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Updated: June 22, 2025
It is true, however, that people of a certain age cannot possibly understand Kant, especially when, in their youth, they understood or fancied they understood that "gigantic mind," Hegel, as Strauss did; and had moreover concerned themselves with Schleiermacher, who, according to Strauss, "was gifted with perhaps too much acumen."
It was written before Strauss met Ritter, and its construction is after the manner of Brahms, and shows a rather affected thought and style. It is still one of the most stirring of Strauss's works, and the one that is conceived with the most perfect unity. It was inspired by a poem of Alexander Ritter's, and I will give you an idea of its subject.
Could Strauss have once more girded himself, once more summoned the faith, the energy, the fire that created those first grand pages that won a world to him, he might have been saved. But it was impossible. Something in him was dead forever.
Pardon me but there seems something blasphemous in supposing that God can mar His own order: His power I do not call in question, but the very thought of His so doing is abhorrent to me." "It is as abhorrent to me as it can be to you, to Goethe, or to Strauss; and yet I believe firmly in our Lord's miracles." "How so, if they break the laws of Nature?"
He pays a high tribute to the efficiency of Admiral Sims, Commander-in-Chief of American naval forces in European waters; of Rear-Admiral Rodman, in command of the American battleships with the British fleet; of Vice-Admiral Wilson, in France; Rear-Admiral Niblack, in the Mediterranean; of Rear-Admiral Dunn, in the Azores; of Rear-Admiral Strauss, in charge of mining operations, and other officers in charge of various special activities.
No contemporary German music, with the single exception of Richard Strauss, who was more acute than the rest, and came once a year to plant his new works on the Parisian public. No Belgian music. No Tschek music. But, most surprising of all, practically no contemporary French music. And yet everybody was talking about it mysteriously as a thing that would revolutionize the world.
Now, what is this end? The answer which we receive from those who reject Christian eschatology, may be given by two scientific antipodes: by Strauss and Eduard von Hartmann.
The Wagner-Liszt tradition of music-drama, so-called, and the symphonic poem have been continued with personal modifications by Richard Strauss; Max Reger has pinned his faith to Brahms and absolute music, though not without a marked individual variation.
But he has never re-found the delicate and melodious purity of soul and youthful grace of his earlier work, which still shines out in Guntram, and is then effaced. Strauss has directed Wagner's dramas at Weimar since 1889. While breathing their atmosphere he turned his attention to the theatre, and wrote the libretto of his opera Guntram.
He who turns a deaf ear to such warnings, and who absolutely refuses to relinquish his faith in Strauss the classical author, can only be given this last word of advice to imitate his hero.
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