"I first heard 'Salome' under Schuch in Dresden in 1907, and two years later in Prague 'Elektra' was performed there by the Czech National Theatre, not by the German Opera. That was splendid. Then came 'Der Rosenkavalier' and everything was drowned in sugared water."
Geoff, I stand by my inference.
Klemperer's account of Strauss's 'anti-Semitic' remark is on p46 (I don't know where you get p420 from - my edition has only 140 pages), and then follow his deprecating remarks about Strauss remaining in Germany during WW2. Klemperer also wrote a short post-war essay on Strauss, now published in "Klemperer on Music" (Toccata Press, 1986), which relates some of the foregoing. In none of these writings or transcripts, I must admit, do I sense anything like the level of 'disgust' you suggest Klemperer had toward Strauss. There is much to indicate high regard, and it certainly didn't stop Klemperer visiting Strauss immediately post-war at Pontresina, Strauss having just finished the Metamorphosen which Klemperer then conducted in Budapest in 1948, and a year earlier, Rosenkavalier.
If you read Heyworth's biography of Klemperer, Vol. 2 pp 4, 22, 27, 37, 77 & 142, you will find that Klemperer didn't try to get Strauss's works banned, but in the early 1930s personally boycotted conducting Strauss where he could. He abandoned this in 1936. (Strauss had resigned from his position as president of the Reichsmusikkammer the year earlier.) The account on p142 is illuminating, where Furtwaengler's case for remaining in WW2 Germany was also under scrutiny, and Klemperer was queried on why he still wanted to programme Strauss, causing him to retort "Furtwaengler didn't compose Der Rosenkavalier".
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