リヒアルト・シュトラウスにおけるムジカンテントゥーム(楽師性)

概要

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It will soon be thirty years since Richard Strauss passed away. Already by the end of the last century his name as a composer had spread the world over, yet in spite of his popularity any successful attempt to measure the real significance of his contribution to history of music from late 19th to early 20th century and to review his total figure from the present angle does not seem to me to have been made. Especially in this country his operas, in composing which he actively interested himself in the latter half of his life, have been given no opportunity to be staged except a few of them such as "Rosenkavalier," for example. The result is that usual appreciation of R. Strauss as composer is still based mainly on the symphonic poems he composed in 19th century. These symphonic poems, as they remind of the works of Neudeutsche Schule, often tend to having him considered as one of the epigones of those late romanticists. In this brief article I have attempted to delineate R. Strauss not as an offspring of F. Liszt and R. Wagner but as a forerunner of the artists of new type characterized by a kind of Musikantentum (musicianship): the introduction is devoted to describing the age as setting for his activity and the following chapters to telling his own background, his quality as composer of symphonic poems, of operas, his creative process and his quality as conductor.
東京芸術大学の論文