wrote his uncle “and general amazement and wrath because I, too, have begun to go my own way.” And his biographer, Max Steinitzer, told that the composer’s father, outraged by the hisses, hurried to the artist’s room to see his son and found him, far from disturbed, sitting on a table dangling his legs! One detail the composer of this symphonic Italian excursion failed to notice—namely that in utilizing the tune Funiculi, Funicula for the movement depicting the colorful life of Naples he was quoting, not as he fancied a genuine Neapolitan folksong, but an only too familiar tune by Luigi Denza, who lived much of his life in a London suburb!

Be all this as it may, Strauss had more to occupy his thoughts than the fortunes of his Italian impressions to which he had given musical shape. In 1886-87 he composed (besides a sonata in E flat for violin and piano and a number of fine Lieder—among them the lovely and uplifting “Breit über mein Haupt”) the tone poem, Macbeth (least known of them all). He revised it in 1890 and on October 13 of that year conducted it in Weimar. But Macbeth has been completely overshadowed by the next tone poem (of earlier opus number but later composition), the glowing, romantic, vibrant Don Juan which has a spontaneity and an indestructible freshness that give it a kind of electrical vitality none of the orchestral works of their composer’s early manhood quite rival, unless we except that masterpiece of humor, Till Eulenspiegel—itself a different proposition. It had been the powerful impressions made on the composer by some of the Shakespearian productions of the dramatic company in Meiningen which gave the incentive for Macbeth. In the case of Don Juan the moving impulse was the poem of Nikolaus Lenau (whose real name was Niembsch von Strahlenau), and who described the hero of his work as “one longing to find one who represented incarnate womanhood” in whom he could enjoy “all the women on earth whom he cannot as individuals possess.” Unable in the nature of things to achieve this tall order Lenau’s Don Juan falls prey to “Disgust, and this Disgust is the devil that fetches him.” Strauss gave no definite meanings to specific phases of his music, though he was not to want for interpreters and one of them, Wilhelm Mauke, found it preferable to discard the model supplied by Lenau and to discover in the tone poem the various women who inhabit Mozart’s Don Giovanni. Be this as it may, the score delighted the first hearers when it was played in Weimar; they tried to have it repeated on the spot. Hans von Bülow wrote that his protégé had, with Don Juan had an “almost unheard-of success”; and the young composer might well have seen a good augury in the notorious Eduard Hanslick’s outcries to the effect that the score was chiefly a “tumult of dazzling color daubs” and in his shrieks that Strauss “had a great talent for false music, for the musically ugly.”

It cannot be said that he was truly happy with his Munich experiences and the disappointments which, if the truth were known, seemed for the moment to dog his footsteps. He was, to be sure, adding to his accomplishments as a composer and plans for an opera began to stir in him. Moreover, he had more and more chances to accept guest engagements as a conductor and such opportunities were taking him on more and more tours in Germany. He had striven to do his best in the city of his birth yet few seemed to be grateful for his efforts to clean up drab accumulations of routine. Bülow realized from long and heart-breaking experience what his friend was undergoing. Very few thanked the idealist for his efforts to better the musical standing of his home town.

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At what might be described as a truly psychological moment of his career Strauss was approached by Bülow’s old friend, the former Liszt pupil, Hans von Bronsart, with an invitation to transfer his activities to Weimar. He had every reason to look with favor on the project. Weimar was hallowed in his eyes by its earlier literary and musical associations. It had harbored Goethe and Schiller and been sanctified in the young musician’s sight by the labors of Liszt. His Munich friend, the tenor Heinrich Zeller, who had coached Wagner roles with him, had settled there, and a young soprano, Pauline de Ahna, the daughter of a Bavarian general with strong musical enthusiasms, soon followed him. In proper course she was to become Richard Strauss’s wife. A high-spirited, outspoken lady, never disposed to mince words, a source of innumerable yarns and witticisms, and who saw to it that her celebrated husband carefully toed the mark, Pauline Strauss was in every way a chapter by herself. And when, not very long after his death she followed him to the grave it seemed only a benign provision of fate that she should not too long survive him.

Strauss almost instantly infused a new blood into the artistic life of Weimar, where he settled in 1889 and remained till 1894. The worthy old court Kapellmeister, Eduard Lassen, was sensible enough to allow his energetic new associate complete freedom of action. True, the artistic means at his disposal were relatively modest and at first they might well have given the ambitious newcomer pause. The orchestra then contained only six first violins; there was a painfully superannuated little chorus and most of the leading singers had seen better days. But the conductor from Munich was disturbed by none of these apparent handicaps. In Bayreuth he had already learned the proper way of producing Wagner, and even when the means were limited, he tolerated no concessions; all Wagnerian performances had to be done without cuts or at least with a minimum of curtailments. A wisecrack began to go the rounds: “What is Richard Strauss doing?” to which the reply was: “Strauss is opening cuts!” The moldy old settings were replaced by new ones and once when there were insufficient funds to buy new stage appointments Strauss approached the Grand Duke with a plea that he might lay out of his own pocket a thousand Marks to freshen the settings. To the credit of the ruler it should be told that he refused the offer and disbursed the sum himself. But Strauss’s reforms were far from ending there. He once confessed that in his comprehensive job he was not only conductor but “coach, scene painter, stage manager and tailor”—in short, a thoroughgoing Pooh-Bah. He threw himself heart and soul into the job, so much so that in spite of a small stage and limited means he produced, in the presence of none other than Cosima Wagner a Lohengrin that deeply gripped her.

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He had symphonic concerts as well as operas to occupy him. At one of the former he transported his hearers with the world premiere of his Don Juan. The date deserves to be noted—November 11, 1889. That same year he had composed another tone poem, Death and Transfiguration, and on June 21, 1889, he permitted an audience in nearby Eisenach to hear it. The work is program music, if you will; but the idea that it originally set out to illustrate the poem about the man dying in a “necessitous little room” and, after his death struggles, translated to supernal glories, is wrong. Moreover the long accepted notion, that the music is based on lines by Alexander Ritter, is fallacious. For, in the first place the composer did not aim to illustrate his friend’s word picture; and in the second, Ritter wrote the poem only after becoming acquainted with the score. This is what explains a certain incongruity between Ritter’s verses and the tones which, in reality were never conceived in slavish illustration of them. Hanslick, wrong as usual,