Richard Strauss and His World
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Adolf Loos
Anschluss
Anton Webern
Ariadne auf Naxos
Arnold Schoenberg
By Strauss
Carl Schachter
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Clemens Krauss
Composer
Der Rosenkavalier
Die Frau ohne Schatten
Die Liebe der Danae
Eduard Hanslick
Elektra (opera)
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Erich Wolfgang Korngold
Felix Mendelssohn
Franz Grillparzer
Franz Liszt
Franz Strauss
Friedrich Nietzsche
Georg Trakl
Giuseppe Verdi
Gustav Mahler
Hans Heiling
Hans Pfitzner
Hans Sachs
Hans von Bulow
Harmonielehre
Hector Berlioz
Heinrich Schenker
Heinrich von Kleist
Henrik Hertz
Igor Stravinsky
Intermezzo (opera)
Johannes Brahms
Kurt Weill
Leo Strauss
Libretto
Lohengrin (opera)
Louis Spohr
Ludwig Thuille
Ludwig Tieck
Ludwig van Beethoven
Martin Heidegger
Max Reger
Meistersinger
Michael Steinberg (music critic)
Modernism (music)
Neo-romanticism
Neoromanticism (music)
Opera seria
Philosophy of Friedrich Nietzsche
Poetry
Rainer Maria Rilke
Reichsmusikkammer
Richard Strauss
Richard Wagner
Romain Gary
Rudolf Louis
Schwanengesang
Stefan Zweig
Symphonic poem
The Strauss Family
Theodor W. Adorno
Tone poems (Strauss)
Trauermusik
Tristan und Isolde
Vienna State Opera
Wagnerism
WoO (Beethoven)
Product details
- ISBN 9780691027623
- Weight: 624g
- Dimensions: 152 x 229mm
- Publication Date: 30 Aug 1992
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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Strongly influencing European musical life from the 1880s through the First World War and remaining highly productive into the 1940s, Richard Strauss enjoyed a remarkable career in a constantly changing artistic and political climate. This volume presents six original essays on Strauss's musical works--including tone poems, lieder, and operas--and brings together letters, memoirs, and criticism from various periods of the composer's life. Many of these materials appear in English for the first time.
In the essays Leon Botstein contradicts the notion of the composer's stylistic "about face" after Elektra; Derrick Puffett reinforces the argument for Strauss's artistic consistency by tracing in the tone poems and operas the phenomenon of pitch specificity; James Hepokoski establishes Strauss as an early modernist in an examination of Macbeth; Michael Steinberg probes the composer's political sensibility as expressed in the 1930s through his music and use of such texts as Friedenstag and Daphne; Bryan Gilliam discusses the genesis of both the text and the music in the final scene of Daphne; Timothy Jackson in his thorough source study argues for a new addition to the so-called Four Last Songs. Among the correspondence are previously untranslated letters between Strauss and his post-Hofmannsthal librettist, Joseph Gregor. The memoirs range from early biographical sketches to Rudolf Hartmann's moving account of his last visit with Strauss shortly before the composer's death. Critical reviews include recently translated essays by Theodor Adorno, Guido Adler, Paul Bekker, and Julius Korngold.
