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2000 4X7 SOFTCVR JAN 16 2000 3 PM AVERY FISHER HALL, ... Read more

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Richard Strauss is a composer much loved among audiences throughout the world, both in the opera house and the concert hall. Despite this popularity, Strauss was for many years ignored by scholars, who considered his commercial success and his continued reliance on the tonal system to be liabilities. However, the past two decades have seen a resurgence of scholarly interest in the composer. This Companion surveys the results, focusing on the principal genres, the social and historical context, and topics perennially controversial over the last century. Chapters cover Strauss's immense operatic output, the electrifying modernism of his tone poems, and his ever-popular Lieder. Controversial topics are explored, including Strauss's relationship to the Third Reich and the sexual dimension of his works. Reintroducing the composer and his music in light of recent research, the volume shows Strauss's artistic personality to be richer and much more complicated than has been previously acknowledged. ... Read more

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Customer Reviews (2)

The Odd Couple:Mahler and Strauss
Herta Blaukopf presents here the story of one of the oddest "couples" in music history:Gustav Mahler and Richard Strauss.
Through her own commentary, using nearly all the known letters exchanged between Mahler and Strauss, Blaukopf helps readers come to a better understanding of what kept these two giants of music together--and what kept them apart.

Over a major span of their productive years, they maintained a correspondence, and frequently got together with friends and family, discussing music and how to further each other's careers.Yet these two titans never seemed to really understand each other.

Strauss, the genius of tone poems and sound painting, seemed never to run out of new ideas of music that would "sell."Strauss wrote because he COULD! (and he could make a lot of money at it!)

Mahler had a boundless reservoir of passion for Nature, and a depth of desire to understand the causes and reasons for human suffering.Mahler wrote, because he HAD TO! He was puzzled by those who could not understand the depth of suffering in his music.

After just such a moment of bewilderment, Mahler asks himself, "Are people made of different stuff than I?"Upon reading this, Strauss answers Mahler's heart-wrenching question, with a single word:"Yes."

Many good books have been written about Mahler and Strauss.This one lets you read their own thoughts in their own words, and it also includes the words of their family and associates to let readers judge for themselves.

Fine pairing of letters and explanatory essay
An excellent work, and an indispensible one to both Mahlerites, and those few of us who still consider Strauss his equal. This relatively slim volume offers an extraordinary, privileged look at the relationship of the two great composers, their professional careers as major conductors, and their travails as avant garde composers. Strauss comes across very handsomely in this work, and his remarkable personal success is a running leitmotif set against Mahler's endless struggle for recognition. The letters are marvelously amplified and filled out by Herta Blaukopf's model essay - a long full historical overview of the correspondence, complete with gossipy wives and Mahler's insecurities and deep-seated neuroses.
It is impossible not to be reminded, when reading of Mahler and Alma, of an earlier musical couple, Clara and Robert Schumann. Both couples were highly critical of another major competing musical figure, with the Schumanns it was Liszt. The Mahlers kept their thoughts largely to themselves, and they seem constantly unable to resist the bait to their egos of Strauss' public glory. It eats at them and they let themselves fall prey to petty annoyances and imagined slights. Yet both Liszt and Strauss proved fair-minded, and in the case of Liszt, really quite magnanimous. Both couples also seem touched with too much zealotry, a sort of missionary calling of the right way, their way, and I find that most disquieting. In the case of the Mahlers the condition shows readily enough in these letters and the story documented by the attached essay. One comes away with a higher regard for Strauss the man, and certain private doubts about Mahler and especially Alma largely confirmed. ... Read more

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This full-length study of Salome is the first in English since Lawrence Gilman's introductory guide of 1907. The handbook presents an informative collection of historical, critical and analytical studies of one of Strauss's most familiar operas. Classic essays by Mario Praz and Richard Ellmann cover the literary background. How Strauss adopted Wilde's play for his libretto is discussed by Roland Tenschert in a fascinating essay which has been updated by Derrick Puffett. In three central analytical chapters, Derrick Puffett considers Salome in relation to Wagnerian music drama, Tethys Carpenter examines its tonal and dramatic structure, and Craig Ayrey analyses the final monologue. The last part of the book moves from analysis to criticism, with a review by John Williamson of the opera's critical reception and an interpretative essay by Robin Holloway. The book also contains a synopsis, bibliography, and discography; Strauss's little-known scenario for the 'Dance of the Seven Veils' is reprinted as an appendix. ... Read more

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The contributions to this handbook bring together the first full-length study of Elektra in English. The volume examines the many facets of one of Richard Strauss's most complex operas. First, P. E. Easterling surveys the mythological background, while Karen Forsyth discusses Hofmannsthal's adaptation of his sources. The second part brings the music to the fore. Derrick Puffett offers an introductory essay and synopsis; Arnold Whittall considers the tonal and dramatic structure of the composition; Tethys Carpenter explores the musical language of the work in detail, with special focus given to part of the Klytaemnestra scene. The third part of the volume offers two contrasting critical essays: Carolyn Abbate provides an interpretation informed by her recent work on narrative, and Robin Holloway analyses Strauss's orchestration of the opera. The book also contains a discography and an appendix of excerpts from the Strauss-Hofmannsthal correspondence. ... Read more

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This is the first comprehensive guide to Richard Strauss's Arabella. The opening chapters explore the literary background of the work, and examine the Strauss-Hofmannsthal collaboration. Arabella is seen as the culmination of specific ideas and techniques: an attempt to win something of the subtlety of the spoken theatre for the operatic stage and to find a balance between words and music. A full synopsis of the work provides an insight into the psychological motivation of the drama and an impression of the musical shape and substance of the opera. More detailed analytical comment considers Strauss's 'long-range' tonal procedures and his use of key and Motiv for characterisation, allusion and particular expressive purposes. Special features of this guide are a comentary on one of the Strauss Arabella sketchbooks and an investigation of a series of as yet unpublished letters from Strauss to Böhm, Krauss and Fanto. ... Read more

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This book describes the pre-eminent achievement from the first years of collaboration between two great artists of the twentieth century, Hugo von Hofmannsthal and Richard Strauss. It explains how the poet drew upon a wealth of classical and literary sources to fashion his vivid characters, and how the composer further enhanced their lifelike charm in his potent and often magical score. An explanation of the psychological undertones of the libretto is supplemented by an appendix on Hofmannsthal's use of language. Critical comments and attacks on Der Rosenkavalier from its premiere to recent times are described and assessed, and the opera's stage history is recounted. The long central chapter of the book, adapted by Norman Del Mar from his celebrated three-volume study of the composer, combines musical analysis with a detailed synopsis. An appendix discusses versions of the opera as film and play. The book includes a bibliography and a detailed discography. ... Read more

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Elektra was the fourth of fifteen operas by Strauss and opened his successful partnership with the librettist Hugo von Hofmannsthal. Gilliam's study of this major work examines its musical-historical context and also provides a detailed analysis of some of its musical features.He establishes a chronology of the evolution of the opera and places it in the larger framework of German opera of the time. His detailed examination of the sketchbooks enables him to offer fresh insight into Strauss's use of motifs and overall tonal structure.In so doing he shows how the work's arresting dissonance and chromaticism have hidden its similarities to his later, seemingly more tonally conservative opera, Der Rosenkavalier: not only does Strauss exploit in both a variety of musical styles to express irony, parody, and other emotions, but both are in fact thoroughly tonal. ... Read more

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The young Richard Strauss was almost exclusively an orchestral composer. Yet, the year 1903 brought a significant break from orchestral writing, and Strauss then shifted his focus to opera for the next four decades. In the aftermath of the Second World War he returned to orchestral music, having first served and then been summarily dismissed by the Third Reich. Despite its enduring appeal among concert audiences, and the intriguing pattern of his compositional career, Richard Strauss's orchestral music has yet to receive the scholarly consideration it deserves.

Richard Strauss's Orchestral Music and the German Intellectual Tradition breaks new ground in Straussian studies. Youmans provides a provocative investigation of Strauss's private intellectual life and its impact on the brilliant music he created during the formation of his worldview. The composer's works have traditionally been viewed as a product of high German Romanticism, yet Youmans demonstrates that Strauss's entire body of orchestral music can be read as a history of his struggle with specific intellectual-historical concerns. Exploring the significant influences of Schopenhauer, Nietzsche, Goethe, and Wagner on the young composer, Youmans insightfully establishes that the cultural convictions and preconceptions which grounded the composer's artistic choices in fact provided him with the philosophical and musical materials that formed the basis of an early modernism. Through this grounding, the mature Strauss succeeded in opening up a new aesthetic frontier devoted to! optimism, physicality, and the visual. ... Read more

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This is a reproduction of a book published before 1923.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process.We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide.We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more