Book contents
- Richard Strauss in Context
- Composers in Context
- Richard Strauss in Context
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Preface
- Note on Translation
- Part I Family, Friends, and Collaborators
- Part II Career Stations
- Part III Cultural Engagement and Musical Life
- Part IV Professional and Musical Contexts
- Part V In History
- Part VI Artifacts and Legacy
- Further Reading
- Appendix: Letters Bibliography
- Index
- References
Further Reading
Published online by Cambridge University Press: 08 October 2020
Book contents
- Richard Strauss in Context
- Composers in Context
- Richard Strauss in Context
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Preface
- Note on Translation
- Part I Family, Friends, and Collaborators
- Part II Career Stations
- Part III Cultural Engagement and Musical Life
- Part IV Professional and Musical Contexts
- Part V In History
- Part VI Artifacts and Legacy
- Further Reading
- Appendix: Letters Bibliography
- Index
- References
- Type
- Chapter
- Information
- Richard Strauss in Context , pp. 341 - 353Publisher: Cambridge University PressPrint publication year: 2020
References
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Birkin, Kenneth. “‘Ihr thörichtes Kind: Ihre dankbar Ergebene’: Pauline de Ahna to Hans von Bronsart, Richard Sternfeld und Max Marschalk: Letters from Strauss’s Weimar and Berlin Years.” Richard Strauss-Blätter no. 43 (2000): 116–48.CrossRefGoogle Scholar
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Hartmann, Rudolf. Richard Strauss: The Staging of His Operas and Ballets. Translated by Davies, Graham. New York: Oxford University Press, 1981.Google Scholar
Lehmann, Lotte. Five Operas and Richard Strauss. Translated by Pawel, Ernst. New York: Macmillan, 1964.Google Scholar
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Secondary Sources
Schuh, Willi. Richard Strauss: A Chronicle of the Early Years 1864–1898. Translated by Whittall, Mary. Cambridge: Cambridge University Press, 1982.Google Scholar
Strauss, Richard. Briefe an die Eltern 1882–1906. Edited by Schuh, Willi. Zurich: Atlantis Verlag, 1954.Google Scholar
Trenner, Franz. Richard Strauss: Chronik zu Leben und Werk. Edited by Trenner, Florian. Vienna: Verlag Dr. Richard Strauss, 2003.Google Scholar
Walton, Chris. “Mad Mothers, Fractious Fathers and Fractured Cowbells: Richard Strauss Reconsidered.” The Musical Times 157, no. 1934 (2016): 19–44.Google Scholar
Birkin, Kenneth. Hans von Bülow: A Life for Music. Cambridge: Cambridge University Press, 2011.Google Scholar
Hausegger, Siegmund von. Alexander Ritter: Ein Bild seines Charakters und Schaffens. Berlin: Marquardt, 1907.Google Scholar
[Interview with] “Richard Strauss.” The Musical Times 44, no. 719 (1903): 9–15.Google Scholar
Schuh, Willi. Richard Strauss: A Chronicle of the Early Years. Translated by Whittall, Mary. Cambridge: Cambridge University Press, 1982.Google Scholar
Walker, Alan. Hans von Bülow: A Life and Times. Oxford: Oxford University Press, 2010.Google Scholar
Youmans, Charles. Mahler & Strauss: In Dialogue. Bloomington: Indiana University Press, 2016.Google Scholar
Youmans, Charles. Richard Strauss’s Orchestral Music and the German Intellectual Tradition: The Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press, 2005.Google Scholar
Birkin, Kenneth. “‘Ihr thörichtes Kind: Ihre dankbar Ergebene’: Pauline de Ahna to Hans von Bronsart, Richard Sternfeld und Max Marschalk: Letters from Strauss’s Weimar and Berlin Years.” Richard Strauss-Blätter no. 43 (2000): 116–48.CrossRefGoogle Scholar
Frevert, Ute. Frauen-Geschichte: Zwischen Bürgerlicher Verbesserung und Neuer Weiblichkeit. Frankfurt am Main: Suhrkamp, 1986.Google Scholar
Hanke-Knaus, Gabriella. “Neuschöpfung durch Interpretation: Richard Strauss’ Eintragungen in die Handexemplare seiner Lieder aus dem Besitz von Pauline Strauss-de Ahna.” Die Musiktheorie 11, no. 1 (1996): 17–30.Google Scholar
Petersen, Barbara A. Ton und Wort: The Lieder of Richard Strauss. Ann Arbor: UMI Research Press, 1980.Google Scholar
Sauer, Edith. Liebe und Arbeit: Geschlechterbeziehungen im 19. und 20. Jahrhundert. Edited by Lanzinger, Margareth. Vienna: Böhlau, 2014.Google Scholar
Hofmeister, Michael. Alexander Ritter: Leben und Werk eines Komponisten zwischen Wagner und Strauss. Baden-Baden: Tectum, 2018.CrossRefGoogle Scholar
Schlötterer, Roswitha. “Richard Strauss und sein Münchner Kreis.” In Jugendstil-Musik? Münchner Musikleben 1890–1918, edited by Münster, Robert and Wagner, Renata, 13–24. Wiesbaden: Reichert Verlag, 1987.Google Scholar
Schmidt, Manuela Maria. Die Anfänge der musikalischen Tantiemenbewegung in Deutschland. Berlin: Duncker & Humblot, 2005.Google Scholar
Schwartz, Richard Isadore. “An Annotated English Translation of Harmonielehre of Rudolf Louis and Ludwig Thuille.” Ph.D., Washington University, 1982.Google Scholar
Youmans, Charles. Richard Strauss’s Orchestral Music and the German Intellectual Tradition: The Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press, 2005.Google Scholar
Broch, Hermann. Hugo von Hofmannsthal and His Time: The European Imagination, 1800–1920. [German edition, 1964]. Translated, edited, and with an introduction by Steinberg, Michael P.. Chicago: University of Chicago Press, 1984.Google Scholar
Hamburger, Michael. Hofmannsthal: Three Essays. Princeton: Princeton University Press, 1972.Google Scholar
Kovach, Thomas A., ed. A Companion to the Works of Hugo von Hofmannsthal. Rochester: Camden House, 2002.Google Scholar
Mayer, Matthias and Werlitz, Julian, eds. Hofmannsthal Handbuch: Leben – Werk – Wirkung. Stuttgart: J. B. Metzler, 2016.CrossRefGoogle Scholar
Sammons, Jeffrey L. Hugo von Hofmannsthal, the Elusive Poet. New Haven: Yale University Press, 1969.Google Scholar
Steinberg, Michael P. The Meaning of the Salzburg Festival: Austria as Theater and Ideology, 1890–1938. Ithaca, NY: Cornell University Press, 1990.Google Scholar
Vilain, Robert. The Poetry of Hugo von Hofmannsthal and French Symbolism. Oxford: Clarendon Press, 2000.CrossRefGoogle Scholar
Birkin, Kenneth. “Feuersnot.” In Richard Strauss-Jahrbuch 2014, edited by Brosche, Günther, 5–64. Tutzing: Schneider, 2014.CrossRefGoogle Scholar
Gregor, Joseph. Clemens Krauss: Seine musikalische Sendung. Wien: Walter Krieg Verlag, 1953.Google Scholar
Kristiansen, Morten. “Strauss’s First Librettist: Ernst von Wolzogen Beyond Überbrettl.” Richard Strauss-Blätter no. 59 (2008): 75–116.CrossRefGoogle Scholar
Röslau, Walter. Das Chanson im Deutschen Kabarett 1901–1933. Berlin: Henschelverlag, 1980.Google Scholar
Wolzogen, Ernst von. Wie ich mich ums Leben brachte: Erinnerungen und Erfahrungen. Braunschweig & Hamburg: G. Westermann, 1922.Google Scholar
Gallup, Stephen. A History of the Salzburg Festival. Topsfield: Salem House Publishers, 1987.Google Scholar
Hartmann, Rudolf. Richard Strauss: The Staging of His Operas and Ballets. Translated by Davies, Graham. New York: Oxford University Press, 1981.Google Scholar
Heisler, Wayne. The Ballet Collaborations of Richard Strauss. Rochester, University of Rochester Press, 2009.Google Scholar
Lesnig, Günther. Die Aufführungen der Opern von Richard Strauss im 20. Jahrhundert: Daten, Inszenierungen, Besetzungen. 2 vols. Tutzing: Hans Schneider, 2008.Google Scholar
Reinhardt, Max. Leben für das Theater: Briefe, Reden, Aufsätze, Interviews, Gespräche, Auszüge aus Regiebüchern. Edited by Fetting, Hugo. Berlin: Argon, 1989.Google Scholar
Böhm, Karl. Begegnung mit Richard Strauss. Edited by Dostal, Franz Eugen. Vienna: Doblinger, 1964.Google Scholar
Hartmann, Rudolf. Richard Strauss: The Staging of His Operas and Ballets. Translated by Davies, Graham. New York: Oxford University Press, 1981.Google Scholar
Lehmann, Lotte. Five Operas and Richard Strauss. Translated by Pawel, Ernst. New York: Macmillan, 1964.Google Scholar
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Birkin, Kenneth. “Richard Strauss in Weimar. Part 2: The Opera.” Richard Strauss-Blätter no. 34 (1995): 3–56.Google Scholar
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Makela, Maria. The Munich Secession: Art and Artists in Turn-of-the-Century Munich. Princeton: Princeton University Press, 1990.Google Scholar
Münster, Robert and Hell, Helmut, eds. Jugendstil-Musik? Münchner Musikleben 1890–1918. Wiesbaden: Ludwig Reichert, 1987.Google Scholar
Prinz, Friedrich and Krauss, Marita, eds. München – Musenstadt mit Hinterhöfen. Die Prinzregentenzeit 1886–1912. Munich: C. H. Beck, 1988.Google Scholar
Schwarzmüller, Alois. Beiträge zur Geschichte des Marktes Garmisch-Partenkirchen im 20. Jahrhundert. www.gapgeschichte.de.Google Scholar
Wolf, Christian and May, Jürgen. Bei Richard Strauss in Garmisch-Partenkirchen. Munich: Prestel, 2008.Google Scholar
Birkin, Kenneth. “Richard Strauss in Weimar. Part 1: The Concert Hall.” Richard Strauss-Blätter no. 33 (1995): 3–36.Google Scholar
Birkin, Kenneth. “Richard Strauss in Weimar. Part 2: The Opera.” Richard Strauss-Blätter no. 34 (1995): 3–56.Google Scholar
Hofmann, Renate and Hofmann, Kurt. “Johannes Brahms und das Herzogshaus Sachsen-Meiningen.” In Brahms-Studien no. 15 (2008): 37–66.Google Scholar
Holden, Raymond. “Kapellmeister Strauss.” In The Cambridge Companion to Richard Strauss, edited by Youmans, Charles, 257–68. Cambridge: Cambridge University Press, 2010.Google Scholar
Koller, Ann Marie. The Theater Duke: George II of Saxe-Meiningen and the German Stage. Stanford: Stanford University Press, 1984.Google Scholar
Osborne, John. The Meiningen Court Theatre, 1866–1890. Cambridge: Cambridge University Press, 1988.Google Scholar
Edelmann, Bernd. “Strauss und Wagner.” In Richard Strauss Handbuch, edited by Werbeck, Walter, 66–83. Stuttgart: Metzler, 2014.CrossRefGoogle Scholar
Hilmes, Oliver. Cosima Wagner: The Lady of Bayreuth. Translated by Spencer, Stewart. New Haven: Yale University Press, 2011.Google Scholar
Spotts, Frederic. Bayreuth: A History of the Wagner Festival. New Haven: Yale University Press, 1994.Google Scholar
Trübsbach, Rainer. Geschichte der Stadt Bayreuth 1194–1994. Bayreuth: Druckhaus Bayreuth, 1993.Google Scholar
Wagner, Nike. The Wagners: The Dramas of a Musical Dynasty. Translated by Osers, Ewald and Downes, Michael. Princeton: Princeton University Press, 1998.Google Scholar
Fischer, Jens Malte. “‘Das Theater ist auch eine meiner Waffen’: Die Hofoper im Zeichen des Kaiserreiches.” In Apollini et Musis: 250 Jahre Opernhaus Unter den Linden, edited by Quander, Georg, 117–46. Berlin: Propyläen, 1992.Google Scholar
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Restle, Conny and Schenk, Dietmar, eds. Richard Strauss im kaiserlichen Berlin: Eine Ausstellung im Musikinstrumenten-Museum SIMPK. Berlin: Staatliches Institut für Musikforschung Preussischer Kulturbesitz, 2001.Google Scholar
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Editions of letters and other documents appear on the online platform of the Kritische Ausgabe der Werke von Richard Strauss: www.richard-strauss-ausgabe.de.Google Scholar
Fetthauer, Sophie. Musikverlage im ‘Dritten Reich’ und im Exil. Hamburg: Bockel, 2004.Google Scholar
Hofer, Achim. “‘Sie halten den Namen des Autors wohl für einen Schönheitsfehler’ (Strauss): Die Korrespondenz zwischen Richard Strauss und dem Verlag C. F. Peters betreffend op. 57.” Richard Strauss-Jahrbuch 2016, edited by Brosche, Günter and Panagl, Oswald, 5–40. Wien: Hollitzer, 2017.Google Scholar
Karbaum, Michael, “Strauss und die Genossenschaft Deutscher Tonsetzer.” In Richard Strauss Handbuch, edited by Werbeck, Walter, 29–34. Stuttgart: Metzler, 2014.Google Scholar
Ott, Alfons. “Richard Strauss und sein Verlegerfreund Eugen Spitzweg.” In Musik und Verlag: Karl Vötterle zum 65. Geburtstag am 12. April 1968, edited by Baum, Richard and Rehm, Wolfgang, 466–75. Kassel: Bärenreiter, 1968.Google Scholar
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See the Appendix.Google Scholar
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Ryding, Erik and Pechefsky, Rebecca. Bruno Walter: A World Elsewhere. New Haven: Yale University Press, 2001.Google Scholar
Bribitzer-Stull, Matthew. Understanding the Leitmotif: From Wagner to Hollywood Film Music. Cambridge: Cambridge University Press, 2015.CrossRefGoogle Scholar
Cooke, Mervyn and Ford, Fiona, eds. The Cambridge Companion to Film Music. Cambridge: Cambridge University Press, 2016.Google Scholar
Franklin, Peter. Reclaiming Late-Romantic Music: Singing Devils and Distant Sounds. Berkeley: University of California Press, 2014.Google Scholar
Lehman, Frank. Hollywood Harmony: Musical Wonder and the Sound of Cinema. Oxford: Oxford University Press, 2018.Google Scholar
Gies, Stefan. “Zarathustras Odyssee durch die Medien: die Takte 1–20 der Strauss’schen Tondichtung in ihrem zweiten Dasein.” In Richard Strauss: Essays zu Leben und Werk, edited by Heinemann, Michael, Herrmann, Matthias, and John, Hans, 73–82. Laaber: Laaber-Verlag, 2002.Google Scholar
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