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Additional resources for Beatles Gear: All the Fab Four's Instruments From Stage to Studio
In this way Strauss strongly influenced the next generation of musicians, the atonal composers. In Elektra harmonically contrasting themes, as Strauss had previously found in the Tristan score he so admired, are forced into temporary unification,25 indeed, entire complexes of themes interpenetrate one another contrapuntally, insofar as this is dramaturgically necessary. In this connection one should consider Strauss's confession: "I believe I've learned from Wagner what there actually is to learn.
Strauss ha given way to an everything-for-the-best mentality that defined his role as a purveyor who ultimately affirmed precisely what was bad in his culture. Even the elan of the early tone poems is reduced by Adorno to an expression of bourgeois liberality on the point of turning into its opposite: the charismatic irrationalism of the calculating "go-getter" whose home city, Munich, would later be claimed by Hitler as the capital of the National 34 Influences Socialist movement. "13 Adorno catches it, metaphorically, in the rising and falling curve of the structure of Don Juan, in which he sees a cautionary model of Strauss's entire development.
VI. During his lifetime Strauss admired Tristan and Wagnerian Zukunftsmusik in general, as well as Oper und Drama and other writings of the master. However, Wagner did not always, and certainly did not exclusively, affect Strauss's own work in a stimulating and influential manner. On the contrary, Strauss examined Wagner critically and frequently differentiated himself from him. Thus, for example, he undertook the well-known reduction in the size of the orchestra in Ariadne aufNaxos, Op. 60. From the Wagnerian music drama he found the way to comic opera, to opera buffa, to comedy for music, indeed, almost to operetta.