Hostname: page-component-cd9895bd7-hc48f Total loading time: 0 Render date: 2024-12-26T07:54:00.751Z Has data issue: false hasContentIssue false
  • English
  • Français

Charles Youmans, ed. The Cambridge Companion to Richard Strauss (Cambridge: Cambridge University Press, 2010). xxxvi+368 pp. £18.99.

Published online by Cambridge University Press:  08 January 2013

Christian Thomas Leitmeir
Christian Thomas Leitmeir*
Affiliation:
Prifysgol Bangor Universityc.leitmeir@bangor.ac.uk
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 9 , Issue 2 , December 2012 , pp. 346 - 350
Copyright
Copyright © Cambridge University Press 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Adorno, Theodor W., ‘Richard Strauss: Zum 60. Geburtstage: 11. Juni 1924’, in idem, Gesammelte Schriften, xviii, ed. Rolf Tiedemann (Frankfurt/Main: Suhrkamp, 1984): 254–262Google Scholar

Gillespie, Susan, ‘Richard Strauss at Sixty’, in Richard Strauss and His World, ed. Bryan Gilliam (Princeton: Princeton University Press, 1992): 406–415Google Scholar

Adorno, Theodor W., ‘Richard Strauss: Zum hundertsten Geburtstag: 11. Juni 1964,’ in idem, Gesammelte Schriften, xvi, ed. Rolf Tiedemann (Frankfurt/Main: Suhrkamp, 1978): 565–606Google Scholar

Samuel and Shierry Weber, ‘Richard Strauss: Born June 11, 1864,’ in Perspectives of New Music 4 (1965): 14–32 and 113–29Google Scholar

Adorno, Theodor W., ‘The Musical Climate for Fascism in Germany’, in idem, Gesammelte Schriften, 20/2, ed. Rolf Tiedemann (Frankfurt/Main: Suhrkamp, 1986): 430–40Google Scholar

2 An early instance of a Strauss reappraisal against the mainstream is found in Susan Sontag's essay, ‘On Camp’ (1964), published in her first collection Against Interpretation and Other Essays (New York: Farrar, Straus and Giroux, 1966): 275–92. Within Germany and Austria, public interest in Strauss was primarily non-academic or limited to societies such as the Internationale Richard-Strauss-Gesellschaft. The first research team was established, as a regular seminar for lecturers and students, by Reinhold Schlötterer at the University of Munich in 1977. See Bernd Edelmann, ‘Gegen Strauss’ Verdammnis’, Akademie Aktuell: Zeitschrift der Bayerischen Akademie der Wissenschaften (2011/2): 36–9.

3 Bryan Gilliam, ‘Friede im Innern: Strauss's Public and Private Worlds in the Mid 1930s’, Journal of the American Musicological Society 57 (2004): 579–91Google Scholar

4 Schmid, Mark-Daniel ed., The Richard Strauss Companion (Westport, CT: Praeger, 2003)Google Scholar

5 Hottmann, Katharina, ‘die andern komponieren. Ich mach' Musikgeschichte!’ Historismus und Gattungsbewusstsein bei Richard Strauss: Untersuchungen zum späteren Opernschaffen (Tutzing: Schneider, 2005)Google Scholar

6 Heisler, Wayne Jr., The Ballet Collaborations of Richard Strauss (Rochester, NY: University of Rochester Press, 2009)Google Scholar

7 The individual operas are covered on the following pages: Elektra, 120–22; Rosenkavalier, 122f.; Ariadne auf Naxos, 123–26; Die Frau ohne Schatten, 126f., Die ägyptische Helena, 128 (14 lines from the bottom of the page)–129 (line 13); Arabella, 129–31; Intermezzo, 137–40; Die schweigsame Frau, 140 (bottom)–42(top); Friedenstag, 142f.; Daphne, 144f.; Die Liebe der Danae, 145f.; Capriccio, 146–48.