Richard Strauss conducts Mozart Symphonies 39,40,41 (1928)

Hans von Bulow had come to Munich to direct the Meiningen Orchestra (separate from that of the Opera) in 1880. and he took a lively interest in new music (he is today remembered as Wagner's great champion), including the Serenade of young Richard Strauss. To the fledgling composer's dismay, von Bulow insisted that its writer direct the première. and in 1884 Strauss made his reluctant podium debut. Proof of the dictum that conductors are born, not made, he survived the ordeal well enough that (aided by his father's prompting) von Bulow recommended Strauss for the assistant's position with the Meningen Orchestra. When von Bulow resigned a month later. the neophyte was in sole charge. Six months later. full of confidence. Strauss arranged to become third conductor of the Court Opera, where he prepared singers. faced rehearsals from which orchestral players absented themselves (not to mention having to present operas after only a single rehearsal) and expected to be handed operas which the first and second conductors found uninteresting. One such was Cosi fan tutte. then unfashionable, which he not only made a success. but promoted the rest of his life. He later took great pride in the fact that it was largely through his efforts that it was restored to public affection.

Richard Strauss worshipped Mozart, telling an American interviewer in 1921. "You remember that Rossini, when asked the difference between Beethoven and Mozart replied. •Beethoven is greater. but Mozart is the only one.'" His Mozart performances remained shining memories in the minds of those that heard them. In his 85th year
(1973). near the end of a distinguished career which had included the opportunity to hear nearly every European conductor of any consequence in the 20th century. Sir Adrian Boult named Richard Strauss and Bruno Walter as his choice for the greatest interpreters of the music of Mozart and Haydn. In another place. he recalled a memorable concert during the summer of 1914, for which Strauss had spent. of a six-hour rehearsal, one hour on his own works (the bulk of the program) and the rest preparing the Mozart Symphony in g minor.

It should be mentioned that a few critics saw the Mozart of Richard Strauss as too "modern." Strauss preferred brisk tempos in almost everything, wanted an orchestra under precise control. and avoided romantic nuance. History-or at least current critical taste-has vindicated this approach. Of course, theory is theory and practice is practice: Strauss had a very personal use of rubato which marked his performances.

His much-too-short recording career reached its peak at this time as well. As might be expected. he recorded his own music acoustically in 1917. 1921 and 1922. His electrical recordings began in early 1926 with Beethoven and Mozart, however, and while the bulk of his small legacy is his own music (recorded through 1930, in 1933 and not again until after the war started), what he left us as reminders of his large and active repertory is invariably interesting. The lively performance of the Symphony No. 39 comes from his first electrical sessions, and was probably recorded using so-called light- ray" technology Deutsche Grammophon licensed from Brunswick of the United States. Some allowances will have to be made for the sound, which clearly shows the deficiencies of the system. The Symphony No.40 was recorded about one year later, after the Brunswick apparatus had been discarded and Western Electric equipment installed, and is noticeably better in sonic detail. It is a spirited performance which, however, failed to please the perfectionist Strauss. It was remade in 1928 (this second recording will be available on Volume 3 of this series). The Symphony No. 41, recorded in late 1926 and standing mid-way between the two in audio quality (such as it is) is probably not as striking as concert performances remarked upon by his contemporaries, but as one of the few major compositions of Mozart Richard Strauss left us it is well worth study.

As happens with all performers, his artistic legacy dissipated with the passing of those he worked with, yet in his time no conductor was admired more. His recordings date from the early days of adequate sound, yet they remain vital documentation of the origins of modern interpretive practice. Individually, others may have been more important; taken as a whole the contributions of Richard Strauss helped make music what it is today.

Adapted from Brendan Wehrung