Another ball and chain affecting Strauss's reputation, besides (a) the
perceived retreat from Schoenbergian Modernism, (b) the dealings with
the Nazi government, (c) his monetary success, must be (d) his sense
of humor.

Like in Monty Python, the biggest mistake is to take humor seriously
with Strauss.  The cheerful rogue Eulenspiegel gets too-literally hanged,
Baron Ochs is too gross for comfort, but the critical establishment
accepts these (barely) while being repulsed by the supposed egotism in
Heldenleben and even worse, the perceived sexual arrogance and explicitness
in Domestica, which seems to offend many, particularly British critics.
In Domestica, if the sex doesn't get the goat, the overblown, multiple
endings do.  But I see them as a tremendous leg pull, laugh every time
I hear them, and glow when at last a giant F-major chord resolves all.

With regard to the Nazis, one cannot help but think of Strauss and
Mephisto in Szabo's film, based on the book by Klaus Mann, who must have
had Strauss on his mind in addition to the German actor Gustaf Grundgens.

A final ball and chain that affects every deservedly or not famous artist
in their lifetime and for a generation or two beyond: envy by those with
axes to grind.

"Jeff Dunn" <[log in to unmask]>

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