VIII RICHARD STRAUSS AT STUTTGART Chapter 1

After a week of Richard Strauss at Stuttgart one begins to entertain a profound respect for the originality¹ of Richard Wagner. And Wagner during his embattled career was liberally accused of plagiarism², of drawing heavy drafts upon the musical banking³ houses of Beethoven, Weber, Marschner, Schubert, and how many others! Indeed, one of the prime requisites⁴ of success for a composer is to be called a borrower of other men's ideas. The truth is that there are only thirty-six dramatic situations and only seven notes in the scale, and all the possible permutations will not prevent certain figures, melodic⁵ groups, or musical moods from recurrence⁶. Therefore, to say that Richard Strauss is a deliberate imitator of Wagner would be to restate a very common exaggeration. He is inconceivable without Wagner; nevertheless, he is individual. All his musical life he has been dodging⁷ Wagner and sometimes he succeeds in whipping his devil so far around [Pg 154] the stump⁸ that he becomes himself, the glorious Richard Strauss of Don Quixote, of Till Eulenspiegel, of Hero's Life, and Elektra. But it may be confessed without much fear of contradiction that for him Wagner is his model—even in Salome, where the head of John the Baptist is chanted to the tune⁹ of Donner's motive¹⁰ from Rheingold.

At the Stuttgart festival, in 1912, which endured a week, I was struck by the Wagner obsession¹¹ in the music of his only legitimate¹² successor. To alter an old quotation¹³, we may say: He who steals my ideas steals trash: ideas are as cheap and plentiful¹⁴ as potatoes in season; but he who steals my style takes from me the only true thing I possess. Now, Richard Strauss in addition to being a master of form, rather of all musical forms, is also the master-colourist of the orchestra. No one, not even Wagner, o'ertops him in this respect, though Wagner and Berlioz and Liszt showed him the way. Why, then, does he lean so heavily on Wagner, not alone on his themes—for Strauss is, above all, a melodist—but on his moods; in a word, the Wagnerian atmosphere? I noted¹⁵ that wherever a situation analogous¹⁶ to one in the Wagnerian music-drama presented itself the music of the protean¹⁷ younger Richard was coloured by memories of the elder composer. For example, in Ariadne at Naxos, the heroine is discovered outstretched on her island in the very abandonment of despair. We hear faint [Pg 155] echoes of the last pages of Tristan and Isolde; no sooner do three women begin to sing than is conjured¹⁸ up a vision (aural, of course) of the Rhine maidens¹⁹. In Feuersnot the legendary²⁰ tone was unavoidable, yet there is too much of Die Meistersinger in this early work. Does a duenna appear with the heroine, at once you are reminded of Eva and Magdalena; and in the balcony scene, so different in situation from Lohengrin, Elsa nevertheless peers from behind the figure of Diemut. As for the lovers, Kunrad and Diemut, they, taking advantage of the darkness, as Mr. Henderson once remarked of another opera, Azrael, appropriated the musical colour—let me put the case mildly—of the duo of Walther and Eva. Wagner dead remains²¹ the imperious tyrant²², a case of musical mortmain, the lawyers would put it; a hand reaching from his grave dictating²³ the doings of the living. The great chorus in Feuersnot, after the fires are extinguished, because of the Alberich-like curse of Kunrad, is not without suggestions from the street fight in Die Meistersinger, and the wild wailings of the Walkyrie brood. Thus, if you are looking for reminiscences, I know of few composers whose work, vast and varied²⁴ as it is, will afford such chances of spearing a Wagner motive as it appears for a moment on the swift and boiling stream of the Strauss orchestral narration²⁵. But if you have attained²⁶ the age of discretion²⁷ you will not ask too much, forget such childish and sinister²⁸ play, [Pg 156] and enjoy to the full the man's extraordinary gift of music-making.

For Richard Strauss is an extraordinary musician. To begin with, he doesn't look like a disorderly genius with rumpled²⁹ hair, but is the mildest-mannered man who ever scuttled³⁰ another's score and smoked Munich cigars or played "skat." And then he loves money! What other composer, besides Handel, Haydn, Mozart—yes, and also Beethoven—Gluck, Meyerbeer, Verdi, Puccini, so doted on the box-office? Why shouldn't he? Why should he enrich the haughty³¹ music publisher or the still haughtier³² intendant of the opera-house? As a matter of fact, if R. Strauss were in such a hurry to grow rich, he would write music of a more popular character. It would seem, then, that he is a millionaire malgré lui, and that, no matter what he writes, money flows into his coffers. Indeed, an extraordinary man. Despite his spiritual dependence³³ upon Wagner, and in his Tone-Poems, upon Liszt and Berlioz, he has a very definite musical personality. He has amplified³⁴, intensified³⁵ the Liszt-Wagner music, adding to its stature³⁶, also exaggerating it on the purely³⁷ sensuous³⁸ side. That he can do what no other composer has done is proved by the score of his latest opera Ariadne at Naxos, given for the first time in Stuttgart. Here, with only thirty-six in the orchestra, a grand pianoforte and a harmonium included, he produces the most ear-ravishing tones, thus giving a negative [Pg 157] to those who assert that without a gigantic orchestral apparatus³⁹ he is ineffectual. Strauss received a sound musical education; he could handle the old symphonic form, absolute music, before he began writing in the vein⁴⁰ modern; his evolution has been orderly and consistent. He looked before he leaped. His songs prove him to be a melodist, the most original since Brahms in this form. Otherwise, originality is conditioned. He is, for instance, not as original as Claude Debussy, who has actually said something new. Strauss, a rhetorician with enormous temperamental power, modifies the symphonic form of Liszt, boils down the Wagnerian trilogy into an hour and thirty minutes of seething⁴¹, white-hot passion, and paints all the moods, human and inhuman⁴², with incomparable virtuosity⁴³. It is a question of manner rather than matter. He is even a greater virtuoso⁴⁴ than Hector Berlioz, and infinitely⁴⁵ more tender; he is Meyerbeer in his opportunism, but there the comparison may be dropped, for old Meyerbeer could shake tunes⁴⁶ out of his sleeve with more facility than does Strauss—and that is saying a lot. No, the style of Strauss is his own, notwithstanding his borrowings from Liszt and Wagner. He is not as original as either one, for he employs them both as his point of departure; but when you begin to measure up the power, the scope, and the versatility⁴⁷ of his productions you are filled with a wholesale⁴⁸ admiration⁴⁹ for the almost incredible [Pg 158] activity of the man, for his ambitions, his marvellous command of every musical form, above all, for his skill as a colourist.

Sometimes he hits it and sometimes he doesn't. After two hearings of Ariadne at Naxos in the smaller of the two new royal opera-houses at Stuttgart, I came to the conclusion that both composer and librettist⁵⁰, while greatly daring, had attempted the impossible, and therefore their work, despite its many excellencies, missed fire. In the first place, Herr Hugo von Hofmannsthal, the poet of Elektra and Der Rosercavalier, conceived the unhappy idea that Molière's Le Bourgeois⁵¹ Gentilhomme might be butchered to make a Straussian holiday and serve merely as a portico⁵² for the one-act opera that follows. But the portico turned out to be too large for the operatic structure. The dovetailing of play and music is at best a perilous⁵³ proceeding⁵⁴. Every composer knows that. To give two acts of spoken Molière (ye gods! and spoken in German) with occasional interludes of music, and then top it off with a mixture of opera seria and commedia del arte, is to invite a catastrophe⁵⁵. To be sure, the unfailing tact⁵⁶ of Strauss in his setting of certain episodes of the Molière play averted⁵⁷ a smash-up, but not boredom⁵⁸. In the second place, the rather heavy fooling of the actors, excellent artists all, made Molière as dull as a London fog. The piece is over two hundred and fifty years old; it must be played by French actors, therefore in the German [Pg 159] version sadly suffers. I hear that it has been still further cut down, and at the present writing there is some gossip to the effect that Ariadne will be sung some day without the truncated⁵⁹ version of Molière by the ingenious Herr Hofmannsthal.

1 originality   

n.创造力，独创性；新颖

参考例句：

• The name of the game in pop music is originality.流行音乐的本质是独创性。
• He displayed an originality amounting almost to genius.他显示出近乎天才的创造性。

2 plagiarism   

n.剽窃，抄袭

参考例句：

• Teachers in America fight to control cheating and plagiarism.美国老师们努力对付欺骗和剽窃的问题。
• Now he's in real trouble.He's accused of plagiarism.现在他是真遇到麻烦了。他被指控剽窃。

3 banking   

n.银行业，银行学，金融业

参考例句：

• John is launching his son on a career in banking.约翰打算让儿子在银行界谋一个新职位。
• He possesses an extensive knowledge of banking.他具有广博的银行业务知识。

4 requisites   

n.必要的事物( requisite的名词复数 )

参考例句：

• It is obvious that there are two requisites. 显然有两个必要部分。 来自辞典例句
• Capacity of donor is one of the essential requisites of \"gift\". 赠与人的行为能力是\"赠与\"的一个重要前提。 来自口语例句

5 melodic   

adj.有旋律的，调子美妙的

参考例句：

• His voice had a rich melodic quality.他的音色浑厚而优美。
• He spoke with a soft husky voice in a melodic accent.他微微沙哑的声音带着一种悠扬的口音。

6 recurrence   

n.复发，反复，重现

参考例句：

• More care in the future will prevent recurrence of the mistake.将来的小心可防止错误的重现。
• He was aware of the possibility of a recurrence of his illness.他知道他的病有可能复发。

7 dodging   

n.避开，闪过，音调改变v.闪躲( dodge的现在分词 )；回避

参考例句：

• He ran across the road, dodging the traffic. 他躲开来往的车辆跑过马路。
• I crossed the highway, dodging the traffic. 我避开车流穿过了公路。 来自辞典例句

8 stump   

n.残株，烟蒂，讲演台；v.砍断，蹒跚而走

参考例句：

• He went on the stump in his home state.他到故乡所在的州去发表演说。
• He used the stump as a table.他把树桩用作桌子。

9 tune   

n.调子；和谐，协调；v.调音，调节，调整

参考例句：

• He'd written a tune,and played it to us on the piano.他写了一段曲子，并在钢琴上弹给我们听。
• The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。

10 motive   

n.动机，目的；adv.发动的，运动的

参考例句：

• The police could not find a motive for the murder.警察不能找到谋杀的动机。
• He had some motive in telling this fable.他讲这寓言故事是有用意的。

11 obsession   

n.困扰，无法摆脱的思想(或情感)

参考例句：

• I was suffering from obsession that my career would be ended.那时的我陷入了我的事业有可能就此终止的困扰当中。
• She would try to forget her obsession with Christopher.她会努力忘记对克里斯托弗的迷恋。

12 legitimate   

adj.合法的，合理的，合乎逻辑的；v.使合法

参考例句：

• Sickness is a legitimate reason for asking for leave.生病是请假的一个正当的理由。
• That's a perfectly legitimate fear.怀有这种恐惧完全在情理之中。

13 quotation   

n.引文，引语，语录；报价，牌价，行情

参考例句：

• He finished his speech with a quotation from Shakespeare.他讲话结束时引用了莎士比亚的语录。
• The quotation is omitted here.此处引文从略。

14 plentiful   

adj.富裕的，丰富的

参考例句：

• Their family has a plentiful harvest this year.他们家今年又丰收了。
• Rainfall is plentiful in the area.这个地区雨量充足。

15 noted   

adj.著名的，知名的

参考例句：

• The local hotel is noted for its good table.当地的那家酒店以餐食精美而著称。
• Jim is noted for arriving late for work.吉姆上班迟到出了名。

16 analogous   

adj.相似的；类似的

参考例句：

• The two situations are roughly analogous.两种情況大致相似。
• The company is in a position closely analogous to that of its main rival.该公司与主要竞争对手的处境极为相似。

17 protean   

adj.反复无常的；变化自如的

参考例句：

• Sri Lanka is a protean and wonderful paradise.斯里兰卡是一个千变万化和精彩万分的人间天堂。
• He is a protean stylist who can move from blues to ballads and grand symphony.他风格多变，从布鲁斯、乡村音乐到雄壮的交响乐都能驾驭。

18 conjured   

用魔术变出( conjure的过去式和过去分词 )； 祈求，恳求； 变戏法； （变魔术般地） 使…出现

参考例句：

• He conjured them with his dying breath to look after his children. 他临终时恳求他们照顾他的孩子。
• His very funny joke soon conjured my anger away. 他讲了个十分有趣的笑话，使得我的怒气顿消。

19 maidens   

处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球

参考例句：

• stories of knights and fair maidens 关于骑士和美女的故事
• Transplantation is not always successful in the matter of flowers or maidens. 花儿移栽往往并不成功，少女们换了环境也是如此。 来自英汉文学 - 嘉莉妹妹

20 legendary   

adj.传奇（中）的，闻名遐迩的；n.传奇（文学）

参考例句：

• Legendary stories are passed down from parents to children.传奇故事是由父母传给孩子们的。
• Odysseus was a legendary Greek hero.奥狄修斯是传说中的希腊英雄。

21 remains   

n.剩余物，残留物；遗体，遗迹

参考例句：

• He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
• The remains of the meal were fed to the dog.残羹剩饭喂狗了。

22 tyrant   

n.暴君，专制的君主，残暴的人

参考例句：

• The country was ruled by a despotic tyrant.该国处在一个专制暴君的统治之下。
• The tyrant was deaf to the entreaties of the slaves.暴君听不到奴隶们的哀鸣。

23 dictating   

v.大声讲或读( dictate的现在分词 )；口授；支配；摆布

参考例句：

• The manager was dictating a letter to the secretary. 经理在向秘书口授信稿。 来自辞典例句
• Her face is impassive as she listens to Miller dictating the warrant for her arrest. 她毫无表情地在听米勒口述拘留她的证书。 来自辞典例句

24 varied   

adj.多样的，多变化的

参考例句：

• The forms of art are many and varied.艺术的形式是多种多样的。
• The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。

25 narration   

n.讲述，叙述；故事；记叙体

参考例句：

• The richness of his novel comes from his narration of it.他小说的丰富多采得益于他的叙述。
• Narration should become a basic approach to preschool education.叙事应是幼儿教育的基本途径。

26 attained   

（通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况）

参考例句：

• She has attained the degree of Master of Arts. 她已获得文学硕士学位。
• Lu Hsun attained a high position in the republic of letters. 鲁迅在文坛上获得崇高的地位。

27 discretion   

n.谨慎；随意处理

参考例句：

• You must show discretion in choosing your friend.你择友时必须慎重。
• Please use your best discretion to handle the matter.请慎重处理此事。

28 sinister   

adj.不吉利的，凶恶的，左边的

参考例句：

• There is something sinister at the back of that series of crimes.在这一系列罪行背后有险恶的阴谋。
• Their proposals are all worthless and designed out of sinister motives.他们的建议不仅一钱不值，而且包藏祸心。

29 rumpled   

v.弄皱，使凌乱( rumple的过去式和过去分词 )

参考例句：

• She rumpled his hair playfully. 她顽皮地弄乱他的头发。
• The bed was rumpled and strewn with phonograph records. 那张床上凌乱不堪，散放着一些唱片。 来自辞典例句

30 scuttled   

v.使船沉没( scuttle的过去式和过去分词 )；快跑，急走

参考例句：

• She scuttled off when she heard the sound of his voice. 听到他的说话声，她赶紧跑开了。
• The thief scuttled off when he saw the policeman. 小偷看见警察来了便急忙跑掉。 来自《简明英汉词典》

31 haughty   

adj.傲慢的，高傲的

参考例句：

• He gave me a haughty look and walked away.他向我摆出傲慢的表情后走开。
• They were displeased with her haughty airs.他们讨厌她高傲的派头。

32 haughtier   

haughty（傲慢的，骄傲的）的比较级形式

参考例句：

33 dependence   

n.依靠，依赖；信任，信赖；隶属

参考例句：

• Doctors keep trying to break her dependence of the drug.医生们尽力使她戒除毒瘾。
• He was freed from financial dependence on his parents.他在经济上摆脱了对父母的依赖。

34 amplified   

放大，扩大( amplify的过去式和过去分词 )； 增强； 详述

参考例句：

• He amplified on his remarks with drawings and figures. 他用图表详细地解释了他的话。
• He amplified the whole course of the incident. 他详述了事件的全过程。

35 intensified   

v.（使）增强， （使）加剧( intensify的过去式和过去分词 )

参考例句：

• Violence intensified during the night. 在夜间暴力活动加剧了。
• The drought has intensified. 旱情加剧了。 来自《简明英汉词典》

36 stature   

n.（高度）水平，（高度）境界，身高，身材

参考例句：

• He is five feet five inches in stature.他身高5英尺5英寸。
• The dress models are tall of stature.时装模特儿的身材都较高。

37 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

38 sensuous   

adj.激发美感的；感官的，感觉上的

参考例句：

• Don't get the idea that value of music is commensurate with its sensuous appeal.不要以为音乐的价值与其美的感染力相等。
• The flowers that wreathed his parlor stifled him with their sensuous perfume.包围著客厅的花以其刺激人的香味使他窒息。

39 apparatus   

n.装置，器械；器具，设备

参考例句：

• The school's audio apparatus includes films and records.学校的视听设备包括放映机和录音机。
• They had a very refined apparatus.他们有一套非常精良的设备。

40 vein   

n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络

参考例句：

• The girl is not in the vein for singing today.那女孩今天没有心情唱歌。
• The doctor injects glucose into the patient's vein.医生把葡萄糖注射入病人的静脉。

41 seething   

沸腾的，火热的

参考例句：

• The stadium was a seething cauldron of emotion. 体育场内群情沸腾。
• The meeting hall was seething at once. 会场上顿时沸腾起来了。

42 inhuman   

adj.残忍的，不人道的，无人性的

参考例句：

• We must unite the workers in fighting against inhuman conditions.我们必须使工人们团结起来反对那些难以忍受的工作条件。
• It was inhuman to refuse him permission to see his wife.不容许他去看自己的妻子是太不近人情了。

43 virtuosity   

n.精湛技巧

参考例句：

• At that time,his virtuosity on the trumpet had no parallel in jazz.那时，他高超的小号吹奏技巧在爵士乐界无人能比。
• As chemists began to pry out my secret they discovered my virtuosity.化学家开始探讨我的秘密，他们发现了我的精湛技巧。

44 virtuoso   

n.精于某种艺术或乐器的专家，行家里手

参考例句：

• He was gaining a reputation as a remarkable virtuoso.作为一位技艺非凡的大师，他声誉日隆。
• His father was a virtuoso horn player who belonged to the court orchestra.他的父亲是宫廷乐队中一个技巧精湛的圆号演奏家。

45 infinitely   

adv.无限地，无穷地

参考例句：

• There is an infinitely bright future ahead of us.我们有无限光明的前途。
• The universe is infinitely large.宇宙是无限大的。

46 tunes   

n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调

参考例句：

• a potpourri of tunes 乐曲集锦
• When things get a bit too much, she simply tunes out temporarily. 碰到事情太棘手时，她干脆暂时撒手不管。 来自《简明英汉词典》

47 versatility   

n.多才多艺，多样性，多功能

参考例句：

• Versatility is another of your strong points,but don't overdo it by having too many irons in the fire.你还有一个长处是多才多艺，但不要揽事太多而太露锋芒。
• This versatility comes from a dual weather influence.这种多样性是由于双重的气候影响而形成的。

48 wholesale   

n.批发；adv.以批发方式；vt.批发，成批出售

参考例句：

• The retail dealer buys at wholesale and sells at retail.零售商批发购进货物，以零售价卖出。
• Such shoes usually wholesale for much less.这种鞋批发出售通常要便宜得多。

49 admiration   

n.钦佩，赞美，羡慕

参考例句：

• He was lost in admiration of the beauty of the scene.他对风景之美赞不绝口。
• We have a great admiration for the gold medalists.我们对金牌获得者极为敬佩。

50 librettist   

n.(歌剧、音乐剧等的)歌词作者

参考例句：

• The musician and the librettist were collaborators. 音乐家与剧作者通力合作。
• Italian-born American composer and librettist whose operas include The Medium(1946) and The Consul(1950). 梅诺蒂，吉安卡洛生于1911意大利裔美国作曲家和歌剧词作者，其歌剧作品包括女巫（1946年）及领事（1950年）

51 bourgeois   

adj./n.追求物质享受的(人)；中产阶级分子

参考例句：

• He's accusing them of having a bourgeois and limited vision.他指责他们像中产阶级一样目光狭隘。
• The French Revolution was inspired by the bourgeois.法国革命受到中产阶级的鼓励。

52 portico   

n.柱廊，门廊

参考例句：

• A large portico provides a suitably impressive entrance to the chapel.小教堂入口处宽敞的柱廊相当壮观。
• The gateway and its portico had openings all around.门洞两旁与廊子的周围都有窗棂。

53 perilous   

adj.危险的，冒险的

参考例句：

• The journey through the jungle was perilous.穿过丛林的旅行充满了危险。
• We have been carried in safety through a perilous crisis.历经一连串危机，我们如今已安然无恙。

54 proceeding   

n.行动，进行，(pl.)会议录，学报

参考例句：

• This train is now proceeding from Paris to London.这次列车从巴黎开往伦敦。
• The work is proceeding briskly.工作很有生气地进展着。

55 catastrophe   

n.大灾难，大祸

参考例句：

• I owe it to you that I survived the catastrophe.亏得你我才大难不死。
• This is a catastrophe beyond human control.这是一场人类无法控制的灾难。

56 tact   

n.机敏，圆滑，得体

参考例句：

• She showed great tact in dealing with a tricky situation.她处理棘手的局面表现得十分老练。
• Tact is a valuable commodity.圆滑老练是很有用处的。

57 averted   

防止，避免( avert的过去式和过去分词 )； 转移

参考例句：

• A disaster was narrowly averted. 及时防止了一场灾难。
• Thanks to her skilful handling of the affair, the problem was averted. 多亏她对事情处理得巧妙，才避免了麻烦。

58 boredom   

n.厌烦，厌倦，乏味，无聊

参考例句：

• Unemployment can drive you mad with boredom.失业会让你无聊得发疯。
• A walkman can relieve the boredom of running.跑步时带着随身听就不那么乏味了。

59 truncated   

adj.切去顶端的，缩短了的，被删节的v.截面的( truncate的过去式和过去分词 )；截头的；缩短了的；截去顶端或末端

参考例句：

• My article was published in truncated form. 我的文章以节录的形式发表了。
• Oligocene erosion had truncated the sediments draped over the dome. 覆盖于穹丘上的沉积岩为渐新世侵蚀所截削。 来自辞典例句