Richard Strauss

Biography

Born: Jun 11, 1864; Germany   Died: Sep 8, 1949; Germany   Period: 20th Century
Though the long career of Richard Strauss spanned one of the most chaotic periods in political, social, and cultural history of the world, the composer retained his essentially Romantic aesthetic even into the age of television, jet engines, and atom bombs. Born in Munich in 1864, Strauss was the son of Franz Joseph Strauss, the principal hornist in the Munich Court Orchestra. Strauss demonstrated musical aptitude at an early age, and extensive Read more training in piano, violin, theory, harmony, and orchestration equipped him to produce music of extraordinary polish and maturity by the time he reached adulthood. His primary teachers had been his father, who was a musical conservative, and Ludwig Thuille, a Munich School composer and family friend. Strauss' Serenade for 13 Winds, Op. 7 (1881), written when he was 17, led conductor Hans von Bülow to pronounce him "by far the most striking personality since Brahms." Bülow was able to give Strauss his first commission and an assistant conductor position. Through new friendships, Strauss learned to admire the writings of Schopenhauer and Nietzsche and the music of Wagner and Liszt. He embarked on a long career of conducting and composing, which take him all over Europe and the U.S.

From the beginning of Strauss' career as a composer, it was evident that the orchestra was his natural medium. With the composition of the "symphonic fantasy" Aus Italien in 1886, Strauss embarked on a series of works that represents both one of the pivotal phases of his career and a body of music of central importance in the late German Romantic repertoire. Though he did not invent the tone poem per se, he brought it to its pinnacle. In such works as Don Juan (1888-1889), Ein Heldenleben (1897-1898), and Also sprach Zarathustra (1895-1896) -- whose first minute or so, thanks to its use in the film 2001: A Space Odyssey, is the composer's most readily recognizable music -- Strauss displayed his abundant gift for exploiting the coloristic possibilities of the orchestra as a dramatic device like few composers ever had (or have since).

With the arrival of the twentieth century, after becoming conductor at Berlin's Hofoper, Strauss' interest turned more fully to opera, resulting in a body of unforgettable works that have long been fixtures of the repertoire: Salome (1903-1905), Elektra (1906-1908), and Der Rosenkavalier (1909-1910) are just a few of his best-known efforts for the stage. In 1919, Strauss became co-director of the Vienna Staatsoper, but was forced to resign five years later by his partner, Franz Schalk, who resented being left with many of the operational duties while Strauss was frequently away guest conducting or being feted as a great composer. When the political situation in Europe became malignant in the 1930s, profound political naïveté led to Strauss' confused involvement with the Nazi propaganda machine, and the composer eventually alienated both the Nazis and their opponents. With the end of World War II, however, he was permitted to resume his professional life, although it would be a mere echo of his previous fame. He began to have serious health problems, his financial situation had been compromised, and the monuments that embodied great German art for him -- Goethe's Weimar house; the Dresden, Munich, and Vienna opera houses -- had been destroyed. Throughout his last years, works such as the Oboe Concerto (1945) and the gorgeously expressive Four Last Songs (1948) attest to Strauss' unwavering confidence in his singular musical voice.
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Strauss: Don Quixote, Horn Concerto No 1, Don Juan / Fournier, Bloom, Szell
Release Date: 09/10/2012   Label: Sony Classical Masterworks  
Catalog: 63123   Number of Discs: 1
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Richard Strauss Gala - Thielemann, Goerke, Harteros, Nylund [2 DVDs]
Release Date: 03/31/2015   Label: C Major  
Catalog: 728908   Number of Discs: 2
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Strauss: Four Last Songs, Ein Heldenleben / Netrebko, Barenboim
Release Date: 12/09/2014   Label: Deutsche Grammophon  
Catalog: 002188002   Number of Discs: 1
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Strauss: Eine Alpensinfonie / Haitink, London SO
Release Date: 02/09/2010   Label: Lso Live  
Catalog: 689   Number of Discs: 1
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Strauss: Elektra / Gergiev, Charbonnet, Denoke, London Symphony Orchestra
Release Date: 07/10/2012   Label: Lso Live  
Catalog: 701   Number of Discs: 2
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Work: Till Eulenspiegels lustige Streiche, Op. 28

 

About This Work
One of Strauss' most popular symphonic poems is Till Eulenspiegel, a single-movement work for orchestra. It was composed between 1894 and 1895, shortly after the premiere and critical debacle of his first opera Guntram. In choosing the popular tale Read more of Till Eulenspiegel as the basis for the tone poem, Strauss found an effective vehicle for responding to his critics, who treated his first opera unfavorably.

The character of Till Eulenspiegel is a chronic prankster, whose unrelenting sense of the sardonic continually challenges his peers and lands him in trouble. Till would never learn from his mistakes and constantly thumbed his nose at convention and any criticism. The tone poem is based on a German folktale that has appeared in various versions since its first appearance in the fourteenth century. Some have found a historical basis for the character, but he is best understood as a kind of folk hero who challenges the establishment. While no single source contains all the adventures of Till Eulenspiegel, the character is recognizable in various adaptations, just as Strauss' musical depiction in the rondo theme is apparent throughout the musical compositions.

The musical form of Till Eulenspiegel is a large-scale rondo. By identifying the character of Till with the rondo theme, Strauss found a way to demonstrate the recalcitrant nature of the protagonist and also to unify the work. After a brief introduction, often interpreted as an expression of "once upon a time," Strauss states the theme at the very beginning in a bravura passage for horn. The theme recurs between episodes of the rondo, and it is in those episodes that Till Eulenspiegel has his adventures. In terms of musical structure, the rondo-episodes provide contrast and, as they depart further from the main idea, they also set the stage for the return of the familiar rondo theme. The subsequent episodes show Till at odds with the peasants, railing at preachers, wooing a woman and being rejected by her, and making fun of the intelligentsia. Within these sections, Strauss allowed his theme for Till to return in various guises, yet still remain recognizable. Ultimately, Till finds himself brought before judges, who review his career and sentence him to death. Even then Till cannot depart without a mocking gesture, and the piece ends with his theme fully transformed with all its permutations exhausted.

Till Eulenspiegel contains some of Strauss' most brilliant orchestration and makes use of various instruments, including the clarinet in D. Strauss approached the orchestration of this work with a kaleidoscopic hand, often abruptly shifting between instrumental groups. This gives the work its appealing color and also makes it a virtuoso piece for orchestra. In writing program music, Strauss chose a still-new approach to composition and aligned himself with the avant-garde. His brilliantly orchestrated score with its virtuosic instrumentation and colorful dissonances showed Strauss as a modernist. It remains a popular concert piece and one of Strauss' best-known compositions.

-- James Zychowicz
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Conductors

Ensembles

Richard Strauss


WORKS
Sonnenaufgang
Von den Hinterweltlern
Von der grossen Sehnsucht
Von den Freuden - und Leidenschaften
Das Grablied
Von der Wissenschaft
Der Genesende
Das Tanzlied
Nachtwandlerlied
Der Held
Des Helden Widersacher
Des Helden Gefährtin
Des Helden Walstatt
Des Helden Friedenswerke
Des Helden Weltflucht und Vollendung
1. Frühling
2. September
3. Beim Schlafengehen
4. Im Abendrot
Salome (1999 - Remaster): Wie schön ist die Prinzessin Salome heute Nacht! (Narraboth/Page/1st Soldat/2nd Soldat)
Salome (1999 - Remaster): Nach mir wird einer kommen (Jochanaan/2nd Soldat/1st Soldat/Kappadozier/Narraboth/Page)
Salome (1999 - Remaster): Ich will nicht bleiben (Salome/Page)
Salome (1999 - Remaster): Siehe, der Herr ist gekommen (Jochanaan/Salome/2nd Soldat/Narraboth/Sklave/1st Soldat)
Salome (1999 - Remaster): Jauchze nicht, du Land Palästina (Jochanaan/Salome/2nd Soldat/1st Soldat/Page)
Salome (1999 - Remaster): Du wirst das für mich tun (Salome/Narraboth)
Salome (1999 - Remaster): Wo ist er, dessen Sündenbecher jetzt voll ist?
Salome (1999 - Remaster): Jochanaan! Ich bin verliebt in deinen Leib (Jochanaan/Salome/Narraboth)
Salome (1999 - Remaster): Wird dir nicht bange, Tochter der Herodias? (Jochanaan/Salome)
Salome (1999 - Remaster): Wo ist Salome? Wo ist die Prinzessin? (Herodes/Herodias/1st Soldat)
Salome (1999 - Remaster): Es ist kalt hier. Es weht ein Wind (Herodes/Herodias)
Salome (1999 - Remaster): Salome, komm, trink Wein mit mir (Herodes/Salome/Herodias)
Salome (1999 - Remaster): Sieh, die Zeit ist gekommen (Jochanaan/Herodias/Herodes)
Salome (1999 - Remaster): Wahrhaftig, Herr es wäre besser (Juden/Herodes/Herodias/1st Nazarener)
Salome (1999 - Remaster): Siehe, der Tag is nahe, der Tag des Herrn (Jochanaan/Herodes/1st & 2nd Nazarener/1st Jude/Herodias)
"Wo bleibt Elektra?"
"Allein! Weh, ganz allein."
Ah! das Gesicht!
"Was willst du? Seht doch dort!"
"Ich habe keine guten Nächte."
"Orest! Orest ist tot!"
"Nun denn, allein!"
Orest! Orest! Es rührt sich niemand!
Es muss etwas geschehen sein
"Elektra! Schwester!"
Der Rosenkavalier (2001 Digital Remaster), Act One: Introduction (Orchestra)
Der Rosenkavalier (2001 Digital Remaster), Act One: Wie du warst! Wie du bist! (Octavian/Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Lachst du mich aus?...Lach' ich dich aus? (Octavian/Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Der Feldmarschall sitzt im krowatischen Wald (Octavian/Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Quinquin, es ist ein Besuch (Marschallin/Haushofmeister/Ochs/Octavian)
Der Rosenkavalier (2001 Digital Remaster), Act One: Selbstverständlich empfängt mich Ihre Gnaden (Ochs/Lakaien/Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Euer Gnaden werden vielleicht verwundert sein (Ochs/Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Dann ziehen wir ins Palais von Faninal (Ochs/Marschallin/Haushofmeister)
Der Rosenkavalier (2001 Digital Remaster), Act One: Hat Sie schon einmal mit einem Kavalier (Ochs/Octavian/Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Geben mir Euer Gnaden den Grasaff' da (Ochs/Octavian/Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: I komm' glei'...Drei arme, adelige Waisen (Octavian/Waisen/Modistin/Tierhändler/Marschallin/Valzacchi)
Der Rosenkavalier (2001 Digital Remaster), Act One: Di rigori armato il seno (Ein Sänger)
Der Rosenkavalier (2001 Digital Remaster), Act One: Als Morgengabe, ganz separatim jedoch (Ochs/Notar/Sänger)
Der Rosenkavalier (2001 Digital Remaster), Act One: Mein lieber Hippolyte (Marschallin/Valzacchi/Ochs/Annina)
Der Rosenkavalier (2001 Digital Remaster), Act One: Da geht er hin, der aufgeblasene schlechte Kerl (Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Ach, du bist wieder da! (Marschallin/Octavian)
Der Rosenkavalier (2001 Digital Remaster), Act One: Oh, sei er gut, Quinquin (Marschallin/Octavian)
Der Rosenkavalier (2001 Digital Remaster), Act One: Die Zeit im Grunde, Quinquin (Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Mein schöner Schatz (Octvaian/Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Quinquin, Er soll jetzt geh'n (Octavian/Marschallin)
Der Rosenkavalier (2001 Digital Remaster), Act One: Ich hab'ihn nicht einmal geküßt! (Marschallin/Lakaien)


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