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THE SIGNIFICANCE OF STRAUSS THE more one studies the personality and work of Richard Strauss, the more does it seem that he is something more than a man. Like Nietzsche and Napoleon, he appears to be an elemental force of Nature embodied in human form. He is above criticism, unaffected by the countless feverish squabbles of Continental musicians and cliques, and indifferent to the intrigues of his enemies. In all the records of history one can find but few men who have so fearlessly worked out their own destiny as Richard Strauss has done, or who have had greater faith in their own genius, or greater courage in developing that genius according to the dictates of inclination. Most men of complex personality do not fear others as much as they fear themselves but Strauss fears no one. I find it impossible to believe that at any moment in his career he has questioned or doubted the essential rightness of his own instincts and ambitions he would find it easier to distrust the rest of the world than to distrust himself. Now, this superb confidence in one's self is the rarest quality in human nature it is a characteristic only of the truly great. Among musicians, Wagner possessed it so did Gluck and Bach and Handel. Even Chopin, whom careless people so frequently call effeminate," was unaffected by the doubts and dispraise of men like Moscheles and Mendelssohn- men with scrupulously tidy minds that mistook mere neatness for perfection of form. But of all creative artists, the greatest believer in self was Nietzsche, between whom and Richard Strauss there is a great deal in common. In the introductory chapter of Mr. Ernest Newman's book, Richard Strauss," Mr. Alfred Kalisch declares that this composer is a convinced believer in the Ubermensch, and respects all who, though they may be his opponents, display the qualities connoted by this word." The truth of this dictum is quite clear even to those who have not the honour of Strauss's friendship, for there is some- thing of the superman in all that Strauss does. He loves size and strength and triumph simply for their own sakes and quite apart from what they accomplish; indeed, it may quite legitimately be said that, even if size and strength defeat their own ends, he admires them none the less on that account. Consider for a moment his more recent works-the Symphonia Domestica, Elektra, Salome, Der Rosenkavalier and The Legend of Joseph. Quite a considerable section of each of these works is so thickly orchestrated, so confused with mere sound. and so deafeningly By CYRIL JENKINS uproarious, that the sections in question mean nothing at all. They are mere noises; moreover, they are noise that is wilfully and desperately ugly. He shouts so loudly that one cannot hear a word of what he says. The ear is tortured minute after minute by sound that would appear to have been created by a brain drunk with its own egotism, and heated with a self-esteem not far removed from egomania. This incomprehensibility of portions of all his more recent works is not a matter for argument; it is an indisputable fact, and even the most ardent of Strauss admirers are compelled to acknowledge that there is a blind spot in their master's intellect which provokes him to much musical folly. His stupendous orchestras, the insensate daring of much of his writing, the very subjects he chooses for his works, his colossal disregard for even the just criticisms of others, his inability to criticise himself. his capacity for tremendous and sustained labour, his genius for business affairs and his skill in driving a bargain-all these are attributes of the superman whom Nietzsche invented. Further, Nietzsche and Strauss have collaborated, for the latter's Also Sprach Zarathustra is nothing more nor less than an attempt to distil Nietzsche's philosophy into sound. Ein Heldenleben, again, is not the life of a hero, but the fife of the hero, Richard Strauss. It is no part of my purpose to attempt to prove that the Nietzschean philosophy is either a good or a bad doctrine, but I do not hesitate to lay it down that it is quite as easy for a fool as for a wise man to imagine that he is a superman indeed, the fool is more prone to value himself at a high estimate than the man of more wit. But Strauss, obviously, is no fool, and there can be no doubt at all that he is the greatest of living musicians and worthy to be ranked among the ten most significant composers of whom we have any knowledge. Nevertheless, whilst his Nietzsche- ism has been a source of strength to him, it has just as certainly been a source of weakness it has given him confidence and strength, but so much has it given him of these qualities that the confidence has developed into musical egotism and the strength has degenerated into violence. The Legend of Joseph, for example, has its eloquent and its superb moments, but there are many consecutive pages in the score consisting of nothing more than undisciplined violence. It would therefore appear that even the Gospel of Superman, if uncritical of self, will lead to that very weakness, to despise which is one of the tenets of the Gospel.