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Updated: June 22, 2025
There is no doubt that Beethoven's ideas have often inspired, stimulated, and guided Strauss's own ideas. But the heroes of the two composers are very different: Beethoven's hero is more classical and more rebellious; and Strauss's hero is more concerned with the exterior world and his enemies, his conquests are achieved with greater difficulty, and his triumph is wilder in consequence.
But this is in itself sufficient condemnation of Strauss's theory: that theory requires considerable time for the development of a perfectly unanimous and harmonious belief in the hallucinations, while every particle of evidence which we can get points in the direction of the belief in the Resurrection having followed very closely upon the Crucifixion.
There can be no doubt about Strauss's being right as to the Christian intensity of conviction, strenuousness of assertion, and readiness to suffer for the sake of their faith in Christ; and these are the main points with which we are concerned.
Close by was Niebuhr's History, in the title-page of which a few lines in the historian's handwriting bore witness to much 'pleasant discourse between the writer and Roger Wendover, at Bonn, in the summer of 1847. Judging from other shelves further down, he must also have spent some time, perhaps an academic year, at Tubïngen, for here were most of the early editions of the 'Leben Jesu, with some corrections from Strauss's hand, and similar records of Baur, Ewald, and other members or opponents of the Tubïngen school.
Lang also sharply and correctly points out the insufficiency of Strauss's "The Old Faith and the New," as well as the conflict between his metaphysical naturalism which only leads to the struggle for existence, and his demand of self-submission to the universe, and of the moral and spiritual self-determination of man as of a being which goes beyond nature.
In this way, Strauss's art, one of the most literary and descriptive in existence, is strongly distinguished from others of the same kind by the solidarity of its musical fabric, in which one feels the true musician a musician brought up on the great masters, and a classic in spite of everything. And so throughout that music a strong unity is felt among the unruly and often incongruous elements.
Many people have thought a love of money the cause of Strauss's decay; that for the sake of gain he has delivered himself bound hand and foot into the power of his publishers, and for the sake of gain turned out bad music. No doubt, the love of money plays an inordinate rôle in the man's life, and keeps on playing a greater and greater.
"I do not see," said Strauss, "why I should not compose a symphony about myself; I find myself quite as interesting as Napoleon or Alexander." Some people have replied that everybody else might not share his interest. But I shall not use that argument; it is quite possible for an artist of Strauss's worth to keep us entertained. What grates upon me more is the way in which he speaks of himself.
In its general aspect his later music is not German, or French, or Italian its spiritual antecedents are Northern, both Celtic and Scandinavian. MacDowell had not the Promethean imagination, the magniloquent passion, that are Strauss's; his art is far less elaborate and subtle than that of such typical moderns as Debussy and d'Indy.
Close by was Niebuhr's History, in the title-page of which a few lines in the historian's handwriting bore witness to much 'pleasant discourse between the writer and Roger Wendover, at Bonn, in the summer of 1847. Judging from other shelves farther down, he must also have spent some time, perhaps an academic year, at Tübingen, for here were most of the early editions of the Leben Jesu, with some corrections from Strauss's hand, and similar records of Baur, Ewald, and other members or opponents of the Tübingen school.
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