Richard Strauss is an outlier in the context of twentieth century music. Some consider him a composer of the late romantic period, while others declare him a traitor of modernity for his role in National Socialism. Despite the controversy surrounding him, Strauss's works--even beyond his most well-known operas Elektra and Rosenkavalier--are present in the repertories of concert halls worldwide and continue to enjoy large audiences. The details of the composer's life, however, remain shrouded in mystery and gossip. Laurenz Lütteken's Strauss presents a fresh approach to understanding this elusive composer's life and works. Dispensing with stereotypes and sensationalism, it reveals Strauss to be a sensitive intellectual and representative of modernity, with all light and shade of the turn of the twentieth century.
Table of Contents
Foreword Introduction: Problems 1. Images of Strauss2. The Other ModernismI. Between Patriciate and Aristocracy1. Munich as a Form of Mental Life2. Family and Milieu3. Education and Readings`II. The End of the Nineteenth Century: Leaving Traditional Genres Behind1. Strauss and Tradition2. Inspiration and Compositional Craft3. Against Sonata Form: The End of Symphonic and Chamber MusicIII. The Poetry of Imagination: Lieder1. The Lied as a Form of Musical Thought2. Strauss as Reader and the Poetic Canon3. Border-crossings: Lyric and Chorus4. First and Last LiederIV. Music and Life: The Kapellmeister and His Duties1. Beginnings: Meiningen, Weimar, Munich2. Berlin and Modernism3. Vienna and the Republican Task4. Strauss as ConductorV. Poetry of the Real: The Tone Poems1. Distance from Wagner 2. Leaving Behind the Metaphysics of Music 3. "Autobiography" and New Musical SemanticsVI. Music Without Metaphysics: The Path to Opera1. Künstleropern 2. The New Theater: Max Reinhardt in Berlin3. Oriental Antiquity and "Nervous Counterpoint"4. The End of Instrumental MusicVII. "The Social Achieved": Strauss und Hofmannsthal 1. Language-crises and "Way to the Social"2. Silence and Dance3. Plastic Antiquity4. A New Reality: Fairytale and OperettaVIII. New Mythology and the Plasticity of Music1. Mozart's Melody and Wagner's Orchestra: Tonality and the New Musical Communicability 2. The Present and Presence of the Theater3. Music as Festival: SalzburgIX. Music and Reality1. Life-Worlds: Social Praxis and the Villas in Garmisch and Vienna 2. Copyright and Musical Materiality3. The ReichsmusikkammerX. After Hofmannsthal's Death1. Intermezzo with Stefan Zweig2. Joseph Gregor and Final PlansXI. Metamorphosen and the End of History1. Final Works2. Self-Interpretations: Metamorphosen 3. The New Presence of History?AppendicesA. Biographical TimelineB. Catalog of WorksC. PersonaliaSelect Bibliography