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Updated: May 2, 2025
The maiden watched him disappear round a turn in the winding path, then slowly re-entered the castle. Meanwhile Guntram went on his way, and was at length invested with his fief. The Palsgrave, pleased with the manners and appearance of the young knight, appointed him to be his ambassador in Burgundy, which honour Guntram, though with much reluctance, felt it necessary to accept.
But Guntram prevents her; and the pity that her beauty and trouble had at first aroused changes unconsciously into love when he recognises her as the beloved princess and sole benefactress of the unhappy people. He tells her that God has sent him to her for her salvation. Then he goes to the castle, where he believes himself to be sent on the double mission of saving the people and Freihild.
In the second act, the princes celebrate their victory in the Duke's castle. After some pompous talk on the part of the official Minnesänger, Guntram is invited to sing. Discouraged beforehand by the wickedness of his audience, and feeling that he can sing to no purpose, he hesitates and is on the point of leaving them. But Freihild's sadness holds him back, and for her sake he sings.
Duke Robert, feeling the danger of these outspoken words, orders his men to seize the singer; but the vassals side with Guntram. At this juncture news is brought that the peasants have renewed the attack. Robert calls his men to arms, but Guntram, who feels that he will be supported by those around him, orders Robert's arrest. The Duke draws his sword, but Guntram kills him.
But suddenly it stops, hesitates, and looks about with uncertain eyes, and its expression is one of languid disgust, as though weariness had seized it. And this is how the work of Richard Strauss appears to me up to the present. Guntram kills Duke Robert, and immediately lets fall his sword. The frenzied laugh of Zarathustra ends in an avowal of discouraged impotence.
She led him into the castle, where her mother received him graciously enough, well pleased at her daughters choice. And now, farewell, said Guntram. I must hasten. When I return we two shall wed; see to it that all is in readiness. With that he mounted his horse and rode out of the courtyard, turning to wave a gay farewell to Liba.
The most important figure in the world of German opera to-day is unquestionably that of Richard Strauss. This is not the place to dilate upon Strauss's achievements as a symphonic writer, which are sufficiently well known to the world at large. His first opera, 'Guntram' , was hardly more than an exercise in the manner of Wagner, and made comparatively little impression.
Guntram and his master Friedhold distribute alms among them, and the band of defeated men then take flight into the woods. Left alone, Guntram begins to muse on the delights of springtime and the innocent awakening of Nature. But the thought of the misery that its beauty hides weighs upon him. He thinks of men's evil doing, of human suffering, and of civil war.
This idealism is at first religious, as in Tod und Verklärung, and tender and compassionate as a woman, and full of youthful illusions, as in Guntram. Then it becomes vexed and indignant with the baseness of the world and the difficulties it encounters. How Strauss's laugh whips and stings us in Zarathustra! How his will bruises and cuts us in Heldenleben!
Good night, and sleep well. And ere the astonished guest could utter a word the old man abruptly withdrew from the room. Shortly afterward the old attendant entered, bearing profuse apologies from his master, and begging that the knight would continue to accept his hospitality. Guntram followed the old man to his chamber.
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