Richard Strauss's 85 years of life spanned a revolution in Germany from 1864 when the nation did not exist to 1949. A nationalist but also a humanist, he believed in culture as `moral exoneration' and chose to remain in Nazi Germany and serve the Third Reich. Matthew Boyden examines for the first time Strauss's behaviour under Nazism, and assesses the incongruity of a seemingly crude character and the unfailing beauty and articulation of his music. A product of his age, an astounding talent and a man adept at concealing ...
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Richard Strauss's 85 years of life spanned a revolution in Germany from 1864 when the nation did not exist to 1949. A nationalist but also a humanist, he believed in culture as `moral exoneration' and chose to remain in Nazi Germany and serve the Third Reich. Matthew Boyden examines for the first time Strauss's behaviour under Nazism, and assesses the incongruity of a seemingly crude character and the unfailing beauty and articulation of his music. A product of his age, an astounding talent and a man adept at concealing himself, Strauss only properly revealed his nature during the last twenty years of his life, when the pressures became both unbearable and unavoidable. This is the first detailed study of that nature.
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Seller's Description:
Near Fine in Near Fine jacket. 1999, First UK Edition. 431 pp. Hardcover, illustrated. Previous owner's signature on the front pastedown, otherwise Near Fine copy in a Near Fine dust jacket.
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Seller's Description:
Fine in Fine dust jacket. 029781933X. As New. Illustrated with black-and-white photographs. The dust jacket is protected by a Brodart mylar cover and is not price clipped. Not an ex-library copy. No remainder marks. No names or marks in the text. Most books shipped within 24 hours. All books mailed with Delivery Confirmation. Fine condition in fine dust jacket. Unread.; Black-and-white photographs; 8vo.; vii, 431 pages.
This biography of Strauss, is one of the few which examines Strauass' relations with the Nazi Regime, as well as discussing Strauss' position in the classical music world during the middle of the twentieth century. Although Strauss' reputation is deserved as a creative artist, opera producer, composer, conductor, and in partucular in his progerssive development of orchestration, in this book, his charachter as a man does not particularly shine. Boydon shows that at a time, when may artists both Jewish and Gentile were fleeing the country, (such as Serkin) Strauss preferred to stay and hinge his success on his affilliation with the party. Whether one belives that Strauss was personally anti-semitic or not, the work provides many insights into the life and actions of the composer. As such, it is certainly more of a policital biography rather that musical, and can be ceommended, despite the clear slant of the author.