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-The Project Gutenberg EBook of Richard Strauss, by Herbert F. Peyser
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Richard Strauss
-       Herbert F. Peyser
-
-Author: Herbert F. Peyser
-
-Release Date: October 15, 2015 [EBook #50227]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK RICHARD STRAUSS ***
-
-
-
-
-Produced by Stephen Hutcheson, Dave Morgan and the Online
-Distributed Proofreading Team at http://www.pgdp.net
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-
-
-                            Richard Strauss
-
-
-                           HERBERT F. PEYSER
-
-                          [Illustration: Logo]
-
-                      Written for and dedicated to
-                                  the
-                             RADIO MEMBERS
-                                   of
-                   THE PHILHARMONIC-SYMPHONY SOCIETY
-                              of NEW YORK
-
-                             Copyright 1952
-                   THE PHILHARMONIC-SYMPHONY SOCIETY
-                              of NEW YORK
-                          113 West 57th Street
-                           New York 19, N. Y.
-
-            [Illustration: Richard Strauss at the age of 39]
-
-
-
-
-                                FOREWORD
-
-
-The writer of a thumb-nail biography of Richard Strauss finds himself
-confronted with a troublesome assignment. Strauss lived well beyond the
-scriptural age allotted the average man. He would have been 86 had he
-reached his next birthday. There was nothing romantic or sensational
-about his passing, for he died of a complication of the illnesses of old
-age. There was not much truly spectacular about the course of his life,
-which was most happily free from the material troubles which bedeviled
-the existence of so many great masters; and he was not called upon to
-starve or to struggle to achieve the material rewards of his gifts. He
-had not to pass through the conflicts which embittered the lives of
-Wagner or Berlioz, and he was never compelled to suffer like Mozart or
-Schubert. There is no record of his ever humiliating himself or
-performing degrading chores for publishers in return for a wretched
-pittance. He had wealth enough without compromising his art to keep the
-pot boiling--and for this one can only feel devoutly thankful. What if
-he was taxed with sensationalism? How many of the masters of music has
-not had at one time or another to endure this reproach? If "Salome" and
-"Elektra", "Ein Heldenleben" and "Till Eulenspiegel" were in their day
-scandalously "sensational" did not the whirligig of time reveal them as
-incontestable products of genius, irrespective of inequalities and
-flaws? However Richard Strauss compares in the last analysis with this
-or that master he contributed to the language of music idioms,
-procedures and technical accomplishments typical of the confused years
-and conflicting ideals out of which they were born. His works are most
-decidedly of an age, whether or not they are for all time! In a way he
-was almost as fortunate as Mendelssohn. Need anyone begrudge him this?
-
-                                                                H. F. P.
-
-
-
-
-                            RICHARD STRAUSS
-
-
-                                  _By_
-                           HERBERT F. PEYSER
-
-The late spring of 1864 brought two events which, though seemingly
-unrelated, actually had a kind of mystic kinship and were to stir the
-surfaces of music. Early in May of that year Richard Wagner was summoned
-to Munich to become the friend and protege of the young Bavarian
-sovereign, Ludwig II, whose real mission on earth was to save the
-composer for the world. Hardly more than a month later there was born in
-the same city a boy likewise named Richard who was destined in the
-fullness of time to become in a sense an heir and continuator of the
-older master, though by no means a vain copy of his artistic and
-spiritual lineaments. And long before the span of his days reached its
-end he had taken an undisputed place in history as a seminal force in
-music, for all the disagreements and conflicts his art was to engender
-through a large part of his more than four-score years.
-
-Richard Strauss first saw the light on June 11, 1864, in a house on the
-Altheimer Eck, Munich, at the center of the town and a stone's throw
-from the twin steeples of the Frauenkirche. The edifice in which the
-future composer of _Salome_, _Elektra_ and _Der Rosenkavalier_ was born
-forms part of a complex of buildings in which a number of larger and
-smaller beer halls and restaurants, separated by cobbled courtyards,
-house the brewery of Georg Pschorr, senior, whose son, Georg Pschorr,
-junior, enlarged the establishment. Furthermore, he improved the quality
-of its products till Pschorrbrau beer became, it seemed to many
-(including the writer of these pages) the most incomparable refreshment
-this side of heaven, despite the close proximity of the Hofbrauhaus, the
-Loewenbrau, the Augustiner Brau and the unnumbered other Munich breweries
-and affiliated Bierstuben. At this point the writer ought, logically, to
-confess that he bases his present recollections on what he remembers
-from his wanderings in the Bavarian capital prior to the Second World
-War, since which time changes without number may well have changed the
-picture. But one thing is reasonably certain--if the old house at
-Altheimer Eck (Number 2) still stands it continues to have affixed to
-its wall the decorative inscription: "Am 11 Juni 1864 wurde hier Richard
-Strauss geboren." ("On June 11, 1864, Richard Strauss was born here.")
-
-                                 * * *
-
-The Pschorrs apart from being excellent brewers were excellent
-musicians. One of the four daughters, Josephine, later Richard's mother,
-a fairly accomplished pianist, taught her son piano in his fifth year. A
-noted harpist, August Tombo, continued the lessons and by the time the
-boy was seven he was administered violin instruction. Franz Strauss,
-Richard's father, was an individual of a fibre as tough as Josephine
-Pschorr, who became his wife, was mild-mannered and sensitive. But he
-was an amazingly fine horn player, for the sake of whose virtuosity and
-musicianship greater men than he put up with his ill manners and
-incredible tantrums. A venomous reactionary, his particular detestation
-was Wagner, against whom he never hesitated to exhibit the meanest
-traits of which he was capable. Even when the author of _Tristan_
-expressed himself as overjoyed with the sound of the orchestra at a
-first rehearsal of his work in the little Residenz Theatre Franz Strauss
-retorted: "That's not true! It sounded like an old tin kettle!" He
-pronounced Wagner's horn parts "unplayable" so that Wagner had to call
-upon Hans Richter to try out for him some passages in _Die
-Meistersinger_ in order to demonstrate that they were anything but
-"impossible". With the elder Strauss Hans von Buelow was repeatedly at
-loggerheads. And when he once attempted to thank Buelow for some favor
-the latter had shown young Richard Strauss Buelow exploded with the
-words: "You have no right to thank me! I did your son a favor not on
-your account but only because I consider his talent deserves it!" To the
-end of his days Franz Strauss remained a cantankerous individual.
-
-        [Illustration: Birthplace of Richard Strauss in Munich]
-
-Young Richard may not have exhibited the precocity of a Mozart or a
-Mendelssohn but there could be no doubt that musical impulses stirred in
-the child. He piled up a considerable quantity of juvenilia, beginning
-as a six-year-old. In 1871 he turned out a "Schneiderpolka"--a "Tailor's
-Polka". There followed dance pieces for piano, "wedding music" for
-keyboard and children's instruments, some marches and more miscellany of
-the sort. It was related by his naturally proud relations that the lad
-could write notes even before he had learned the alphabet. There would
-be no particular point in detailing these boyish accomplishments, yet
-when Richard was twelve an uncle paid for the publication by Breitkopf
-und Haertel of a "Festival March", which gained the distinction of
-appearing as "Opus 1". It need hardly be said that he participated in
-domestic performances of chamber music with regularity. All the same his
-school work maintained a high level, even if it did not consume a
-needless amount of time. He also found leisure to jot in the pages of
-his mathematics copybook whole passages of a violin concerto which
-appears to have been set down during his classroom lessons. According to
-his biographer, Willy Brandl, the piece was written so rapidly that the
-student contrived a three-line staff instead of the usual five-line one.
-
-At this period his musical tastes were colored by those of his father.
-Thus there is no reason for surprise that the compositions he turned out
-up to the end of his high school days were the customary platitudes of
-classical and romantic models. Especially Schumann and Mendelssohn were
-rather colorlessly reflected in the products the youth fashioned. Even
-considering his father's poisonous detestation of Wagner it still
-remains hard to grasp how weak was the pressure the creator of _Tristan_
-and _Meistersinger_ exercised on the son precisely when the Wagnerian
-idiom was beginning to permeate the language of music. More than that,
-it took time for the boy Strauss to rid his system of the ludicrous
-prejudices he parroted for a while. To his friend the composer, Ludwig
-Thuille, he confided that _Lohengrin_ (which he heard at fifteen) was
-"sweet and sickly, in all but the action"; and after his first exposure
-to _Siegfried_ he lamented that he was "more cruelly bored than I can
-tell!" Then he concluded with this burst of prophecy: "You can be
-assured that in ten years nobody will remember who Richard Wagner was!"
-
-Young Strauss was to outlive such heresies by the sensible process of
-steeping himself in Wagner's scores rather than by viewing inadequate
-performances as truths of Holy Writ. It is hardly necessary to emphasize
-the dismay of Franz Strauss as, little by little, he became aware of the
-turn things were taking. He who had striven to bring up his son in his
-own Philistine ways was gradually brought face to face with the
-upsetting fact that the young man might be getting out of hand! Richard
-was no music school or conservatory pupil, and had presumably none too
-many academic precepts to unlearn. One advantage of this was that
-nothing tempted him to cut short other phases of his education; and in
-the autumn of 1882 he began to attend philosophical, literary and other
-cultural lectures at the University of Munich, so that there were no
-serious gaps in his schooling. He continued to compose industriously (a
-chorus in the _Elektra_ of Sophocles was one of his creations in this
-period); but in after years he warned against "rushing before the public
-with unripe efforts." Subsequently he visited upon the works of his
-salad days this judgment: "In them I lost much real freshness and
-force." So much for those who question even today the soundness of this
-early verdict.
-
-                                 * * *
-
-One advantage he came early to enjoy--the good will of Hermann Levi, the
-Munich conductor (or, let us give him his more imposing official title
-of "Generalmusikdirektor") who first presided in Bayreuth over Wagner's
-_Parsifal_. In 1881 the outstanding chamber music organization of the
-Bavarian capital performed a string quartet of young Strauss and very
-shortly afterwards Levi sponsored the first public hearing of a rather
-more ambitious effort, a symphony in D minor. Before a capacity audience
-the noted conductor went so far as to congratulate the high school
-student. It should be set down to the credit of the scarcely
-seventeen-year-old composer that he did not for a moment suffer the
-tribute to turn his head. Next morning the student was back in his
-classroom, as unconcerned with his triumphs of the preceding evening as
-if they had all been no more than an agreeable dream. The usually
-peppery father appears to have been somewhat less balanced than his son
-and a little earlier took it upon himself to dispatch Richard's
-_Serenade for Wind Instruments_, Opus 7, to Hans von Buelow. "Not a
-genius, but at the most a talent of the kind that grows on every bush,"
-shot back the latter after a glimpse at the score of this adolescent
-production. But Buelow's irritable mood softened before long and he was
-considerably more flattering about other of the composer's works which
-came to his attention. All the same Buelow grew to like the _Serenade_
-well enough to make room for it on one of his programs. Meantime--on
-November 27, 1882--Franz Wuellner produced it in Dresden. And it was a
-strange quirk of fate which made of this piece the unexpected vehicle
-for Richard's first exploit as a conductor! It so happened that Buelow
-eventually scheduled it (1884) for one of his concerts. At the eleventh
-hour the older musician, suffering from an indisposition, appealed to
-his young friend to direct his own work. Trusting to luck Richard
-suffered a baton to be thrust into his hands, and almost in a dream
-state, hardly knowing how things would turn out, piloted the players
-through the score. "All that I realize," he afterwards said, "is that I
-did not break down!"
-
-Young Strauss was not idling. The products of his energetic young
-manhood if they do not bulk large in his exploits indicate clearly how
-carefully he was striving to learn his craft without, at the same time,
-seeking to blaze trails. One finds him turning out in 1881 five piano
-pieces as well as the string quartet just mentioned; a piano sonata, a
-sonata for cello and piano, a concerto for violin and orchestra, _Mood
-Pictures_ for piano, a concerto for horn and orchestra, and a symphony
-in F minor. This symphony, incidentally, was first produced by Theodore
-Thomas, on December 13, 1884, at a concert of the New York Philharmonic
-Society. Perhaps more important, however, were the songs Strauss was
-writing at this stage. For they have preserved a vitality which
-Strauss's instrumental products of that early period have long since
-lost. It is not easy to grasp at this date that it was the early Strauss
-the world has to thank for such masterpieces of song literature as the
-incorrigibly popular (one might almost say hackneyed), _Lieder_ as
-"Zueignung", "Die Nacht", "Die Georgine", "Geduld", "Allerseelen",
-"Staendchen", and a number of other such lyric specimens, many of them in
-the truest tradition of the German art song. Indeed, the boldness, the
-diversity, declamatory, rhythmic and melodic features of Strauss's
-achievements in this field might almost be said to have preceded the
-more sensational aspects of his orchestral works.
-
-                                 * * *
-
-The songs of Strauss, the earliest specimens of which date from 1882,
-and which span (though in steadily diminishing numbers), the most
-fruitful years of his life, aggregate something like 150. If the better
-known ones are with piano accompaniment, not a few are scored for an
-orchestral one. A large number long ago became musical household words,
-along with the _Lieder_ of Schubert, Schumann and Brahms, though having
-a physiognomy quite their own. The woman who became his wife, Pauline de
-Ahna, was an accomplished vocalist and that circumstance goes far to
-account for the diversity of his efforts in this province. The joint
-recitals of the pair stimulated for a considerable period the composer's
-lyric imagination. If his inspiration eventually sought expression in
-larger frames it must be noted that the slant of his genius habitually
-ran to larger conceptions. In any event the _Lieder Abende_ of Strauss
-and his betrothed help explain the creative impulses which at this stage
-found so much of their outlet in song-writing. The composer was later to
-explain that a new song might be dashed off at any half-way idle
-moment--might even be scribbled down in the twinkling of an eye between
-the acts of an opera performance or during a concert intermission. And
-as spontaneously as Schubert, Richard Strauss busied himself with poems
-of the most varied character.
-
-                                 * * *
-
-On the young man's twenty-first birthday Hans von Buelow recommended to
-Duke George of Meiningen "an uncommonly gifted" musician as substitute
-while he himself went on a journey for his shattered health. Buelow
-referred to the suggested deputy as "Richard III", since after Richard
-Wagner, "there could be no Richard II." Strauss arrived in Meiningen in
-October, 1885. The little ducal capital boasted a high artistic
-standing. Its theatrical company enjoyed international fame. The town,
-to be sure, had no opera, but the orchestra, though numbering only 48
-instrumentalists, had been so trained by the suffering yet exigent Buelow
-that it was virtually unrivalled in Germany. The newcomer was encouraged
-to submit under his mentor's eye to an intensive training. Buelow's
-rehearsals ran from nine in the morning till one in the afternoon and
-his disciple from Munich was invariably on hand from the first to the
-last note. The rest of the day was devoted to score reading and to every
-subtlety of conductor's technic. The young man was absolutely
-overwhelmed by "the exhaustive manner in which Buelow sought out the
-ultimate poetic content of the scores of Beethoven and Wagner." And a
-favorite saying of the older musician was never to be forgotten by his
-disciple from Munich: "First learn to read the score of a Beethoven
-symphony with absolute correctness, and you will already have its
-interpretation."
-
-                                 * * *
-
-Strauss made other friends and valuable connections in Meiningen. One of
-the most important and influential of these was an impassioned devotee
-of Wagner, Alexander Ritter. Like so many apostles of the creator of
-_Parsifal_ at that period, Ritter was a violent opponent of Brahms.
-Besides he was the composer of a comic opera, "Der faule Hans", and of a
-symphonic poem that once enjoyed a vogue in Germany, "Kaiser Rudolfs
-Ritt zum Grabe". It was Ritter's service to familiarize Strauss with
-some of the deepest secrets of the scores and writings of Wagner as well
-as of Liszt, and he understood how to fire his young friend with soaring
-enthusiasm for his own ideals. He also did much to inspire the budding
-conductor with a taste for the writings of Schopenhauer, an inclination
-he himself had inherited from Wagner. Ritter's influence, in short, was
-one of the luckiest developments at this stage of Strauss's career.
-
-The first concert the youth from Munich conducted in Meiningen took
-place on October 18, 1885. It afforded him a chance to exploit his
-talents as pianist and batonist as well as composer, what with a program
-that included Beethoven's _Coriolanus_ Overture and Seventh Symphony,
-Mozart's C minor Piano Concerto and that F minor Symphony of his own
-which Theodore Thomas had conducted the previous year in New York.
-Strauss had every reason to be pleased with the outcome. Buelow speaking
-of his debut as pianist and conductor had referred to it as "geradezu
-verblueffend" ("simply stunning"); even the hard-shelled Brahms, who
-chanced to be on hand, had deigned to encourage him with a cordial "very
-nice, young man!" When on December 1 of that year Buelow gave up the
-orchestra's leadership, Strauss inherited the post, conducted all
-concerts and had to direct, sometimes on the spur of the moment, almost
-anything this or that high placed personage might suddenly take a fancy
-to hear. With the courage of despair he repeatedly attempted
-compositions he hardly knew or had not directed publicly. Yet he never
-made a botch of the job, inwardly as he may have quaked.
-
-                                 * * *
-
-To this period belongs a composition which has survived and at intervals
-turns up on our symphonic programs--the curious _Burleske_ for piano and
-orchestra. The piece is something of a problem but it is one of the most
-yeasty and original products of its composer's youth. It possesses a
-type of wit and bold humor worthy of the subsequent author of _Till
-Eulenspiegel_. If it still betrays Brahmsian influences some of those
-dialogues between piano and kettledrums depart sharply from the more
-flabby romantic effusions of the youth who still clung to the coat tails
-of Schumann, Mendelssohn and some lesser romantics. Rightly or wrongly
-the composer always harbored a dislike for the _Burleske_ though when he
-created it his original instinct led him aright, if more or less
-unconsciously. Not till four years later did the pianist, Eugen
-d'Albert, give it a public hearing in Eisenach; at that, Strauss himself
-never brought himself to dignify the _Burleske_ with an opus number and
-insisted he would not have consented to its publication but for his need
-of funds. Today the saucy little score seems more alive than certain
-other early efforts which were rather closer to their composer's heart.
-
-Meiningen had been a sort of stepping stone. Strongly against the advice
-of Hans von Buelow, who detested Munich from the depths of his being,
-Strauss, nevertheless, accepted a conductor's post in his native city,
-where he had the advantage of continuing his stimulating contact with
-Alexander Ritter, who had followed him to the Bavarian capital. Yet he
-did not look forward to a Munich position with particular joy. Before
-entering on his duties he permitted himself a vacation in Naples and
-Sorrento. In Munich he found the Royal Court Theatre bogged down in a
-morass of routine. The musical direction of that establishment, though
-in the capable hands of Hermann Levi, was unfired by real enthusiasm,
-let alone true inspiration. The first of Strauss's official assignments
-was the direction of Boieldieu's opera comique, _Jean de Paris_, and a
-quantity of similar old and harmless pieces. One promised duty which
-augured well was a production of Wagner's boyhood opera, _Die Feen_. He
-would probably never have been promised anything so rewarding had not
-the conductor for whom it had been intended in the first place fallen
-ill. But even this unusual prize was in the end snatched from his grasp
-after he had presided over the rehearsals. At the last moment the
-direction of the Wagner curio was assigned to a certain Fischer. There
-was a managerial conference concerning the matter at which, we are told,
-"Strauss was like a lioness defending her young"; but the Intendant put
-a stop to the argument by announcing that "he disliked conducting in the
-Buelow style" and that, moreover, Strauss was becoming intolerable
-because of his high pretensions "for one of his youth and lack of
-experience!"
-
-Meanwhile, the composer made the most of leisure he did not really want,
-by occupying himself with more or less creative work. One of his
-editorial feats of this period was a new stage version of Gluck's
-_Iphigenie en Tauride_, manifestly inspired by Wagner's treatment of the
-same master's _Iphigenie en Aulide_. More important still was his first
-really large-scale work, _Aus Italien_, to which he gave the subtitle
-_Symphonic Fantasy for large Orchestra_. He had completed the score in
-1886 and on March 2, 1887, he conducted it at the Munich Odeon. To his
-uncle Horburger he wrote an amusing account of the first performance at
-which, it appears, moderate applause followed the first three movements
-and violent hissing competed with handclappings. "There has been much
-ado here over the performance of my _Fantasy_" Strauss wrote his uncle
-"and general amazement and wrath because I, too, have begun to go my own
-way." And his biographer, Max Steinitzer, told that the composer's
-father, outraged by the hisses, hurried to the artist's room to see his
-son and found him, far from disturbed, sitting on a table dangling his
-legs! One detail the composer of this symphonic Italian excursion failed
-to notice--namely that in utilizing the tune _Funiculi, Funicula_ for
-the movement depicting the colorful life of Naples he was quoting, not
-as he fancied a genuine Neapolitan folksong, but an only too familiar
-tune by Luigi Denza, who lived much of his life in a London suburb!
-
-Be all this as it may, Strauss had more to occupy his thoughts than the
-fortunes of his Italian impressions to which he had given musical shape.
-In 1886-87 he composed (besides a sonata in E flat for violin and piano
-and a number of fine _Lieder_--among them the lovely and uplifting
-"Breit ueber mein Haupt") the tone poem, _Macbeth_ (least known of them
-all). He revised it in 1890 and on October 13 of that year conducted it
-in Weimar. But _Macbeth_ has been completely overshadowed by the next
-tone poem (of earlier opus number but later composition), the glowing,
-romantic, vibrant _Don Juan_ which has a spontaneity and an
-indestructible freshness that give it a kind of electrical vitality none
-of the orchestral works of their composer's early manhood quite rival,
-unless we except that masterpiece of humor, _Till Eulenspiegel_--itself
-a different proposition. It had been the powerful impressions made on
-the composer by some of the Shakespearian productions of the dramatic
-company in Meiningen which gave the incentive for _Macbeth_. In the case
-of _Don Juan_ the moving impulse was the poem of Nikolaus Lenau (whose
-real name was Niembsch von Strahlenau), and who described the hero of
-his work as "one longing to find one who represented incarnate
-womanhood" in whom he could enjoy "all the women on earth whom he cannot
-as individuals possess." Unable in the nature of things to achieve this
-tall order Lenau's _Don Juan_ falls prey to "Disgust, and this Disgust
-is the devil that fetches him." Strauss gave no definite meanings to
-specific phases of his music, though he was not to want for interpreters
-and one of them, Wilhelm Mauke, found it preferable to discard the model
-supplied by Lenau and to discover in the tone poem the various women who
-inhabit Mozart's _Don Giovanni_. Be this as it may, the score delighted
-the first hearers when it was played in Weimar; they tried to have it
-repeated on the spot. Hans von Buelow wrote that his protege had, with
-_Don Juan_ had an "almost unheard-of success"; and the young composer
-might well have seen a good augury in the notorious Eduard Hanslick's
-outcries to the effect that the score was chiefly a "tumult of dazzling
-color daubs" and in his shrieks that Strauss "had a great talent for
-false music, for the musically ugly."
-
-It cannot be said that he was truly happy with his Munich experiences
-and the disappointments which, if the truth were known, seemed for the
-moment to dog his footsteps. He was, to be sure, adding to his
-accomplishments as a composer and plans for an opera began to stir in
-him. Moreover, he had more and more chances to accept guest engagements
-as a conductor and such opportunities were taking him on more and more
-tours in Germany. He had striven to do his best in the city of his birth
-yet few seemed to be grateful for his efforts to clean up drab
-accumulations of routine. Buelow realized from long and heart-breaking
-experience what his friend was undergoing. Very few thanked the idealist
-for his efforts to better the musical standing of his home town.
-
-                                 * * *
-
-At what might be described as a truly psychological moment of his career
-Strauss was approached by Buelow's old friend, the former Liszt pupil,
-Hans von Bronsart, with an invitation to transfer his activities to
-Weimar. He had every reason to look with favor on the project. Weimar
-was hallowed in his eyes by its earlier literary and musical
-associations. It had harbored Goethe and Schiller and been sanctified in
-the young musician's sight by the labors of Liszt. His Munich friend,
-the tenor Heinrich Zeller, who had coached Wagner roles with him, had
-settled there, and a young soprano, Pauline de Ahna, the daughter of a
-Bavarian general with strong musical enthusiasms, soon followed him. In
-proper course she was to become Richard Strauss's wife. A high-spirited,
-outspoken lady, never disposed to mince words, a source of innumerable
-yarns and witticisms, and who saw to it that her celebrated husband
-carefully toed the mark, Pauline Strauss was in every way a chapter by
-herself. And when, not very long after his death she followed him to the
-grave it seemed only a benign provision of fate that she should not too
-long survive him.
-
-Strauss almost instantly infused a new blood into the artistic life of
-Weimar, where he settled in 1889 and remained till 1894. The worthy old
-court Kapellmeister, Eduard Lassen, was sensible enough to allow his
-energetic new associate complete freedom of action. True, the artistic
-means at his disposal were relatively modest and at first they might
-well have given the ambitious newcomer pause. The orchestra then
-contained only six first violins; there was a painfully superannuated
-little chorus and most of the leading singers had seen better days. But
-the conductor from Munich was disturbed by none of these apparent
-handicaps. In Bayreuth he had already learned the proper way of
-producing Wagner, and even when the means were limited, he tolerated no
-concessions; all Wagnerian performances had to be done without cuts or
-at least with a minimum of curtailments. A wisecrack began to go the
-rounds: "What is Richard Strauss doing?" to which the reply was:
-"Strauss is opening cuts!" The moldy old settings were replaced by new
-ones and once when there were insufficient funds to buy new stage
-appointments Strauss approached the Grand Duke with a plea that he might
-lay out of his own pocket a thousand Marks to freshen the settings. To
-the credit of the ruler it should be told that he refused the offer and
-disbursed the sum himself. But Strauss's reforms were far from ending
-there. He once confessed that in his comprehensive job he was not only
-conductor but "coach, scene painter, stage manager and tailor"--in
-short, a thoroughgoing Pooh-Bah. He threw himself heart and soul into
-the job, so much so that in spite of a small stage and limited means he
-produced, in the presence of none other than Cosima Wagner a _Lohengrin_
-that deeply gripped her.
-
-                                 * * *
-
-He had symphonic concerts as well as operas to occupy him. At one of the
-former he transported his hearers with the world premiere of his _Don
-Juan_. The date deserves to be noted--November 11, 1889. That same year
-he had composed another tone poem, _Death and Transfiguration_, and on
-June 21, 1889, he permitted an audience in nearby Eisenach to hear it.
-The work is program music, if you will; but the idea that it originally
-set out to illustrate the poem about the man dying in a "necessitous
-little room" and, after his death struggles, translated to supernal
-glories, is wrong. Moreover the long accepted notion, that the music is
-based on lines by Alexander Ritter, is fallacious. For, in the first
-place the composer did not aim to illustrate his friend's word picture;
-and in the second, Ritter wrote the poem only _after_ becoming
-acquainted with the score. This is what explains a certain incongruity
-between Ritter's verses and the tones which, in reality were never
-conceived in slavish illustration of them. Hanslick, wrong as usual, was
-to write misleadingly: "Once again a previously printed poem makes it
-certain that the listener cannot go awry; for the music follows this
-poetic program step by step, quite as in a ballet scenario." And he
-spoke of the score as a gruesome combat of dissonances in which the
-wood-wind howls in runs of chromatic thirds while the brass growls and
-all the strings rage!
-
-By this time accustomed to such critical nonsense the composer did not
-suffer himself to be troubled. What disturbed him much more was that his
-old champion, von Buelow, gave indications of no longer seeing eye to eye
-with him. At Buelow's suggestion Strauss had revised and newly
-instrumented _Macbeth_ but the piece was to continue a stepchild. Soon
-he was increasing his output of songs and enriching Liedersingers with
-such treasures as "Ruhe, meine Seele", "Caecilie", "Heimliche
-Aufforderung" and "Morgen"; while only a few short years ahead lay
-"Traum durch die Daemmerung", "Nachtgesang" and "Schlagende Herzen", to
-delight nearly two generations of recitalists.
-
-                                 * * *
-
-Strauss had always been blessed with a robust health. Unlike Wagner, for
-instance, he never suffered from exacerbated nerves and violent extremes
-of unbalanced mood. But at the period of which we speak he did
-experience one of his rare periods of illness. What between his guest
-engagements, his rehearsals, the strain of composing, attending to
-details of publication and myriad other obligations of a traveling
-conductor and virtuoso, he came down in May, 1891, with a menacing
-grippe which sent him to bed and threatened serious complications. He
-was resigned to anything, even if he did confess: "Dying would not be in
-itself so bad, but first I should like to be able to conduct _Tristan_!"
-He recovered and had his wish in 1892. But in the summer he was sick
-once more, this time with pneumonia. Now it looked as if one lung were
-seriously threatened. He was granted the vacation he requested, from
-November, 1892, to July of the succeeding year. Taking some works and
-sketches he started, on the advice of his physicians, for the south.
-
-The convalescent, with a finished opera libretto in his baggage went to
-repair his health in Italy, Greece and Egypt. In Egypt he recovered
-completely. In the Anhalter railway station, Berlin, he was to see for
-the last time the mortally sick von Buelow, likewise journeying to Egypt
-in a last effort to repair his shattered constitution. Poor Buelow was
-not to survive the trip. The wiry frame of Strauss helped him over any
-threat of tuberculosis and not only defied any peril to his lungs but
-seemed actually to renew his creative powers. The libretto which
-occupied his attention was that of his opera, _Guntram_, the first and
-least known of his productions for the lyric stage.
-
-_Guntram_ is without question a "Stiefkind" among Richard Strauss's
-operas. The average Strauss enthusiast's acquaintance with its music may
-be said to be confined to the brief phrase from it cited in the section
-called _The Hero's Works of Peace_ in the tone poem _Ein Heldenleben_.
-Nevertheless, the opera cost the composer six long years of his time. It
-received a performance in Weimar, July 12, 1894. On October 29, 1940, it
-was to be heard again, and once more in Weimar. Strauss tells in his
-little volume, _Betrachtungen und Erinnerungen_, that it had "no more
-than a _succes d'estime_ and that its failure to gain a foothold
-anywhere (even with generous cuts) took from him all courage to write
-operas." Efforts were made late in its creator's life to revive it, all
-of them as good as futile. As recently as June 13, 1942, the Berlin
-State Opera tried, with the help of the conductor, Robert Heger, to pump
-life into it. Strauss found not a little of the opera "still vital"
-("_lebensfaehig_") and felt sure it would produce a fine effect given a
-large orchestra. He liked particularly in his old age the second half of
-the second act and the whole of the third. The book has been described
-as revealing the influence of Wagner. Guntram, a member of a religious
-order in the time of the Minnesingers, esteems the ruling duke, but
-kills himself, after renouncing the duchess, the object of his
-affection. Despite the dramatic resemblances to _Tannhaeuser_ and
-_Lohengrin_ Alexander Ritter found in the opera a departure from
-Wagnerian influences.
-
-Slowly as Strauss labored over the three acts of _Guntram_ he spent no
-such time on the tone poems which now began to follow in rapid
-succession. After the ill-fated opera and a quantity of fine new
-_Lieder_, superbly diversified in expressive scope and lyric moods,
-there followed the tone poem which, apart from _Don Juan_ continues even
-in the present age to address itself most warmly to the public
-heart--_Till Eulenspiegel's Merry Pranks_. Analysts of one sort and
-another have provided the work with a program, which has long been
-accepted as standard. The composer himself declined to supply one,
-maintaining that the listener himself should seek to "crack the hard nut
-Till, the folk rogue of ancient tradition" had supplied his public. He
-himself would say nothing to clear up the secrets of the lovable knave,
-who came to his merited end on the gallows. If Strauss confided to his
-public the nature of many of Eulenspiegel's various ribaldries and
-madcap adventures he might, he maintained, easily cause offense.
-Concertgoers could cudgel their brains all they chose, Richard Strauss
-would keep his own counsel! Naturally, his work acquired, rightly or
-wrongly, regiments of "interpreters". If "nasty, noisome, rollicking
-Till, with the whirligig scale of a yellow clarinet in his brain," as
-the worthy William J. Henderson eventually described him, the
-irrepressible "Volksnarr" was ultimately to become visualized as a kind
-of medieval ballet fable sporting all the benefits of story-book scenery
-and dramatic action. The result actually was not too remote from what
-Strauss originally intended. Its popular musical elements, such as the
-fetching polka tune (or "Gassenhauer"), the use of the folk melody ("Ich
-hatt' einen Kamaraden") and a good deal else seemed theatrically
-conceived. The use of the Rondeau form was ideally suited to the idea
-which the composer strove to formulate. At one period Strauss, conscious
-of the operatic elements of _Till_, was moved to give the work a
-thoroughgoing dramatic setting and began to sketch the piece as a sort
-of lyric drama, or rather a scherzo with staging and action. But he lost
-interest in the scheme and did not progress beyond plans for a first
-act. Franz Wuellner conducted the premiere of _Till Eulenspiegel_ in
-Cologne, November 5, 1895.
-
-                                 * * *
-
-It has been pointed out that if the masculine element is idealized in
-Strauss's tone poems it is rather the feminine which he gives precedence
-in his operas. Something of an exception to this is exemplified in the
-next purely orchestral work, the tone poem _Thus Spake Zarathustra_,
-which followed less than a year later and was produced under its
-composer's direction at one of the Museum concerts in
-Frankfurt-on-the-Main, November 27, 1896. The score is described as
-"freely after Nietzsche". At once there arose protests that Strauss had
-tried to set Nietzschean philosophy to music! Actually he had aimed to
-do no such preposterous thing, and _Zarathustra_ posed no genuine
-problems. If the score is the weaker for some of its syrupy and
-sentimental pages it includes another, such as the magnificent sunrise
-picture at the beginning, which can only be placed for overpowering
-effect beside the passage "Let there be Light and there was Light" in
-Haydn's _Creation_. If ever anything could testify to Strauss's
-incontestable genius it is this grandiose page! Other portions, it may
-be conceded, lapse into commonplace, but the close in two keys at once
-(B and C) offered one of the early examples of polytonality that duly
-outraged the timid. Today this clash of tonalities has quite lost its
-power to frighten. In 1898 and for quite some time thereafter, it passed
-for hardly less than an invention of Satan! Strauss intended this
-juxtaposition to characterize "two conflicting worlds of ideas".
-Possibly it can be made to sound sharply dissonant on the piano; the
-magic of Strauss's orchestration, however, eliminates all suggestion of
-crude cacophony.
-
-On March 18, 1898, Cologne heard under the baton of Franz Wuellner, a
-work of rather different order, _Don Quixote_, Fantastic Variations on a
-Theme of Knightly Character. It is a set of orchestral variations on two
-themes, the one heard in the solo cello and characterizing the Knight of
-the Rueful Countenance, the second (solo viola) picturing his squire,
-Sancho Panza. As a feat of individualizing these variations are a thing
-apart. The tone painting is unrivalled in its composer's achievements up
-to that time. A number of special effects, which long invited attention
-over and above their real musical worth called forth considerably more
-astonishment than they really deserved. The pitiful bleatings of a flock
-of sheep, violently scattered by the lance of the crack-brained Don, his
-attacks on a company of itinerant monks, his ride through the air (amid
-the whistlings of a "wind machine")--these and other effects of the sort
-are actually only minor phases of the score. Its memorable qualities,
-aside from striking pictorial conceits, are rather to be found in the
-moving and tender pages portraying the passing of Don Quixote as the
-mists clear from his poor addled brain. There are episodes of a melting
-tenderness in these which rank among the most eloquent utterances
-Strauss has attained.
-
-Still another tone poem was to succeed--_A Hero's Life_ (_Ein
-Heldenleben_) performed under the composer's direction in Frankfurt. The
-work is autobiographical with the composer himself as its hero and his
-helpmate, (obviously Frau Pauline, his "better half" as she was to be
-called). For a long time _Ein Heldenleben_ passed as the prize horror
-among Strauss's creations, especially its fierce and rambunctious battle
-scene, which some critics considered a kind of bugaboo with which to
-frighten the wits out of grown-up concertgoers! For its day _A Hero's
-Life_ was unquestionably strong meat. If people were horrified by the
-racket and cacophony of the battle scene they were no less disposed to
-irritation at the cackling sounds with which Strauss pilloried his
-benighted foes who resented his aims and accomplishments. And they were
-displeased by the immodesty with which he exhibited himself as a real
-and misprized hero by the citation of fragments from his own works.
-Some, among them as staunch a Strauss admirer as Romain Rolland, were
-disturbed not because the composer talked in his works "about himself"
-but "because of the way in which he talked about himself." All the same
-Strauss was to boast no truer champion throughout his career than the
-sympathetic and keenly understanding author of _Jean-Christophe_.
-
-_Ein Heldenleben_ was the last but one of the series of tone poems which
-were to lead to a new phase of Richard Strauss's career. The last of
-this series, the _Symphonia Domestica_, was completed in Charlottenburg,
-Berlin, on December 31, 1903. Its first public hearing took place under
-the composer's direction in Carnegie Hall, New York, March 21, 1904. The
-_Domestic Symphony_, "dedicated to my dear wife and our boy" is in "one
-movement and three subdivisions. After an introduction and scherzo there
-follow without break an _Adagio_, then a tumultuous double fugue and
-finale." The reviewers discovered all manner of programmatic
-connotations in this depiction of a day in Strauss's family life though
-he was eventually to tell a New York reviewer that he "wanted the work
-to be taken as music" pure and simple and not as an elaboration of a
-specific program. He maintained his belief "that the anxious search on
-the part of the public for the exactly corresponding passages in the
-music and the program, the guessing as to significance of this or that,
-the distraction of following a train of thought exterior to the music
-are destructive to the musical enjoyment." And he forbade the
-publication of what he sought to express till after the concert.
-
-               [Illustration: Richard Strauss and Family]
-
-He might as well have saved himself the trouble! There is no room here
-to point out even a small fraction of what the critics heard in the
-work, encouraged by a casual note or two the conductor found it
-necessary to set down at certain stages of the score. The youngster's
-aunts are supposed to remark that the infant is "just like his father",
-the uncles "just like his mother". A glockenspiel announces that the
-time, at one point is seven in the morning. The child gets his bath and
-the ablutions are accompanied by shrieks and squeals. Husband and wife
-discuss the future of the baby and there is a lively domestic argument
-which ends happily. Ernest Newman, irritated like numerous other
-reviewers by the torrents of vain talk the piece called forth, was to
-complain that "Strauss behaved as foolishly over the _Domestica_ as he
-might have been expected to do after his previous exploits in the same
-line"...
-
-The first organization to perform the work was the orchestra of Hermann
-Hans Wetzler, in New York, and it took several months longer for the
-music to reach Germany. Mr. Newman had found the texture of the whole is
-"less interesting than in any other of Strauss's works; the short and
-snappy thematic fragments out of which the composer builds contrasting
-badly with the great sweeping themes of the earlier symphonic poems ...
-the realistic effects in the score are at once so atrociously ugly and
-so pitiably foolish that one listens to them with regret that a composer
-of genius should ever have fallen so low."
-
-      [Illustration: A page from the original score of "Elektra"]
-
-                                 * * *
-
-More than a decade was to elapse before Strauss was to concern himself
-again with problems of symphonic music. Opera and ballet were to be the
-chief business of those activities which one may look upon as the middle
-period of his creative life. One may be permitted a short backward
-glance to account for some of his previous creations. Songs (a number of
-the best of them), an "Enoch Arden" setting (declamation with piano
-accompaniment) occupy the late years of the 19th Century and the dawn of
-the 20th, not to mention the choral ballad for mixed chorus and
-orchestra _Taillefer_. More important, however, is a second operatic
-venture. This opera in one act, called _Feuersnot_, is a setting of a
-text by the noted Ernst von Wolzogen, who was associated with the vogue
-of the so-called "Ueberbrettl", a sort of up-to-date vaudeville, an
-"arty" movement typical of the period. _Feuersnot_ is a picture of a
-"fire famine" brought about by an irate sorcerer in revenge for the act
-of a maiden who scorned his love. Thereby all the fires of the town are
-extinguished! The piece is rather too long for a short opera and too
-short for a full-length one. But the text is rich in word play, punning
-satire, double meanings and topical allusions, interlarded with biting
-reflections on the manner in which Munich had once turned against Wagner
-and on the trouble the benighted burghers would have in similarly
-ridding themselves of the troublesome Strauss! There is not a little of
-the real Strauss in the music, though at that, less than one might
-expect from the composer of _Till Eulenspiegel_ and _Ein Heldenleben_
-which already lay some distance in the past. _Feuersnot_ was first
-staged at the Dresden Opera on November 21, 1901, under the leadership
-of Ernst von Schuch. And the consequence was that for years to come
-Strauss's operatic premieres took place in that gracious city.
-
-                                 * * *
-
-We now come into view of a milestone of modern music drama. In 1902
-Strauss attended a performance of Oscar Wilde's play, "Salome", at Max
-Reinhardt's Kleines Theater in Berlin. Gertrude Eysoldt had the title
-role. The Swiss musicologist, Willy Schuh, relates that the composer,
-after the performance was accosted by his friend, Heinrich Gruenfeld, who
-remarked: "Strauss, this would be an operatic subject for you!" "I am
-already composing it," was the reply. And the composer went on to tell:
-"The Viennese writer, Anton Lindner, had already sent me the play and
-offered to make an opera text of it for me. Upon my agreement he sent me
-some cleverly versified opening scenes which did not, however, inspire
-me with an urge to composition; till one day the question shaped itself
-in my mind: 'Why do I not compose at once, without further
-preliminaries: Wie schoen ist die Prinzessin Salome heute Nacht!' From
-then on it was not difficult to cleanse the piece of 'literature', so
-that it has become a thoroughly fine libretto!
-
-"Necessity gave me a really exotic scheme of harmony, which, showed
-itself especially in odd, heterogeneous cadences having the effect of
-changeable silk. It was the desire for the sharpest kind of individual
-characterization that led me to bitonality. One can look upon this as a
-solitary experiment as applied in a special case but not recommend it
-for imitation."
-
-Difficulties began with von Schuch's first piano rehearsals. A number of
-singers sought to give back their parts till Karl Burrian shamed them by
-answering, when asked how he was progressing with the role of Herod: "I
-already know it by heart!" A little later the Salome, Frau Wittich,
-threatened to go on strike because of the taxing part and the massive
-orchestra. Soon, too, she began to rail against "perversity and impiety
-of the opera, refused to do this or that 'because I am a decent woman',"
-and drove the stage manager almost frantic. Strauss remarked that her
-figure was 'not really suited to the 16-year-old Princess with the
-Isolde voice' and complained that in subsequent performances her dance
-and her actions with Jochanaan's head overstepped all bounds of
-propriety and taste."
-
-In Berlin, according to Strauss, the Kaiser would permit the performance
-of the work, only after Intendant von Huelsen had the idea of "indicating
-at the close by a sudden shining of the morning star the coming of the
-Three Holy Kings." Nevertheless, Wilhelm II remarked to Huelsen: "I am
-sorry that Strauss composed this _Salome_. I like him, but he is going
-to do himself terrible harm with it!" At the dress rehearsal the famous
-high B flat of the double basses so filled Count Seebach with the fear
-of an outbreak of hilarity, that he prevailed upon the player of the
-English horn to mitigate the effect, somewhat, "by means of a sustained
-B flat on that instrument." Strauss's own father, hearing his son play a
-portion of the opera on the piano, exclaimed a short time before his
-death: "My God, this nervous music! It is as if beetles were crawling
-about in one's clothing!" And Cosima Wagner declared after listening to
-the closing scene: "This is madness!" The clergy, too, was up in arms
-and the first performance at the Vienna State Opera in October, 1918,
-took place only after an agitated exchange of letters with Archbishop
-Piffl. The orchestra of _Salome_ in all numbers 112 players. Strauss,
-however eventually arranged the opera for fewer players and Willy Schuh
-tells of the composer having conducted it in Innsbruck with an orchestra
-of only 56 players, winds in twos but highly efficient solo
-instrumentalists.
-
-At all events, Strauss has been described as an inimitable conductor of
-_Salome_. Willy Schuh (whom Strauss designated late in his life as his
-"official" biographer, when the time came to prepare his "standard" life
-story) alludes to Strauss as an "allegro composer", whose direction of
-_Salome_ was of altogether remarkable "tranquillity" and finds that the
-real secret of his direction of this music drama was to be sought in the
-"restfulness" and creative aspects of his interpretation, "which avoids
-every excess of whipped up, overheated effects and sensationalism." It
-is, therefore, illuminating to consider the modifications the years have
-wrought on the interpretative treatment proper to the work. Little by
-little the legend of the decadent, hysterical, hyper-sensual work was
-replaced by the assurance of its almost classical character; and the
-truth of Oscar Wilde's declaration to Sarah Bernhardt when the play was
-new: "I aimed only to create something curious and sensual" has at
-length come to the fore.
-
-                                 * * *
-
-There is scarcely any need to recount in any detail the early
-difficulties of _Salome_ in America, when the scandalized cries that
-arose after the work received a single representation at the
-Metropolitan Opera House, in New York, only to be shelved as
-"detrimental to the best interests of the institution" after a solitary
-representation still ranks among the notorious and less creditable
-legends of the American stage. Strauss soon after this taste of the
-operations of American puritanism accused Americans of "hypocrisy, the
-most loathsome of all vices." He was handsomely avenged, however, when
-on January 28, 1909, Oscar Hammerstein revived the work (with Mary
-Garden as Salome) at his Manhattan Opera House and started it on a
-triumphant American career, which confounded all the ludicrous
-prognostications and horrified shouts with which it has been greeted
-only a short time earlier.
-
-The work which followed _Salome_ was _Elektra_, the text of which was
-the creation of Hugo von Hofmannsthal. Here began a collaboration
-between poet and musician which was to last with fruitful results until
-the latter's death, and to mark some of the high points of Strauss's
-achievements. The story of their joint labors is detailed in a priceless
-series of letters, brought out in 1925 under the editorial supervision
-of the composer's son, Dr. Franz Strauss. These letters afford glimpses
-into the workshop of librettist and composer which rank with some of the
-most illuminating exchanges of the sort the history of music supplies.
-From them we learn that before settling on the tragedy of the house of
-Agamemnon the collaborators seriously pondered as operatic material
-Calderon's _Daughter of the Air_ and also _Semiramis_. Then, early in
-1908, they seem to have agreed on _Elektra_. Hofmannsthal's version of
-the Greek legend (based on Sophocles) had been acted in Berlin (again
-with Gertrude Eysolt in the title role); and no sooner had Strauss
-witnessed the production than he concluded that the tragedy in this form
-was virtually made to order for his music.
-
-On July 6, 1908, the composer wrote to Hofmannsthal: "_Elektra_
-progresses and is going well; I hope to hurry up the premiere for the
-end of January at the latest." Strauss was as good as his word. The
-first performance of _Elektra_ took place January 25, 1909, at the
-Dresden opera, Ernst von Schuch conducting, with Anni Krull in the name
-part, Ernestine Schumann-Heink as Klytemnestra and Carl Perron as
-Orestes. If Strauss would have preferred to write a comic opera after
-_Salome_ the pull of the _genre_ of "horror opera" was still strong upon
-him and he was not yet ready to loose himself from its grip. _Elektra_
-was, if one chooses, gorier than _Salome_ and perhaps more genuinely
-psychopathic but less susceptible to provocations of outraged morality.
-Its instrumental requirements are rather larger than those of Strauss's
-previous opera and the whole more nightmarish in its sensational
-atmosphere. One had the impression, however, that with _Elektra_ the
-composer had reached the end of a path. He could hardly repeat himself
-with impunity along similar lines. A turn of the road or something
-similar must come next unless Strauss's achievements were to run up
-against a stone wall or lead him into a blind alley.
-
-This was not fated to happen. What the pair were now to achieve was what
-was to prove their most abiding triumph--_Der Rosenkavalier_, of all the
-operas of Richard Strauss the most lastingly popular and if not the
-indisputable best at all events the most loved and, peradventure, the
-most viable--and, if you will, the healthiest. If the piece is in some
-respects sprawling and over-written it does contain a piece of moving
-character-drawing which stands with the most memorable things the
-literature of musical drama affords. In her musical and dramatic
-lineaments the aristocratic Marschallin, whose common sense leads her,
-on the threshold of middle age to renounce the calf love of the
-17-year-old "Rose Bearer", Octavian, offers one of the finest and most
-convincing figures to be found in modern opera--a creation not unworthy
-to stand by the side of Wagner's Hans Sachs. The Baron Ochs, an outright
-vulgarian, if the music accorded him does not lie, is a figure who might
-have stepped out of the pages of Rabelais; Sophie, Faninal and all the
-rest of the characters who enliven this canvas inhabited by almost
-photographic types of 18th Century Vienna add up to a truly memorable
-gallery with which Hofmannsthal and Strauss have brought to life an era
-and a culture. Strauss's score has indisputable prolixities and
-commonplaces. But these traits may pass as defects of the opera's
-qualities and, as such, they can take their place in the vastly colorful
-pageant of Hofmannsthal's comedy of manners.
-
-It would be a mistake, however, to imagine that a piece as earthy as
-_Der Rosenkavalier_ should pass without provoking dissent. The German
-Kaiser, who had small use for Strauss's operas, yielded to the urging of
-the Crown Prince so far as to attend a performance, then left the
-theatre with the words: "Det is keene Musik fuer mich!" ("That's no music
-for me!") To spare the feelings of the straight-laced Kaiserin it was
-arranged to place the Marschallin's bed in an adjoining alcove instead
-of in high visibility on the stage when the curtain rose. Nor were these
-the only objections. And, of course, there were the usual exclamations
-about the length of the piece, no end of suggestions were advanced about
-the best ways to shorten the work. Strauss, in protest against some of
-the cuts von Schuch had practised in Dresden, once insisted he had
-overlooked one of the most important possible abbreviations! Why not
-omit the trio in the last act, which only holds up the action! It should
-be explained that the great trio is the brightest gem of the act,
-perhaps, indeed, the lyric climax of the whole score! As for the various
-waltzes which fill so many pages of the third act (and to some degree of
-the second) it may be admitted that, for all the skill of their
-instrumentation they are by no means the highest melodic flights of
-Strauss's fancy, some of them being merely successions of rather
-trifling sequences.
-
-                                 * * *
-
-It was assumed after _Der Rosenkavalier_ that the success of the opera
-indicated that the composer, in a mood for concessions, had tried to
-meet the public half-way and had renounced the violence, the cacophonies
-and the dissonances and sensational traits supposed to be his
-stock-in-trade. The comedy was assumed to be a proof of this. The real
-truth was that Strauss had not changed his ideals and methods in the
-least. It was, rather, _that the public, converted by force of habit,
-was itself catching up with Strauss and that the idiom of the composer
-was quickly becoming the musical language of the hour_. Sometimes it
-took even a few idiosyncrasies of the musician for granted. One did not
-always inquire too closely into just what he meant. There is one case
-when Strauss even went to the length of _writing music_ to the words
-"diskret, vertraulich" ("discreetly, confidentially") when Hofmannsthal
-had written them as _stage directions_ to be followed _not_ as part of a
-text to be sung! All the same Strauss usually kept an eagle eye on the
-dramatic action he composed. With regard to the libretto of _Der
-Rosenkavalier_ he wrote to the poet "the first act is excellent, the
-second lacks certain essential contrasts which it is impossible to put
-off till the third. With only a feeble success for the second act, the
-opera is doomed." Be this as it may, _Der Rosenkavalier_ was anything
-but "doomed". It was, in point of fact, the work which Strauss had in
-mind when, at the close of the first _Elektra_ performance he remarked
-to some friends: "Now I intend to write a Mozart opera!" Whether or not
-"Der Rosenkavalier" really meets the prescriptions of a "Mozart opera"
-we feel rather more certain that his next work, _Ariadne auf Naxos_
-comes closer to filling that bill.
-
-                                 * * *
-
-The development of this work hangs together with production in
-Stuttgart, October 25, 1912, of a German adaptation by Hofmannsthal of
-Moliere's comedy _Le Bourgeois Gentilhomme_. Moliere's Monsieur
-Jourdain, who has made money, induces a certain charming widow, the
-Marquise Dorimene, to come to a dinner he gives in her honor. A
-reprobate noble, Count Dorantes, tells the Marquise that the soiree at
-Jourdain's home is really intended as a gesture of admiration for her.
-M. Jourdain has engaged two companies of singers who are supposed to
-perform a serious opera, _Ariadne on Naxos_, and a burlesque, _The
-Unfaithful Zerbinetta and Her Four Lovers_. Both pieces are supposed to
-have been composed by a protege of M. Jourdain. During a dinner scene
-Strauss has recourse to bits of musical quotation--a fragment of
-Wagner's _Rheingold_ when Rhine salmon is served and several bars of the
-bleating sheep music from _Don Quixote_ when servants bring in roast
-mutton. The banquet is interrupted and Jourdain finds it necessary to
-curtail the scheduled program. As a result the young author is commanded
-by Jourdain to combine his two works as best he can!
-
-Hofmannsthal's Moliere adaptation (in which the operatic part takes the
-place of the French poet's original "Turkish ceremony") was a clumsy,
-indeed an impractical distortion. But Strauss had no intention of
-sacrificing his composition without at least an attempt to salvage
-something from the wreck. The _Ariadne_ portion as well as the
-_Zerbinetta_ companion piece were preserved but carefully detached from
-the Moliere comedy. In place of this Strauss and Hofmannsthal supplied a
-sort of explanatory prologue whereby arrangements are made for better or
-worse to combine the stylized _opera seria_ about Ariadne and her rescue
-on a desert island by the god Bacchus, with the comic doings of
-Zerbinetta and her _commedia del arte_ companions. In this shape the
-piece has succeeded in surviving and actually makes an engaging
-entertainment, with the young composer (a trousered soprano) reminding
-one of a lesser Octavian.
-
-There is considerable charming music in what is left of the originally
-involved and over lengthy entertainment. First of all, Strauss was
-suddenly to renounce the huge, overloaded orchestra of _Salome_,
-_Elektra_ and _Rosenkavalier_ and to supplant it by a much smaller one
-designed for a transparent texture of chamber music. In any case, the
-definitive _Ariadne auf Naxos_ is a real achievement and stands among
-Strauss's better and more memorable accomplishments. In the estimation
-of the present writer the tenderer romantic portions of the piece excel
-the comic pages associated with Zerbinetta and her merry crew. In
-writing these the composer aimed to be Mozartean (or, if one prefers,
-Rossinian) by assigning the colorature soprano a florid rondo of
-incredible difficulties--so mercilessly exacting, indeed, that it first
-moved Hofmannsthal to discreet protest. Eventually, the composer took
-steps to modify some of the cruel problems of Zerbinetta's solo and it
-is in this amended form that one generally hears this air today, when it
-is sung as a concert number.
-
-                                 * * *
-
-It would not be altogether excessive to claim that _Ariadne auf Naxos_
-marks a midpoint in Strauss's career. He still had a long and fruitful
-life ahead of him and, as it was to prove, he was almost incorrigibly
-prolific not hesitating to experiment with one type of composition as
-well as another. On the eve of the First World War he became interested
-in Diaghilew's Russian Ballet and the various types of choreographic and
-scenic art which it was to engender. Hofmannsthal wanted him to occupy
-his imagination and "to let the vision of one of the grandest episodes
-of antique tragedy, namely the subject of Orestes and the Furies,
-inspire you to write a symphonic poem, which might be a synthesis, of
-your symphonies and your two tragic operas!" And the poet adjured him to
-think of Orestes as represented by Nijinsky, "the greatest mimic genius
-on the stage today!" But apparently Strauss had had his fill of the
-_Elektra_ tragedy at this stage and had no stomach for more of this sort
-of thing, whether symphonic or operatic. So he remained unmoved by
-Hofmannsthal's urgings. Yet the Russian Ballet gave him a new idea. He
-thought of a pantomimic ballet conceived in the shapes and the colors of
-the epoch of Paolo Veronese.
-
-From this conception, based on a scenario by a Count Harry Kessler and
-von Hofmannsthal dealing with the story of Joseph and Potiphar's Wife,
-there grew the _Legend of Joseph_, first produced in Paris with
-extraordinary scenic and decorative accouterments on May 14, 1914. The
-staging was a pictorial triumph which, though the ballet was several
-times performed elsewhere, appears never to have been anything like the
-visual feast it was at its first showing. The score seems to have missed
-fire and has never been reckoned among the composer's major exploits.
-None the less the effect of the music in its proper frame and context is
-compelling. What if much of it sounds like discarded leavings from
-"Salome"? Strauss confessed that from the first the pious Joseph bored
-him, "and I have difficulty in finding music for whatever bores me"
-("was mich mopst"). To "his dear da Ponte", as he came to call
-Hofmannsthal, he gave hope and said frankly that though the virtuous
-Biblical youth tried his patience, in the end some "holy" strain might
-perhaps occur to him. The present writer has always felt that the
-_Josefslegende_ is a far too maligned work and that it would repay a
-conductor to disentomb the grossly slandered score, which when properly
-presented is striking "theatre".
-
-On October 28, 1915, there was heard in Berlin, under the composer's
-direction, the first symphony (in contradiction to "tone poem") Richard
-Strauss had written since 1886. Like _Aus Italien_ it was again
-outspokenly pictorial. The composer himself wrote titles into the
-divisions of the score (which he is said to have begun to sketch in
-1911, though the music was set down to the final double bar four years
-later). Some spoke of the _Alpensymphonie_ as a work which "a child
-could understand". And the various scenic divisions of this Alpine
-panorama, distended as it undoubtedly is, can be described as plainly
-pictorial. The orchestra depicts successively "Night", "Sunrise", the
-"Ascent", "Entrance into the Forest", "Wandering besides the Brook", "At
-the Waterfall", "Apparition", "On Flowery Meadows", "On the Alm", "Lost
-in the Thicket", "On the Glacier", "Dangerous Moment", "On the Summit",
-"Mists Rise", "The Sun is gradually hidden", "Elegy", "Calm before the
-Storm", "Thunderstorm", "The Descent", "Sunset", "Night".
-
-On account of its length the "Alpine Symphony" has never been a favorite
-among Strauss's achievements of tone painting. Indeed, it may be
-questioned whether its sunrise scene can be compared for suggestiveness
-and purely musical thrill to the glorious opening picture of _Also
-Sprach Zarathustra_.
-
-                                 * * *
-
-Strauss's symphonic excursion in the Alps was succeeded by a return to
-opera. Between 1914 and 1917 (which is to say during the most poignant
-years of the First War) he busied himself with a work which was to
-become a child of sorrow to him but which to a number of his staunchest
-worshippers often passes as one of his very finest achievements--_Die
-Frau ohne Schatten_ (_The Woman Without a Shadow_), first performed
-under Frank Schalk in Vienna, October 10, 1919. For all the enthusiasm
-it evokes in some of the inner Straussian circles this opera, which
-combines length, breadth and thickness, is a real problem. The writer of
-these lines, who has been exposed to the work fully half a dozen times
-always with a firm resolve to enjoy it, has never succeeded in his
-ambition. Though Strauss and Hofmannsthal discussed the plans for the
-piece in 1912 and once more in 1914 the first act was not finished till
-that year; and war held up the completion of the opera three years more.
-
-It has been maintained that in _Die Frau ohne Schatten_ marks "the
-combination of a recitative style with the forms of the older opera" and
-that in it Strauss has yielded to a mystical tendency. Willy Brandl
-claims that Hofmannsthal's libretto attracted the composer and
-stimulated him "precisely because of its obscurity"; that he saw in it a
-series of problems to be "clarified, not to say unveiled, in their
-complexities precisely through the agency of music." The question of
-motherhood lies at the root of the opera. Hofmannsthal saw in his poem a
-"kind of continuation of _The Magic Flute_. On one hand we have the
-superterrestrial worlds, on another the realistic scenes of the human
-world bound together by the demonic figure of the Nurse. And a new
-element is to be sensed in the score--the powerful, hymn-like character
-of the music overpoweringly disclosed in the music, a new feature in
-Strauss's compositions."
-
-It may be questioned whether Strauss was truly content with the
-bloodless symbolism which fills _The Woman Without a Shadow_. In any
-case at this juncture he began to long for something new. Somehow
-Hofmannsthal did not at that moment appear to be reacting
-sympathetically to the dramatic demands which just then seemed to be
-filling Strauss's mind. He informed Hofmannsthal that he longed for
-something to compose like Schnitzler's _Liebelei_ or Scribe's _Glass of
-Water_. He asked for "characters inviting composition--characters like
-the Marschallin, Ochs or Barak (in _Die Frau ohne Schatten_)." And so,
-when Hofmannsthal did not "respond" promptly he took up the pen to work
-out his own salvation. The consequence was _Intermezzo_, a domestic
-comedy in one act with symphonic interludes. It was produced at the
-Dresden Opera, November 4, 1924, under Fritz Busch. Two years before
-that Strauss had presented in Vienna a two act Viennese ballet,
-_Schlagobers_ (_Whipped Cream_) which can be dismissed as one of his
-outspoken failures. As for _Intermezzo_ it had biographical vibrations
-in that it pictured a domestic episode in Strauss's own experiences. It
-had to do with a conductor, _Robert Storch_, and thus Strauss could make
-amusing stage use of the unmistakable initials "R.S." and make various
-allusions to the game of skat, which had for years been a favorite
-diversion of his. The music of _Intermezzo_ has never been acclaimed a
-product of the greater Strauss. And yet Alfred Lorenz, famous for his
-series of eviscerating studies of the structural problems of Wagner's
-music dramas, has made it clear that the Wagnerian form problems are
-likewise the principles which underlie such a relatively tenuous
-Straussian score as _Intermezzo_.
-
-In spite of the dubious fortunes which were to dog the steps of an opera
-like _The Woman Without a Shadow_ the composer once again allowed
-himself to be seduced by a work of relatively similar character,
-_Egyptian Helen_, a somewhat tortured mythical tale, based on a rather
-far-fetched "magic" fiction by von Hofmannsthal, relating to a phase of
-the Trojan war, in which Helen is shown as wholly innocent of the
-ancient struggle. Magic befuddlements, potions capable of changing the
-characteristics of people, draughts which rob this or that personage of
-his memory, an "omniscient shell" which launches oracular pronouncements
-and a good deal more of the sort lend a singular character to the
-strange fantasy, in which some have chosen to discern a kind of take-off
-on the various drinks of forgetfulness and such in _Tristan_ and
-_Goetterdaemmerung_. _Egyptian Helen_ is the only sample of this strange
-stage of the Strauss who was reaching the frontiers of old age which
-American music lovers had the opportunity to know. It would be excessive
-to claim that, either in Europe or in the western hemisphere, the work
-was a noticeable addition to the enduring accomplishments of the master.
-More than one began to obtain the impression that, for all the splendors
-of his technic Strauss seemed to be going to seed.
-
-                                 * * *
-
-In the summer of 1929 Hofmannsthal suddenly died. Some time before he
-had written a short novel, _Lucidor_, about an impoverished family with
-two marriageable daughters for whom an attempt is made to secure wealthy
-husbands. To facilitate the marital stratagem one of the daughters is
-dressed in boy's clothes. The disguised girl falls in love with a suitor
-of her sister, Arabella, to whom one Mandryka, a romantic Balkan youth
-of great wealth, pays court. The period is the year 1860, the scene
-Vienna.
-
-Inevitably, _Arabella_ turned out to be something of a throwback into
-the scene, if not the glamorous period or milieu, of _Der
-Rosenkavalier_. Almost inevitably, the lyric comedy--the final product
-of the Strauss-Hofmannsthal partnership--is filled with scenes,
-characters and analogies to the more famous work. In truth, _Arabella_
-is a kind of little sister of _Rosenkavalier_. At the same time the
-texture of the score and the character of the orchestral treatment has a
-transparency and a delicate charm which Strauss rarely equalled, even if
-the melodic invention and the instrumentation suggest a kind of chamber
-music on a large scale. As in _Ariadne auf Naxos_ the composer does not
-hesitate to make use of a florid soprano to introduce scintillating
-samples of ornate vocalism. One feels, however, that _Arabella_ is a
-semi-finished product. The second half of the work does not sustain the
-level of the first. Many things might have been worked out more expertly
-if the librettist had been spared to supervise work, which as things
-stand is far from a really satisfactory or unified piece. But the score
-contains some of the older Strauss's most enamoring lyric pages and it
-is easy to feel that his heart was in the better portions of the opera.
-The score of _Arabella_ benefits by the introduction of folk-songs
-influence--in this instance of a number of South Slavic melodies, which
-are among its genuine treasures.
-
-Lacking his faithful Hofmannsthal Strauss turned to Stefan Zweig, who
-had made for him an operatic adaptation of Ben Jonson's play, "Epicoene,
-or The Silent Woman". On June 24, 1935, it was produced under Karl Boehm
-at the Dresden Opera. At once trouble arose. Hitler and the Nazis had
-come into power and Zweig, as a Jew, was automatically an outcast. After
-the very first performances the piece was forbidden, not to be revived
-till after Hitler's end (and then in Munich and in Wiesbaden). It is
-actually a question whether the temporary loss of _Die Schweigsame Frau_
-must be accounted a serious deprivation. _The Silent Woman_ is a rowdy,
-cruel farce about the tricks played on a wretched old man, unable to
-endure noise and subjected to all manner of torments in order that he be
-compelled to renounce a young woman, who to assure a lover a monetary
-settlement, plays the shrew so successfully that the old man is only too
-willing to pay any amount of his wealth to be rid of her. It is much
-like the story of Donizetti's _Don Pasquale_ and the dramatic
-consequences are to all intents the same. There is, in reality, nothing
-serious or genuinely based on musical _inspiration_ in the opera, the
-best features of which are certain set pieces (some rather adroitly
-polyphonic) and a charmingly orchestrated overture described in the
-score as a "potpourri". A tenderer note is struck only at the point
-where, as evening falls, the old man drops off to sleep.
-
-As librettist for his next two operas, _Friedenstag_ and _Daphne_,
-Strauss sought the aid of Joseph Gregor. The first named work (in one
-act) was performed on July 7, 1938, in Munich, under Clemens Krauss.
-Ironically enough this work that aimed to glorify the coming of peace
-after conflict, was first performed with the political troubles which
-heralded the outbreak of the Second World War, visibly shaping
-themselves. _Daphne_, bucolic tragedy in a single act, also from the pen
-of Gregor, was heard in Dresden, October 15, 1938. And Gregor, too,
-supplied the aging composer, with the book of _Die Liebe der Danae_, a
-"merry mythological tale" in three acts. To date its sole production to
-date seems to have been in Salzburg, as a "dress rehearsal", August 16,
-1944.
-
-Strauss's last opera (produced under Clemens Krauss in Munich on October
-28, 1942), was _Capriccio_, "a conversation piece for music", in one
-act. Krauss and the composer collaborating on the book. The
-"conversation" is a discussion of certain aesthetic problems underlying
-the musical treatment of operatic texts. It was the final work of
-operatic character Strauss was to attempt. This did not mean, however,
-that he had written his last score. Far from it! At 81 he was to
-complete several, the real value of which may be left to the judgment of
-posterity. They include some songs, a duet-concertino for clarinet and
-bassoon with strings, a concerto for oboe and orchestra, a still
-unperformed concert fragment for orchestra from the _Legend of Joseph_.
-More important, unquestionably, is _Metamorphoses_, a "study for 23 solo
-strings", first played in Zurich, January 25, 1946 under the direction
-of Paul Sacher. This work, despite its length, is music of suave,
-beautiful texture; a certain nobly nostalgic quality of farewell which
-seems to sum up the composer's life work, with all its ups and downs. We
-may allow it to go at this and to spare further enumeration of the
-innumerable odds and ends he was to assemble from his boyhood to the
-patriarchal age of more than 85 years; or even to allude to his gross
-derangement of Mozart's "Idomeneo", done in 1930 at Munich.
-
-Having lived through a lively young manhood and endured the bitter
-experience of two world wars Richard Strauss in the end performed the
-miracle of actually dying of old age! One might almost have looked for
-convulsions of nature, for signs and portents at his eventual passing.
-But his going was to be accompanied by no such things. His death in
-Garmisch, September 8, 1949, was brought about by the illnesses of the
-flesh at more than four score and five. He died of a complication of
-heart, liver and kidney troubles--and he died in his bed! A Heldenleben,
-if you will! And a death and transfiguration played against the
-loveliest conceivable background--an incomparable stage setting of
-Alpine lakes and heights, with streams and gleaming summits furnishing a
-glorious backdrop for his resting place!
-
-
-                      COMPLETE LIST OF RECORDINGS
-                                   by
-                   THE PHILHARMONIC-SYMPHONY SOCIETY
-                              OF NEW YORK
-
-
-                      COLUMBIA MASTERWORKS RECORDS
-
-The following records are available on Columbia "Lp"
-
-                     DIMITRI MITROPOULOS conducting
-
-  Concerto For Piano And Orchestra (Khachaturian). With Oscar Levant
-        (piano).
-  Concerto In D Minor For Three Pianos And Strings (Bach). With Robert,
-        Gaby, and Jean Casadesus pianos).
-  Concerto No. 1 In A Minor For 'Cello And Orchestra (Saint-Saens). With
-        Leonard Rose ('cello).
-  Concerto No. 3 In B Minor, Op. 61 (Saint-Saens). With Zino
-        Francescatti (violin).
-  Danse Macabre, Op. 40 (Saint-Saens).[*]
-  Danse Macabre, Op. 40 (Saint-Saens).[*]
-  Erwartung (Schoenberg).
-  Mer, La (Debussy).
-  Overture And Allegro (Couperin-Milhaud).
-  Petrouchka (A Burlesque in Four Scenes) (Stravinsky).
-  Philharmonic Waltzes (Gould).
-  Procession Nocturne, La, Op. 6 (Rabaud).
-  Rouet d'Omphale, Le, Op. 31 (Saint-Saens).[*]
-  Rouet d'Omphale, Le, Op. 31 (Saint-Saens).[*]
-  Schelomo--Hebraic Rhapsodie For 'Cello And Orchestra (Block). With
-        Leonard Rose ('cello).
-  Symphonic Allegro (Travis).
-  Symphonic Elegy For String Orchestra (Krenek).
-  Symphony No. 2 (Sessions).
-  Wozzeck (Berg). With Mack Harrell, Eileen Farrell, Frederick Jagel and
-        Others.
-
-                        BRUNO WALTER conducting
-
-  Academic Festival Overture, Op. 80 (Brahms).
-  Concerto In C. Major For Violin, 'Cello, Piano And Orchestra, Op. 56
-        ("Triple") (Beethoven). With John Corigliano (violin), Leonard
-        Rose ('cello), Walter Hendl (piano).
-  Concerto In D Major For Violin And Orchestra, Op. 61 (Beethoven). With
-        Joseph Szigeti (violin).
-  Concerto In E Minor For Violin And Orchestra, Op. 64 (Mendelssohn).
-        With Nathan Milstein (violin).
-  Concerto No. 5 In E-Flat Major For Piano And Orchestra, Op. 73
-        ("Emperor") (Beethoven). With Rudolf Serkin.
-  Hungarian Dance No. 1 In G Minor (Brahms). (See: Hungarian Dances).
-  Hungarian Dance No. 3 In F Major (Brahms). (See: Hungarian Dances).
-  Hungarian Dance No. 10 In F Major (Brahms). (See: Hungarian Dances).
-  Hungarian Dance No. 17 In F-Sharp Minor (Brahms). (See: Hungarian
-        Dances).
-  Hungarian Dances (Brahms).
-  Moldau, The (Vltava) (Smetana).
-  Oberon--Overture (Weber).
-  Song Of Destiny, Op. 54 (Schicksalslied) (Brahms). (See: Symphony No.
-        9 In D Minor (Beethoven).
-  Symphony In C Major (B. & H. No. 7) (Schubert).
-  Symphony No. 1 In C Major, Op. 21 (Beethoven).
-  Symphony No. 3 In E-Flat Major, Op. 55 ("Eroica") (Beethoven).
-  Symphony No. 3 In E-Flat Major, Op. 97 ("Rhenish") (Schumann).
-  Symphony No. 4 In E Minor, Op. 98 (Brahms).
-  Symphony No. 4 In G Major (Mahler). With Desi Halban (Soprano).
-  Symphony No. 4 In G Major, Op. 88 (Dvorak).
-  Symphony No. 5 In C Minor, Op. 67 (Beethoven).
-  Symphony No. 7 In A Major, Op. 92 (Beethoven).
-  Symphony No. 8 In F Major (Beethoven).
-  Symphony No. 9 In D Minor, Op. 125 ("Choral") (Beethoven). With Irma
-        Gonzalez (soprano), Elena Nikolaidi (contralto), Raoul Jobin
-        (tenor), Mack Harrell (baritone) and The Westminster Choir (John
-        Finley Williamson, Cond.).
-  Symphony No. 41 In C Major (K. 551) ("Jupiter") (Mozart).
-  Vltava ("The Moldau") (Smetana).
-
-                      LEOPOLD STOKOWSKI conducting
-
-  Ascension, L' (Messiaen).
-  Billy The Kid (Copland).
-  Francesca Da Rimini, Op. 32 (Tchaikovsky).
-  Goetterdaemmerung, Die--Siegfried's Rhine Journey and Siegfried's
-        Funeral Music (Wagner).
-  Gurrelieder: Lied Der Waldtaube (Schoenberg). With Martha Lipton
-        (Mezzo-soprano).
-  Masquerade Suite (Khachaturian).
-  Rienzi--Overture (Wagner).
-  Romeo And Juliet--Overture--Fantasia (Tchaikovsky).
-  Symphony No. 6 In E Minor (Vaughan Williams).
-  White Peacock, The, Op. 7, No. 1 (Griffes).
-  Wotan's Farewell And Magic Fire Music (from "Die Walkuere"--Act III)
-        (Wagner).
-
-                        GEORGE SZELL conducting
-
-  Freischuetz, Der--Overture (Weber).
-  From Bohemia's Fields And Groves (Smetana).
-  Midsummer Night's Dream, A (Incidental Music) (Mendelssohn).
-  Moldau, The (Smetana).
-
-                         EFREM KURTZ conducting
-
-  Age Of Gold, The--Polka (Shostakovich). (See: Russian Music).
-  Comedians, The, Op. 26 (Kabalevsky).
-  Concerto In A Minor For Piano And Orchestra, Op. 16 (Grieg). With
-        Oscar Levant (piano).
-  Concerto No. 2 In D Minor For Violin And Orchestra, Op. 22
-        (Wieniawski). With Isaac Stern (violin).
-  Eugen Onegin--Entr'Acte And Waltz (Tchaikovsky). (See: Russian Music).
-  Flight Of The Bumble Bee, The (Rimsky-Korsakov). (See: Russian Music).
-  Gayne--Ballet Suite No. 1 (Khachaturian).[*]
-  Gayne--Ballet Suite No. 2 (Khachaturian).[*]
-  Life Of The Czar--Mazurka (Glinka). (See: Russian Music).
-  Mlle. Angot Suite (Lecocq).
-  March, Op. 99 (Prokofiev). (See: Russian Music).
-  Monts d'Or Suite, Les--Waltz (Shostakovitch). (See: Russian Music).
-  Russian Music.
-  Sabre Dance (Khachaturian). (See: Gayne-Ballet Suite No. 1).[*]
-  Sylphides, Les--Ballet (Chopin).[*]
-  Symphony No. 9, Op. 70 (Shostakovitch).
-  Uirapuru (A Symphonic Poem) (Villa-Lobos).
-
-                        CHARLES MUNCH conducting
-
-  Concerto No. 21 In C Major For Piano And Orchestra (K. 467) (Mozart).
-        With Robert Casadesus (piano).
-  Symphony No. 3 In C Minor, Op. 78 (With Organ) (Saint-Saens). With E.
-        Nies-Berger (organ).
-  Symphony On A French Mountain Air For Orchestra And Piano, Op. 25
-        (d'Indy). With Robert Casadesus (piano).
-
-                       ARTUR RODZINSKI conducting
-
-  American In Paris, An (Gershwin).
-  Arabian Dance (Tchaikovsky). (See: Nutcracker Suite, Op. 71a).[**]
-  Bridal Chamber Scene (from "Lohengrin") (Wagner). With Helen Traubel
-        (soprano) Kurt Baum (tenor).
-  Chinese Dance (Tchaikovsky). (See: Nutcracker Suite, Op. 71a).[**]
-  Concerto No. 4 In C Minor For Piano And Orchestra, Op. 44
-        (Saint-Saens). With Robert Casadesus (piano).
-  Dance Of The Reed-Pipes (Tchaikovsky). (See: Nutcracker Suite, Op.
-        71a).[**]
-  Dance Of The Sugar-Plum Fairy (Tchaikovsky). (See: Nutcracker Suite,
-        Op. 71a).[**]
-  Escales (Ports Of Call) (Ibert).
-  Jubilee (Gould). (See: Spirituals For Orchestra).
-  Little Bit Of Sin, A (Gould). (See: Spirituals For Orchestra).
-  Lincoln Portrait, A (Copland). With Kenneth Spencer (narrator).
-  March (Tchaikovsky). (See: Nutcracker Suite, Op. 71a).
-  Mephisto Waltz (Liszt).[**]
-  Miniature Overture (Tchaikovsky). (See: Nutcracker Suite, Op.
-        71a).[**]
-  Mozartiana (Suite No. 4 In G Major, Op. 61) (Tchaikovsky).
-  Nutcracker Suite, Op. 71a (Tchaikovsky).[**]
-  Pictures At An Exhibition (Moussorgsky).
-  Proclamation (Gould). (See: Spirituals For Orchestra).
-  Protest (Gould). (See: Spirituals For Orchestra).
-  Roumanian Rhapsody No. 1 In A Major, Op. 11 (Enesco).
-  Russian Dance (Tchaikovsky). (See: Nutcracker Suite, Op. 71a).[**]
-  Sermon (Gould). (See: Spirituals For Orchestra).
-  Siegfried Idyll (Wagner).
-  Spirituals For Orchestra (Gould).
-  Symphony No. 1 In C Minor, Op. 68 (Brahms).
-  Symphony No. 2 In D Major, Op. 73 (Brahms).
-  Symphony No. 5, Op. 100 (Prokofiev).
-  Walkuere, Die--Act III (Complete) (Wagner). With Helen Traubel, Herbert
-        Janssen.
-  Waltz Of The Flowers (Tchaikovsky). (See: Nutcracker Suite, Op.
-        71a).[**]
-
-                       IGOR STRAVINSKY conducting
-
-  Circus Polka (Stravinsky). (See: "Meet The Composer"--Igor
-        Stravinsky).
-  Firebird Suite (New augmented version) (Stravinsky).
-  Fireworks, Op. 4 (Stravinsky). (See: "Meet The Composer"--Igor
-        Stravinsky).
-  Norwegian Moods (Stravinsky). (See: "Meet The Composer"--Igor
-        Stravinsky).
-  Ode (Stravinsky). (See: "Meet The Composer"--Igor Stravinsky).
-  Petrouchka, Suite From (Stravinsky).
-  Sacre Du Printemps, Le (Stravinsky).
-  Scenes De Ballet (Stravinsky).
-  Symphony In Three Movements (Stravinsky).
-
-                     SIR JOHN BARBAROLLI conducting
-
-  Academic Festival Overture, Op. 80 (Brahms).
-  Concerto No. 1 In G Minor For Violin And Orchestra, Op. 26 (Bruch).
-        With Nathan Milstein (violin).
-  Concerto No. 27 In B-Flat Major For Piano And Orchestra (K. 595)
-        (Mozart). With Robert Casadesus (piano).
-  Theme And Variations (from Suite No. 3 In G Major, Op. 55)
-        (Tchaikovsky).
-
-                     SIR THOMAS BEECHAM conducting
-
-  Symphony No. 7 In C Major, Op. 105 (Sibelius).
-
-                      LEONARD BERNSTEIN conducting
-
-  Age Of Anxiety, The (Symphony No. 2 For Piano And Orchestra)
-        (Bernstein).
-
-                        MORTON GOULD conducting
-
-  Quickstep (Third Movement from Symphony No. 2--"On Marching Tunes")
-        (Gould).
-
-                      ANDRE KOSTELANETZ conducting
-
-  Concerto In F For Piano And Orchestra (Gershwin). With Oscar Levant
-        (piano).
-
-                       DARIUS MILHAUD conducting
-
-  Suite Francaise (Milhaud).
-
-  [**]Also available on 45 rpm.
-  [*]Also available on 78 rpm.
-
-
-                             VICTOR RECORDS
-
-                      ARTURO TOSCANINI conducting
-
-  Beethoven--Symphony No. 7 in A major
-  Brahms--Variations on a Theme by Haydn
-  Dukas--The Sorcerer's Apprentice
-  Gluck--Orfeo ed Euridice--Dance of the Spirits
-  Haydn--Symphony No. 4 in D major (The Clock)
-  Mendelssohn--Midsummer Night's Dream--Scherzo
-  Mozart--Symphony in D major (K. 385)
-  Rossini--Barber of Seville--Overture
-  Rossini--Semiramide--Overture
-  Rossini--Italians in Algiers--Overture
-  Verdi--Traviata--Preludes to Acts I and II
-  Wagner--Excerpts--Lohengrin--Die Goetterdaemmerung--Siegfried Idyll
-
-                     SIR JOHN BARBAROLLI conducting
-
-  Debussy--Iberia (Images. Set 3, No. 2)
-  Purcell--Suite for Strings with Four Horns, Two Flutes, English Horn
-  Respighi--Fountains of Rome
-  Respighi--Old Dances and Airs (Special recording for members of the
-        Philharmonic-Symphony League of New York)
-  Schubert--Symphony No. 4 in C minor (Tragic)
-  Schumann--Concerto for Violin and Orchestra in D minor (with Yehudi
-        Menuhin, violin)
-  Tschaikowsky--Francesca da Rimini--Fantasia
-
-                      WILLEM MENGELBERG conducting
-
-  J. C. Bach--Arr. Stein--Sinfonia in B-flat major
-  J. S. Bach--Arr. Mahler--Air for G string (from Suite for Orchestra)
-  Beethoven--Egmont Overture
-  Handel--Alcina Suite
-  Mendelssohn--War March of the Priests (from Athalia)
-  Meyerbeer--Prophete--Coronation March
-  Saint-Saens--Rouet d'Omphale (Omphale's Spinning Wheel)
-  Schelling--Victory Ball
-  Wagner--Flying Dutchman--Overture
-  Wagner--Siegfried--Forest Murmurs (Waldweben)
-
-
-                     Special Booklets published for
-                             RADIO MEMBERS
-                                   of
-                   THE PHILHARMONIC-SYMPHONY SOCIETY
-                              OF NEW YORK
-
-  POCKET-MANUAL of Musical Terms, Edited by Dr. Th. Baker (G.
-        Schirmer's)
-  BEETHOVEN and his Nine Symphonies by Pitts Sanborn
-  BRAHMS and some of his Works by Pitts Sanborn
-  MOZART and some Masterpieces by Herbert F. Peyser
-  WAGNER and his Music-Dramas by Robert Bagar
-  TSCHAIKOWSKY and his Orchestral Music by Louis Biancolli
-  JOHANN SEBASTIAN BACH and a few of his major works by Herbert F.
-        Peyser
-  SCHUBERT and his work by Herbert F. Peyser
-  *MENDELSSOHN and certain MASTERWORKS by Herbert F. Peyser
-  ROBERT SCHUMANN--Tone-Poet, Prophet and Critic by Herbert F. Peyser
-  *HECTOR BERLIOZ--A Romantic Tragedy by Herbert F. Peyser
-  *JOSEPH HAYDN--Servant and Master by Herbert F. Peyser
-  GEORGE FRIDERIC HANDEL by Herbert F. Peyser
-
-These booklets are available to Radio Members at 25c each while the
-supply lasts except those indicated by asterisk.
-
-
-                      _Great Performances by the_
-              Philharmonic-Symphony Orchestra of New York
-                  _on Columbia 33-1/3_ (Lp) _Records_
-
-  DIMITRI MITROPOULOS conducting
-  Berg: Wozzeck. Complete Opera with Mack Harrell, Eileen Farrell and
-        others. Set SL-118
-  Debussy: La Mer. ML 4434
-  Saint-Saens: Concerto No. 3 in B Minor, Op. 61. With Zino
-        Francescatti, Violin. ML 4315
-  Stravinsky: Petrouchka. ML 4438
-
-  BRUNO WALTER conducting
-  Beethoven: Symphony No. 3 in E-flat Major, Op. 55. ("Eroica"). ML 4228
-  Brahms: Symphony No. 4 in E Minor, Op. 98. ML 4472
-
-  GEORGE SZELL conducting
-  Mendelssohn: A Midsummer Night's Dream--Overture and Incidental Music.
-        ML 4498
-  Smetana: The Moldau; From Bohemia's Fields and Groves. ML 2177
-
-
-                         Columbia (Lp) Records
-
-               First, Finest, Foremost in Recorded Music
-
- "Columbia", "Masterworks", (Lp) and (_()_) Trade Marks Reg. U. S. Pat.
-              Off. Marcas Registradas Printed in U. S. A.
-
-
-
-
-                          Transcriber's Notes
-
-
---A few palpable typos were silently corrected; unusual transliterations
-  of names or musical terms were retained.
-
---Copyright notice is from the printed exemplar. (U.S. copyright was not
-  renewed: this ebook is in the public domain.)
-
---Columbia trademarks in the discography are represented with "ASCII
-  art" approximations.
-
-
-
-
-
-
-
-End of the Project Gutenberg EBook of Richard Strauss, by Herbert F. Peyser
-
-*** END OF THIS PROJECT GUTENBERG EBOOK RICHARD STRAUSS ***
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