R. Strauss.
Strauss’s Chamber Music
The earlier Symphony of this composer, in F minor, op. 12, exhibits also, although in a lesser degree, the same melodic charm; but on the other hand (and such inequality is a perplexing feature of Strauss’s works) his chamber music, such as the String Quartett, op. 2, the Piano Quartett, op. 13, and the Violin and Piano Sonata, op. 18, when tried by this standard, are more or less disappointing. True, the andante and the finale of the String Quartett show a certain amount of melodic interest, as also does the andante (improvisation) of the Sonata; but in the other movements, and in the Piano Quartett, while the writing is always masterful, and indeed at times overpowering in its strength and directness, the want of real tune renders these works unconvincing.
All the same it must be admitted that Richard Strauss is one of the most interesting personalities among contemporary composers, a position which is also occupied by our own countryman Edward Elgar, and the only thing which may with certainty be said is that they both baffle the prophets, for, judged by what they have already done, we know not what a day may bring forth.[39] Men who in the prime of life have given us “The Dream of Gerontius,” and “Till Eulenspiegel,” have within them possibilities of a far-reaching kind, and it is to them, with Coleridge-Taylor and some others of, as yet, lesser fame, that we have to look for the next important contributions to the literature of the art.
In addition to the chamber music named above, Richard Strauss has written a Serenade, op. 7, for wind instruments; a Sonata, op. 6, for piano and ’cello, which is an interesting work; and a Sonata, op. 5, for piano solo.
Bruckner’s Character and Individuality
A composer who has given to the world as many orchestral symphonies as Beethoven; a number of choral works, all laid out on the largest scale; who enjoyed the esteem and admiration of Richard Wagner; who lived for about thirty years in Vienna as neighbour, and in a sense the rival, of Brahms; whose compositions, and even whose name, are almost unknown to English musicians; such was Anton Bruckner (1824-96), a man of strong character and individuality, who by diligence and determination has made for himself a name and position in the world of music. Nor has this been accomplished by mere push and personal assertiveness, for Bruckner was a man of simple, straightforward character, who was content to let his life speak for itself, and so far as his works were concerned, to wait for a hearing. It is said that some of his early symphonies were not performed until many years after they were written.
An examination of his scores reveals an extraordinary command of the resources of counterpoint, as well as a vigorous and direct manner of presenting his ideas. He writes, too, in a manner grateful to the orchestral performers, affording, without any mere striving after effect, the several instruments opportunities for the display of their powers.