Richard Strauss.
His father was the best horn player of his time, and his mentor was the greatest conductor of the era.
In the German music world, renowned for its excellence, he was a rare genius and masterpiece. Yet, in the prime of his career in his mid-thirties, in 1894─
He was experiencing the worst year of his life.
"Strauss's ambitious work 'Guntram', the worst challenge!"
"The shock of the opera world, the blatant obscenity and sensationalism of 'Guntram'!! "
"This is the worst failure... performance issues.."
"Damn bastards."
Philistines who know nothing about art.
Richard crumpled the newspaper he was reading and muttered.
Of course, he knew. His opera 'Guntram,' which had bombed spectacularly, was a tragedy born of his excessive ambition.
Scores that were too difficult, harmonies that were too precise, techniques that were too complex.
The pitfalls of being a musical prodigy.
His standards were too high, and when composing, he demanded unreasonable skills from the performers.
The result was inevitable. Yet, he still hadn't come to his senses.
'If they can't even do that... why are they doing music?'
If the performers had heard this, they might have bashed his head in with their instruments for such arrogance.
As he wavered between reality and self-adoration, beautiful, ivory-white arms wrapped around his neck.
"Are you still worried?"
"Huh? Oh, Pauline! My love!"
Richard stood up suddenly and lifted his beloved bride.
Sharing a sweet kiss like newly-weds, they exchanged affectionate glances.
And Pauline could see the worry in her beloved husband's eyes.
She looked at him with a soft gaze and asked,
"Were you still looking at that newspaper?"
"Huh? Ahaha. Well, I have to stay connected with the world…"
"Sulking like that while trying to stay connected…"
Ahem, ahem.
Richard cleared his throat and averted his gaze.
Pauline de Ahna.
She was the greatest achievement of his failed opera, 'Guntram,' as far as he was concerned—a wonderful wife.
Though, due to her military father, she was rather straightforward and occasionally rattled his delicate heart.
Pauline, seemingly understanding his feelings, held his face steady, looked into his eyes, and said,
"A man shouldn't be fussing over something that's already done. So, what about the piece you mentioned earlier?"
"Ah, well…"
"Well?"
"Ahem, ahem. I was rehearsing for the performance of 'Guntram' in Munich…"
"Excuses. You know how it will go anyway."
Ugh. Richard had to swallow his tears at his wife's blunt truth.
She was a dearly beloved wife, but at times like this, she could be overwhelming.
Couldn't she say something a bit more comforting? After all, she had been the lead in the opera.
If one were to exaggerate a bit, it was a piece that symbolized their love and brought them together.
Just as his pride was about to shatter, Pauline spoke softly.
"That's why... what do you think about operettas?"
"Operettas?"
Richard looked at Pauline, puzzled.
An operetta is a genre between a musical and an opera.
Though it once had its boom, it had significantly declined. One reason was that the French, being unhelpful, had made its pleasant content seem frivolous and vulgar.
Now, it was a genre enjoyed only on the cultural fringes of England and its colonies in America.
So why bring it up now?
He knew his partner wouldn't mention something without reason.
As expected, Pauline pulled out a flyer from her pocket and showed it to him.
"You've been having a hard time composing with all the rumours circulating lately, right? So I thought, why not change the environment a bit?"
"Hmm, let's see... Savoy Theatre?"
On the flyer was an advertisement for a composer position at the Savoy Theatre in London.
Usually, Richard Strauss, the pride of the German music world, wouldn't give such an ad from a provincial theater a second glance.
But Pauline had a specific reason for showing him this.
"Peter Perry, to be made into an operetta at the Savoy Theatre!?"
Richard jumped up.
Peter Perry, read as Peter Perry in German.
(T/N: This phrase is a combination of Korean and English.
<피터 페리>: This is the Korean transliteration of the name "Peter Perry" using Hangul (the Korean alphabet). In Korean, it would be pronounced roughly as "Pi-teo Pe-ri".<페터 페리>: This is an alternative transliteration of the same name, but following German pronunciation rules. In this version, it would be pronounced more like "Pe-teo Pe-ri".
In German, the letter 'P' is pronounced more like a 'P' sound, whereas in English it can sometimes sound more like a 'Pi' sound to Korean speakers, hence the difference in the first syllable (피 vs 페).)
After the death of the great German nationalist, mythologist, and musician Wagner, the German cultural scene was deeply saddened.
─Wagner is dead. The culture of the Germanic people has died with him.
─How long must we mourn Wagner? Can we not hear the sound of Thor's hammer again?
─It doesn't have to be opera or drama. Even a novel form like The Sorrows of Young Werther would be fine. We need a work that can elevate German culture!
And Richard, a Wagnerian himself, felt the same. Or rather, wasn't it said that a late blooming is the most sorrowful?
Due to his father's hatred of Wagner, he had denied him in life, but after his death, Richard had finally seen the beauty in his work.
The ideology of breaking away from stagnant music to show diverse expressions resonated deeply within him for some reason.
And what struck him the most was none other than program music.
─Music is not just something pleasant to hear. It should encompass everything as a totality of culture, resonating with the soul!
As an intellectual of Germany who loved literature and had pride in culture, it wasn't difficult for him to be inspired.
Peter Perry was part of that.
A work that balanced Christian culture, Greek culture, and Germanic culture, maintaining a perfect equilibrium.
Like Beowulf confronting Grendel or Siegfried slaying Fafnir, Peter's battle against the dark fairy bore a resemblance to Nietzsche's concept of the Übermensch. (T/N: Übermensch translated as "Overman", "Super-man")
Perhaps that's why many Germans were deeply captivated by this novel from the "culturally backward" country.
In some ways, even more than in its homeland, England.
In England, quite a few rejected it for its lack of rhythm, but this was resolved with the German translation.
The translators had brilliantly adapted it to the preferred style of German literature.
Richard Strauss was also deeply inspired by this work.
Immersed in various legends recently, he found no other work comparable.
And thus, the impact was immense.
"This, this masterpiece, by the island monkeys (Inselaffe)?"
Of course, it was natural since it was an English work, but such primal concerns didn't matter to him.
England, a musical wasteland. Creating such a great epic there?
Nein. Absolutely impossible.
It's just like those uncivilized pirates ruining excellent ingredients by throwing mud on them.
For someone who wanted to create a romantic story like Peter Perry, it was even more so.
Seeing her husband's expression, Pauline smiled brightly.
"How is it? Still can't think of anything to compose?"
"No, thank you. You've opened my eyes. This is no time to waste!"
Richard's eyes burned with passion.
It was the light of stars and the light of passion that had made Pauline fall for Richard.
***
"So you came all the way here?"
"Yes, indeed!!"
Wow, he's quite the bulldozer.
I looked at Strauss in disbelief.
To think he was such an ardent fan of my work…
Strauss, isn't he the one who composed the opening for 2001: A Space Odyssey?
I know it from those CFs or scenes where something stands up abruptly.
But can someone who created such music really match well with my work?
"It's an honour that you like my work so much."
"No, the honour is mine. I didn't expect the identity of the author, but... it's fascinating. No, rather, that's what makes you more of an 'Übermensch.'"
"Übermensch? That's too much praise."
"No, I understand well. The pain that doesn't kill us makes us stronger."
"Uh, um... yes."
Is it because of Monty's recent actions? I looked at him with a strange gaze. It's impressive how he can spout words only heard at 2 AM without drinking.
"Anyway! Now that I'm here, don't worry! I can create the perfect music for Peter Perry."
"Ah, speaking of which..."
I spoke candidly to him, who seemed overly confident.
"You seem to have a vision if you speak so confidently. Do you already have something prepared?"
"Of course!"
"You're already prepared?"
Unexpectedly, it wasn't me but Mr. Carte, the owner of this troupe, who was surprised at his confident response.
"Yes, I've read Peter Perry countless times and drawn the necessary scenes each time. Shall I play something for you?"
"Yes, please do."
"Thank you! Then…"
Strauss looked around confidently. He approached the piano in Mr. Carte's office and began to play.
And then.
'Wow...'
I momentarily forgot to breathe.
The fingers on the piano keys moved as gracefully and beautifully as a ballerina's legs, yet as swiftly as a hungry leopard sprinting.
The explosive sound flowing from his fingertips made me momentarily confused about whether I was in a theater office in London or a forest holding the breath of ancient times.
Indeed, Strauss was a genius composer whose name had endured into the 21st century for a reason.
The seamless flow of the melody was free in its transitions and nuances.
At times, it was playful, at times humorous, filling my heart with curiosity, and at other times adventurous.
'This is...!'
The scene of Peter first entering the fairy forest, feeling bewildered upon meeting Iruril and Winky, yet simultaneously overwhelmed with joy and wonder at their beauty and mystery, played vividly before my eyes.
Even though I didn't know much about classical music... I could only marvel.
"Whew! How was it?"
"Amazing, Mr. Strauss."
His confidence was well-founded. I was in awe.
However.
"Hmm, but... Author, this is a bit problematic."
"Is there an issue?"
It was Richard D'Oyly Carte, who had been listening with us, who interrupted.
At Carte's objection, Strauss responded with a defiant expression, as if questioning Carte's knowledge of music.
"No, the music is great. It's wonderful. But... isn't it too difficult?"
"Ah..."
As a mere listener, I hadn't thought much of it, but from a manager's perspective, it seemed different. Even I, who knew nothing about music, could tell it was a piece of immense technical skill.
And that wasn't the end of it.
"And let me ask... How do you envision the orchestral arrangement?"
"Well, excluding the harp, we need at least 90 string instruments, don't we? If we create a dense section with eight horns like in The Ring of the Nibelung, it would be incomparable."
Although Strauss said something, to me, it sounded like a foreign language.
But Carte, understanding perfectly, nodded with a sigh.
"Yes, I expected that. No one could orchestrate as well as your master."
The problem was.
"No matter how large our troupe is, it's impossible to have such a large-scale ensemble. Moreover, finding musicians capable of performing such a piece... is practically impossible."
"But we cannot compromise on the quality!"
"No matter what you say, it's realistically impossible. Haven't you felt that recently? I've heard about the 'Guntram' incident."
"Hmm! But..."
Was there an issue with that? I scratched my head, watching them.
I didn't know much, but Strauss's music was so captivating that it was a shame to dismiss it. Yet, ignoring practicalities wasn't an option either.
Their debate grew more intense, inevitably becoming emotional.
Is there no way to solve this?
"Let's all calm down for a moment."
"Haa, haa... Apologies. I got a bit emotional."
"No, it's understandable. That's the nature of being a creator, isn't it?"
Especially since Strauss was a true artist, uncompromising by nature.
However, ignoring practicalities isn't an option.
What's needed is arbitration.
I interjected between them.
"First, this isn't something we need to decide today."
"Hmm..."
"That's true."
"So, Mr. Carte?"
"Yes, author?"
"I'll invest additional funds if necessary, so could you try to find the musicians?"
"Hmm, understood."
Top-class musicians aren't swayed by money alone, but we can't sit idle either.
You never know, with enough gold, principles might bend.
And.
"Meanwhile, Mr. Strauss, could you consider alternative arrangements?"
"Alternative arrangements..."
"I'm not well-versed in music, but if we can't expand, we can adapt. Didn't Wagner say that the human voice is an instrument? Perhaps you can utilize the actors' performances or modify the instrumentation."
"Hmm, indeed..."
My casual suggestion seemed to spark something in him.
"Certainly, Wagner would create instruments if needed. I merely followed his arrangement without contemplating its essence. How did I not think of this? If I had realized this earlier, 'Guntram' could have been better..."
He exaggeratedly raised his head, then fixed his glittering eyes on me, grasping my hand.
"Thank you, author, you've opened my eyes! Next time, I'll show you my own Peter Perry, not just a half measure!"
"Ah, yes... Thank you?"
Then, with a powerful look at Carte, he stormed out. Truly a whirlwind of a man.
I wondered, is this okay? Despite being the original author, Carte is the actual employer.
Anyhow.
"Now that the music seems to be settled, shall we check the other aspects?"