Group lot of four TLSs in German from Hans Pfitzner, nine total pages on his personal letterhead ranging in size from 8 x 9 to 8.25 x 11.5, dated between 1932 and 1940. Translated portions from the three longer letters are as follows:
February 4, 1934: “Allow me to get back to our last talk. You said at that time, that the reason for the complete cancellation of my opera ‘The Heart’ (Das Herz) was, that first of all, the organization ‘German Stage’ (Deutsche Buehne) had refused to tolerate that this piece be played, and secondly, that the opera had already gone through a subscription.” After disputing these reasons, Pfitzner arises at a third, “That would leave the assumption, that a purely personal reason existed, which would move you to dismiss such a piece, which I consider entirely equal in value and effect to my other stage works. But I am not aware of any unfriendly action or attitude on my part. For to hand over the debut performance of two of my greatest works to the Munich State Theater, namely of ‘Palestrina’ and ‘Heart,’ cannot seriously be considered as something that gets punished. And I do not think, that I would have been rewarded, if I had not given a single one of my works to the Munich State Theater for the debut performance.”
June 6, 1934: “You are wrong, if you think, that I had called Deputy Assistant Under-Secretary Mezger, in order to find out from him, whether or not I will conduct the ‘Vampyr’ on the 14th. Undersecretary Mezger called me…As for the Vampyr performance on the 14th, I agree to take on the management for this evening, but I request to allow for one, better yet, two extensive ensemble rehearsals at the piano, and absolutely one rehearsal on the stage or practice stage for Mrs. Feuge, also the scenes of Malwina. Mrs. Feuge has not had a single stage rehearsal with orchestra, and, as is well known, has substituted without such a rehearsal, and is willing again, to perform without an orchestra rehearsal; however, it is an artistic necessity, for her security, to rehearse her scenes once more on stage with the piano. I should be able to ask your office to let me know the time and place of these rehearsals. Heil Hitler!”
March 20, 1940: “Following our discussion today, in which we briefly touched on the stage effect, or the lack of it, of ‘Heart,’ I do not want to neglect to sum up my opinion on this matter for you. I do not think that you will suspect that I lack the necessary objectivity in regard to my works and their effect on the audience. In the ‘Rose of the Love Garden’ for instance, I decided to cut 3/4 of one act on account of the stage effect, and with it gave up a wealth of music, which was not among the worst of my compositions. And I do understand clearly, that in an age and environment, in which ‘Butterfly,’ ‘Tosca,’ etc. constitute indisputable theater successes and dominate the repertoire of every large and small German theater, that my operas will not just like that, and in any circumstance, draw the audience into the theater in droves.” In overall fine condition.
Pfitzner was known for his strong nationalist sentiments and his belief in the preservation of German cultural heritage, inclinations that resonated with certain elements of the Nazi regime's cultural policies. In 1933, when the Nazis came to power, Pfitzner initially welcomed the change in government due to his belief that it might bring about a renaissance of German culture. He dedicated his Seventh Symphony to Adolf Hitler, which signaled a degree of support for the regime. Pfitzner's relationship with the Nazi regime was complicated by the fact that he was seen as a representative of traditional German music and culture, even though his personal beliefs and interactions with the regime were not fully in line with its objectives. After the war, he faced denazification proceedings, which resulted in his temporary banishment from public musical life. Despite this, Pfitzner continued to compose and conduct until his death in 1949.
