It is easier to trace the artistic lineage of Richard Strauss to its fountain-head—Johann Sebastian Bach—than to stamp with a contemporary stencil its curious ramifications. And this is not alone because of a similar polyphonic complexity, a complex of themes and their development without parallel since the days of the pattern-weaving Flemish contrapuntists; but because, like Bach Strauss has experimented in the _disassociation_ of harmonies, and, in company with his contemporary, the master-impressionist, Claude Monet, has divided his tones—set up, instead of the sober classic lines or the gorgeous color masses of the romantic painters, an entirely new scheme of orchestration, the basic principle of which is individualism of instruments, the pure anarchy—self-government—of the entire orchestral apparatus. This is but a mode of _technique_ and does not necessarily impinge upon the matter of his musical discourse; it is a distinctive note, however, of the Strauss originality, and must be sounded in any adequate discussion of his very modern art. Borrowing the word with its original connotations from the erudite and clairvoyant French critic, Rémy de Gourmont, disassociation in the practice of Strauss is a species of tone chemistry by which a stereotyped musical phrase is reduced to its virginal element, deprived of factitious secondary meaning, and then re-created, as if in the white heat of a retort, by the overpowering and disdainful will of the composer. We have also the disassociation of ideas from their antique succession, that chiefly reveals itself, not in a feverish, disordered syntax, but in the avoidance of the classic musical paragraph—that symmetrical paragraph as inexorably formulated as the laws of the Medes and Persians, resulting in a Chinese uniformity maddening in its dulness and lifelessness unless manipulated by a man of intellectual power. Strauss is forever breaking up his musical sentences. He does this in no arbitrary fashion, but as the curve of the poem is _ideally_ pictured to his imagination. A great realist in his tonal quality, he is first the thinker, the poet, the man of multitudinous ideas; you hear the crack of the master’s whip, a cruel one at times, as he marshals his themes into service, bidding them build, as built the Pharaohs’ slaves, obelisks and pyramids, shapes of grandeur that pierce the sky and blot out from the vision all but their overwhelming and monumental beauties of form—the form of Richard Strauss. He is, after his own manner, as severe a formalist as Josef Haydn.