Poznámky k tektonickým princípom v operách Richarda Straussa
Notes on the Tectonic Principles in the Operas of Richard Strauss

Summary/Abstract: This article has as its theme the tectonic principles in the works of Richard Strauss, taking account of his first six operatic compositions. These principles diverge notably in the individual works. Salome and Electra are so-called symphonic operas – apart from use of the orchestral apparatus, they are characterised especially by the applied tectonic and formal principles, adopted partially from so-called absolute music. Principally this means the sonata-form elements which we encounter in these operas – thematic dualism, tonal planning, tonal equalisation. In The Knight of the Rose and Ariadne on Naxos, as regards tectonics there is a tendency towards the classical model of so-called number opera, though on a different qualitative level – to a greater extent there is a prominence of song and a traditionally conceived periodicity.

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