FOOTNOTES:[5]See especially "The Romantic Composers."[6]In the essays on these composers in "From Grieg to Brahms."[7]The passage, page 13 of the two-hand piano arrangement, page 26 of the orchestra score, is too long to quote here.[8]Don Quixote, erläutert von Arthur Kahn, Der Musikführer no. 148, Leipzig.[9]The jump of the horns in the fourth measure illustrates another obstacle to understanding that the inexperienced listener often meets in Strauss. He is quite careless as to what register, high or low, the "resolutions" of his dissonances occur in; they jump about from octave to octave; and the hearer, to follow them, has to be equally agile.[10]Essay on Chopin, in "The Romantic Composers."[11]Vocal score, page 35.[12]"Elektra," vocal score, page 21.[13]Ibid.Page 23.[14]Ibid.Page 20, the first line.[15]Itistransposed into B flat in the episode wherein Till dons the vestments of a priest.[16]"Richard Strauss," in the Living Masters of Music Series, and "Richard Strauss and the Music of the Future," in "Musical Studies."[17]"Richard Strauss," pages 30-32.[18]In "Musical Studies."[19]"Musiciens d'aujourd'hui," page 123.
FOOTNOTES:
[5]See especially "The Romantic Composers."
[5]See especially "The Romantic Composers."
[6]In the essays on these composers in "From Grieg to Brahms."
[6]In the essays on these composers in "From Grieg to Brahms."
[7]The passage, page 13 of the two-hand piano arrangement, page 26 of the orchestra score, is too long to quote here.
[7]The passage, page 13 of the two-hand piano arrangement, page 26 of the orchestra score, is too long to quote here.
[8]Don Quixote, erläutert von Arthur Kahn, Der Musikführer no. 148, Leipzig.
[8]Don Quixote, erläutert von Arthur Kahn, Der Musikführer no. 148, Leipzig.
[9]The jump of the horns in the fourth measure illustrates another obstacle to understanding that the inexperienced listener often meets in Strauss. He is quite careless as to what register, high or low, the "resolutions" of his dissonances occur in; they jump about from octave to octave; and the hearer, to follow them, has to be equally agile.
[9]The jump of the horns in the fourth measure illustrates another obstacle to understanding that the inexperienced listener often meets in Strauss. He is quite careless as to what register, high or low, the "resolutions" of his dissonances occur in; they jump about from octave to octave; and the hearer, to follow them, has to be equally agile.
[10]Essay on Chopin, in "The Romantic Composers."
[10]Essay on Chopin, in "The Romantic Composers."
[11]Vocal score, page 35.
[11]Vocal score, page 35.
[12]"Elektra," vocal score, page 21.
[12]"Elektra," vocal score, page 21.
[13]Ibid.Page 23.
[13]Ibid.Page 23.
[14]Ibid.Page 20, the first line.
[14]Ibid.Page 20, the first line.
[15]Itistransposed into B flat in the episode wherein Till dons the vestments of a priest.
[15]Itistransposed into B flat in the episode wherein Till dons the vestments of a priest.
[16]"Richard Strauss," in the Living Masters of Music Series, and "Richard Strauss and the Music of the Future," in "Musical Studies."
[16]"Richard Strauss," in the Living Masters of Music Series, and "Richard Strauss and the Music of the Future," in "Musical Studies."
[17]"Richard Strauss," pages 30-32.
[17]"Richard Strauss," pages 30-32.
[18]In "Musical Studies."
[18]In "Musical Studies."
[19]"Musiciens d'aujourd'hui," page 123.
[19]"Musiciens d'aujourd'hui," page 123.