III
The greatest technical master of the orchestra, making of it a vibrating dynamic machine, a humming mountain of fire, Richard Strauss, by virtue of his musical imagination, is painter-poet and psychologist. He describes, comments, and narrates in tones of jewelled brilliancy; his orchestra flashes like a canvas of Monet—the divided tones and the theory of complementary colors (overtones) have their analogues in the manner with which Strauss intricately divides his various instrumental choirs: setting one group in opposition or juxtaposition to another; producing the most marvellous, unexpected effects by acoustical mirroring and transmutation of motives; and almost blinding the brain when the entire battery of reverberation and repercussion is invoked. If he can paint sunshine and imitate the bleating of sheep, he can also draw the full-length portrait of a man. This he proves with his Don Quixote, wherein the nobler dreamer and his earthy squire are heard in a series of adventures, terminating with the death of the rueful knight—one of the most poignant pages in musical literature. Don Quixote is shown as the quotidian type of man whose day-dreams are a bridge leading to the drab and sorrowful cell of madness. He is not mocked, but tenderly treated, by Strauss. It is upon the broad-backed Sancho Panza that the composer unlooses his quiver of humorous arrows. The score is thus far—to my taste—the greatest of its maker, the noblest in subject-matter, in dignity of theme, complexity of handling, and synthetic power. To show his independence of all musical form, Strauss selected the most worn—the theme with variations. Amazing is the outcome. No other composer before him, not even the master variationist, Brahms, has so juggled and deployed the entire range of musical material in serried battalions. Virtuosity there is, but it is the virtuosity that serves a psychologist; never is there display for decoration’s idle use. All is realistic fancy. A solo violoncello and a solo viola represent the half-cracked pair of Cervantes. The madness of Quixote is indicated by a device musically and psychologically unique. His theme, his character, goes to pieces in mid-air, after the mania of romance reading. The muting of the instruments and general muddling of ideas make the picture of slow-creeping derangement painfully true. Then follow variations, close in their fidelity to the story, and never unmindful of the medium in which it is told. Despite the disquieting verisimilitude of the wind-machine, of the sheep, Strauss has never put forth his astoundingly imaginative powers to such purpose. We are stunned, horrified, piqued, yet always enthralled by this masterful ironist who has conserved his mental sincerity. The finale is soothing, its facture is a miracle of tonal values. Don Quixote, until he surpasses it, will remain a monument to Richard Strauss.
The Hero’s Life is nearer the symphony in a formal sense than any of his newer works. It is his most robust composition. The conception is breath-catching, for it is a chant of the Ego, the tableau of Strauss’s soul exposed as objectively as Walt Whitman’s when he sang of his Me. The general outline of the work is colossal; it has no wavering contours, and is virile with a virility that shocks. It flouts the critics of the composer and shows a stupendous battle-piece, Tolstoyian in fury, duration, and breadth. Cacophony rules; yet is not a battle always cacophonous? The old-fashioned symbols of trumpet-blasts with ornamental passage-work are here rudely disclaimed; war is cruel, and this episode is repulsive in its aural cruelty. The ancient harmonic order will be indeed changed when such a tonal conflict is accepted by the rear-guard. Often we cannot hear the music because of the score. For the rest, there are apposite quotations from the composer’s earlier works, and the coda is beautiful with its supreme peace, supreme absorption in Nirvana.
This, then, has Richard Strauss accomplished: He has restored to instrumental music its rightful sovereignty; it need fear no longer the encroachment of music-drama, at best a bastard art. Enlarged, its eloquence enormously intensified, its capacity for rare, subtle beauty increased tenfold, the modern orchestra has been literally enfranchised by Strauss from the house of operatic bondage. He has revolutionized symphonic music by breaking down its formal barriers, and he has filled his tone-poems with a new and diverse content. In less than an hour he concentrates, relates, makes us see, feel, and hear more than could be seen, heard, or felt in a music-drama enduring six. His musical themes, quâ themes, are not to be matched with Beethoven’s, his melodic invention deviates from the classic prettiness; yet because of his incomparable architectonics, of his majestic grip on the emotional, he keeps us hypnotized as his stately, fantastic tonal structures slowly uprise and unfold like many-colored smoke from the incantations of legendary Eastern genii. He absorbs absolutely our consciousness with a new quintessence of poetic, pictorial, sculptural, and metaphysical art. Music, unaided by words or theatric device,—for the compositions of Strauss may be enjoyed without their titles,—has never been so articulate, so dangerously definite, so insidiously cerebral. Madness may lie that way; but the flaming magic of the man is ever restrained by deep artistic reverence. We catch glimpses of vast vistas where dissonance is king; slow, iron twilights in which trail the enigmatic figures of another world; there are often more moons than one in the blood-red skies of his icy landscapes; yet the sacred boundaries of music are never overstepped. Little matters the niche awarded this composer by posterity—Richard Strauss is the musical enchanter of our day.