (mi proprio‡ traducción) – tengo 2 años de tiempo,* puedos‡ escribir
todo muy tranquilamente. En el[sic]‡ 1976, Junio a Julio, cuando llego‡ a 50
años, se presenta esa obra a‡ Londres, Covent Garden Royal Opera House.* Antes
de eso no hay muchas cosas, solo el estreno de mi poema sinfonico‡ Tristan
a‡ Londres en Octubre (London Symphony Orchestra) bajo la dirección de Colin
Davies[sic]‡,* y la misma obra como ballet, con Nureyev, a‡ la Opera‡ de
Paris‡ , en Noviembre.* “El Cimarrón“ está actualmente haciendo una yira
en la[sic]‡ Francia, Lille, Paris, Marseille, Bordeaux, siempre con‡ los mismos artistas.
También a Torino en Italia,* venem‡ eso‡ viejos adorables hermanos caprichosos.*
He hecho 3 discos con Decca, cuando se publican‡ espero que puedes‡ recibirlos.*
En Octubre, siempre en Londres, se entrana mi Opera‡ “Bassarids” (1966)
en la Opera Nacional (Coliseum) bajo mi dirección escenica‡ y musical.* La
misma obra a Frankfurt, en el[sic]‡ Mayo de el[sic]‡ 1975.* Eso es para mi‡ una
gran satisfacción por que‡ es una obra que no se vee‡ muy frequentemente‡.
La última vez fue a‡ la Scala de Milan‡ , en el[sic]‡ 1968.*
Bueno, Miguel, ahora te cuento de el exito‡ de “Voices” (a collection of
songs for two vocalists and 15 players) fue un triunfo veradero, a‡ Londres
00047 Marino (Roma)‡
el día 4 Enero,* nunca voy [a]olvidarlo. ¡Ovaciones! (hablo como Amalia Vorg *)
un placer enorme. La gente estaba muy comovida‡. La prensa dice que “Patria“
poema di‡ Miguel Barnet, era el punto culminante de toda la obra.* Yo
espero que tu‡ puedas pronto escuchar esa obra, mi querído‡ hermano. He olvidado
que una canción, “Heimkehr” (homecoming), poema de Heinrich Heine,* es‡ dedicada
a ti. “Patria“ es‡ dedicada a Rogelio. En esa obra se encuentra mucho
dolór‡, mucha soledad, peró‡ también una gran fraternedad‡ (¿se dice así?)
amor para‡ la causa de el‡ socialismo. En el[sic]‡Marzo‡ se hace una gira
en Italia con esa obra,* en el autuño‡ en la RFA‡.* Cantan Rose Taylor
y Paul Sperry, toca la London Sinfonietta bajo mi direción‡.
Por‡ la ocasión de mi 50° compleaño‡ quieziera‡ hacer un pequeño festival
en Marino, solamente para los amigos, y estrenar para ellos algunas obras
de música da camera‡ *, 3 quartetes‡ para cuerdas, un sexteto, una cosa con
instrumentos mixtos, y un ciclo de canciones (voz y pianoforte‡) sobre poemas
de Miguelito. 5-6 canciones. Ya tengo listo‡ los poemas, pero quieziera‡
preguntarte‡ se‡ tienes algunos poemas nuevos[,] que me los mandes por favor.
Eso‡ ciclo de canciones, mi hermano, saría un’[sic]‡otra piedrafina en la
corona de nuestra amistad llena de obras hechas por ambos. Las obras ya
son tantas cuasi‡ como plumas en la cola de el‡ pavo real.*
00047 Marino (Roma)‡
entre los poemas que quiero poner in musica‡ hay para‡
Fé de Eratas‡
,* y
otras cosas nocturnas, pero si tienes otras – quiziera‡ poner
todas‡
[los] poemas que
tratan‡ del El[sic]‡ Amor,* el campo en el cual estoy mas‡ seguro de entienderte‡.
Ayer, en una conferencia muy interesante con‡ el tema “Carcel‡ y sociedad“
*
he encuentrado‡
[a]
una compañera
* que te conoce. Hemos comido‡ juntos, ella ha escrito
una pequeña carta para ti, la pongo en esa‡ carta
acquì‡.* Ella es de el‡
PCI‡, muy
inteligente. Hemos hablado mucho di‡
Cuba. Muy estraño‡: Ya tenía escrito‡
la‡ primeras
tres paginas‡ cuando salgo por esa conferencia dondo‡
encuentro [a]la chica!*
Toda Venecia está bañada con el sol, un‡ hermoso increbible‡. Ahora vamos
a la pequeña isla de Burano
* para bañar nos‡ ojos en el sol, el azul.
– En el autuño‡,había muchos muertes‡, antes‡ en
Cile‡
,*
pues‡ la muerte del el[sic]‡
coreografo‡
John‡ Cranko con el cual estabo‡ preparando una colaboración,*
pues‡
W.A.‡ Auden
che‡
faleció‡ en un hotel en Viena,* solo (‡ con él he hecho tres obras
pues‡
Ingeborg Bachmann,
la muchacha a la cual tu enveastes‡ un tu[sic]‡ libro con dedicación‡, tambien‡
Leo la conoció.*
Ella moriò‡
en‡ una forma terible‡, quemada. No se sabe se‡ fue suicidio, o asesino‡. Para
mi‡ fue un choque atroz, cuasi‡ perdí mi equilibre‡ mental. Cuando avanzamos, mucha gente
se va de cerca de nosotros. Te pido Miguel
de no irte‡ nunca. Espero que puedes‡ venir
en‡
Europa para tu “Rachel”
el año proximo‡.* Tienes que verla, escucharla. Te espero con mis‡
brazos abierto. Todas te esperan. Da mi amor a todas los compañeros y compañeritas.
Abrazos
hans
[Manuscript]
I have a letter from Leo Brouwer, but that fool has forgotten to include his address. That’s why I am asking you to phone him and give him my regards, ever more revolutionary, and tell him that I was very sorry that he didn’t call me (sometimes he loses my number, it’s Rome 9388328) when he was in Europe. Then there was the postal strike, in Italy the letters never arrived. And whatever you want to tell him about what I am going to tell you, you can tell him. May the Yoruba gods forgive me for my grammar!
Hey Miguel, finally we have a date for
“La Cubana“ (Rachel’s Song): it is March-April of next year, at the State Theatre, Munich. It might be staged in London
(Peter Hall) or in Rome
(Franco Enriquez) before Munich, but that hasn’t been decided yet, while I already know the Munich date and it will never change. I am very pleased. – Right now one can hear the sound (the bugle) of a large boat entering the city’s port. How I love Venice. For me it is a very Japanese place, very tender, with oriental eyes, but blue. We drank a lot of tea, listened to music. We both worked. I have started to compose my stage work with a text by Edward Bond. The title is “Privates“ (the lowest military rank in England), but it has a double meaning. It is very emotional for me.
2
I have already written two scenes. I am doing it in two versions, one in English, one in German (my own translation) – I have 2 years, I can write everything very calmly. In 1976, June to July, when I turn 50, the work will be presented in London, Covent Garden Royal Opera House. Before that there aren’t many things, only the premiere of my symphonic poem Tristan in London in October (London Symphony Orchestra) conducted by Colin Davis, and the same work as a ballet, with Nureyev, at the Paris Opera, in November. “El Cimarrón“ is currently on tour in France, Lille, Paris, Marseille, Bordeaux, always with the same artists. Those adorable, old capricious brothers are also coming to Torino in Italy. I have made 3 records with Decca, when they are released I hope you can get them. In October, always in London, my opera “Bassarids” (1966) will be premiered at the National Opera (Coliseum) under my stage and musical direction. The same work in Frankfurt, in May of 1975. This is a great satisfaction for me because it is a work that is not seen very often. The last time was at La Scala in Milan, in 1968.
Well, Miguel, now I’ll tell you about the success of “Voices” (a collection of songs for two vocalists and 15 players). It was a great triumph, in London
3
on 4 January. I’ll never forget it. Ovations! (I am speaking like Amalia Vorg), a great pleasure. People were very moved. The press said that “Patria“, set to a poem by Miguel Barnet, was the highlight of the whole work. I hope that you will be able to hear this work soon, my dear brother. I had forgotten that a song, “Heimkehr” (Homecoming), set to a poem by Heinrich Heine, is dedicated to you. “Patria“ is dedicated to Rogelio. In this work there is a lot of pain, a lot of loneliness, but also great fraternity (is that how you say it?) and love for the cause of socialism. In March, this work will tour Italy, in Autumn the FRG. Rose Taylor and Paul Sperry will sing, and I will conduct the London Sinfonietta.
On the occasion of my 50th birthday I would like to put on a small festival in Marino, only for my friends, and premiere some chamber works for them, 3 string quartets, a sextet, something with mixed instruments, and a song cycle (voice and piano) on poems by Miguelito. 5-6 songs. I already have the poems ready, but I would like to ask you if you have any new poems, please send them to me.
This song cycle, my brother, will be another jewel in the crown of our friendship, full of works created by both of us. There are now almost as many works as feathers in a peacock’s tail.
4
Among the poems that I want to set to music there is Fé de Erratas, and
other nocturnal things, but if you have others – I would like to set all the poems about love, the field in which I am most certain to understand you.
Yesterday, in a very interesting lecture on the topic “Prison and society“ I met a colleague who knows you. We ate together. She has written a short letter for you, which I have enclosed in this letter. She is from PCI, very intelligent. We have spoken a lot about Cuba. Very strange: I already had the first three pages written when I left the lecture where I met the girl!
The whole of Venice is bathed in an incredible, beautiful sun. Now to the small island of Burano to bathe our eyes in the sun, the blue.
– In autumn, there were many deaths, first in Chile, later the death of the choreographer John Cranko with whom I was preparing a collaboration, then W.H. Auden, who died in a hotel in Vienna, alone (I have composed three works with him), followed by Ingeborg Bachmann, the girl to whom you sent one of your books with a dedication, Leo also knew her.
She died in a terrible way, burnt. It is not known whether it was suicide, or murder. For me it was an awful shock. I almost lost my mental equilibrium. As we move forward, many people close to us depart. I ask you Miguel never to depart. I hope that you can come to Europe for your “Rachel” next year. You have to see it, hear it. I’ll be waiting for you with open arms.
Everyone is waiting for you. Give my love to all our brothers and sisters.
Regards
hans
Translation by Yolanda Acker
Editorial
General Remark
The description of the sources was made according to the provided digital copies.
Responsibilities
- Editor(s)
- Elena Minetti
- Transcription
- Elena Minetti
- Translation
- Yolanda Acker
Tradition
-
Text Source: Miguel Barnet, Private Collection
Physical Description
- Document type: Letter
- vergilbtes Papier
- Faltung: 3mal längs
- 4 folios
- 4 written pages
- Dimensions: 0x0 [] (HxW)
- Der Text ist waagerecht geschrieben. Auf jedem der vier beschriebenen Blätter befindet sich am rechten Rand die vorgedruckte Inschrift “La Leprara 00047 Marino (Rom)”.
In der unteren Ecke der vier Blätter befinden sich später ausradierte Bleistiftinschriften, die in die Rückseiten der einzelnen Seiten geschrieben wurden, wobei das Wort “EXP” das einzige lesbare ist.
Material
Extent
Layout
Writing styles
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1.Handwriting, Henze, Hans Werner, felt pen/fineliner (violet).
Text Constitution
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"… La Leprara 00047 Marino (Roma)"The handwritten text does not overlap with the letter heading.
-
"(Peter Hall)"added above
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"(Franco Enriquez)"added above
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"+""" crossed out and replaced with "+"
-
"la"sic
-
"… La Leprara 00047 Marino (Roma)"The handwritten text does not overlap with the letter heading.
-
"… 2"The page number is underlined obliquely.
-
"el"sic
-
"Davies"sic
-
"la"sic
-
"con"added above
-
"el"sic
-
"el"sic
-
"el"sic
-
"… La Leprara 00047 Marino (Roma)"The handwritten text does not overlap with the letter heading.
-
"… 3"The page number is underlined obliquely.
-
"el"sic
-
"un’"sic
-
"… La Leprara 00047 Marino (Roma)"The handwritten text does not overlap with the letter heading.
-
"… 4"The page number is underlined obliquely.
-
"para"crossed out
-
"El"sic
-
"el"sic
-
"John"added above
-
""crossed out
-
"tu"sic
Commentary
-
[Rotation]Section, Text turned clockwise (90°).
-
[Rotation]Section, Text turned clockwise (90°).
-
"… olvidado de escribir su dirección."In the extant correspondence between Brouwer and Henze, prior to this, Brouwer’s previous letter was written on 3 November 1973. There, the address is, indeed, missing (although the envelope has not been located).
-
"dar a él"recte "darle".
-
"mas"recte "más".
-
"decír a el"recte "decirle".
-
"echo"recte "dado".
-
"lastima"recte "lástima".
-
"ha"recte "haya".
-
"telefono"recte "teléfono".
-
"estuve"recte "estuvo".
-
"Ademas"recte "Además".
-
"quieres cuentar"recte "quieras contarle".
-
"cuentar"recte "contarte".
-
"que lo los cuentes"recte "se lo cuentas".
-
"gramatica"recte "gramática".
-
"perdenen"recte "perdonen".
-
"… me perdenen los dioses Yoruba!"As Henze writes in his Autobiography, p. 255, Barnet “was a follower of the black Yoruba cult that had been brought to Cuba from the Congo”.
-
"de el"recte "del".
-
"proximo"recte "próximo".
-
"de lo"recte "del".
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"… de lo estado, Munich ."The staged premiere of La Cubana would take place on 28 May 1975 in Munich, Staatstheater am Gärtnerplatz.
-
"los hacen sea"recte "se haga en".
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"sea"recte "o en".
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"… todavía no està decidido eso,"Before the Munich premiere, La Cubana was not staged in London or Rome.
-
"Munich"recte "Múnich".
-
"cambia"recte "cambiará".
-
"ese"recte "este".
-
"corna?"recte "corneta".
-
"esa"recte "esta".
-
"como"recte "cómo".
-
"… Venecia , como la quiero."Henze was in Venice with his Japanese partner Yoichi Ohira, who was attending the “Accademia delle Belle Arti” there. See also the letter Barnet wrote in response.
-
"mi"recte "mí".
-
"japones"recte "japonés".
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"thè"recte "té".
-
"musica"recte "música".
-
"titulo"recte "título".
-
"mas"recte "más".
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"milital"recte "militar".
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"sentito"recte "sentido".
-
"mi"recte "mí".
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"aleman"recte "alemán".
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"proprio"recte "propia".
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"… tengo 2 años de tiempo," Henze composed We come to the river, commissioned by the Royal Opera House, between 1974 and 1976.
-
"puedos"recte "puedo".
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"llego"recte "llegue".
-
"a"recte "en".
-
"… Garden Royal Opera House ."The premiere of We come to the river took place on 12 July 1976 at the Royal Opera House Covent Garden in London, a few days after Henze’s 50th birthday, celebrated on 1 July.
-
"sinfonico"recte "sinfónico".
-
"a"recte "en".
-
"… dirección de Colin Davies ," Tristan was commissioned by the London Symphony Orchestra and premiered on 20 October 1974 under Colin Davis at the Royal Festival Hall in London.
-
"a"recte "en".
-
"Opera"recte "Ópera".
-
"Paris"recte "París".
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"… Paris , en Noviembre ."The ballet on Tristan with choreography by Nureyev and the Ballet de L’Opera de Paris was presented on 13 November 1974 in Paris.
-
"… a Torino en Italia ," El Cimarrón was performed at the Turin Conservatory at the initiative of the “Unione Musicale” shortly before 17 March 1974. See Lidia Palomba’s review in her article “El Cimarrón al Conservatorio per l’Unione Musicale. Storia d’uno schiavo evaso narrata in musica da Henze.”
-
"venem"recte "vienen".
-
"eso"recte "esos".
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"… eso viejos adorables hermanos caprichosos."The musicians touring with El Cimarrón in early 1974 and who also performed in Turin were William Pearson (baritone), Karlheinz Zöller (flutist), Stomu Yamash’ta (percussionist) and Wilhelm Bruck (guitarist). See Palomba, “El Cimarrón al Conservatorio per l’Unione Musicale”.
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"publican"recte "publiquen".
-
"puedes"recte "puedas".
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"… publican espero que puedes recibirlos."Decca had produced an LP by the London Sinfonietta recorded in June 1973 and released in November 1974 (see Henze’s letter to Hans Magnus Enzensberger dated 27 November 1974) and another LP recorded with the London Sinfonietta in 1973 and released in 1975. The third recording Henze is referring to could be Voices, however, this was only released by Decca in 1978.
-
"Opera"recte "Ópera".
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"escenica"recte "escénica".
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"… mi dirección escenica y musical." The Bassarids was performed under Henze on 10 October 1974 at the London Coliseum.
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"… Mayo de el 1975 ." The Bassarids was performed under Klauspeter Seibel on 11 May 1975 in Frankfurt.
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"mi"recte "mí".
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"por que"recte "porque".
-
"vee"recte "ve".
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"frequentemente"recte "frecuentemente".
-
"a"recte "en".
-
"Milan"recte "Milán".
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"… , en el 1968 ."The Italian premiere took place at La Scala in Milan on 26 March 1968. After this performance, The Bassarids had its American premiere on 7 September 1968 in Santa Fe, which was the last one before this letter was written. Henze was probably only referring to European performances here.
-
"de el exito"recte "del éxito".
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"veradero, a"recte "verdadero, en".
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"… el día 4 Enero ,"The premiere took place on 4 January 1974 at Queen Elizabeth Hall, London with the London Sinfonietta conducted by Henze himself.
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"… ¡Ovaciones! (hablo como Amalia Vorg"Here, Henze recalls the real-life person Barnet and later he himself and Enzensberger drew inspiration for La Canción de Rachel and main character (Rachel) in La Cubana, respectively.
-
"comovida"recte "conmovida".
-
"di"recte "de".
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"… de toda la obra ."In Voices, song XV, which is dedicated to Rogelio Rodriguez, is based on Barnet’s poem Patria (published in La piedrafina y el pavoreal, p. 61). Reviews came out after the premiere (e.g. “Stephen Walsh on Henze’s ’Voices’” in The Guardian, p. 24 on 13 January 1974), but those consulted to date do not seem to mention the sentence about Barnet’s Patria.
-
"tu"recte "tú".
-
"querído"recte "querido".
-
"es"recte "está".
-
"es"recte "está".
-
"dolór"recte "dolor".
-
"peró"recte "dolor".
-
"fraternedad"recte "fraternidad".
-
"para"recte "por".
-
"de el"recte "del".
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"Marzo"recte "marzo".
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"… en Italia con esa obra,"In his Autobiography, p. 331, Henze writes that Voices was performed in the spring of 1974 in Milan, Turin and Naples. From the programme notes kept at the Paul Sacher Foundation in Basel, it can be ascertained that it was performed at the Teatro alla Scala in Milan on 26 March, at the Auditorium RAI in Turin on 27 March and at the Teatro Mediterraneo in Naples on 30 March 1974.
-
"autuño"recte "otoño".
-
"… República Federal de Alemania ."The German premiere of Voices was held on 8 May 1974 at the Kleines Haus in Wiesbaden. However, it was not possible to trace the performances of this work in autumn 1974, in Germany.
-
"direción"recte "dirección".
-
"Por"recte "Para".
-
"compleaño"recte "cumpleaños".
-
"quieziera"recte "quisiera".
-
"da camera"recte "de cámara".
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"… obras de música da camera"Concerning the musical festival that Henze organised at the villa La Leprara in Marino on the occasion of his 50th birthday, see also Henze’s letters to Paul Sacher on 25 February 1975 and on 7 November 1975. This event was organised in the second half of July 1976, because on the day of his birthday, 1 July 1976, Henze was in London preparing the premiere of We Come to the River. See Henze’s Autobiography, pp. 354-356. On many of his birthdays, Henze organised concerts and a party for a few friends.
-
"quartetes"recte "cuartetos".
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"pianoforte"recte "piano".
-
"listo"recte "listos".
-
"quieziera"recte "quisiera".
-
"preguntarte"recte "pedirte,"
-
"se"recte "si".
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"Eso"recte "Ese".
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"cuasi"recte "casi".
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"de el"recte "del".
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"… cola de el pavo real."With the terms “piedrafina” and “pavorreal” Henze alludes to title of the collection of poems La piedrafina y el pavorreal, published by Barnet in 1963.
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[Rotation]Section, Text turned clockwise (90°).
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"in musica"recte "en música".
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"Fé de Eratas"recte "Fé de Erratas".
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"… para Fé de Eratas ,"Henze had already based the second movement of his Sixth Symphony on Barnet’s poem Fé de Erratas. Perhaps here he imagined – without realising it – that he would compose another work on this text.
-
"quiziera"recte "quisiera".
-
"todas"recte "todos".
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"tratan"recte "traten".
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"mas"recte "más".
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"entienderte"recte "entenderte".
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"con"recte "sobre".
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"Carcel"recte "Cárcel".
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"… el tema Carcel y sociedad"The conference Henze attended in Venice was entitled “Carcere e Società” and was held from 9 to 10 February 1974.
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"he encuentrado"recte "conocí".
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"… he encuentrado a una compañera"The woman, which Henze met at the conference, remains to be identified.
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"Hemos comido"recte "comimos".
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"esa"recte "esta".
-
"acquì"recte "aquí".
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"… en esa carta acquì ."The letter by the unidentified woman has not been found attached to this letter.
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"de el"recte "del".
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"PCI"abbreviation of "Partito Comunista Italiano".
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"di"recte "de".
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"estraño"recte "extraño".
-
"escrito"recte "escritas".
-
"la"recte "las".
-
"paginas"recte "páginas".
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"dondo"recte "donde".
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"… dondo encuentro a la chica!"This information suggests that Henze began writing the letter (i.e. the first three pages) on the last day of the conference, on 10 February, and then finished and dated it on the following day, on 11 February.
-
"un"recte "uno".
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"increbible"recte "increíble".
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"nos"recte "nuestros".
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"autuño"recte "otoño".
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"había muchos muertes"recte "hubo muchas muertes".
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"antes"recte "primero".
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"Cile"recte "Chile".
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"… , antes en Cile ,"Here, Henze refers to the death on 11 September 1973 of Salvator Allende, of which he also speaks in his Autobiography, p. 323.
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"pues"recte "después".
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"coreografo"recte "coreógrafo".
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"estabo"recte "estaba".
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"… cual estabo preparando una colaboración,"As Henze writes in his Autobiography, p. 315, he was working on a “Tristan dance trilogy” with the choreographer Cranko, who died suddenly on 26 June 1973, not in autumn.
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"pues"recte "después".
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"W.A."recte "W.H."
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"che"recte "que".
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"faleció"recte "falleció".
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"… un hotel en Viena ,"Auden died in Vienna on 28 September 1973. See also Henze’s Autobiography, p. 323.
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"pues"recte "después".
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"enveastes"recte "enviaste".
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"dedicación"recte "dedicatoria".
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"tambien"recte "también".
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"… , tambien Leo la conoció."In his next letter, Barnet wrote back about Bachmann’s death on 17 October in Rome. See also Henze’s Autobiography, pp. 325-326.
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"moriò"recte "murió".
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"en"recte "de".
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"terible"recte "terrible".
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"se"recte "si".
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"asesino"recte "asesinato".
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"mi"recte "mí".
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"cuasi"recte "casi".
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"equilibre"recte "equilibrio".
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"de no irte"recte "que no te vayas".
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"puedes"recte "puedas".
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"en"recte "a".
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"proximo"recte "próximo".
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"… Rachel el año proximo ."Barnet was not present at the stage premiere of La Cubana on 28 May 1975 in Munich.
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"mis"recte "los".
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[Rotation]Section, Text turned clockwise (90°).
