Strauss's last work will lose nothing by
calling itself quite simply _Sinfonia Domestica_, without adding any
further information. It is a true symphony; and the same may be said of
Mahler's composition. But Strauss and Mahler are already reforming
themselves, and are coming back to the model of the classic symphony.
But there are more important conclusions to be drawn from a hearing of
this kind. The first is that Strauss's talent is becoming more and more
exceptional in the music of his country. With all his faults, which are
considerable, Strauss stands alone in his warmth of imagination, in his
unquenchable spontaneity and perpetual youth. And his knowledge and his
art are growing every day in the midst of other German art which is
growing old. German music in general is showing some grave symptoms. I
will not dwell on its neurasthenia, for it is passing through a crisis
which will teach it wisdom; but I fear, nevertheless, that this
excessive nervous excitement will be followed by torpor. What is really
disquieting is that, in spite of all the talent that still abounds,
Germany is fast losing her chief musical endowments. Her melodic charm
has nearly disappeared.
Pages:
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305