Letter from C. Kallman/W. H. Auden to H. W. Henze, July 15, 1960
[Typescript]
nach dem Glyndebourne Brief ‡
July 15th [1960] * Absurd comentaries‡ by Dr. Ludwig
Strecker (in pencil) publishing director of
Schott’s ‡ * Cara Gretel‡,
No, we won’t reproach you for your shower of correspondence* because we were trying
t‡o get in the proper mood to do
"Mahagonny"
* at the time, but, my dear, I must adxx‡
admit to shrieking with aesthetic horror when I ran across a reference to "La
Boheme[sic]‡
"
in your last letter.*
No no no no. Stay away! Here we are trying to d‡o
a full-length portrait of a really great artist and you face us with the
"economies" of Puccini.* First of all, leave them to Puccini who had over a
century of Italian Opera to work from and, so far as I’m concerned, exhausted the
economies based on those conventionsxxxxxxxxxxxxxxxxx‡ its conventions much as Mahler exhausted the
expansive luxuries based on "german[sic]‡" symphonic conventions: opera must learn to
think emotionally again. And that means cruelty and clarity. And that means
a concept of economy that has nothing to do with the limited gamut of effects
Puccini was after. Just look at
Boheme[sic]‡
. One result of its disgret ‡ion[sic]‡ is that
it is impossible to believe that one of those artists ever did a bit of work
that was worth anybody‡‡ time or attention. But I’m rambling. Back to Elegy.
Herein are some of the First Act cuts indicated and tallied. The Money Ceremoney‡
cannot be cut.*
If you soften‡
*
Hinty, you destroy him. Please remember he is a
monster‡‡. As Wagner was, as Yeats was. And also please‡ remember that he has not
had a quarrel with
Karoline[sic]‡
, he is merely a lion who doesn’t at times realise
the strength of his own brand of Humour. And he didn’t know she was ill. Also—
his boisterous dismissals of his "rivals" not only establishes his rank as a
poet in the audience’s minds, it is also, we feel, how he would express himself
about them. Second-rate critics in literary magazines, and even in private,
take a "serious professional" attitude towards contempories, never‡
serious first-rate writers;*
and certainly not in private. If you make Hinty serious
in that scene, you will make him a bore‡; and though Elizabeth may be bored with him
for her own reasons, the public certainly must never be. If you find the scene
difficult, so much the better. That means you will have to uncover musically
that vein of sly mischief in yourself that you have thus far been too German to
allow its full freedom. Out with it, girl!‡ We know it’s there. Be as funny
musically as you were verbally when you talked about Stockhausen to us.
Scratch. Be a cat; not a cuddly St. Bernard.‡
The scene cannot be changed to Hinty’s House.
* If that is done, all of Hi‡lda’s
raison d’etre as a character is de‡stroyed. One can hardly assume that she spent
her honeymoon in his house; and if she can move about from one place to another,
what becomes of her waiting for her bridegroom? Where is the dramatic effect
of her liberation then. Of course the inn parlors of Alpine Inns are middle-class
stuffy; but that’s just what we need--that hideous respectable heaviness--
to contrast with the drama of people who have rebelled against it but are never-
the less[sic]‡ rooted in it. Let the vista of Hammerhorn
"lighten" the decor; and also
provide the necessary contrast: Death via too much air versus Death via too
little air. Elegy cannot have the same operatic trappings as Homburg or Hirsch.
Splitting the Second Act in the middle is just about possible. But it must only be for
Glyndebourne. The Interlude idea, however, is simply an impossible
bit of fidgety kitsch, unworthy of consideration.* For one thing, it will
kill the effect of Hulda’s later entex‡re‡nce and it will also kill the whole
interwoven plan of the dramatic action. The second Act must concentrate on the
interactions of character. There’s enough scenic hullabaloo in the thir‡
d‡
*‡
Please remember, darling,‡
stage directors should begin their business when a work
is finished, xxx‡
not before. If he finds the setting and some of the action "diffi-
cult" ,[sic]‡ it’s his job as a director to solve those problems, because we’re not
making those problems just to be difficult, but because some things must be so. Well, that’s enough for now. We’ll discuss the other points* when we see you.*
Editorial
Author(s)
Responsibilities
- Editor(s)
- Elena Minetti
- Transcription
- Elena Minetti
Tradition
-
Text Source: Basel (Schweiz), Paul Sacher Stiftung (CH-Bps), Sammlung Hans Werner Henze, Abteilung: Korrespondenz
Shelf mark: Kallman, ChesterPhysical Description
- Document type: Letter
- Dickes, helles Papier
- Wasserzeichen: Leykam Hartpost 1935
- Faltung: 1mal längs, 3mal quer
- 1 folio
- 1 written page
- Dimensions: 296x210 [mm] (HxW)
- Gelocht.
- 1zeilig
- Leerzeile nach jedem Absatz
- Rand: 1,3cm
Material
Extent
Condition
Layout
Writing styles
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1.Typescript, Kallman, Chester, black.
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2.Typescript, Kallman, Chester, red.
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3.Handwriting, Kallman, Chester, ballpoint pen (blue).
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4.Handwriting, Henze, Hans Werner, ballpoint pen (blue).
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5.Handwriting, Henze, Hans Werner, pencil.
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6.Handwriting, Strecker, Ludwig, pencil.
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7.Handwriting, Auden, Wystan Hugh, ballpoint pen (blue).
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8.Handwriting, ballpoint pen (pink).
Text Constitution
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" nach dem Glyndebourne Brief "added above, handwritten, ballpoint pen (blue), Henze, Hans Werner
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Following: Typescript, red, Kallman, Chester
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Following: Typescript, black, Kallman, Chester
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"Absurd comentaries by … director of Schott’s"added below, handwritten, pencil, Henze, Hans Werner
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"Cara Gretel"crossed out, handwritten, ballpoint pen (blue), Kallman, Chester
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"t""T" replaced with "t"
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"ad"deleted by overtyping
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"Boheme"sic
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"d""s" replaced with "d"
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"those conventions"deleted by overtyping
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"german"sic
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"Boheme"sic
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"disgre ss t ion"sic
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"If you soften"Underlining, handwritten, ballpoint pen (blue), Kallman, Chester
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"Hinty, you destroy him. Please remember he is a monst er re "Underlining, handwritten, ballpoint pen (blue), Kallman, Chester
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"er""re" replaced with "er"
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"e""r" replaced with "e"
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"Karoline"sic
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"never"Underlining, handwritten, ballpoint pen (blue), Kallman, Chester
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"you will make him a bore"Underlining, handwritten, ballpoint pen (blue), Kallman, Chester
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"girl!"crossed out, handwritten, ballpoint pen (blue), Kallman, Chester
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"… not a cuddly St. Bernard."Only one line free between both text paragraphs. Pencil entries are therefore narrow.
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"e""i" replaced with "e"
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"never the less"sic
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"e"deleted by overtyping
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"e""a" replaced with "e"
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"ir""ri" replaced with "ir"
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"d""." replaced with "d"
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"… in the th ir d"Strecker’s annotation is added in the free line between the two paragraphs of text. The paragraph is marked laterally with two pink pen lines.
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" darling,"crossed out, handwritten, ballpoint pen (blue), Kallman, Chester
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"xxx"added above, handwritten, pencil, Strecker, Ludwig
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""diffi cult" ,"sic
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Following: handwritten, ballpoint pen (blue), Kallman, Chester
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Following: handwritten, ballpoint pen (blue), Auden, Wystan Hugh
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"Forti"uncertain transcription
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"… Forti abbracci. Wystan ."A line links Auden’s signature to the "P.S." written in the bottom right-hand corner.
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"but why?"Underlining, handwritten, ballpoint pen (pink)
Commentary
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"… Kirchstetten July 15th 1960"The year was deduced from the content of the letter. Kallman refers to some of the issues set forth concerning changes to the libretto of Elegy for Young Lovers in the letter Henze sent on 7 July 1960. The initial indication, "after the Glyndebourne letter" refers precisely to the fact that this letter was written in response to the letter Henze wrote after he had travelled to Glyndebourne to meet the producer and stage director Günther Rennert for the first performance of the opera in its original language, that is, in English. In that letter, Henze suggests numerous changes to the libretto.
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"comentaries"recte "commentaries".
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"… pencil) publishing director of Schott’s"Since this letter contains three handwritten additions by the director of the publishing house Schott, Ludwig Strecker, it can be inferred that Henze had personally shown him the letter or sent it to him and then later received it with comments. Strecker was to publish Elegy for Young Lovers and had previously asked the two librettists some questions, as can be deduced from his notes. However, it is known from Henze’s Autobiography p. 166, that Strecker was not enthusiastic about the libretto and wanted to prevent the opera from being produced. It is unlikely that Henze showed the two librettists Strecker’s comments in this letter; instead, it is more likely that he noted the name of the author of the comments for his own archiving or perhaps even with a view to the possible publication of the correspondence. Regarding his difficult collaboration with Strecker, see also Henze’s letter to Grete Weil-Jockisch on 14 March [1960].
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"… proper mood to do Mahagonny"Kallman is referring to the work of translating the libretto of Kurt Weill and Bertolt Brechts’ opera Aufstieg und Fall der Stadt Mahagonny into English with the title The Rise and Fall of the City of Mahagonny, the first edition of which was only published by Godine in 1976.
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"… the economies of Puccini ."At the end of the letter dated 7 July 1960, Henze had written to the two librettists that he was unable to extend a musical form over a long period and that he wanted to compose in a very concentrated way. Perhaps in response to this 'economy of musical means' he might have quoted Puccini in a later letter, which has yet to be located.
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"anybod ies y "recte "anybody’s".
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"Ceremoney"recte "Ceremony".
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"… cut . If you soften"Here, Ludwig Strecker added an annotation in the space between the two paragraphs. According to Strecker, "softening" Mittenhofer should not mean making him "ridiculous". This sentence refers to the fact that, in the letter dated 7 July 1960, Henze had asked the two librettists to make the main character less cruel. Moreover, Strecker writes that Kallman’s subsequent reference to Wagner and Yeats is not convincing.
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- Addition of cannot be published for legal reasons
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"… contempories, never serious first-rate writers;"Here, Strecker adds an annotation in which he writes that Hinterhofer should not be "serious" in this scene. However, he adds that his question remained unanswered. It was not traceable at the time what question Strecker asked the librettists. In this respect, however, the correspondence between Henze and Strecker kept at the Paul Sacher Foundation may be enlightening.
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- Addition of cannot be published for legal reasons
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"… changed to Hinty 's House."At the suggestion of the stage director Günther Rennert’s, Henze had proposed in the list (item 1) in his letter dated 7 July 1960 to change the location of the action from the inn "Der Schwarze Adler" to Hintenhofer’s private home. The introduction to Act I in the final libretto reads: "The scene represents the parlor and terrace of Der schwarze Adler, an inn in the Austrian Alps. "
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raison d'etre
- reason to be
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"… in the th ir d"Here, Strecker added a comment and wrote that there are not scenic difficulties, but obvious shortcomings of the libretto.
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- Addition of cannot be published for legal reasons
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Forti abbracci.
- big hugs
