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Updated: June 17, 2025
I hear it said that in England "Wagnerism" is an attitude, and can only reply that it is so in Germany too. Among the cosmopolitan audiences who crowd the theatres of Dresden and Munich on a Wagner night and greet his works with thundering applause, there is probably not one person in a hundred who really knows what he sees and hears.
There are no shadows about him. His ideas and his art are as clear as the look that gives so much youth to his face. For him to examine, to arrange, to classify, to combine, is a necessity. No one is more French in spirit. He has sometimes been taxed with Wagnerism, and it is true that he has felt Wagner's influence very strongly.
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.
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