Strauss, Richard. (1864–1949). Three typed letters signed ('Dr Richard Strauss') . Fascinating group of three letters from the important composer/conductor to Hugo Gruters, Director of the Bonn Gesangverein (and composition teacher of Adolf Busch!). Each 8 x 11 inches, with usual folds and otherwise in very fine condition.
Arrangements for concerts in Bonn: in March 1907, Strauss cannot commit himself for the winter, because there is a possibility of a two-month trip to America; his rates are 1000 Marks for a concert, 1200 Marks if there is a public rehearsal. By June, however, he is able to discuss the programme in detail, suggesting that Grüters himself conduct the Wandrers Sturmleid, because he is more familiar with the chorus, and also that because of the size of the orchestra it would be better to replace the Guntram overture with the Dance of Salome. In October Strauss confirms the details, repeating his suggestion about the conducting of the Sturmlied because of the difficulty of rehearsing the chorus: 'The orchestra is a more easily flexible material and easy to mould to one's individual wishes in one to two rehearsals'; he is delighted to hear that an orchestra of 100 is available for the Domestica and the Dance of Salome.
Strauss first saw Oscar Wilde’s Salome in a German translation in Berlin in November 1902, eventually adapting his own libretto—the nature of which scandalized Europe and United States. The first actress chosen to perform the Biblical role of Salome, Marie Wittich, refused to perform the “Dance of the S even V eils” and disrobe on stage. In New York, organizers led a crusade against Strauss’ version, forcing the Met- ropolitan Opera to cancel performance following its unveiling of the work in 1907—perhaps coinciding with the American visit referenced in the first letter. Even the German leader, Kaiser Wilhelm II, showed concern that Salome would damage Strauss’s career. The composer later noted that such “damage...enabled me to build my villa.” No big surprise, given his stated rate! A fascinating trio of letters.
Arrangements for concerts in Bonn: in March 1907, Strauss cannot commit himself for the winter, because there is a possibility of a two-month trip to America; his rates are 1000 Marks for a concert, 1200 Marks if there is a public rehearsal. By June, however, he is able to discuss the programme in detail, suggesting that Grüters himself conduct the Wandrers Sturmleid, because he is more familiar with the chorus, and also that because of the size of the orchestra it would be better to replace the Guntram overture with the Dance of Salome. In October Strauss confirms the details, repeating his suggestion about the conducting of the Sturmlied because of the difficulty of rehearsing the chorus: 'The orchestra is a more easily flexible material and easy to mould to one's individual wishes in one to two rehearsals'; he is delighted to hear that an orchestra of 100 is available for the Domestica and the Dance of Salome.
Strauss first saw Oscar Wilde’s Salome in a German translation in Berlin in November 1902, eventually adapting his own libretto—the nature of which scandalized Europe and United States. The first actress chosen to perform the Biblical role of Salome, Marie Wittich, refused to perform the “Dance of the S even V eils” and disrobe on stage. In New York, organizers led a crusade against Strauss’ version, forcing the Met- ropolitan Opera to cancel performance following its unveiling of the work in 1907—perhaps coinciding with the American visit referenced in the first letter. Even the German leader, Kaiser Wilhelm II, showed concern that Salome would damage Strauss’s career. The composer later noted that such “damage...enabled me to build my villa.” No big surprise, given his stated rate! A fascinating trio of letters.
Strauss, Richard. (1864–1949). Three typed letters signed ('Dr Richard Strauss') . Fascinating group of three letters from the important composer/conductor to Hugo Gruters, Director of the Bonn Gesangverein (and composition teacher of Adolf Busch!). Each 8 x 11 inches, with usual folds and otherwise in very fine condition.
Arrangements for concerts in Bonn: in March 1907, Strauss cannot commit himself for the winter, because there is a possibility of a two-month trip to America; his rates are 1000 Marks for a concert, 1200 Marks if there is a public rehearsal. By June, however, he is able to discuss the programme in detail, suggesting that Grüters himself conduct the Wandrers Sturmleid, because he is more familiar with the chorus, and also that because of the size of the orchestra it would be better to replace the Guntram overture with the Dance of Salome. In October Strauss confirms the details, repeating his suggestion about the conducting of the Sturmlied because of the difficulty of rehearsing the chorus: 'The orchestra is a more easily flexible material and easy to mould to one's individual wishes in one to two rehearsals'; he is delighted to hear that an orchestra of 100 is available for the Domestica and the Dance of Salome.
Strauss first saw Oscar Wilde’s Salome in a German translation in Berlin in November 1902, eventually adapting his own libretto—the nature of which scandalized Europe and United States. The first actress chosen to perform the Biblical role of Salome, Marie Wittich, refused to perform the “Dance of the S even V eils” and disrobe on stage. In New York, organizers led a crusade against Strauss’ version, forcing the Met- ropolitan Opera to cancel performance following its unveiling of the work in 1907—perhaps coinciding with the American visit referenced in the first letter. Even the German leader, Kaiser Wilhelm II, showed concern that Salome would damage Strauss’s career. The composer later noted that such “damage...enabled me to build my villa.” No big surprise, given his stated rate! A fascinating trio of letters.
Arrangements for concerts in Bonn: in March 1907, Strauss cannot commit himself for the winter, because there is a possibility of a two-month trip to America; his rates are 1000 Marks for a concert, 1200 Marks if there is a public rehearsal. By June, however, he is able to discuss the programme in detail, suggesting that Grüters himself conduct the Wandrers Sturmleid, because he is more familiar with the chorus, and also that because of the size of the orchestra it would be better to replace the Guntram overture with the Dance of Salome. In October Strauss confirms the details, repeating his suggestion about the conducting of the Sturmlied because of the difficulty of rehearsing the chorus: 'The orchestra is a more easily flexible material and easy to mould to one's individual wishes in one to two rehearsals'; he is delighted to hear that an orchestra of 100 is available for the Domestica and the Dance of Salome.
Strauss first saw Oscar Wilde’s Salome in a German translation in Berlin in November 1902, eventually adapting his own libretto—the nature of which scandalized Europe and United States. The first actress chosen to perform the Biblical role of Salome, Marie Wittich, refused to perform the “Dance of the S even V eils” and disrobe on stage. In New York, organizers led a crusade against Strauss’ version, forcing the Met- ropolitan Opera to cancel performance following its unveiling of the work in 1907—perhaps coinciding with the American visit referenced in the first letter. Even the German leader, Kaiser Wilhelm II, showed concern that Salome would damage Strauss’s career. The composer later noted that such “damage...enabled me to build my villa.” No big surprise, given his stated rate! A fascinating trio of letters.