Abstract

Strauss's opera Capriccio of 1942 may be viewed as pure escapism, a fantasy about the question of the primacy of words or music in opera, set in eighteenth-century France. It is, however, in several ways a denial of time: dramatic time, in that it has no plot or denouement; historic time, in that it ignores the crisis of war and violence contemporary with its performance; cultural time, in that its musical style is self-consciously reactionary and takes no account of twentieth-century developments. It is more than mere escapism, however. It represents an extreme form of the flight from the terror of time that marks idealist philosophy, Enlightenment rationalism, and Romantic aesthetics. On a trivial level, this flight may be connected with the “aesthetic politics” of 1930s Germany; but modern thought — for example, that of Habermas — has not broken free from the rationalist flight from time, and we must finally concede that Capriccio is supported by Romantic aesthetics, no less than the masterpieces of the Western tradition. If we are resolute it condemning it, we must also reject the whole conception of the masterpiece