Wolf-Ferrari, Ermanno. (1876 - 1948)
Six Autograph Letters to Clemens Krauss
Six autograph letters, 1939-41, from the Italian-German composer and teacher best known for his operas "Sly," "Il segreto di Susanna" (1909) and those based on plays by Goldoni, including "Le donne curiose" (1903), "I quatro rusteghi" (1906) and "Il campiello"(1936). He was professor of composition at the Mozarteum in Salzburg from 1939 - 1946, a post to which he was appointed personally by Adolf Hitler after the annexation of Austria and the Mozarteum becoming an institution of the Reich. Though Wolf-Ferrari was supported by Goebels and Hitler, he was, by most accounts, essentially a non-ideological figure whose crime was in not publicly taking a position against the evilness of the National-Socialist system. Just before his death, he confessed to his student Lualdi in Venice that for him… “It was a great humiliation to have lived in these times.”The letters are addressed to Clemens Krauss ["Herr Professor," "Herr Intendant"], Austrian conductor who became director of the Berlin State Opera in 1935 after Erich Kleiber resigned in protest over Nazi rule. Krauss's own position on Nazism was unclear, although he enjoyed a close relationship with Nazi official Alfred Frauenfeld and it has been claimed that he sought Nazi Party membership in 1933. In 1937 he was appointed Intendant of the National Theatre Munich, following the resignation there of Hans Knappertsbusch.
The present letters mostly concert Krauss's preparations of various Wolf-Ferrari works, chiefly what is arguably the composer's most successful full-length work, his opera "I quattro rusteghi" ["Die Vier Grobiane"]. All in fine condition, translated from the German in full, in chronological order:
Bilz-Sanatorium, Health Spa for Natural Living and Healing. Radebeul bei Dresden. Dated 30.6. 39. 2 pp.
"Dear Professor, As I do not know, which gentleman there will be doing the rehearsals of my Ruffians (Grobiane) for Marinazzi, I am turning to you, as I did once before, when I turned to Director Hartmann, so that you might be so kind as to let the following wishes be know to that conductor. It is primarily in regard to the sextet in the 2nd act. This was nonsensically cut by the former director Willi Wirk. As it later seemed likely to believe, that the cut was originated by me, it was not reversed, and I am afraid, that Mariazzi, just like Heger earlier, will be dealing with singers, who do not know this sextet by heart, and that, on account of the short time period, this piece would have to be left out again. Every musician must feel how absurd this cut is! Already when I was composing the 1st act, I was looking forward to this task: 4 sopranos and 2 tenors, all high voices, thus, close together, thus heavy, but so beautiful in sound, that I could hardly wait, until it was time to go to it. And I am proud of this piece! - And the unmusical Wirk cuts it. "Because nothing is happening on the stage". That's what he told me. What is happening in the quintet in Meistersinger? Let's be glad that there is finally some quiet on the stage! A comical opera particularly needs these contrasts! - Therefore: No cuts, especially not this quintet! - I myself will indicate a few cuts to Maestro Marinazzi, who will likely be familiar with it from Italy. It only concerns leaving out one stanza, when a song has 3. But how exactly, I myself have to indicate. My treatment here at the health resort will last till Juli 20, after which I will be back in Munich, and there is enough time then. Unfortunately I cannot give any details about these stanza cuts from here, as I don't have the piano reduction. Many thanks in advance! Heil Hitler! Always yours truly, E. Wolf-Ferrari"
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Bilz-Sanatorium, Health Spa for Natural Living and Healing. Radebeul bei Dresden. Dated 7. 6. 39. 2 pp.
"Dear (Artistic) Director, That you yourself will be conducting the "Grobiane" ("Ruffians") enhances my delight: For, many people, who did not know that you brought out this opera in Vienna, were only able to say that recently I had all but disappeared from the theater in Munich, which at other times had fairly courted me. Therefore it means all the more to me, if you would be conducting it yourself. Then I would like to be there all the more, and therefore I am asking, if the performance will take place definitely on August 4? I should know, in order to make arrangements here with the treatment, and also for other reasons. I thank you very much for your good wishes for the treatment: It is nothing serious; I repeat it every year. As far as the pieces are concerned, which I regard as good, yes, which I recommend, I cannot indicate them from here without the piano score. I will take care of that in Munich; I will ring briefly on the 20th of this month. It is in regard to only the songs with three stanzas, of which always one will be left out. Which one, and how, I can only indicate that with the music in front of me. Other cuts were never made, as often as the opera was performed, and that was the case quite frequently. Hopefully the heavy work load is not harming your health. It is a pity, that today's music business is so inhumanly demanding! And it seems to be getting only worse and worse! With Heil Hitler! Yours truly, E. Wolf-Ferrari"
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Planegg. Dated 30.7.39. 2pp.
"Esteemed (Artistic) Director, Enclosed please find the cuts to the "Grobiane" (Ruffians), which I myself suggest:
Act I, page 95, last measure: the first quarter stays, then it jumps to the second quarter of measure 6 of page 102 [before the double line].
Act II, page 121: last measure jumps to the third stanza, page 123, line 3, measure 5.
Page 152: line 4, from measure 3 it jumps right away to the third stanza, page 154, line 1, measure 4 [to be sung by two people].
Page 163: Instead of the last measure, it immediately jumps to the third stanza [to be sung by two people] on page 165, 2nd line, 5th measure.
Please no further cuts in this Act II, not in the fight in the finale either. In order for it to be brought out, the men around Lenardo have to hold him back in such a way, that he cannot attack, but can only threaten and throw stuff against the women [maybe stockings, which these had been mending, and which he now holds in a little basket]. The same goes for Margarita, surrounded by the women, forms a group across from the men. That way the figures stay calmer and can sing. The only ones, who are running around, [as prescribed], are Julepeto and his father Maurizio. For this there are the pauses, and they have only long notes. The cavalier in the middle. If one does not do it this way, the music would get lost. It must not develop into something wild. The fight only a potential, threatening thunder storm, not bursting out.
Act III, page 248, line 3, measure 2. Instead of this second stanza of Simon comes right away the one of Cancian(?), page 250, measure 5.
That is all. Hopefully you are still well in spite of the heavy work load!! Heil Hitler! Yours truly, E. Wolf-Ferrari"
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Planegg. Dated 4.9.39. 1 p.
"Dear Professor, May I ask you for two complementary tickets for Sunday, April 16, Residenztheater "The Fan" (Der Faecher) - ideally orchestra? I would pick these up at the box office in the evening of the performance. Would you be so kind as to give instructions regarding this? Many thanks in advance. Heil Hitler! Yours truly, E. Wolf-Ferrari"
with the added notations in 2 other hands, each illegibly signed:
"Rp I with the request for organizing permission and reservation with S and return."
"Return to B. Hans Kirsch has been notified and gave his affirmative answer for the request of the 2 complementary tickets for "Fan" on 4.16.39."
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Planegg. Dated 21.5.40. 1 p.
"Esteemed (Artistic) Director, About this matter, I myself know the least of all; indeed, I was not even aware until now, that my chamber symphony cannot be purchased. But I think, if you approach the publisher, D. Rahter-Leipzig, directly, you should be successful. With the best regards, Heil Hitler! Yours truly, Ermanno Wolf-Ferrari
P.S. I myself do not have a copy in store, after the many years since it was printed..."
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Planegg. Dated 18.3.41. 1 p.
"Dear Director-General, Thank you so much for your dear lines from the 17th of this month, and for what you did for Mr. Fischer! I am hoping to be able to see you in Salzburg at the festival around the 22nd. I would like to discuss something with you in regard to clarification of my position as an artist in Salzburg at the Mozarteum. Until then, with Heil Hitler! Yours truly, E. Wolf-Ferrari"
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Autograph Letter Classical Music