This chapter is the second of three to consider Puccini’s travels, both for work and leisure. It covers his extensive travels throughout central Europe, primarily throughout Germany and the Austro-Hungarian Empire. The author notes that Puccini did not visit Russia, which had been a vital destination for many of his predecessors and indeed some contemporaries. Vienna and Munich were preferred destinations for Puccini, both for business and pleasure, though his reception in the Austrian capital was ambivalent. Budapest gave the composer a warmer welcome. Puccini visited locations around central Europe in order to supervise the performance of his own works (particularly La bohème), or to listen to the works of others – his first trip to Germany was to attend the Bayreuth Festival and hear the works of Wagner. He also keenly followed the career of his contemporary Richard Strauss, attending the premieres of his works in cities around the region. In Vienna, meanwhile, he became friendly with Erich Wolfgang Korngold and his father Julius. The chapter concludes with a discussion of Puccini’s travels for health and leisure, and his interest in the technology of travel.

Strauss at the turn of the century was seen as an enfant terrible who used music as an instrument for candid, unsentimental, and realist explorations of the human experience. Although embraced by the public, critics attacked his works as self-indulgent; they found him glib and shallow, content with superficial drama punctuated by a desire to shock. After World War I, both the right and left dismissed his lush, hyperrealist aesthetic as a relic of a bygone era, one side lamenting that Strauss was too cosmopolitan and the other ignoring him as benignly irrelevant. When the preeminence enjoyed by radical modernism ended mid-century, a neglected historical reality came into view: the resilience of tradition. In that reassessment, Strauss’ innovations, with those of composers such as Pfitzner, Schrecker, Martinů, Korngold, Zemlinsky, Schoeck, and Braunfels, suggest an alternative formulation of the modern, one that helped define the trajectory of twenty-first-century music.