Richard Strauss

Richard Strauss (11th June 1864 – 8th September 1949) was a German composer of the late Romantic era and early modern eras, particularly noted for his tone poems and operas which include Der Rosenkavalier and Salome; his lieder, especially his Four Last Songs; and his tone poems Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, An Alpine Symphony, and other orchestral works, such as Metamorphosen. Strauss was also a prominent conductor throughout Germany and Austria. Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss was born on 11 June 1864 in Munich, the son of Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra, and he also received private instruction in music theory and orchestration from an assistant conductor there. In 1872 he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874 Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until 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 the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's 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 piano reduction of the orchestral part himself, with his teacher and "cousin" Benno Walter as soloist. The same year he entered Munich University, where he studied Philosophy and Art History, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man and decided that Strauss should be his successor as conductor of the Meiningen orchestra when Bülow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto 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 was famous 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 the soprano 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 a Catholic ceremony (despite being an agnostic) in 1924. Franz and Alice had two sons, Richard and Christian. Before and during the 1939-45 War, he was criticised as a Nazi sympathiser, and held an official (musical) post. This claim is not entirely accurate. He lost the job when he refused to remove the name of a Jewish librettist from a programme. He was also condemned for criticisms of the Nazi party. He was thereafter denounced by the Nazi party, and he was forced to make concessions and submit to their will in order to save his family. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

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Also Sprach Zarathustra
Romance for Cello and Orchestra, TrV 118
Introduction
Of Joys and Passions
Also sprach Zarathustra, Op.30, TrV 176: Prelude (Sonnenaufgang)
IV. Traumerei (Reverie)
Also sprach Zarathustra, Op. 30, TrV 176: Prelude (Sonnenaufgang)
No. 4. Allegro molto
I. Allegro molto appassionato
I. Der Held (The Hero)
Also Sprach Zarathustra, Op.30: Prelude (Sonnenaufgang)
R. Strauss: Ariadne auf Naxos: Meine Partner! Meine erprobten Freunde!
Don Quixote, Op. 35, TrV 184: Theme
Also Sprach Zarathustra: Einleitung
Salome's Dance
Vier letzte Lieder, TrV 296: 4. Im Abendrot
Vier letzte Lieder, TrV 296: 2. September
R. Strauss: Ariadne auf Naxos: Gibt es kein Hinuber?
Also sprach Zarathustra, Op. 30, TrV 176: I. Prelude (Sonnenaufgang)
Morgen, Op. 27 No. 4 (Arr. Reger for Piano)
Also Sprach Zarathustra Op.30: Einleitung (Opening)
Prelude
Also sprach Zarathustra, Op.30: 1. Prelude (Sonnenaufgang)
Metamorphosen For 23 Solo Strings
R. Strauss: Ariadne auf Naxos: Ein Schones Wuner!
Vier letzte Lieder: 2. September
Of the Great Longing
Don Quixote, Op. 35: Theme - Don Quixote, the Knight of the Sorrowful Countenance
No. 4. Morgen (arr. for organ)
Also Sprach Zarathustra: Von der Wissenschaft
Also Sprach Zarathustra: Von den Freuden und Leidenschaften
2001: A Space Odyssey
Song of Science
Morgen!, Op. 27 No. 4
Variation VIII: --
R. Strauss: Der Rosenkavalier (abridged): Introduction
Der Rosenkavalier, Op. 59, TrV 227: Waltz Sequence No. 2
Strauss, R: Also sprach Zarathustra, Op. 30: I. Introduction
Also sprach Zarathustra, Op. 30: Introduction
Also sprach Zarathustra, Op. 30
Also Sprach Zarathustra: Das Grablied
The Convalescent
Sonnenaufgang
R. Strauss: Die agyptische Helena: Ai!... Im weisse nGewand
Vier letzte Lieder, TrV 296: 3. Beim Schlafengehen
R. Strauss: Ariadne auf Naxos: Ach, so versuchet doch ein kleines Lied!
Strauss, R: Also sprach Zarathustra, Op. 30 (Opening)
Also Sprach Zarathustra: Der Genesende
Act I: Quinquin, es ist ein Besuch
Massig

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