MUSIC OF STRAUSS.

Dominion, Volume 6, Issue 1722, 12 April 1913, Page 17

MUSIC OF STRAUSS.

—. —* AND HIS OPERAS. SOME-PLAIN DEALING WITH HIM. [BY DB. ETHEL Smitii.] ..In discussing a work that is not emiently successful, let alono tho subject of a brilliantly worked boom, I think the first duty is not to find fault, but to try to understand and appreciate. In the case of Strauss, one can spare oneself this hardest part of the critic's task, for since ''Salome," every opera of his has been the subject of a colossal boom, and one can allow oneself the luxury of wondering why the subsequent career shows such a falling off. "Electra" has practically disappeared from the Continental stage, lias been found out, so to.speak, and is frankly loathed, though as long as Frau Mildenburg is there to play tho part of lvlytemnestra, it will be given now and again, because her'rendering is one of the un. forgettable things in life. "Salome" is in better case, for firstly the libretto is a masterpiece as <o form; secondly, being tho apotheosis of sensual decadence, it is popular as to subject matter; and, finally, this theme exactly suits Strauss's genius, so that under its spell he is genuino and inspired. It is not played often, but still it is more or less on the repertoire of. opera houses, and will never disappear, I am thankful .to believe. "The Rose Cavalier" was at first a .mad-, ncss,' specially "in " Vienna. Now,, it. is given' once in three .or, four months 'to half-empty houses. xVnd Strauss, a born banker, as a great I friend of his .once said to me in a burst of admiration, exacts terrible royalties, founded' on the bajls of the boom which no longer exists. Wise through experience, several opera directors declined m the case of-"Ariadne"' to. contract for this, his latest work, be- , forehand j ihey preferred to ■ "wait and soe," with tho result that it will not bo given hero at all. - Price too big; loss too certain; beautiful as is tho music,' the combination of drama and opera, served separately, is a bore. I believe the trouble with Strauss is that, superb musician though he be, lii's main preoccupation is of the "Daily Mail" order. He is not trying to communicate to the outside world a mystery ho cannot ,keep to himself,,to exteriorise something that is crj-int; for a formula, but is really concerned with anticipating the wishes of onstomers. Do we want to be horrified, knocked silly, rolled v out; flat? He writes "Electra" for us! 'Or.are we on frivolity bent? Behold "Xlie ' Rose Cavalier"! Hence tho rapturous welcome and the subsequent coldness; we thought wo were to learn on our own terms the secret of the Sphinx; but no, we arc at Solfridge's. "The Eoso Cavalier" is capital material for'an opera, a good, amusing story, with many opportunities for gay and charming Hogarth pictures. As a play it is delightful reading and full of funny side incidents, each of which would have been cut • out by Mozart into a scintillating unit, without in the least obscuring tho main theme. Strauss works them as you work the currants and the suet and tho 6pioes in a plum pudding, and but for the printed word you would not dimly guess what is going on in this corner or behind that sofa. ■ Very seldom does Strauss fail technically; but these big. ensembles simply don't coino off; they do not give you the impression of plum pudding richness, but of clumsiness, ibid invariably when ho deals with crowds, as in "Feuersnot," tlio same thing happens. Porhaps that is why ho avoids libretti that involve crowds. To get over'one's fault-finding first, bo here mentioned the heavy German .hand that makes itself fell, throughout' this light o]iera. Just two or threo examples, not to speak of the amazing lengths which I daresay Mr. Deecham has dealt with where possible Tho -story Ijegins as we know, with the liaison. between a great lady no longer ■young, and a boy of seventeen; and ot course there is tho reflection on. her part that it cannot last, and likewise his distress at such reflections. At this point the Tristan and Isolde stop is pulled out! Again for half an. hour by the clock on old gentleman, while talking td the grande dame, is endeavouring to catch the hand, pinch tho arm, and otherwise awake the interest of the supposed servant-maid, really tho page disguised. Again, who shall describe the dragging out of the "fun" in the last act, and will it be bo lieved that three times in the course of it tho same children, hired to represent the old gentleman's illegitimate family, rush towards him, danco round him, and,call out, ''Papa! Papa!". And three times he flaps them away with a table napkin! Strauss has immense sense of fun, is as witty, musically speaking, as.it is possible for a man to be, but on ths big fundamental lines has a devastating lack of the sense oT humour. The music is delicious, though here again it is Selfridgo's gentleman offering you tulle and chiffon and everything ■fluffy and transparent the heart can desire; I believe 110 musician can listen 1111entranced to the instrumentation, with its gestures and intonations as of an Yvette Guilbert. And there are sonorities, such ,-is "The Eos? Cavalier" theme, with its unearthly celesta discords dropping from the sky, •to hear which is spasm upon spasm of. physical delight. I'et . ; it has happened to me to bo revelling in pure joy of hearing, and then, quito suddenly, comes a whiff of boredom, as at tho music-hall when tho equilibrist has been on too long; nae is suddenly weary of these orclisstral caresses. Later Swinburne, another raau with a. genius for sound, has tho saoio effect: what is it all about? Like d'Annunzio's prose, Strauss's music abounds not in reminiscences only, but in wholesale thefts. A German conductor out here, who has an amazing knowledge of musical literature, amused himself and 1110 the other day with taking through "Ariadne," which wo agree in thinking the finest, musically, of Strauss's operas, and playing the originals of all tho best themes and happiest thoughts in it. In discussing with him how, nevertheless, all thoso goods are worked up into unmistakable Strauss, I hit upon the -word "cuisine," and think the real fact is that we have here a marvellous chef. But what if a cook habitually uses material that either is not fresh or not of good quality? I believe the restaurant he caters for would somehow or other fail to pivt satisfaction in the end, however exquisito the cooking might bo. Perhaps we have here the reason of tho discrepancy between the boom and what follows it in countries where. Strauss is not merely a means of collecting together a mass of diamond tiaras, but is expected to take and keep his place with Wagner, Puccini, Mozart, Gounod, Bizet, Massenet, and others in tho ordinary music life of opera goers. "Lo Boheme," for instance, is not half as "interesting" as a Strauss opera, but it is absolutely sincere. And in tho long run sincerity, or rather disinterestedness, is the only thing that tells. When I think of (he delight "The Eoso Cavalier" gives me it seems ungrateful and ungracious to dwell on the subtle sense of dissatisfaction that spoils one's enjoyment of Strauss. But it is just because ho is so outrageously gifted, so supple, so clever, so inexhaustible of invention, so naturally musical, and in his way such a master, that it seems intolerable that there should l>e any "but" in 111" mailer at all. Vet there it is. Meanwhile he i< a very bi;,' man. and' one may lliank llif sods for lijm anil i!<> him rovcrcucc.—'"Tho Suffragette."