human
Sehnsucht.
gpt
Sehnsucht, raises a good many interesting questions, such as whether it is not, after all, on harmony rather than on tone-colouring that the essential quality of Strauss's music depends; whether the eminent South German composer would have found it necessary to be so persistently galvanic in his procedure had he not addressed a musical generation that is too fond of taking opium with Tchaïkovsky; whether it is with Eulenspieglish intent that he sets so many unsophisticated love-song texts to music that betrays contempt of mere lyrism, or whether he genuinely misunderstands the trend of his own talent. Thus one might continue indefinitely; for it is the regular effect of Strauss's music to crook the listener's mind into one huge note of interrogation. One further and more important question must, however, be added. Is it Strauss's deliberate intention to abolish rhythm? Would he add to the well-known saying,
human
the rider
gpt
The over-strongly salted and too highly flavoured
human
Sehnsucht