Excerpt from Overtones: A Book of Temperaments Richard Strauss, Parsifal, Verdi, Balzac, Flaubert, Nietzsche, and Turgnieff
We cannot understand what we do not love. - Elisee Reclus.
It is easier to trace the artistic lineage of Richard Strauss to its fountain-head - Johann Sebastian Bach - than to stamp with a contemporary stencil its curious ramifications. And this is not alone because of a similar polyphonic complexity, a complex of themes and their development without parallel since the days of the pattern-weaving Flemish contrapuntists; but because, like Bach Strauss has experimented in the disassociation of harmonies, and, in company with his contemporary, the master-impressionist, Claude Monet, has divided his tones - set up, instead of the sober classic lines or the gorgeous color masses of the romantic painters, an entirely new scheme of orchestration, the basic principle of which is individualism of instruments, the pure anarchy - self-government - of the entire orchestral apparatus.
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