Klett-Cotta-Verlag Psychology

Zu Straussens Modernität

Oktober 2017, 21. Jahrgang, Heft 84, pp 46-59

The Modernity of Strauss – It is not dishonest to say that the music of Richard Strauss enjoyed an extremely variable reception after the Second World War. The generation of Boulez considered Strauss a representative of the parting generation which, especially in the early 1930s, had allied itself with the Nazis and betrayed true progress. Adorno in particular declared Schönberg’s school the true heirs and accused Strauss of actually thwarting progress with Der Rosenkavalier. Today, perspectives have changed entirely: it was Strauss who set that progress in motion in the first place with Salome and Elektra. In recent years, Clytus Gottwald has transcribed some 15 solo songs by Straus, thus continuing a path already begun by Strauss in 1897 with his 16-part a cappella songs The Evening and Hymn. Until now, the publication of these transcriptions before 2020 has been prevented by the current copyright laws.

keine Schlüsselwörter vorhanden
no keywords found
mots-clés non définis

Kopieren Sie diesen Link:

https://www.musikundaesthetik.de/?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rtf.jtitle=Musik und Ästhetik&rft.atitle=Zu+Straussens+Modernit%C3%A4t&rft.volume=21&rft.issue=4&rft.spage=46&rft.epage=59&rft.issn=1432-9425

 Lesezeichen hinzufügen