1. Home
  2. Editions
  3. Briefwechsel Ferruccio Busoni – Natalie Curtis
  4. Saturday, February 18, 1911

Natalie Curtis to Ferruccio Busoni arrow_forward

New York · February 18, 1911

Facsimile
Diplomatic transcription
Reading version
XML
Mus.ep. N. Curtis 1 (Busoni-Nachl. B II)
Mus.Nachl. F. Busoni B II, 1348
[1]
Feb 18th 1911.

Dear Mr Busoni,

My Mother wants me
to tell you how glad we should
all be if you would consider
yourself permanently invited
to come to us at any
free hour when you have
time and care to. Will
you not treat us quite
informally and telephone
any time that it would
be possible for you to
come, with the assurance
that we will always
be glad at all times
to have you! –
Feb 18th 1911.

Dear Mr Busoni,

my mother wants me to tell you how glad we should all be if you would consider yourself permanently invited to come to us at any free hour when you have time and care to. Will you not treat us quite informally and telephone any time that it would be possible for you to come, with the assurance that we will always be glad at all times to have you!

Some time ago I left the order with Schirmer to send me your book whenever it was published. I find it difficult to express to you what pleasure (a most inadequate word!) this little volume has given me. I began it late in the evening but could not put it down until I had finished it. How true it is that when a personality is truly focussed, if I may so express it, and symmetrically developed in mind as well as in feeling, the different forms of expression, whether in written or spoken words, or in music or in aught else, reflect the same individual. With lesser or ill-balanced natures this is not so, I think – the different expressions are often illogical contradictions of one another. But with you one sees in what you do (at least in the little that I have been privileged to know of it) both co-relation and sequence. Your book is like your playing – the same largeness of grasp and clarity of thought, the same grace and poetry of imagination, the same reasoning. But it is the content of the book that so particulary stirred me. I devoured it like a hungry person! – When I was eighteen years old I came for the first time into touch with Eastern music – Hindu and Arabic. It was a mere touch, but the little that I heard made me see that there was a vast horizon beyond the horizon line that had bounded my little musical world. Then I was a great deal amid the solitudes of Nature, where there was no music but Nature’s own, with its infinite gradations of sound. And this music of Nature! The sweep of the prairie-grasses, the song of the wind down rocky-passes and in the mountains – how limited are our crude intervals compared with Nature’s keyboard! – Of course the years that I spent in the collecting of barbaric music attuned my ears to successions of intervals and rhythmic forms not European. People suggested my harmonizing the Indian melodies – but as I had heard them with only the nature-sounds as background I could only reply that I was wholly inadequate to such a task, as I can not yet conceive what harmonies (the outgrowth of our European tonal system) would fit these melodies.

Some years ago I spent all summer at the World’s Fair in St. Louis Die Weltausstellung von 1904 in St. Louis, offiziell “Louisiana Purchase Exposition”, umfasste neben Neuerung aus den Bereichen Medizin, Verkehr und Kommunikationstechnologie sowie den Olympischen Spielen dieses Jahres auch menschenzooartige Ausstellungen von “Primitiven” in “Völkerschauen”. where there were gathered in the anthropological department several groups of Eastern peoples as well as groups from Africa and the two American continents. The gentleman at the head of the anthropological department gave me a “pass” to enter the grounds at times when there were no other visitors. I made friends with these strange peoples who taught me some of their songs. I spent all summer – listening. And came home with two notebooks filled with things that were interesting to me though of course worthless for publication because the study could be at best but superficial, in such a short time. But all this made me long for just such a work as yours! You have shown the way, and broken the barriers, and now we can only hope that the exigencies of your public career will yet leave you enough time to carry out what your book prophecies. May you live many, many years to complete this widening of the pathway of the European art of music; for are not you pecurliarly fitted by nature for such a work, having so keenly analytical and logical a mind?

It seems to me that I have written a great deal, and a great deal, too, about my small self. – But you will see by this why I am so alertly receptive to the message of your book. If I had had a better, a more complete musical education to start with, and if I were free from other duties I should ask you to take me as a pupil in the working out of the new system!

We are looking forward to the Berceuse élégiaque with greatest interest. Die Berceuse élégiaque wurde am 21. Februar 1911 unter der Leitung von Gustav Mahler in New York uraufgeführt; aus dem Briefwechsel geht nicht hervor, ob Curtis das abendliche Konzert und/oder die Generalprobe am Vormittag besucht hat. I hope to hear the rehearsal also on February 21, 1911Tuesday morning.

With many greetings from my whole family who know you well from afar.

Sincerely yours

Natalie Curtis.

 
                                                                
<div xmlns="http://www.tei-c.org/ns/1.0" type="split">
            
            <note type="shelfmark" resp="#archive" place="top-left">
               <subst><del rend="strikethrough">Mus.ep. N. Curtis 1 (Busoni-Nachl. <handShift new="#archive_red"/>B II<handShift new="#archive"/>)</del><add place="below">Mus.Nachl. F. Busoni B II, 1348</add></subst>
            </note>
            <note type="foliation" resp="#archive" place="top-right">[1]</note>
            
            <opener>
               <byline rend="top-right">
                  <address>
                     <addrLine><placeName key="E0500978">33 West 69.</placeName></addrLine>
                     <!-- Entität; wann hat Curtis dort gelebt? → New Yorker Adressbücher -->
                  </address>
               </byline>
               <dateline rend="right space-below">
                  <date when-iso="1911-02-18">Feb 18<seg rend="sup underline">th</seg> 1911</date>.
               </dateline>
               <salute rend="indent">Dear <persName key="E0300017">Mr Busoni</persName>,</salute>
            </opener>
            
            <p rend="indent-3-first space-above">
               <rs key="E0300846"><choice><orig>M</orig><reg>m</reg></choice>y <choice><orig>M</orig><reg>m</reg></choice>other</rs> wants me
               <lb/>to tell you how glad we should
               <lb/>all be if you would consider
               <lb/>yourself <hi rend="underline">permanently</hi> invited
               <lb/>to come to us at any
               <lb/>free hour when you have 
               <lb/>time and care to. Will
               <lb/>you not treat us quite 
               <lb/>informally and telephone
               <lb/>any time that it would
               <lb/>be possible for you to
               <lb/>come, with the assurance
               <lb/>that we will always
               <lb/>be glad <hi rend="underline">at all times</hi>
               <lb/>to have you!<orig> –</orig></p>
            
            </div>
2Facsimile
2Diplomatic transcription
2XML
2.

Some time ago I left
the order with Schirmer to send
me your book whenever it
was published. I find it
difficult to express to you
what pleasure (a most
inadequate word!) this little
volume has given me. I
began it late in the evening
but could not put it
down until I had finished
it. How true it is that
when a personality is
truly focussed, if I may
so express it, and sym-
metrically developed in
mind as well as in feeling,
the different forms of
expression, whether in written Deutsche
Staatsbibliothek
Berlin
or spoken words, or in music 

                                                                
<div xmlns="http://www.tei-c.org/ns/1.0" type="split">
            
            <note type="foliation" resp="#major_hand" place="top-left">2.</note>
            
            <p type="pre-split" rend="indent-first">Some time ago I left
               <lb/>the order with <orgName key="E0600129">Schirmer</orgName> to send
               <lb/>me <rs key="E0400043">your book</rs> whenever it
               <lb/>was published. I find it
               
               <lb/>difficult to express to you
               <lb/>what pleasure (a most 
               <lb/>inadequate word!) <rs key="E0400043">this little
                  <lb/>volume</rs> has given me. I
               <lb/>began it late in the evening
               <lb/>but could not put it 
               <lb/>down until I had finished
               <lb/>it. How true it is that
               <lb/>when a personality is
               <lb/>truly focussed, if I may
               <lb/>so express it, and sym
               <lb break="no"/>metrically developed in
               <lb/>mind as well as in feeling,
               <lb/>the different forms of 
               <lb/>expression, whether in written
               
               <note type="stamp" place="margin-left" resp="#dsb_st_red">
                  <stamp rend="round border align(center) small">Deutsche
                     <lb/>Staatsbibliothek
                     <lb/><placeName key="E0500029"><hi rend="spaced-out">Berlin</hi></placeName>
                  </stamp>
               </note>
               
               <lb/>or spoken words, or in music
               
               </p></div>
3Facsimile
3Diplomatic transcription
3XML

3. or in aught else, reflect the same
individual. With lesser or ill-balanced
natures this is not so, I think – the differ-
ent expressions are often illogical contradic-
tions of one another. But with you one
sees in what you do (at least in the little
that I have been privileged to know
of it) both co-relation and sequence.
Your book is like your playing – the
same largeness of grasp & clarity of
thought, the same grace & poetry of
imagination, the same reasoning. But
it is the content of the book that so
particulary stirred me. I devoured
it like a hungry person! – When I
was eighteen years old I came for 

                                                                
<div xmlns="http://www.tei-c.org/ns/1.0" type="split"><p rend="indent-first" type="split">
               
               <note type="foliation" resp="#major_hand" place="top-left">3.</note>
               
               or in aught else, reflect the same 
               <lb/>individual. With lesser or ill-balanced	
               <lb/>natures this is not so, I think – the differ
               <lb break="no"/>ent expressions are often illogical contradic
               <lb break="no"/>tions of one another. But with you one
               <lb/><add place="margin-left">sees</add> in what you do (at least in the little
               <lb/>that I have been privileged to know 
               <lb/>of it) both co-relation and sequence.
               <lb/><rs key="E0400043">Your book</rs> is like your playing – the 
               <lb/>same largeness of grasp <choice><abbr>&amp;</abbr><expan>and</expan></choice> clarity of 
               <lb/>thought, the same grace <choice><abbr>&amp;</abbr><expan>and</expan></choice> poetry of 
               <lb/>imagination, the same reasoning. But
               <lb/>it is the content of <rs key="E0400043">the book</rs> that so
               <lb/>particulary stirred me. I devoured
               <lb/>it like a hungry person! – When I
               <lb/>was eighteen years old I came for 
               
               </p></div>
4Facsimile
4Diplomatic transcription
4XML

4. the first time into touch with Eastern
music – Hindu & Arabic. It was a mere
touch, but the little that I heard made
me see that there was a vast horizon
beyond the horizon-line that had bounded
my little musical world. Then I was
a great deal amid the solitudes of
Nature, where there was no music but
Nature’s own, with its infinite gradations
of sound. And this music of Nature! The
sweep of the prair[i]e-grasses, the song
of the wind down rocky-passes and
in the mountains – how limited are
our crude intervals compared with
Nature’s key-board! – Of course the
years that I spent in the 

                                                                
<div xmlns="http://www.tei-c.org/ns/1.0" type="split"><p rend="indent-first" type="split">
               
               <note type="foliation" resp="#major_hand" place="top-left">4.</note>
               
               the first time into touch with Eastern
               <lb/>music – Hindu <choice><abbr>&amp;</abbr><expan>and</expan></choice> Arabic. It was a mere
               
               <lb/>touch, but the little that I heard made
               <lb/>me see that there was a vast horizon
               <lb/>beyond the horizon<choice><orig>-</orig><reg> </reg></choice>line that had bounded
               <lb/>my little musical world. Then I was
               <lb/>a great deal amid the solitudes of 
               <lb/>Nature, where there was no music but 
               <lb/>Nature’s own, with its infinite gradations
               <lb/>of sound. And this music of Nature! The
               <lb/>sweep of the prair<supplied reason="omitted">i</supplied>e-grasses, the song 
               <lb/>of the wind down rocky-passes and
               <lb/>in the mountains – how limited are
               <lb/>our crude intervals compared with
               <lb/>Nature’s key<orig>-</orig>board! – Of course the 
               <lb/>years that I spent in the
               
               </p></div>
5Facsimile
5Diplomatic transcription
5XML

5.

B II, 1348
collecting of barbaric music
attuned my ears to successions
of intervals & rhythmic forms
not European. People suggested
my harmonizing the Indian
melodies – but as I had
heard them with only the
nature-sounds as back-ground
I could only reply that I
was wholly inadequate to
such a task, as I can not
yet conceive what harmonies
(the outgrowth of our Euro-
pean tonal system) would
fit these melodies.

Some years
ago I spent all summer
at the World’s Fair in
St. Louis Die Weltausstellung von 1904 in St. Louis, offiziell “Louisiana Purchase Exposition”, umfasste neben Neuerung aus den Bereichen Medizin, Verkehr und Kommunikationstechnologie sowie den Olympischen Spielen dieses Jahres auch menschenzooartige Ausstellungen von „Primitiven“ in „Völkerschauen“. where there
were gathered in the 

                                                                
<div xmlns="http://www.tei-c.org/ns/1.0" type="split"><p rend="indent-first" type="split">
               
               <note type="foliation" resp="#major_hand" place="top-left">5.</note>
               
               <note type="shelfmark" resp="#archive" place="top">B II, 1348</note>
               
               collecting of barbaric music
               
               <lb/>attuned my ears to successions
               <lb/>of intervals <choice><abbr>&amp;</abbr><expan>and</expan></choice> rhythmic forms
               <lb/>not <placeName key="E0500943">European</placeName>. People suggested
               <lb/>my harmonizing the Indian
               <lb/>melodies – but as I had
               <lb/>heard them with only the 
               <lb/>nature-sounds as back<orig>-</orig>ground
               <lb/>I could only reply that I
               <lb/>was wholly inadequate to 
               <lb/>such a task, as I can not 
               <lb/>yet conceive what harmonies
               <lb/>(the outgrowth of our <placeName key="E0500943">Euro
               <lb break="no"/>pean</placeName> tonal system) would
               <lb/>fit these melodies.</p>
            
            <p type="pre-split" rend="indent-4-first">Some years
               <lb/>ago I spent all summer
               <lb/>at the World’s Fair in 
               <lb/><placeName key="E0500084">St. Louis</placeName>
               
               <note type="commentary" resp="#E0300824">Die Weltausstellung von <date when-iso="1904">1904</date> in <placeName key="E0500084">St. Louis</placeName>, offiziell <title>Louisiana Purchase Exposition</title>, umfasste neben Neuerung aus den Bereichen Medizin, Verkehr und Kommunikationstechnologie sowie den Olympischen Spielen dieses Jahres auch menschenzooartige Ausstellungen von <soCalled>Primitiven</soCalled> in <soCalled>Völkerschauen</soCalled>.</note>
               
               where there 
               <lb/>were gathered in the
               
               </p></div>
6Facsimile
6Diplomatic transcription
6XML

[6] anthropological department
several groups of Eastern
peoples as well as groups
from Africa & the two
American continents. The
gentleman at the head
of the anthropological
department gave me a
“pass” to enter the grounds
at times when there were
no other visitors. I made
friends with these strange
peoples who taught me
some of their songs. I
spent all summer, –
listening. And came home
with two note-books
filled with things that Deutsche
Staatsbibliothek
Berlin
were interesting to me 

                                                                
<div xmlns="http://www.tei-c.org/ns/1.0" type="split"><p rend="indent-4-first" type="split">
               
               <note type="foliation" resp="#archive" place="top-left">[6]</note>
               
               anthropological department
               <lb/>several groups of Eastern
               <lb/>peoples as well as groups
               <lb/>from <placeName key="E0500945">Africa</placeName> <choice><abbr>&amp;</abbr><expan>and</expan></choice> <rs type="places" key="E0500944 E0500976">the two
               <lb/><placeName key="E0500942">American</placeName> continents</rs>. The
               
               <lb/>gentleman at the head 
               <lb/>of the anthropological 
               <lb/>department gave me a
               <lb/><soCalled rend="dq-uu">pass</soCalled> to enter the grounds
               <lb/>at times when there were
               <lb/>no other visitors. I made
               <lb/>friends with these strange
               <lb/>peoples who taught me 
               <lb/>some of their songs. I
               <lb/>spent all summer<orig>,</orig> –
               <lb/><hi rend="underline">listening</hi>. And came home
               <lb/>with two note<orig>-</orig>books
               <lb/>filled with things that 
               
               <note type="stamp" place="margin-left" resp="#dsb_st_red">
                  <stamp rend="round border align(center) small">Deutsche
                     <lb/>Staatsbibliothek
                     <lb/><placeName key="E0500029"><hi rend="spaced-out">Berlin</hi></placeName>
                  </stamp>
               </note>
               
               <lb/>were interesting to me
               
               </p></div>
7Facsimile
7Diplomatic transcription
7XML

[7] though of course worthless for publica-
tion because the study could be at
best but superficial, in such a
short time. But all this made
me long for just such a work as
yours! You have shown the way, &
broken the barriers, and now we can
only hope that the exigencies of your
public career will yet leave you
enough time to carry out what
your book prophecies. May you
live many, many years to complete
this widening of the pathway of
the European art of music; for are
not you pecurliarly fitted by nature 

                                                                
<div xmlns="http://www.tei-c.org/ns/1.0" type="split"><p rend="indent-4-first" type="split">
               
               <note type="foliation" resp="#archive" place="margin-left" rend="rotate(-90)">[7]</note>
               
               though of course worthless for publica
               <lb break="no"/>tion because the study could be at
               <lb/>best but superficial, in such a 
               <lb/>short time. But all this made
               <lb/>me long for just such a work as
               <lb/>yours! You have shown the way, <choice><abbr>&amp;</abbr><expan>and</expan></choice>
               <lb/>broken the barriers, and now we can
               <lb/>only hope that the exigencies of your 
               <lb/>public career will yet leave you
               <lb/>enough time to carry out what
               <lb/><rs key="E0400043">your book</rs> prophecies. May you 
               <lb/>live many, many years to complete
               <lb/>this widening of the pathway of
               <lb/>the <placeName key="E0500943">European</placeName> art of music; for are
               <lb/>not you pecurliarly fitted by nature
               
               
               </p></div>
8Facsimile
8Diplomatic transcription
8XML

[8] for such a work, having so keenly analytical
& logical a mind?

It seems to me that
I have written a great deal, and a
great deal, too, about my small self –
But you will see by this why I am
so alertly receptive to the message
of your book. If I had had a better,
a more complete musical education
to start with, I sh & if I were free
from other duties I should ask you to
take me as a pupil in the working
out of the new system!

We are looking forward
to the Berceuse elegiaque with greatest
interest. Die Berceuse élégiaque wurde am 21. Februar 1911 unter der Leitung von Gustav Mahler in New York uraufgeführt; aus dem Briefwechsel geht nicht hervor, ob Curtis das abendliche Konzert und/oder die Generalprobe am Vormittag besucht hat. I hope to hear the rehearsal
also on February 21, 1911Tuesday morning.


[left border, lengthwise:]

With many greetings from my whole
family who know you well from afar.

Sincerely yours

Natalie Curtis.

 
                                                                
<div xmlns="http://www.tei-c.org/ns/1.0" type="split"><p rend="indent-4-first" type="split">
               
               <note type="foliation" resp="#archive" place="top-left" rend="rotate(-90)">[8]</note>
               
               for such a work, having so keenly analytical
               <lb/><choice><abbr>&amp;</abbr><expan>and</expan></choice> logical a mind?</p>
            
            <p rend="indent-4-first">It seems to me that
               <lb/>I have written a great deal, and a
               <lb/>great deal, too, about my small self<reg>.</reg> –
               <lb/>But you will see by this why I am
               <lb/>so alertly receptive to the message
               <lb/>of <rs key="E0400043">your book</rs>. If I had had a better,
               <lb/>a more complete musical education
               <lb/>to start with, <del rend="strikethrough">I sh</del> <choice><abbr>&amp;</abbr><expan>and</expan></choice> if I were free
               <lb/>from other duties I should ask you to
               <lb/>take me as a pupil in the working
               <lb/>out of the new system!</p>
            
            <p rend="indent-4-first">We are looking forward
               <lb/>to the <title key="E0400015">Berceuse <choice><orig>elegiaque</orig><reg>élégiaque</reg></choice></title> with greatest
               <lb/>interest.
               
               <note type="commentary" resp="#E0300824">Die <title key="E0400015">Berceuse élégiaque</title> wurde am <date when-iso="1911-02-21">21. Februar 1911</date> unter der Leitung von <persName key="E0300047">Gustav Mahler</persName> in <placeName key="E0500031">New York</placeName> uraufgeführt; aus dem Briefwechsel geht nicht hervor, ob <persName key="E0300818">Curtis</persName> das abendliche Konzert und/oder die Generalprobe am Vormittag besucht hat.</note>
               
               I hope to hear the rehearsal
               <lb/><seg rend="align(center)">also on <date when-iso="1911-02-21">Tuesday</date> morning.</seg></p>
            
            <cb type="margin-left" rend="rotate(90)"/>
            
            <closer>
               <salute>With many greetings from my whole
                  <lb/>family who know you well from afar.</salute>
               <salute rend="align(center)">Sincerely yours</salute>
               <signed rend="align(right)"><persName key="E0300818">Natalie Curtis</persName>.</signed>
            </closer>
         </div>
9Facsimile
9Diplomatic transcription
9XML
From N. Curtis
33 West 69
New York City
New York, N.Y. STA. N
FEB19
8-PM
1911
Mr Ferruccio Busoni
c/o Hanson
437. Fifth Ave
New York.
Deutsche
Staatsbibliothek
Berlin 
                                                                
<address xmlns="http://www.tei-c.org/ns/1.0">
                        <addrLine>From <persName key="E0300818"><choice><abbr>N.</abbr><expan>Natalie</expan></choice> Curtis</persName></addrLine>
                        <addrLine><placeName key="E0500978">33 West 69</placeName></addrLine>
                        <addrLine><placeName key="E0500031">New York City</placeName></addrLine>
                     </address>

                                                                <note xmlns="http://www.tei-c.org/ns/1.0" type="stamp" place="top-left" resp="#post">
                        <stamp xml:id="post_abs" rend="round border majuscule align(center)">
                           <placeName key="E0500031">New York</placeName>, <placeName key="E0500871">N.Y. S<seg rend="small">TA</seg>.</placeName> N
                           <lb/><date when-iso="1911-02-19">FEB19
                              <lb/>8-PM
                              <lb/>1911
                           </date>
                        </stamp>
                     </note>
                                                                
<address xmlns="http://www.tei-c.org/ns/1.0" rend="align(right)">
                        <addrLine><persName key="E0300017">M<seg rend="sup underline">r</seg> Ferruccio Busoni</persName></addrLine>
                        <addrLine><hi rend="underline"><seg rend="sup">c</seg>/<seg rend="sub">o</seg> <persName key="E0300902">Hanson</persName></hi></addrLine>
                        <addrLine><placeName key="E0500977">437. Fifth Ave</placeName></addrLine>
                        <addrLine><placeName key="E0500031">New York</placeName>.</addrLine>
                     </address>

                                                                <note xmlns="http://www.tei-c.org/ns/1.0" type="stamp" place="bottom-left" resp="#dsb_st_red">
                        <stamp rend="round border align(center) small">Deutsche
                           <lb/>Staatsbibliothek
                           <lb/><placeName key="E0500029"><hi rend="spaced-out">Berlin</hi></placeName>
                        </stamp>
                     </note>
10Facsimile
10Diplomatic transcription
10XML
Nachlaß Busoni B II
Mus.ep. N. Curtis 1
Mus.Nachl. F. Busoni B II, 1348-Beil. 
                                                                <note xmlns="http://www.tei-c.org/ns/1.0" type="shelfmark" resp="#archive" place="bottom-center">
                        <subst><del rend="strikethrough">
                              <stamp>Nachlaß Busoni <handShift new="#archive_red"/>B II</stamp>
                              Mus.ep. N. Curtis 1
                           </del><add place="below">Mus.Nachl. F. Busoni B II, 1348-Beil.</add></subst>
                     </note>

Document

buildStatus: proposed XML Facsimile Download / Cite

Provenance
Deutschland | Berlin | Staatsbibliothek zu Berlin · Preußischer Kulturbesitz | Musikabteilung mit Mendelssohn-Archiv | Nachlass Ferruccio Busoni | Mus.Nachl. F. Busoni B II, 1348 | olim: Mus.ep. N. Curtis 1 |

proof Kalliope

Condition
Brief ist gut erhalten, Schaden am Umschlag durch Entfernung der Briefmarke oben rechts.
Extent
2 Bogen, 8 beschriebene Seiten
Collation
Seitenfolge: 1, 3, 2, 4, 5, 7, 6, 8 (2, 4, 6, 8 im Querformat)
Hands/Stamps
  • Hand des Absenders Natalie Curtis, Brieftext in schwarzer Tinte, in lateinischer Schreibschrift
  • Hand des Archivars, der mit Bleistift die Signaturen eingetragen, eine Foliierung vorgenommen hat
  • Hand des Archivars, der die Zuordnung innerhalb des Busoni-Nachlasses mit Rotstift vorgenommen hat
  • Bibliotheksstempel (rote Tinte)
  • Bibliotheksstempel (blaue Tinte)
  • Poststempel (schwarze Tinte)
Image source
Staatsbibliothek zu Berlin · Preußischer Kulturbesitz: 1 • 2 • 3 • 4 • 5 • 6 • 7 • 8 • 9 • 10

Summary
Curtis bietet Busoni an, sie jederzeit während seiner USA-Tournee zu besuchen; hat den Entwurf einer neuen Ästhetik der Tonkunst „verschlungen“; berichtet von ihrer mit 18 Jahren zuerst erfahrenen Horizonterweiterung durch außereuropäische Musik und von auf der Weltausstellung in St. Louis 1904 notierten Liedern indigener Völker; sieht in Busonis Entwurf einen Weg zur Überwindung europäischer Kunstmusik; freut sich auf die Uraufführung der Berceuse élégiaque.
Incipit
“My mother wants me to tell you”

Editors in charge
Christian Schaper Ullrich Scheideler
prepared by
Revision
October 21, 2023: proposed (transcription and coding done, awaiting proofreading)
Direct context
Following
Near in this edition