Richard Strauss

Richard Strauss, by Max Liebermann, 1918

Signature of Dr. Richard Strauss

Richard StraussFrom Wikipedia, the free encyclopedia

Richard Georg Strauss (11 June 1864 8 September 1949) was a leading Germancomposer of the late Romantic and early modern eras. He is known for his operas, whichinclude Der Rosenkavalier and Salome; his lieder, especially his Four Last Songs; his tonepoems, including Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks,Also sprach Zarathustra, Ein Heldenleben, Symphonia Domestica, and An AlpineSymphony; and other instrumental works such as Metamorphosen and his Oboe Concerto.Strauss was also a prominent conductor throughout Germany and Austria.

Strauss, along with Gustav Mahler, represents the late flowering of German Romanticismafter Richard Wagner, in which pioneering subtleties of orchestration are combined with anadvanced harmonic style.

Contents1 Early life and family2 Career as composer

2.1 Solo and chamber works and large ensembles2.2 Tone poems and other orchestral works2.3 Solo instrument with orchestra2.4 Opera2.5 Lieder and choral2.6 Strauss in Nazi Germany

2.6.1 Reichsmusikkammer2.6.2 Friedenstag2.6.3 Metamorphosen2.6.4 Last works

2.7 Death and legacy3 Strauss as a conductor

3.1 Modern critical reception of selected recordings conducted byStrauss

4 Selected works4.1 Keyboard and chamber4.2 Tone poems and other orchestral works

4.2.1 First cycle of tone poems4.2.2 Second cycle of tone poems4.2.3 Ballet music4.2.4 Other orchestral works

4.3 Solo instrument with orchestra4.4 Opera4.5 Vocal/choral

5 References6 External links

Early life and familyStrauss was born on 11 June 1864 in Munich, the son of Josephine (ne Pschorr) and Franz Strauss, who was the principal horn player atthe Court Opera in Munich.[1] In his youth, he received a thorough musical education from his father. He wrote his first composition at theage of six, and continued to write music almost until his death.

During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), and he alsoreceived private instruction in music theory and orchestration from an assistant conductor there. In 1872 he started receiving violininstruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874 Strauss heard his first Wagner operas, Lohengrinand Tannhuser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative fatherforbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was notuntil the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted theconservative hostility to Wagner's progressive works.[2] Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's

Richard Strauss - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Richard_Strauss

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Strauss age 22

Strauss with his wife and son, 1910

developing taste, not least in Strauss's abiding love for the horn.

In early 1882 in Vienna he gave the first performance of his Violin Concerto in D minor, playing a pianoreduction of the orchestral part himself, with his teacher and "cousin" Benno Walter as soloist. The same yearhe entered Ludwig Maximilian University of Munich, where he studied Philosophy and Art History, but notmusic. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductorto Hans von Blow, who had been enormously impressed by the young composer's Serenade for windinstruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observingBlow in rehearsal. Blow was very fond of the young man and decided that Strauss should be his successor asconductor of the Meiningen orchestra when Blow resigned in 1885. Strauss's compositions at this time wereindebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His HornConcerto No. 1, Op. 11, is representative of this period and is a staple of modern horn repertoire.

Strauss married soprano Pauline de Ahna on 10 September 1894. She wasfamous for being irascible, garrulous, eccentric and outspoken, but the

marriage, to all appearances, was essentially happy and she was a great source of inspiration to him.Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred thesoprano voice to all others, and all his operas contain important soprano roles.

The Strausses had one son, Franz, in 1897. Franz married Alice von Grab, a Jewish woman, in aCatholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian.

Career as composerSolo and chamber works and large ensemblesSome of Strauss's first compositions were solo and chamber works. These pieces include: earlycompositions for piano solo in a conservative harmonic style, many of which are lost; two piano Trios(1877 and 1878); a string quartet (1881); a Piano Sonata (1882); a cello sonata (1882); a piano quartet(1885); a Violin Sonata in E flat (1888); as well as a Serenade (1882) and a longer Suite (1884) bothscored for double wind quintet plus 2 additional horns and contrabassoon.

After 1890 Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scaleorchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etudefor solo violin, and the string Sextet which is the overture to his final opera Capriccio.. His last independent chamber work, an Allegretto inE for violin and piano, dates from 1940.

He also composed two large-scale works for large wind ensemble during this period: Sonatina no 1 "From an Invalid's Workshop" (1943)and Symphony for Winds "Happy Workshop" (1946)both scored for double wind quintet plus two additional horns, a third clarinet in C,bassett horn, bass clarinet, and contabassoon.

Tone poems and other orchestral worksStrauss's style began to truly develop and change when, in 1885, he met AlexanderRitter, a noted composer and violinist, and the husband of one of Richard Wagner'snieces. It was Ritter who persuaded Strauss to abandon the conservative style of hisyouth, and begin writing tone poems. He also introduced Strauss to the essays ofRichard Wagner and the writings of Arthur Schopenhauer. Strauss went on to conductone of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing theevents depicted in Strauss's tone poem Death and Transfiguration.

The new influences from Ritter resulted in what is widely regarded[3] as Strauss's firstpiece to show his mature personality, the tone poem Don Juan (1888), which displays anew kind of virtuosity in its bravura orchestral manner. Strauss went on to write a seriesof increasingly ambitious tone poems: Death and Transfiguration (1889), TillEulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote(1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An AlpineSymphony (19111915). One commentator has observed of these works that "noorchestra could exist without his tone poems, written to celebrate the glories of thepost-Wagnerian symphony orchestra."[4]


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Burleske

Burleske (188586), performed by Neal O'Doanwith the Seattle Philharmonic Orchestra

Problems playing this file? See media help.

Richard Strauss engraved byFerdinand Schmutzer (1922)

James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point thatStrauss rejected the philosophy of Schopenhauer, and began more forcefully critiquing the institution of the symphony and the symphonicpoem, thereby differentiating the second cycle of tone poems from the first.

Solo instrument with orchestraStrauss's output of works for solo instrument or instruments withorchestra was fairly extensive. The most famous include two concertosfor horn, which are still part of the standard repertoire of most hornsoloists; a Violin Concerto in D minor; the Burleske for piano andorchestra; the tone poem Don Quixote for cello, viola and orchestra; thewell-known late Oboe Concerto in D major; and the Duet-Concertino forbassoon, clarinet and orchestra, which was one of his last works (1947).

OperaAround the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot(1901), were controversial works: Guntram was the first significant critical failure of Strauss's career, and Feuersnot was consideredobscene by some critics.[5]

In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play byOscar Wilde, which produced a passionate reaction from audiences. The premiere was a majorsuccess, with the artists taking more than 38 curtain calls.[6] Many later performances of the operawere also successful, not only with the general public but also with Strauss's peers: Maurice Ravelsaid that Salome was "stupendous",[7] and Mahler described it as "a live volcano, a subterraneanfire".[8] Strauss reputedly financed his house in Garmisch-Partenkirchen completely from therevenues generated by the opera.

Strauss's next opera was Elektra (1909), which took his use of dissonance even further, inparticular with the Elektra chord. Elektra was also the first opera in which Strauss collaboratedwith the poet Hugo von Hofmannsthal. The two subsequently worked together on numerousoccasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: heused a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that hehad used in his tone poems, with much less dissonance, and exhibiting immense virtuosity inorchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) havinggreat public success. Strauss continued to produce operas at regular intervals until 1942. WithHofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1918), Diegyptische Helena (1927), and Arabella (1932). For Intermezzo (1923) Strauss provided his ownlibretto. Die schweigsame Frau (1934), was composed with Stefan Zweig as librettist; Friedenstag

(19356) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with JosephGregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig andJoseph Gregor.

According to statistics compiled by Operabase, in number of operas performed worldwide over the five seasons from 2008/09 to 2012/13,Strauss was the second most-performed 20th-century opera composer; Puccini was the first and Benjamin Britten the third.[9] Strauss tiedwith Handel as the eighth most-performed opera composer from any century over those five seasons.[9] Over the five seasons from 2008/09to 2012/13, Strauss's top five most-performed operas were Salome, Ariadne auf Naxos, Der Rosenkavalier, Elektra, and Die Frau ohneSchatten.[10]

Lieder and choralAll his life Strauss produced Lieder. The Four Last Songs are among his best known, along with Zueignung, Ccilie, Morgen!, Allerseelen,and others. In 1948, Strauss wrote his last work, the Four Last Songs for soprano and orchestra. He reportedly composed them with KirstenFlagstad in mind, and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences andperformers, and are generally considered by musicologistsalong with many of his other compositionsto be masterpieces.

Strauss in Nazi GermanyReichsmusikkammer

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Strauss was on the cover of TIME in1927 and (here) 1938

In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi party, and studiouslyavoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime inthe hope that Hitleran ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907wouldpromote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated hisbehavior,[11] in addition to his determination to preserve and conduct the music of banned composers such as Mahler and Debussy.

In 1933, Strauss wrote in his private notebook:

I consider the Streicher-Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetencethe basest weapon ofuntalented, lazy mediocrity against a higher intelligence and greater talent.[12]

Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period.Goebbels wrote in his diary:

Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadentneurotic.[13]

Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed tothe post of president of the newly founded Reichsmusikkammer, the State Music Bureau. Strauss,who had lived through numerous political regimes and had no interest in politics, decided toaccept the position but to remain apolitical, a decision which would eventually become untenable.He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under thisone as well."[14] In 1935 he wrote in his journal:

In November of 1933, the minister Goebbels nominated me president of theReichsmusikkammer without obtaining my prior agreement. I was not consulted. Iaccepted this honorary office because I hoped that I would be able to do some good andprevent worse misfortunes, if from now onwards German musical life were going to be, asit was said, "reorganized" by amateurs and ignorant place-seekers.[14]

Strauss privately scorned Goebbels and called him "a pipsqueak."[15] However, in 1933 hededicated an orchestral song, Das Bchlein ("The Little Brook"), to Goebbels, in order to gain hiscooperation in extending German music copyright laws from 30 years to 50 years.[16]

Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, andMendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with hisJewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935,Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Naziregime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the ThirdReich.[17]

On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated:

Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none.[18]

This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post asReichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he hadcomposed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, includingArturo Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again," whenStrauss had accepted the presidency of the Reichsmusikkammer.[19] Much of Strauss's motivation in his conduct during the Third Reichwas, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons werebullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps.[20]

Friedenstag

In 1938, when the entire nation was preparing for war, Strauss created Friedenstag (Peace Day), a one-act opera set in a besieged fortressduring the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrastsbetween freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions ofthe opera ceased shortly after the outbreak of war in 1939.

When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in


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Strauss at Garmisch in 1938

Stamp issued in 1954

Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. Hedrove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully,for the release of his son Franz's Jewish mother-in-law, Marie von Grab. Strauss alsowrote several letters to the SS pleading for the release of her children who were alsoheld in camps; his letters were ignored.[21]

In 1942, Strauss moved with his family back to Vienna, where Alice and her childrencould be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strausswas unable to protect his Jewish relatives completely; in early 1944, while Strauss wasaway, Alice and his son Franz were abducted by the Gestapo and imprisoned for twonights. Strauss's personal intervention at this point saved them, and he was able to takethem back to Garmisch, where the two remained under house arrest until the end of thewar.

Metamorphosen

Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comesfrom a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work.[22] Generally regarded as one ofthe masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived andwritten during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of Germancultureincluding the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary:

The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under thegreatest criminals, during which Germany's 2000 years of cultural evolution met its doom.[23]

In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced toLieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also amusician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss.[24] The American oboistJohn de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboeconcerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year.

Last works

The metaphor "Indian Summer" is often used by journalists, biographers, and music critics to describe Strauss's late creative upsurge from1942 to the end of his life. The events of World War II seemed to bring the composerwho had grown old, tired, and a little jadedintofocus.[25] The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No.2, Metamorphosen, his Oboe Concerto, and his Four Last Songs.

The Four Last Songs, composed shortly before Strauss's death, deal with the subject of dying. The last, "At Sunset" (Im Abendrot), endswith the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from hisearlier tone poem, Death and Transfigurationmeant to symbolize the transfiguration and fulfillment of the soul after death.

Death and legacyStrauss died at the age of 85 on 8 September 1949, in Garmisch-Partenkirchen, Germany. Georg Solti,who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss'sburial.[26] The conductor later described how, during the singing of the famous trio fromRosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recoveredthemselves and we all ended together."[27] Strauss's wife, Pauline de Ahna, died eight months later, on13 May 1950, at the age of 88.[28]

During his lifetime Strauss was considered the greatest composer of the first half of the 20th century,and his music had a profound influence on the development of 20th-century music. There were few20th-century composers who compared with Strauss in terms of orchestral imagination, and he made asignificant contribution to the history of post-Wagnerian opera. Strauss's late works, modelled on "thedivine Mozart at the end of a life full of thankfulness,"[29] are widely considered the greatest works byany octogenarian composer.

Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-ratecomposer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described


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Richard Strauss

Strauss in 1962 as "the greatest musical figure who has lived in this century."[30]

Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, butre-examination of and new research on the composer has re-evaluated his place as that of a modernist,[31] albeit one who still utilized andsometimes revered tonality and lush orchestration.[32] Strauss is noted for his pioneering subtleties of orchestration, combined with anadvanced harmonic style, advances which influenced the composers who followed him.

Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composersmost performed by symphony orchestras in the USA and Canada over the period 2002-2010.[33] He is also in the top 5 of 20th Centurycomposers (born after 1860) in terms of the number of currently available recordings of his works.[34]

Strauss as a conductorStrauss, as conductor, made a large number of recordings, both of his own music as well as musicby German and Austrian composers. His 1929 performances of Till Eulenspiegel and Don Juanwith the Berlin State Opera Orchestra have long been considered the best of his early electricalrecordings. In the first complete performance of his An Alpine Symphony, made in 1941 and laterreleased by EMI, Strauss used the full complement of percussion instruments required in thissymphony.

Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber,Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany inthe 1920s through the 1940s was typical of the German nationalism that existed after World War I.Strauss clearly capitalized on national pride for the great German-speaking composers.

There were many other recordings, including some taken from radio broadcasts and concerts,during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedlyyield some definitive performances from a very capable and rather forward-looking conductor.

In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic inrecordings of his own major orchestral works, as well as his seldom-heard Schlagobers ("WhippedCream") ballet music. Some find more feeling in these performances than in Strauss's earlierrecordings, which were recorded on the Magnetophon tape recording equipment. VanguardRecords later issued the recordings on LPs. Some of these recordings have been reissued on CDby Preiser.

Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing pianoWelte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released:Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony.

Modern critical reception of selected recordings conducted by Strauss

Pierre Boulez has said that Strauss the conductor was "a complete master of his trade".[35] Music critic Harold C. Schonberg says that,while Strauss was a very fine conductor, he often put scant effort into his recordings.[36] Schonberg focused primarily on Strauss'srecordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version ofBeethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritardor a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut init, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" [37] He also complained that the Mozart symphony had"no force, no charm, no inflection, with a metronomic rigidity."

Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart'slast three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote:

It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense ofstructure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this,too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is avirtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousandpage novels.[38]


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Selected worksKeyboard and chamber

Fnf Klavierstcke, Op. 3 (188081)Sonata for piano in B minor, Op. 5 (188081)Sonata for Cello and Piano in F, Op. 6 (1883)

Violin Sonata in E-flat, Op. 18 (1888)Stimmungsbilder, Op. 9 (piano)

Tone poems and other orchestral worksFirst cycle of tone poems

Aus Italien (From Italy), Op. 16 (1886)Don Juan, Op. 20 (1888)Macbeth, Op. 23 (1888/90)

Tod und Verklrung (Death and Transfiguration), Op. 24(188889)

Second cycle of tone poems

Till Eulenspiegels lustige Streiche (Till Eulenspiegel'sMerry Pranks), Op. 28 (1895)Also sprach Zarathustra (Thus Spoke Zarathustra), Op. 30(1896)

Don Quixote, Op. 35 (1898)Ein Heldenleben (A Hero's Life), Op. 40 (1899)Symphonia Domestica (Domestic Symphony), Op. 53 (1904)Eine Alpensinfonie (An Alpine Symphony), Op. 64 (1915)

Ballet music

Josephslegende (The Legend of Joseph), Op. 63 (1914)Schlagobers (Whipped Cream), Op. 70 (1921/2)

Verklungene Feste: Tanzvisionen aus zwei Jahrhunderten,(Bygone Celebrations: Dance Visions from Two Centuries),(1940).

Other orchestral works

Symphony in D minor (1880)Symphony No. 2 in F minor, Op. 12 (1883)Festive Prelude for orchestra with organ (1913)Le bourgeois gentilhomme, suite for orchestra Op. 60(1917)Dance suite from keyboard pieces by Franois Couperin,TrV 245, 1923.

Film music for Der Rosenkavalier (1925)Japanese Festival Music (1940)Divertimento for chamber orchestra after keyboard piecesby Couperin, Op.86 (1942)Metamorphosen, for 23 solo strings (1945)

Solo instrument with orchestraRomance for Clarinet and Orchestra (1879)Violin Concerto in D minor, Op. 8 (1882)Horn Concerto No. 1 in E flat major, Op. 11 (1882/83)Romance for Cello and Orchestra (1883)Burleske for piano and orchestra (18861890)Don Quixote for cello, viola and orchestraParergon zur Symphonia Domestica, for piano (left hand)and orchestra, Op. 73 (1925; ded. Paul Wittgenstein)

Panathenenzug, for piano (left hand) and orchestra, Op. 74(19261927; ded. Wittgenstein)Horn Concerto No. 2 in E flat major (1942)Oboe Concerto in D major (1945)Duett-Concertino, for clarinet and bassoon with stringorchestra (1947)

OperaVocal/choral

Acht Lieder aus Letzte Bltter, Op. 10 (1885)Ruhe, meine Seele! ("Rest, My Soul!"), Op. 27 No. 1Ccilie, Op. 27 No. 2Heimliche Aufforderung ("Secret Invitation"), Op. 27 No. 3Morgen! ("Tomorrow!"), Op. 27 No. 4Zwei Gesnge, Op. 34 (1896/97) 1. Der Abend 2. HymneWiegenlied ("Lullaby"), Op. 41 No. 1

Deutsche Motette, Op. 62 (1913)Zueignung, Op. 10 No. 1Olympische Hymne, for chorus and orchestra (1934)Die Gttin im Putzzimmer (1935)Mnnerchre (1935)An den Baum Daphne (1943)Allerseelen, Op. 10 No. 8


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Vier letzte Lieder (Four Last Songs) (1948)

ReferencesNotes

http://www.encyclopedia.com/topic/Richard_Strauss.aspx1. Boyden 1999, p.2. Kennedy 1999, p. 693. Kennedy 1999, p. 3954. Tim Ashley, "Feuersnot (http://www.guardian.co.uk/reviews/story/0,3604,404766,00.html)". The Guardian (London), 30 November2000. Retrieved on 27 October 2007.

5.

Derrick Puffett et al, Richard Strauss: "Salome"(http://books.google.com/books?id=ABrNsZOXIr4C) (1989), p. 4

6.

Kennedy 1999, p. 1457. Kennedy 1999, p. 1498. The five seasons 2008/9 to 2012/13: Composers(http://operabase.com/top.cgi?lang=en&). Operabase. (Note:"Composer and opera tables are based on counts of performanceruns over the five seasons from 2008/09 to 2012/13, i.e. how manytimes a work was programmed not the number of performances.")

9.

The five seasons 2008/9 to 2012/13: Operas (expanded)(http://operabase.com/top.cgi?lang=en&break=0&show=opera&no=100&nat=). Operabase. (Note: "Return to main statistics pagefor an explanation of the figures". The main statistics page says:"Composer and opera tables are based on counts of performanceruns over the five seasons from 2008/09 to 2012/13, i.e. how manytimes a work was programmed not the number of performances.")

10.

Gilliam, New Grove online11. Kennedy 1999, p. 274.12. Kennedy 1999, p. 29313. Quoted on (http://exploringmusic.wfmt.com/listen-to-the-show/151/strauss-richard)Exploring Music (2004) on the WFMTRadio Network; Episode 5 of 5 of "Richard Strauss", first aired 9January 2004.

14.

Reuth 1993, p. 40215. Kennedy 1999, pp. 28128216. Kennedy 1999, p. 28517. Kennedy 1999, p. 29718.

Kennedy, Michael (1978), Review of "A Confidential Matter: TheLetters of Richard Strauss and Stefan Zweig, 19311935" in Music& Letters, Vol. 59, No. 4, October 1978. pp. 472475.

19.

Kennedy 1999, p. 31620. Kennedy 1999, p. 33921. Ross (2009), p. 33822. Kennedy 1999, p. 36123. Ross 2009, p.24. McGlaughlin, Bill. Exploring Music, Episode 5 of 5 of "RichardStrauss" (http://exploringmusic.wfmt.com/listen-to-the-show/151/strauss-richard), first aired January 9, 2004.

25.

Portrait of Sir Georg Solti., documentary (1984), directed byValerie Pitts

26.

Kennedy, p. 39427. Kennedy, p. 39528. Kennedy 1999, p. 36529. Kennedy 1999, p. 330. Shirley, Hugo (2012). "In Search of Strauss" in Journal of theRoyal Musical Association, vol. 137, issue 1, pp. 187192

31.

Hepokoski, James, "The Second Cycle of Tone Poems" inYoumans (ed.), p. 78

32.

League of American Orchestras(http://www.americanorchestras.org/knowledge-research-innovation/orr-survey/orr-archive.html)

33.

Arkivemusic (http://www.arkivmusic.com/classical/NameList?featured=1&role_wanted=1). The ranking is Debussy,Ravel, Rachmaninoff, Strauss, Prokofiev.

34.

Boulez (2003), p.35. Schonberg, p.36. Schonberg (1967), p.37. Peter Gutmann, "Richard Strauss Conducts"(http://www.classicalnotes.net/reviews/strauss.html) onclassicalnotes.net

38.

Cited sources

Boulez, Pierre (trans. Richard Strokes) (2003), Boulez on Conducting: Conversations with Ccile Gilly, London. Faber and Faber.ISBN 0-571-21967-5.Boyden, Matthew (1999), Richard Strauss, London: Weidenfeld & Nicolson, Ltd; Boston, MA: Northeastern Press. ISBN1-55553-418-X.Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, ISBN 0-86547-664-0.Gilliam, Bryan, "Richard Strauss" (http://www.grovemusic.com) in grovemusic.com (subscription required). (This article is verydifferent from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.)Kennedy, Michael (1999), Richard Strauss: Man, Musician, Enigma, Cambridge UK: Cambridge University Press. ISBN0-521-027748 ISBN 978-0521027748Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, Vol. Three, pp. 565575.London: MacMillan Publishers, Inc. 1998. ISBN 0-333-73432-7, ISBN 1-56159-228-5.Reuth, Ralf Georg. Goebbels. (http://books.google.com/books?id=9gdoAAAAMAAJ&q=%22times+when+an+artist+of+my+rank+has+to+ask+a+pipsqueak%22&dq=%22times+when+an+artist+of+my+rank+has+to+ask+a+pipsqueak%22&hl=en&ei=XdnLTMS-BIu6sAPK5s3jDg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCgQ6AEwAA) Harcourt Brace, 1993Ross, Alex (2009), The Rest is Noise: Listening to the Twentieth Century. New York: Farrar, Straus, and Giroux. ISBN978-0-374-24939-7.Schonberg, Harold C. (1967), The Great Conductors. New York: Simon & Schuster ISBN 0-671-20735-0.Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots ofMusical Modernism. Bloomington: Indiana University Press. ISBN 0-253-34573-1.

Selective bibliography


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Wikimedia Commons has media relatedto Richard Strauss.

Wikisource has the text of a 1911Encyclopdia Britannica article aboutRichard Strauss.

Del Mar, Norman (3 vols. 1962-1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins.ISBN 0-214-15735-0. Ithaca, New York: Cornell Univ Press, 1986. ISBN 0-8014-9319-6Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. ISBN 0-521-57895-7.Karpath, Ludwig and Strauss, Richard (19051936). The handwritten correspondence between Strauss and Ludwig Karpath,covering 31 years was acquired by the National Library of Austria in 1962 from the daughters of Dr. Alfred Marill who was Mr.Karpath's attorney. It consists of approximately 150 items covering Strauss relationships with the Vienna State Opera and othermusical events of the period. It stops at the death of Ludwig Karpath in 1936. Dr. Alfred Marill was Mr. Karpath's executor. Theterms of Karpath's will stipulated that the correspondence between Karpath and Strauss not be published until after Strauss's death.In keeping with these terms Dr. Marill transported it to the United States when he emigrated in 1940. After Dr. Marill's death hisdaughters provided the letters to the library so that Mr. Karpath's wishes could be carried out. There is no evidence that these lettershave been published.Kater, Michael (2000). Composers of the Nazi Era London: Oxford University Press. ISBN 9780195099249Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. Vol. London,Macmillan Publishers Ltd., 1998. ISBN 1-56159-174-2Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, ISBN 0-19-861459-4Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. ISBN 0-306-80459-X.Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. ISBN 0-333-30645-7.Wilhelm, Kurt (1989). Richard Strauss: An Intimate Portrait. London: Thames & Hudson. ISBN 0-500-01459-0.

External linksRichard Strauss online (http://www.richardstrauss.at/html_e/17_willkommen/0fs_index.html)Richard Strauss Institute (http://www.richard-strauss-institut.de/index.php3), inEnglish (http://translate.google.com/translate?hl=en&sl=de&u=http://www.richard-strauss-institut.de/&ei=eUzSTKmNH4HCsAPT-KWSCw&sa=X&oi=translate&ct=result&resnum=1&ved=0CB0Q7gEwAA&prev=/search%3Fq

%3D%2522richard%2Bstrauss%2Binstitute%2522%26num%3D100%26hl%3Den%26newwindow%3D1%26safe%3Doff%26sa%3DG%26biw%3D1002%26bih%3D520%26prmd%3Dbo)Strauss unpacked: A guide to one of the 20th century's great composers, Kate Hopkins, Royal Opera House (http://www.roh.org.uk/news/the-operas-of-richard-strauss?gclid=CMK_m8rJ0sICFSbHtAodgGAAfg)Richard-Strauss-Quellenverzeichnis (RSQV) (http://www.rsi-rsqv.de)Free scores by Richard Strauss at the International Music Score Library ProjectRichard Strauss material (http://bbc.co.uk/richardstrauss) in the BBC Radio 3 archivesWorks by or about Richard Strauss (http://worldcat.org/identities/lccn-n79-41680) in libraries (WorldCat catalog)Free scores by Richard Strauss in the Choral Public Domain Library (ChoralWiki)In America with Richard Strauss: Elisabeth Schumann's 1921 diary (http://www.elisabethschumann.org/1921diary.htm)

"Strauss, Richard". New International Encyclopedia. 1905.

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Richard Strauss