Act IV. Now comes the explanation and the punishment of the
_Corregidor_, at least in so far as he receives a sound thrashing and becomes really humbled. In reality the miller also has not yet had his "revenge," but he is recognized and likewise is beaten blue. That he must suffer in reparation for his doubt of the faithful _Frasquita_, and he hears it willingly for they have now come to a good understanding about everything.
Richard Strauss
Richard Strauss was born at Munich, June 11, 1864. His father, Franz Strauss, was a distinguished horn player in the Royal Opera orchestra. From him Richard received rigid instruction in music. His teacher in composition was the orchestral conductor, W. Meyer. At school he wrote music on the margins of his books. He was so young at the first public performance of a work by him, that when he appeared and bowed in response to the applause, someone asked, "What has that boy to do with it?" "Nothing, except that he composed it," was the reply.
Strauss is best known as the composer of many beautiful songs and of the orchestral works _Tod und Verklaerung_ (Death and Transfiguration), and _Till Eulenspiegel's Lustige Streiche_ (Till Eulenspiegel's Merry Pranks). The latter is a veritable _tour de force_ of orchestral scoring and a test of the virtuosity of a modern orchestra. _Thus Spake Zarathustra_, _Don Quixote_, and _Ein Heldenleben_ (A Hero's Life) are other well-known orchestral works by him. They are of large proportions. To the symphony, and the symphonic poem, Strauss has added the tone poem as a form of instrumental music even freer in its development than the symphonic poem, which was Liszt's legacy to music.
FEUERSNOT
FIRE FAMINE
Opera in one act. Music by Richard Strauss; text by Ernst von Wolzogen. Produced: Dresden, November 21, 1901.
CHARACTERS
SCHWEIKER VON GUNDELFINGEN, keeper of the castle _Tenor_ ORTOLF SENTLINGER, burgomaster _Bass_ DIEMUT, his daughter _Soprano_ KUNRAD, the leveller _Baritone_
_Time_--13th Century.
_Place_--Munich.
The action takes place in Munich on the day of the winter solstice in olden times. At the time of the representation the twelfth century has just passed. A big crowd of children, followed by grown-ups, is going in whimsical wantonness from house to house to collect wood for the solstitial fire ("Subendfeuer"). After they have collected rich booty at the burgomaster's they go over to the house opposite. It appears strangely gloomy. Shutters and doors are closed as though it were empty. Yet a short time ago young _Herr Kunrad_ lived there. It is his legal inheritance and property, a legacy from his ancestor who was an "excellent sorcerer" and now taken possession of after a long absence. Nevertheless, the superstition of the masses had been much concerned with the house. The most reasonable was that its occupant was a strange fellow, the majority thought him a gloomy magician. In reality the young man sat in the house poring over books. The noise of the children calls him forth. When he hears that it is the solstice, the great festival of his profession, an agitation seizes him in which he tells the children to take away all the wood from his house. This destruction stirs the townsmen but _Kunrad_ is so struck at sight of _Diemut_, who seems to him like a revelation of life, that he dashes through the townsmen and kisses the girl on the mouth. The agitation of the townsmen is silenced sooner than _Diemut's_ who plans revenge for this outrage.
Now the townsmen are all out of doors on account of the solstitial holiday. But in _Kunrad's_ heart the promptings of love are blazing like a fire. A mad longing for _Diemut_ seizes him, and as she now appears on her balcony he begs for her love with warm words. The spark has also been well kindled in her heart, but still she only thinks of revenge. So she lures him toward the side street where the order basket still stands on the ground. _Kunrad_ steps into it and _Diemut_ hauls him upward. But halfway up she lets him hang suspended. So _Kunrad_ becomes a laughing-stock for the townsmen returning home. Then a fearful rage seizes upon him; he makes use of his magic art: "May an ice-cold everlasting night surround you because you have laughed at the might of love." Every light is extinguished and a deep darkness covers the town and its inhabitants. Now _Kunrad_ from the balcony, addresses the townsmen, furious with rage in a speech filled with personal references whose basic idea is that the people always recognize and follow their great masters. So they have sadly mistaken his purpose and the maid whom he had chosen had mocked him. For punishment their light is now extinguished. Let all the warmth leave the women, all the light of love depart from ardent young maidens, until the fire burns anew. Now the tables are turned. All recognize in _Kunrad_ a great man. In their self-reproaches are mingled complaints about the darkness and an imploring cry to _Diemut_ by her love to make an end of the lack of fire. But _Diemut_ in the meantime has changed her mind; love in her too gets the upper hand as the sudden rekindling of every light makes known.
GUNTRAM
Music-drama in three acts: music and words by Richard Strauss. Produced: Weimar, May 10, 1894.
CHARACTERS
THE OLD DUKE _Bass_ FREIHILD, his daughter _Soprano_ DUKE ROBERT, her betrothed _Baritone_ GUNTRAM, a singer _Tenor_ FRIEDHOLD, a singer _Bass_ THE DUKE'S CLOWN _Tenor_
_Time_--Thirteenth Century.
_Place_--A German duchy.