Abstract
Book Review| August 01 2016 Review: Rounding Wagner's Mountain: Richard Strauss and Modern German Opera, by Bryan Gilliam Rounding Wagner's Mountain: Richard Strauss and Modern German Opera, by Bryan Gilliam. Cambridge and New York: Cambridge University Press, 2014. xv, 340 pp. Wayne Heisler, Jr. Wayne Heisler, Jr. WAYNE HEISLER JR. is Professor of Historical and Cultural Studies in Music at the College of New Jersey. He is the author of The Ballet Collaborations of Richard Strauss (University of Rochester Press, 2009), and both guest-edited and contributed to the 2015 Strauss issue of Opera Quarterly, for which he is Reviews Editor. His essay on ballets to Strauss's Vier letzte Lieder is forthcoming in The Total Work of Art: Foundations, Articulations, Inspirations (Berghahn). His current book project concerns choreographies of song. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2016) 69 (2): 565–571. https://doi.org/10.1525/jams.2016.69.2.565 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Wayne Heisler; Review: Rounding Wagner's Mountain: Richard Strauss and Modern German Opera, by Bryan Gilliam. Journal of the American Musicological Society 1 August 2016; 69 (2): 565–571. doi: https://doi.org/10.1525/jams.2016.69.2.565 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search If calculated according to the current operatic canon, Richard Strauss's years of compositional productivity in this genre encompass a decade and a half, from Salome—his most staged opera—to the World War I–era Die Frau ohne Schatten. Bryan Gilliam casts his net much wider. Building on his body of work as a preeminent Strauss scholar, Gilliam's book is the first musicological study to cover this composer's entire operatic oeuvre from Guntram (1894) to Capriccio (1942). Gilliam's focus is on Strauss's five decades of opera composition, and his main objectives are to explore the genesis of Strauss's operas in the contexts of his collaborations, his musical, aesthetic, and philosophical preoccupations, and the changing sociocultural and political climates, as well as to illuminate structural (formal and harmonic) attributes of Strauss's operatic scores. Strauss is worthy of such consideration: add to his scores his early years as a student of opera and... You do not currently have access to this content.
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