RICHARD STRAUSS - NORMAN DEL MAR

'I know what I want, and I know what I meant when I wrote this. After all I may not be a first-rate composer, but I am a first-class second-rate composer.' These words were addressed by Richard Strauss himself to the Royal Philharmonia Orchestra during rehearsal. This was in 1947 when Sir Thomas Beecham, to whom the author was then associate conductor, had organized a Strauss Festival which Strauss had come to London to attend. 'Everyone,' writes the author, 'was agog to see this legendary figure from the past, many of whose works--predominantly the earlier ones--are as much part of the classical repertoire as, for example, the Brahms symphonies. Was he really still alive?' Strauss's remark was not 'false modesty,' continues the author, 'but neither is it by any means the whole truth. Don Juan, Don Quixote, and Elektra are indeed the products of a first-rate composer, but scarcely Die Frau ohne Schatten and Sinfonia Domestica. In fact, for two or possibly even three periods in his career Strauss rose to heights of supreme genius, only to fall back in between on merest talent. 'A first-class second-rate composer' is a fair assessment for a certain part of his creative life--but certainly cannot stand as an overall judgement on one of the world's greatest musicians. This paradox is the theme of my book.' The first volume takes Strauss's work up to, and including, Der Rosenkavalier, which may legitimately be regarded as the climax of his career, as well as convenient half-way mark. The mass of songs, however, together with a number of smaller choral and instrumental works of an occasional nature, has been held over from a volume which threatened to become far too long and cumbersome. They are dealt with as a whole in Volumes II and III. A critical commentary on Strauss, whose almost inexhaustible flow of easily assimilated tunes went hand in hand with epoch-making discoveries of new musical means and heroic flights into the music of the future, has been long needed. The author now provides it, adding a wealth of knowledge to musical history. He also examines the literary sources from Strauss's inspiration--both for the operas and the tone poems. --from dust jacket. Read More...

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