. Men around the Kaiser; the makers of modern Germany . mble first and invariablyon anecdotes of his parsimony. However niggardlyStrauss may be in matters of money, there is nothingstingy about him when it comes to noise. Inproduction of tonal volume he is lavishness per-sonified. He has made the cyclonic diapasons ofWagner seem like whispers, and has out-thunderedThor. In the storm and stress period which followedthe humbling of France, when New Germany wasmore interested in the production of dividends thanmusic, Apollo had no exponents of the firstmagnitude. With the death of Wagner in 1883t
. Men around the Kaiser; the makers of modern Germany . mble first and invariablyon anecdotes of his parsimony. However niggardlyStrauss may be in matters of money, there is nothingstingy about him when it comes to noise. Inproduction of tonal volume he is lavishness per-sonified. He has made the cyclonic diapasons ofWagner seem like whispers, and has out-thunderedThor. In the storm and stress period which followedthe humbling of France, when New Germany wasmore interested in the production of dividends thanmusic, Apollo had no exponents of the firstmagnitude. With the death of Wagner in 1883there was destined to be a long interval beforeGerman music should again give forth a geniusin the person of another Richard. Perhaps thepsychology of Strauss noise lies in his convictionthat after so prolonged a period of obliteration, itwas necessary for artistic Germany to affirm its musi-cal reincarnation in no uncertain tones. At any rate,when Don Quixote, Hcldenlebcn, Till Eulenspiegel,and the Symphonia Domestica burst upon the world, it106 5 til. [DuhrkooJ), Berlin. J) (f<U c^v lvU V^H/Vi RICHARD STRAUSS was manifest that the reign and times of WilHam to be illumined by a master worthy of therace of Beethoven, Brahms and Mozart. Richard Strauss is the Bernard Shaw of music,or vice versa. Both are confessed waded into their chosen careers with death toconventionalities emblazoned on their were bent on and succeeded in making amighty noise in the world. Both have thriven onabuse. Both have exploited the vehicle which hasgiven them most of their vogue, the stage, as aweapon for hitting at their critics. Shaw has alreadycollaborated with one Strauss—Oskar—in the pro-duction of a musical play ; at least Arms and the Manfurnished the plot. What a riot of audacity thephantasy of a grand opera by Richard Strauss,book by Bernard Shaw, conjures up ! The gaietyof nations, preceding additions to the contrarynotwithstanding, would har
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