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Drawing upon an extensive selection of rare letters, reviews and
memoirs, Kenneth Birkin sets Hans von Bulow's work as a recitalist,
chamber-music artist and orchestral conductor at the centre of a
disturbed and eventful life. Bulow's Zukunftsmusik advocacy and
ruthless criticism of performance standards in Berlin and Munich
antagonised a musical 'establishment' nonetheless spellbound by his
keyboard and orchestral mastery. Birkin pays particular attention
to the Tristan and Meistersinger premieres, Cosima's desertion, the
European and American tours and operatic activities in Hamburg and
Hanover, as well as Bulow's pedagogic activities and forays into
musical journalism. The book makes liberal use of Bulow's
correspondence, published and unpublished, which personalises the
narrative. Contemporary comments and reviews, translated here for
the first time, give the reader an insight into the critical and
public reaction. An extensive Appendix records the dates and venues
of all Bulow's public appearances, both as pianist and conductor.
This comprehensive guide to the opera explores its literary background and examines the Strauss-Hofmannsthal collaboration as an attempt to achieve the subtlety of the spoken theater on the operatic stage.
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