[174] Composed in 1895-96, and performed for the first time at Frankfort-On-Main in November, 1896.
[175] Nietzsche.
[176] Nietzsche, Zarathustra.
[177] Arthur Hahn, Der Musikführer: Don Quixote, Frankfort.
[178] At the head of each variation Strauss has marked on the score the chapter of "Don Quixote" that he is interpreting.
[179] Finished in December, 1898. Performed for the first time at Frankfort-On-Main on 3 March, 1899. Published by Leuckart, Leipzig.
[180] The composition of the orchestra in Strauss's later works is as follows: In Zarathustra: one piccolo, three flutes, three oboes, one English horn, one clarinet in E flat, two clarinets in B, one bass-clarinet in B, three bassoons, one double-bassoon, six horns in F, four trumpets in C, three trombones, three bass-tuba, kettledrums, big drum, cymbals, triangle, chime of bells, bell in E, organ, two harps, and strings. In Heldenleben: eight horns instead of six, five trumpets instead of four (two in E flat, three in B); and, in addition, military drums.
[181] In Guntram one could even believe that he had made up his mind to use a phrase in Tristan, as if he could not find anything better to express passionate desire.
[182] "The German spirit, which but a little while back had the will to dominate Europe, the force to govern Europe, has finally made up its mind to abandon it."—Nietzsche.
[183] A large number of works on Hugo Wolf have been published in Germany since his death. The chief is the great biography of Herr Ernst Decsey—Hugo Wolf (Berlin, 1903-4). I have found this book of great service; it is a work full of knowledge and sympathy. I have also consulted Herr Paul Müller's excellent little pamphlet, Hugo Wolf (Moderne essays, Berlin, 1904), and the collections of Wolf's letters, in particular his letters to Oskar Grohe, Emil Kaufmann, and Hugo Faisst.