Beschreibung:

Strauss, Richard SERIES OF 23 AUTOGRAPH LETTERS, SIGNED ("DRRICHARDSTRAUSS"), TO DR. HANS ROSEN, UNPUBLISHED, AND AN AUTOGRAPH DRAFT OF A SPEECH ABOUT TOD UND VERKLÄRUNG mainly about the Japanische Festmusik, op.84, discussing the composition of the work and its first recording, requesting that it take place in Munich rather than in Berlin "as there one lives in the cellar", discussing his opera Guntram and matters concerning the Ständiger Rat für die internationale Zusammenarbeit der Komponisten, of which he is the president, enquiring when he will receive written documents concerning Goebbels's desired changes to the statutes, asking Rosen to convey his apologies to Goebbels, as it will be impossible for him to record Till Eulenspiegel during this fatiguing week, observing that musicians are always the stepchildren of good fortune, and most composers are reduced to receiving State hand-outs, informing him of his decision against proceeding with the Jessonda project, adding that he has promised Clemens Krauss to participate in arranging Gluck's Alceste for Salzburg; together with Strauss's autograph manuscript of a speech at a performance of Tod und Verklärung by the La Scala Orchestra, given in Garmisch on 17 August 1941 ...Nach Berlin kann ich vorläufig nicht, auf jeden Fall so lange nicht kommen, als man dort im Keller wohnt...Wir Musikanten sind doch immer die Stiefkinder des Glücks: jetzt werden die meisten Componisten auch noch zu Staatsalmosenempfängern degradiert u. aus dem von Ihnen selbstgeschaffenen Heim durch die sog. U"Componisten" vertrieben...Ich bin ohne jede Nachricht von Herrn Dr. Drewes, wie es mit der für 3. März geplanten Sitzung steht u. erwarte bis jetzt vergebens den Bescheid von Dr. Drewes u. weiteren Herren des Ministeriums, den Sie mir mündlich in Aussicht gestellt hatten, damit ich schon hier Gelegenheit habe, Einsicht zu gewinnen, wie sich die Wünsche des Herrn Ministers u. einen Ihrer dazu geäußerten Vorschläge in die Tat umgesetzt haben... A remarkable series of letters showing how Richard Strauss dealt with Nazi functionaries at the Propaganda Ministry set up by Goebbels in 1933 (the Reichskulturkammer or RKK). Strauss, who had been forced to resign his presidency of the Reichsmusikkammer in 1935, proved, in the event, rather difficult to control. Strauss nevertheless strove to maintain some relations with the regime, if only to protect his Jewish daughter-in-law and grandsons from persecution. Strauss mentions Goebbels and Rosen's immediate superior, Heinz Drewes, but not the Head of Department, Peter Raabe. These letters, which have hitherto remained inaccessible to Strauss scholarship, provide a fascinating insight into Strauss's delicate dance with the National-Socialist apparatus, and the circumstances surrounding one of the works he wrote to maintain relations with the Reich, the Japanische Festmusik, Op.84. Strauss was only one of a number of European composers who had been approached to write music in celebration of the 2600th anniversary of the Japanese Empire (another was Benjamin Britten, with the Sinfonia da Requiem). The work was completed at Merano in 1940 and first performed in Tokyo on 7 December of that year. See N. Del Mar, Richard Strauss, ii (London, 1969), p.294. 41 pages, various sizes, including 6 postcards and invitation cards, one autograph address panel, Strauss's speech annotated on the verso by Rosen, one letter with a Nazi salutation, Merano, Garmisch and elsewhere, 27 April 1940-4 June 1942, some light creasing, integral of the letter of 14 October 1941 splitting along horizontal fold, very light spotting to a few letters A remarkable series of letters showing how Richard Strauss dealt with Nazi functionaries at the Propaganda Ministry set up by Goebbels in 1933 (the Reichskulturkammer or RKK). Strauss, who had been forced to resign his presidency of the Reichsmusikkammer in 1935, proved, in the event, rather difficult to control. Strauss nevertheless strove to mai