“音乐,音乐,音乐有瘀伤。在镜子里沼泽潮湿。花束之上有只鼻子,没有花。”1966年,当女高音伊丽莎白·施瓦茨科普夫为百代(EMI)唱片公司录制理查·施特劳斯的《最后四首歌》时,不可能会读到斯洛文尼亚诗人托马斯·萨拉蒙写于2003年的诗句。同样,在1946至1948年间写作自己音乐遗嘱的理查·施特劳斯也不可能读到,但在这个最后的关于“死与净化”式的意识形态主题与变奏的对话中,他以最终的诗歌之眼看到了大地的瘀伤:飞翔与栖落,只是 “Music, music, music bruises, wet marsh in the mirror, nose on nose, no flowers. ” In 1966, soprano Elizabeth Schwartzkopf recorded for EMI Records When Richard Strauss’s Last Four Songs, it is impossible to read the poem written by the Slovenian poet Thomas Salamon in 2003. Similarly, Richard Strauss, who wrote his own music testament between 1946 and 1948, could not have read it, but in this final dialogue about the ideological themes and variations of the “Dead and Purified” style See the bruising of the earth with the eyes of the final poem: Fly and nest, just