Richard Strauss: Man, Musician, Enigma (Hardcover)

~ (Author) "Missa solemnis and Parsifal.'..." (more)
Key Phrases: short score, court opera, oboe concerto, Der Rosenkavalier, Richard Strauss, Die Frau (more...)

Editorial Reviews

Amazon.com Review

There are few composers whose critical stock has roller-coastered as dramatically as that of Richard Strauss, both during his lifetime and in the five decades since his death in 1949. Once considered a dangerous firebrand of the avant-garde--his early masterpiece Salome was given the equivalent of an X rating--Strauss remained an exceedingly prolific composer throughout his long career, yet lived to be "written off as an extinct volcano." The painful story of his involvement with the Third Reich further cast a pall over his final years. But in the past two decades, a gradual reassessment has been underway--along with a recuperation of his neglected later works--and the field is ripe for a critically insightful overview of Strauss's achievement.

Such is the goal of Michael Kennedy, a longtime advocate of Strauss, in his new biography, Richard Strauss: Man, Musician, Enigma. Kennedy, the Sunday Telegraph's music critic and author of several other musical biographies--including an earlier study of the composer as well as illuminating articles and CD booklets on his music--here undertakes to penetrate the contradictions and see the man whole. Through his impressive access to diaries, letters, and living relatives, he posits an underlying consistency of attitude that made "art the reality in [Strauss's] life." The central enigma about the composer that fascinates Kennedy is the "disparity between man and musician," the paradox that this fundamentally aloof and reserved person, dedicated to bourgeois stability, could produce music of such overpowering passion.

While steering clear of Freudian reductionism, Kennedy reveals the crucial significance of Strauss's mother's nervous instability--she was eventually committed to various sanatoriums--and the centrality of the work ethic inherited from his father. The result was to make music "Strauss's means of escape ... and in much of his music he wore a mask." Yet for all his aloofness, Strauss "let [the mask] slip"--another aspect of the enigma surrounding him--in such compositions as Don Quixote ("the most profound" of his orchestral works) or the pervasively autobiographical Sinfonia Domestica, Intermezzo, and Capriccio, which Kennedy counts as Strauss's greatest achievement for the lyrical stage.

Kennedy is particularly persuasive in his high estimation of the post-Rosenkavalier output and the undiminished quest for artistic innovation that they continued to exemplify--above all in Strauss's development of a fluently conversational style in his operas. Although commentary on individual works involves generally concise summations, many observations sparkle with insight, and Kennedy continually sheds light on neglected gems among Strauss's output. The rapport with Hofmannsthal and his other librettists is admirably clarified, and the remarkably well-read Strauss emerges as a more imposingly intellectual figure, steeped in literature and philosophy, than he is usually depicted. We learn of his obsession with the card game skat and of his disdainful attitude toward the new medium of film. Kennedy similarly demystifies much of the received opinion that has developed around the composer, particularly in his level-headed portrait of his wife, Pauline. The fundamental happiness of their lifelong relationship emerges as a context indispensable to Strauss's creative focus.

Kennedy devotes a significant portion of the book to the composer's position as president of the Reich Music Chamber and subsequent fall from grace both with the Nazis and in world opinion. Here the author aims to offer perspective by carefully detailing the facts and documentary evidence from the time. In his view, Strauss becomes a "tragic figure, symbolising the struggle to preserve beauty and style in Western European culture" against emerging barbarism. Yet, as throughout the book, Kennedy's abiding sympathy with Strauss at times veers close to a kind of special pleading that invites skepticism. For all that, his style is admirably lucid, and his biography largely succeeds in pointing to a greatness that "has not yet been fully understood and discovered." --Thomas May

Review

"The first large-scale biography of Strauss to be published in many years, this volume is beautifully written by one of the great writers on music in the English language." Choice

"...this is a lively 'Life' that redresses some balances in previous biographical excursions." The Times, London

"Kennedy has added fresh analyses and drawn on much unpublished material....Kennedy provides significant insights into the composer's personal life and complicated mindset throughout his career. While avoiding the clichés of so many of today's over-written psycho-biographies, Kennedy brings Strauss vividly alive and places him firmly in the context of his times." Opera News

"An excellent biography...." Booklist

"An engaging, straightforward biography that largely eschews extended musical analysis." Gazette

"...a coherent and convincing portrait of the composer that comes from years of study....a thoroughly engaging book that should prompt the reader to...return to the music..." James L. Zychowicz, Opera Quarterly

"Biographer Michael Kennedy Demonstrates that the many varying shades of criticism that have painted Richard Strauss in the past half century resemble the similar understandings and misunderstandings held by his contemporaries. He builds his analysis around the few constants in Strauss's life: his admiration for German culture, his dependence on his own family for guidance, and his ^Nietzschean total absorption in art." Kennedy also deals with Strauss's problematic relationship with Nazi authorities." Shofar

"Kennedy, in this well-written biography, offers many insights into the family an professional life of Strauss. Kennedy shos great interest in the intellect, the miracle that produced the sublime music of the composer's Lieder, tone poems and operas and implies the Lieder mayy well be the finest works, perhaps presenting yet another enigma for readers to consider." The Oper Jrnl MARCH 2001

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Product Details

• Hardcover: 472 pages
• Publisher: Cambridge University Press (January 13, 1999)
• Language: English
• ISBN-10: 0521581737
• ISBN-13: 978-0521581738
• Product Dimensions: 9 x 6.1 x 1.3 inches
• Shipping Weight: 1.6 pounds (View shipping rates and policies)
• Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
• Amazon.com Sales Rank: #489,104 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

16 of 16 people found the following review helpful:

5.0 out of 5 stars An eye and ear opener - why did it take this long?, August 3, 2002

By	William J. Finn "wjf88" (Sarasota Florida) - See all my reviews

Amazon Verified Purchase

I have grown up reading Michael Kennedy's biographies of such great English composers as Vaughan-Williams and Edward Elgar. So I eagerly picked-up his latest biography of Richard Strauss partly because of what I deemed to be Kennedy's objective approach to his subjects, and also because Strauss seemed to be a deeply held secret not meant to be shared with us ordinary listeners (in other words, there wasn't much else available).

Kennedy seems to have slightly more passion for Strauss it turns out than for RVW or Elgar, or at least enough moxy to blow the cover off some well established sacred cows. I know that I was not expecting to read exactly what I read.

If you are even vaguely interested in the music of Strauss or even if you are simply intereted in the history of Germany from 1900 to 1950, then this is a very interesting read.

Very well done!

15 of 15 people found the following review helpful:

5.0 out of 5 stars The best compact introduction to Richard Strauss, April 24, 1998

By A Customer

This review is from: Richard Strauss (Master Musicians Series) (Hardcover)

Studies of Richard Strauss have a tendency to hover between enthusiasm and mealy-mouthed criticism. Or else they are so voluminous (multiple volumes) that only the most serious scholar or eager enthusiast can imagine plowing through them. Michael Kennedy's volume has two great strengths that place it at the top of the class when it comes to finding a good introduction to Strauss: It is compact, yet invitingly enthusiastic. Kennedy has the knack of highlighting precisely the unique strengths of each different work. Perhaps this is not so rare when he speaks of the leading masterpieces that others praise as well. But it is his special gift that he makes the reader want to listen to those works that have not been blessed with extreme popularity. All of them offer something that sounds interesting and inviting to the music-lover. Not only is it a superb guide to Richard Strauss; I think this book is a veritable model for the way that the non-technical music lover should be introduced to an important composer.

2 of 2 people found the following review helpful:

5.0 out of 5 stars For Strauss enthusiasts, June 19, 2008

By	P. Mossel (Delaware) - See all my reviews (REAL NAME)

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It is an excellent biography of Richard Strauss, well written and employing up-to-date scholarship on the great composer. It portrays not only Strauss' life and historical milieu, but also addresses inaccurate views of his political situation during Hitler's Third Reich, which have unfairly colored his reputation. The book would be an essential tool in fully understanding and appreciating this musical genius.