Richard Strauss

Richard Strauss was born at Munich, June 11, 1864. His father, Franz Strauss, was a distinguished horn player in the Royal Opera orchestra.

From him Richard received rigid instruction in music. His teacher in composition was the orchestral conductor, W. Meyer. At school he wrote music on the margins of his books. He was so young at the first public performance of a work by him, that when he appeared and bowed in response to the applause, someone asked, "What has that boy to do with it?" "Nothing, except that he composed it," was the reply.

Strauss is best known as the composer of many beautiful songs and of the orchestral works _Tod und Verklaerung_ (Death and Transfiguration), and _Till Eulenspiegel's l.u.s.tige Streiche_ (Till Eulenspiegel's Merry Pranks). The latter is a veritable _tour de force_ of orchestral scoring and a test of the virtuosity of a modern orchestra. _Thus Spake Zarathustra_, _Don Quixote_, and _Ein Heldenleben_ (A Hero's Life) are other well-known orchestral works by him. They are of large proportions. To the symphony, and the symphonic poem, Strauss has added the tone poem as a form of instrumental music even freer in its development than the symphonic poem, which was Liszt's legacy to music.

FEUERSNOT

FIRE FAMINE

Opera in one act. Music by Richard Strauss; text by Ernst von Wolzogen. Produced: Dresden, November 21, 1901.

CHARACTERS

SCHWEIKER VON GUNDELFINGEN, keeper of the castle _Tenor_ ORTOLF SENTLINGER, burgomaster _Ba.s.s_ DIEMUT, his daughter _Soprano_ KUNRAD, the leveller _Baritone_

_Time_--13th Century.

_Place_--Munich.

The action takes place in Munich on the day of the winter solstice in olden times. At the time of the representation the twelfth century has just pa.s.sed. A big crowd of children, followed by grown-ups, is going in whimsical wantonness from house to house to collect wood for the solst.i.tial fire ("Subendfeuer"). After they have collected rich booty at the burgomaster's they go over to the house opposite. It appears strangely gloomy. Shutters and doors are closed as though it were empty. Yet a short time ago young _Herr Kunrad_ lived there. It is his legal inheritance and property, a legacy from his ancestor who was an "excellent sorcerer" and now taken possession of after a long absence.

Nevertheless, the superst.i.tion of the ma.s.ses had been much concerned with the house. The most reasonable was that its occupant was a strange fellow, the majority thought him a gloomy magician. In reality the young man sat in the house poring over books. The noise of the children calls him forth. When he hears that it is the solstice, the great festival of his profession, an agitation seizes him in which he tells the children to take away all the wood from his house. This destruction stirs the townsmen but _Kunrad_ is so struck at sight of _Diemut_, who seems to him like a revelation of life, that he dashes through the townsmen and kisses the girl on the mouth. The agitation of the townsmen is silenced sooner than _Diemut's_ who plans revenge for this outrage.

Now the townsmen are all out of doors on account of the solst.i.tial holiday. But in _Kunrad's_ heart the promptings of love are blazing like a fire. A mad longing for _Diemut_ seizes him, and as she now appears on her balcony he begs for her love with warm words. The spark has also been well kindled in her heart, but still she only thinks of revenge. So she lures him toward the side street where the order basket still stands on the ground. _Kunrad_ steps into it and _Diemut_ hauls him upward. But halfway up she lets him hang suspended. So _Kunrad_ becomes a laughing-stock for the townsmen returning home.

Then a fearful rage seizes upon him; he makes use of his magic art: "May an ice-cold everlasting night surround you because you have laughed at the might of love." Every light is extinguished and a deep darkness covers the town and its inhabitants. Now _Kunrad_ from the balcony, addresses the townsmen, furious with rage in a speech filled with personal references whose basic idea is that the people always recognize and follow their great masters. So they have sadly mistaken his purpose and the maid whom he had chosen had mocked him. For punishment their light is now extinguished. Let all the warmth leave the women, all the light of love depart from ardent young maidens, until the fire burns anew. Now the tables are turned. All recognize in _Kunrad_ a great man. In their self-reproaches are mingled complaints about the darkness and an imploring cry to _Diemut_ by her love to make an end of the lack of fire. But _Diemut_ in the meantime has changed her mind; love in her too gets the upper hand as the sudden rekindling of every light makes known.

GUNTRAM

Music-drama in three acts: music and words by Richard Strauss. Produced: Weimar, May 10, 1894.

CHARACTERS

THE OLD DUKE _Ba.s.s_ FREIHILD, his daughter _Soprano_ DUKE ROBERT, her betrothed _Baritone_ GUNTRAM, a singer _Tenor_ FRIEDHOLD, a singer _Ba.s.s_ THE DUKE'S CLOWN _Tenor_

_Time_--Thirteenth Century.

_Place_--A German duchy.

Act I. _Guntram_ has been brought up to manhood as pupil of the religious knightly Band of the Good. This band has set for itself the realization of the Christian idea of love for the soul. The brotherly union of all men, who shall be brought through love to world peace is the aim of the band, the n.o.ble art of song its means of obtaining recruits. _Guntram_ seems to his teacher _Friedhold_ ready for the great work and so he is a.s.signed to a difficult task. The _Old Duke_ has given the hand of his daughter _Freihild_, and also his estate, to _Duke Robert_. The latter, the only one of the powerful tyrants left, through his oppression had so stirred up the peaceful people that they rose against his rule. Then he had put down the rising cruelly and had burdened the unfortunate people so heavily that they were thinking of leaving their homes. _Freihild_ most deeply sympathizes with the people and had given her hand to the _Duke_ only unwillingly, and she seeks in the happiness of the people consolation for her loveless life. But the _Duke_ has forbidden her this work of love and she seeks release from life in a voluntary death in the waters of the lake.

_Guntram_ rescues her. The _Old Duke_, out of grat.i.tude for saving his daughter, promises pardon to the rebels and invites the singer to the feast that is to be given in the ducal palace in celebration of the putting down of the rebellion.

Act II. At the festive banquet _Guntram_, relying upon the power of the thought of love as presented by him, will make use of the occasion to win the _Duke's_ heart for peace. The _Duke_, whose _clown_ has just irritated him, in a rage interrupts _Guntram_. But the latter is protected by the va.s.sals all of whom at heart are angry at the cruel ruler. When a messenger brings news of a new revolt, a vote is taken and they all decide for war. Then _Guntram_ reminds them anew of peace in inspired songs. In a rage the _Duke_ scorns him as a rebel, a.s.saults him and, after a brief wrestle, _Guntram_ strikes down the tyrant. Then the _Old Duke_ has him thrown into a dungeon and goes off with the va.s.sals to put down the rebellion again. But _Freihild_, whose heart is inflamed with love for the bold, n.o.ble singer, conspires with the _clown_ to save him and flee with him.

Act III. In the gloomy dungeon in which _Guntram_ is awaiting his punishment, the young hero has plenty of leisure to meditate on his deeds and their motives. The Band of the Good has sent _Friedhold_ to him in order that he may ask of him an account of his sinful deed. For such an act is considered as murder in every case. _Guntram_ feels that he is not guilty in the opinion of the Band but is self-convicted in the opinion of the highest humanity. For he cannot conceal from himself that the pa.s.sionate love for _Freihild_, wife of the _Duke_, which burns in his heart, led him to his deed. Therefore, he can certainly reject the reproach of the Band, but he charges himself with renunciation as expiation for his deed. He has taught himself that true freedom cannot be attained unless it is acquired by one's own power and victory over one's self. So the Band of the Good is caught in an error and _Guntram_ renounces his connection with them. But _Freihild_, who has succeeded to the duchy since the _Old Duke_ has fallen on the field, he refers to the G.o.dly message which calls her to promote the happiness of the people. In this n.o.ble task she will find indemnification for the personal sacrifice of her lost love. The singer withdraws thence into solitude.

SALOME

Opera in one act by Richard Strauss; words after Oscar Wilde's poem of the same t.i.tle, translated into German by Hedwig Lachmann. Produced at the Court Opera, Dresden, December 9, 1905. Metropolitan Opera House, New York, 1907, with Olive Fremstad; Manhattan Opera House, New York, with Mary Garden.

CHARACTERS

HEROD ANTIPAS, Tetrarch of Judea _Tenor_ HERODIAS, wife of Herod _Mezzo-Soprano_ SALOME, daughter of Herodias _Soprano_ JOKANAAN (John the Baptist) _Baritone_ NARRABOTH, a young Syrian, Captain of the Guard _Tenor_ A PAGE _Alto_

A young Roman, the executioner, five Jews, two Nazarenes, two soldiers, a Cappadocian and a slave.

_Time_--About 30 A.D.

_Place_--The great terrace in the palace of Herod at Tiberias, Galilee, the capital of his kingdom.

On the great terrace of _Herod's_ palace, off the banquet hall, is his body-guard. The ardent looks of the young captain, _Narraboth_, a Syrian, are directed toward the banquet hall where _Salome_ is seated.

In vain the _Page_, who is aware of the neurotic taint in the woman, warns him. The young captain is consumed with ardent desires.

The night is sultry. The soldiers' talk is interrupted by the sounds from the hall. Suddenly there is heard a loud and deep voice, as from a tomb. Dread seizes even upon the rough soldiers. He who calls is a madman according to some, a prophet according to others, in either case, a man of indomitable courage who with terrifying directness of speech brings the ruling powers face to face with their sins and bids them repent. This is _Jokanaan_. His voice sounds so reverberant because it issues from the gloomy cistern in which he is held a captive.

Suddenly _Salome_, in great commotion, steps out on the terrace. The greedy looks with which the _Herod_, her stepfather, has regarded her, as well as the talk and noisy disputes of the gluttons and degenerates within have driven her out. In her stirs the sinful blood of her mother, who, in order that she might marry _Herod_, slew her husband.

Depraved surroundings, a court at which the satiating of all desires is the main theme of the day, have poisoned her thoughts. She seeks new pleasures, as yet untasted enjoyments. Now, as she hears the voice of the _Prophet_, there arises in her the l.u.s.t to see this man, whom she has heard her mother curse, because he has stigmatized her shame, and whom she knows the Tetrarch fears, although a captive. What she desires is strictly forbidden, but _Narraboth_ cannot resist her blandishments. The strange, gloomy figure of the _Jokanaan_, fantastically n.o.ble in the rags of his captivity, stirs _Salome's_ morbid desires. Her abandoned arts are brought into full play in her efforts to tempt him, but with the sole result that he bids her do penance. This but adds fuel to the flame. When _Narraboth_, in despair over her actions, kills himself on his own sword, she does not so much as notice it. Appalled by the wickedness of the young woman, the _Prophet_ warns her to seek for the only one in whom she can find redemption, the Man of Galilee. But realizing that his words fall on deaf ears, he curses her, and retreats into his cistern.

[Ill.u.s.tration: Copyright photo by Mishkin

Mary Garden as Salome]

_Herod_, _Herodias_, and their suite come out on the terrace. _Herod_ is suffering under the weight of his crimes, but the infamous _Herodias_ is as cold as a serpent. _Herod's_ sinful desire for his stepdaughter is the only thing that can stir his blood. But _Salome_ is weary and indifferent; _Herodias_ full of bitter scorn for him and for her daughter. Against the _Prophet_, whose voice terrifies the abandoned gatherings at table, her hatred is fierce. But _Herod_ stands in mysterious awe of the _Prophet_. It is almost because of his dread of the future, which _Jokanaan_ proclaims so terribly, that _Herod_ asks as a diversion for _Salome's_ dance in order that life may flow warm again in his chilled veins. _Salome_ demurs, until he swears that he will grant any request she may make of him. She then executes the "Dance of the Seven Veils," casting one veil after another from her. _Herod_ asks what her reward shall be. In part prompted by _Herodias_, but also by her own mad desire to have vengeance for her rejected pa.s.sion, she demands the head of the _Prophet_. _Herod_ offers her everything else he can name that is most precious, but _Salome_ refuses to release him from his promise. The executioner descends into the cistern. _Jokanaan_ is slain and his severed head presented to _Salome_ upon a silver charger. Alive he refused her his lips. Now, in a frenzy of l.u.s.t, she presses hers upon them. Even _Herod_ shudders, and turns from her revolted. "Kill that woman!" he commands his guards, who crush her under their shields.

Regarding the score of "Salome," Strauss himself remarked that he had paid no consideration whatever to the singers. There is a pa.s.sage for quarrelling Jews that is amusing; and, for a brief spell, in the pa.s.sage in which _Salome_ gives vent to her l.u.s.t for _Jokanaan_, the music is molten fire. But considered as a whole, the singers are like actors, who intone instead of speaking. Whatever the drama suggests, whatever is said or done upon the stage--a word, a look, a gesture--is minutely and realistically set forth in the orchestra, which should consist of a hundred and twelve pieces. The real musical climax is "The Dance of the Seven Veils," a superb orchestral composition.

Strauss calls the work a drama. As many as forty motifs have been enumerated in it. But they lack the compact, pregnant qualities of the motifs in the Wagner music-dramas which are so individual, so melodically eloquent that their significance is readily recognized not only when they are first heard, but also when they recur.

Nevertheless, the "Salome" of Richard Strauss is an effective work--so effective in the setting forth of its offensive theme that it was banished from the Metropolitan Opera House, although Olive Fremstad lavished her art upon the t.i.tle role; nor have the personal fascination and histrionic gifts of Mary Garden been able to keep it alive.

At the Metropolitan Opera House, then under the direction of Heinrich Conried, it was heard at a full-dress rehearsal, which I attended, and at one performance. It was then withdrawn, practically on command of the board of directors of the opera company, although the initial impulse is said to have come from a woman who sensed the brutality of the work under its mask of "culture."

ELEKTRA

Opera in one act by Richard Strauss; words by Hugo von Hofmannsthal. Produced: Dresden, January 25, 1909. Manhattan Opera House, New York, in a French version by Henry Gauthier-Villars, and with Mazarin as _Elektra_.

CHARACTERS

CLYTEMNESTRA, wife of _Aegisthus_ _Mezzo-Soprano_ ELEKTRA } her daughters by the { _Soprano_ CHRYSOTHEMIS } murdered king Agamemnon { _Soprano_ AEGISTHUS _Tenor_ ORESTES _Baritone_

Preceptor of _Orestes_, a confidant, a train bearer, an overseer of servants, five serving women, other servants, both men and women, old and young.

_Time_--Antiquity.

_Place_--Mycenae.