Michael Zywietz: Strauss, der Fortschrittliche – Der Rosenkavalier und das Musiktheater der Moderne

An inquiry into the compositional roots of Strauss and Schoenberg invariably leads to Wagner and Brahms, and yet the consequences of their respective study of Brahms’s works could not be further apart. With respect to Rosenkavalier three desiderata deserve mentioning: its cultural-historical context, in order to arrive at an adequately contoured concept of progress and modernism; its initial reception; and an analysis of the music itself. Unlike the opera reformers Gluck and Wagner, Strauss nonetheless submits the results of an experiment he worked out in the laboratory of modernism within the genre’s history. His profoundly historical music is therefore a legitimate witness to modernity in that it exponentially transforms traditional compositional techniques, partially breaks with convention, and ventures down the path of creative historicism.

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