Foreword
Introduction: Problems
1. Images of Strauss
2. The Other Modernism
I. Between Patriciate and Aristocracy
1. Munich as a Form of Mental Life
2. Family and Milieu
3. Education and Readings`
II. The End of the Nineteenth Century: Leaving Traditional Genres Behind
1. Strauss and Tradition
2. Inspiration and Compositional Craft
3. Against Sonata Form: The End of Symphonic and Chamber Music
III. The Poetry of Imagination: Lieder
1. The Lied as a Form of Musical Thought
2. Strauss as Reader and the Poetic Canon
3. Border-crossings: Lyric and Chorus
4. First and Last Lieder
IV. Music and Life: The Kapellmeister and His Duties
1. Beginnings: Meiningen, Weimar, Munich
2. Berlin and Modernism
3. Vienna and the Republican Task
4. Strauss as Conductor
V. Poetry of the Real: The Tone Poems
1. Distance from Wagner 2. Leaving Behind the Metaphysics of Music 3. "Autobiography" and New Musical Semantics
VI. Music Without Metaphysics: The Path to Opera
1. Künstleropern
2. The New Theater: Max Reinhardt in Berlin
3. Oriental Antiquity and "Nervous Counterpoint"
4. The End of Instrumental Music
VII. "The Social Achieved": Strauss und Hofmannsthal
1. Language-crises and "Way to the Social"
2. Silence and Dance
3. Plastic Antiquity
4. A New Reality: Fairytale and Operetta
VIII. New Mythology and the Plasticity of Music
1. Mozart's Melody and Wagner's Orchestra: Tonality and the New Musical Communicability 2. The Present and Presence of the Theater
3. Music as Festival: Salzburg
IX. Music and Reality
1. Life-Worlds: Social Praxis and the Villas in Garmisch and Vienna 2. Copyright and Musical Materiality
3. The Reichsmusikkammer
X. After Hofmannsthal's Death
1. Intermezzo with Stefan Zweig
2. Joseph Gregor and Final Plans
XI. Metamorphosen and the End of History
1. Final Works
2. Self-Interpretations: Metamorphosen
3. The New Presence of History?
Appendices
A. Biographical Timeline
B. Catalog of Works
C. Personalia
Select Bibliography