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Updated: May 17, 2025
From 1875 to 1880 he studied harmony, counterpoint and instrumentation with Hofkapellmeister F. W. Meyer. His compositions were performed publicly from 1880 on. In 1885 he made the acquaintance of Alexander Ritter, who, together with Hans von Bülow, is supposed to have converted young Strauss, until then a good Brahmsian, to Wagnerism and modernism.
This is a remarkably clever piece of writing, which, while it lacks the Brahmsian trade-mark of thirds in the bass, has much of that composer's best manner, less in his tricks of speech than in his tireless development and his substitution of monumental thematicism for lyric emotion. In MS. is also a prelude to Goethe's "Faust" for full orchestra.
The piquant cadenza forestalls in the progression of diminished chords favorite effects of some of our more modern composers. The modulation from C sharp minor to D major and back again after the cadenza is very striking and equally beautiful." Elsewhere I have called attention to the Brahmsian coloring of this prelude. Its mood is fugitive and hard to hold after capture.
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