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Updated: June 22, 2025
The inner and coherent rhythm, the spiritual beat and swing, the great unity and direction, are wanting. "I have always wanted to write an opera like Mozart's, and now I have done it," Strauss is reported to have said after the first performance of "Der Rosenkavalier."
Meredith is a little too deep or too subtle for Strauss unless it be granted that cynicism is more a part of comedy than a part of refined-insult. Let us also remember that Mr. Disston, not Mr. Strauss, put the funny notes in the bassoon. A symphony written only to amuse and entertain is likely to amuse only the writer and him not long after the check is cashed.
"Go back and wait in the telegraph room," he whispered hurriedly. "You do the questioning, Mitchell; I'll keep out of sight here." Before Mitchell could ask the question burning on his lips, a number of men made their way down the staircase, Heinrich Strauss in their midst, handcuffed to the tallest operative. Mitchell saluted as he recognized the foremost man.
It was his business to rehearse the choruses for the operettas of Strauss and Millöcker. He did his work conscientiously, but in deadly weariness; and he lacked the necessary power of making his authority felt. He did not stay long in this post, and came back to Vienna.
He did not seek them in the facts of the devout heart and moral will, as these are illustrated in the actual life of Jesus. If Strauss, after the disintegration in criticism of certain elements in the biography of Jesus, had given us a positive picture of Jesus as the ideal of religious character and ethical force, his work would indeed have been attacked.
It is to be noted that Nellie Melba and Amelita Galli-Curci are absolutely unfitted to sing in music dramas even so early as those of Richard Wagner; Dukas, Strauss, and Stravinsky are utterly beyond them. Even Adelina Patti and Marcella Sembrich appeared in few, if any, new works of importance. They had no bearing on the march of musical history.
It presses with macroscope and microscope into its most outlying regions and most hidden corners, into its abysses and fastnesses. It explains away the old idea of two worlds, one on this side and one on that, and rejects heavenly things with the notice “No Room” of which D. Fr. Strauss speaks.
This is unquestionably the best way to become a classical author; hence Strauss himself is able to tell us: "I even enjoy the unsought honour of being, in the opinion of many, a classical writer of prose. "He has therefore achieved his aim.
And where, on the other hand, Berlioz did succeed in being regardful of his program, as in the "Symphonic Fantastique," or in "Lélio," there resulted a somewhat thin and formless music. But Strauss, benefiting by the experiments of his two predecessors, realized the new form better than any one before him had done. For he possessed the special gifts necessary to the performance of the task.
The library in which, as a small boy, I was permitted to browse, where I read those wonderful Black Forest Stories and my first serious novel, On the Heights, contained a bust of Goethe, and on the shelves were Fichte, Freytag, Spielhagen, Strauss, and a miscellaneous collection of German authors grave and gay, or perhaps melancholy were a better word, for even now I should find it hard to point to a German author who is distinctively gay.
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