strauss

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RICHARD STRAUSS (1864-1949)by redmayorin Alemania, S, Strauss, Richard

Cuatro últimas canciones

Al momento de escribir la ópera Die Liebe der Danae (El amor de Danae),

Richard Strauss planeó retirarse de su actividad como compositor. Aunque

en esa época, ya comenzada la Segunda Guerra Mundial, el autor se sentía

un tanto inútil y prefirió ponerse a trabajar en su ópera Capriccio,

estrenada el 28 de octubre de 1942 con la Ópera Estatal de Baviera.

Strauss nunca cumplió cabalmente su decisión del retiro -afortunadamente-

pues en los años siguientes su creatividad tuvo un fuerte impulso que lo

llevó a producir obras geniales como su Concierto para oboe (que le fue

sugerido por el entonces joven oboísta estadounidense John De Lancie

cuando era soldado al servicio de su patria) y sus Metamorfosis, obra cruda

y tremenda que refleja la desolación del compositor al ver a su adorada

Alemania prácticamente destruida como consecuencia de la guerra y en

especial al encontrar el Teatro de la Ópera de Munich en ruinas (dicen por

ahí, que ese fue el momento cuando Strauss se retractó de sus preferencias

pro-nazi).

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Pero el final todavía no llegaba para este hombre, quien le comentó a su

amigo y colega el director de orquesta Clemens Krauss que “la próxima vez

que escriba música será para arpas”, como queriendo dejar su última

chispa de genialidad para ser interpretada por alguna orquesta de ángeles

en el cielo. De hecho, a eso lo denominó como su testamento musical, su

último deseo artístico.

Al terminar la Segunda Guerra Mundial, Strauss y su esposa Pauline De

Ahna, soprano retirada que estuvo casada con Strauss hasta el final de su

vida, pasaron una buena temporada en Suiza donde -a finales de 1946- el

compositor leyó un poema de Josef von Eichendorff (Al crepúsculo), que

apelaba a sus sentimientos en aquel momento, por lo que comenzó a

ponerle música pensando nuevamente en la voz de soprano. No nos

sorprende que Strauss haya escogido esta tesitura, pues en muchas de sus

obras la llevó a un plano genial, como homenaje a la compañera de su vida.

Al crepúsculo es, curiosamente, la primera de sus Cuatro últimas canciones

que compuso Strauss y fue terminada en Montreux el 6 de mayo de 1948,

aunque al fallecer el autor Ernst Roth (editor londinense) aceptó que por su

carácter debía ser considerada como la última del ciclo (y qué razón tenía).

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Al momento de terminar Al crepúsculo, Strauss tenía como lectura los

poemas completos de Hermann Hesse, escogiendo algunos para ponerles

música. Comenzó con Primavera, fechada el 18 de julio de 1948 en

Pontresina; luego terminó Hora de dormir el 4 de agosto; y la última de

todas, Septiembre, la concluyó el 20 de septiembre; después de esa canción

Strauss nunca volvió a escribir una nota musical … en este mundo.

Lo que hay que decir es que en estas canciones prevalece un ambiente

sombrío, nostálgico, muy cercano a lo que podría ser una despedida

musical. Este es el adiós de un hombre que vivió entre triunfos artísticos y

tragedias personales, y que estaba seguro que dejaría pronto este mundo

sin decepciones ni reproches; al contrario, lo haría con la tranquilidad de

que alcanzaría la vida eterna. Así, en la última canción del ciclo, al exponer

la frase “ist dies etwa der Tod?” (“¿Acaso es ésta la muerte?”) Strauss

contesta musicalmente con una llamada de corno francés, el “tema de la

transfiguración” que utilizó en su poema sinfónico Muerte y transfiguración

sesenta años antes, como una transformación del alma mortal accediendo a

un plano de pensamiento distinto y elevado; pero aquí se convirtió en el

último vistazo que el hombre de edad avanzada echa a su juventud y

reflexiona en el presente al tiempo que eleva su mirada al cielo nocturno

cuajado de estrellas, donde probablemente descansará eternamente.

Sólo pasaron unos meses después de concluir estas canciones para que

Richard Strauss cerrara sus ojos para siempre; nunca tuvo la oportunidad

de escuchar estas canciones en vida. La soprano Kirsten Flagstad y la

Filarmonía de Londres dirigida por Wilhelm Furtwängler ofrecieron la

primera presentación de las Cuatro últimas canciones el 22 de mayo de

1950, como homenaje póstumo a tan célebre y controvertido músico.

Para nosotros, escuchar estas canciones debe significar el sorprendernos y

nunca dejar de alabar el último aliento musical de Strauss, como también

debe ocurrirnos con la audición de obras como El arte de la fuga de Johann

Sebastian Bach, la Novena sinfonía de Bruckner, la Novena sinfonía y el

Adagio de la Décima sinfonía de Mahler y la Novena sinfonía de Vaughan

Williams, por nombrar las más conmovedoras. Y al entrar en contacto tan

directo con estas músicas llenas de esa visión ante lo inevitable, aquello

para lo que nos preparamos diariamente, también debemos pensar que

todos los ciclos en la vida concluyen, que hay que disfrutar el momento en

que se desarrollen, pues -buenos o malos- los tiempos pasan y nunca

regresan. Así es la vida, así es también la música: como una aurora boreal,

como el hermoso cometa que pasa, como el primer aliento de un bebé y la

sonrisa de nuestros padres, como la fuerza del mar y los aromas del viento.

Como todo eso y más, así es la música y nunca debemos dejarla pasar por

nuestra existencia como un evento irrelevante. Así debería ser, también, la

vida…

JOSÉ MARÍA ÁLVAREZ

PRIMAVERA (texto de Hermann Hesse)

En oscuras cavernas

soñé largo tiempo

con tus árboles y tus azules brisas,

con tu fragancia y el canto de las aves.

Y ahora te presentas

espléndida y adornada

inundada de luz,

como un milagro ante mi.

Me reconoces,

delicadamente me atraes.

Tu exquisita presencia hace vibrar todo mi ser.

SEPTIEMBRE (texto de Hermann Hesse)

El jardín está de luto,

la lluvia cae en gotas frías sobre las flores.

Acercándose a su fin,

el verano se estremece en silencio.

De lo alto de la acacia,

escurre oro, hoja a hoja,

el verano sonríe sorprendido y exhausto

en el sueño moribundo de su jardín.

Aún, las rosas buscan el reposo.

Cierra lentamente sus grandes ojos.

HORA DE DORMIR (texto de Hermann Hesse)

Ahora que el día me ha rendido,

mi ferviente deseo es

acoger la noche estrellada,

como un niño cansado.

Manos, dejen lo que están haciendo;

frente, olvida tus pensamientos.

Ahora todos mis sentidos

se hundirán en el sueño profundo.

Y el alma,

alzará su vuelo libre,

mientras en el círculo mágico de la noche

vive profundamente.

AL CREPÚSCULO (texto de Josef von Eichendorff)

En nuestra pena y alegría

caminamos mano a mano;

ambos descansamos ahora de nuestro peregrinar,

en la campiña silenciosa.

A nuestro alrededor los valles se inclinan;

casi el aire se vuelve oscuro.

Dos alondras se elevan solitarias,

casi soñando en la brisa perfumada.

Acércate, y permite que extiendan sus alas;

pronto será hora de dormir.

Ven, que no nos perderemos en esta soledad.

Oh, paz, inmensa y serena,

tan profunda en el ocaso.

¡Qué cansados estamos de errar!!

¿Acaso es ésta la muerte?

Renee Fleming - Strauss' 4 Last Songs - Im abendrothttp://www.youtube.com/watch?v=ppoqUVlKkBU&feature=player_embedded

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RICHARD STRAUSS (1864-1949)by redmayorin Alemania, S, Strauss, Richard

Don Juan. Poema sinfónico Op. 20

Richard Strauss (1904)

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Resulta sorprendente cómo los grandes artistas de todas las épocas han

sido convocados a crear una o varias obras artísticas a partir de un

sentimiento básico, necesario, irrepetible e insustituible como lo es el

amor. Y más sorprendente aún es la fulgurante pasión que encontramos en

aquellas obras, fruto de la enorme ilusión que llevó a sus autores a

reaccionar ante ese cosquilleo interno que nos indica que estamos

enamorados de alguien. En el arte de los sonidos han habido grandes

demostraciones de afecto de los más diversos compositores. La Sinfonía

fantástica de Berlioz, la Quinta sinfonía de Mahler, el Concierto para violín

de Elgar, el Idilio de Sigfrido de Wagner, entre infinidad de partituras con

ese mensaje amoroso secreto que resplandece ante los oídos de cualquiera.

En el caso de Richard Strauss, Cupido flechó a este alemán en el verano de

1887, época en la que conoció a Gustav Mahler y también a una joven

soprano llamada Pauline de Ahna, descendiente de un hombre adorador de

la música de Wagner. Strauss estaba obsesionado con la cantante, lo cual

los llevó a colaborar en varias producciones operísticas en tiempos en que

el compositor se desempeñaba como director asistente de la Ópera de

Weimar. Así, la insistencia tuvo sus frutos y la feliz pareja contrajo nupcias

en el año 1894. Como consecuencia del primer impacto que de Ahna

provocó, Strauss recurrió a un poema fragmentario de Nicolaus Lenau que

resulta ser un estudio del carácter del más insaciable de todos los amantes

de la historia: Don Juan. Así, Strauss puso manos en la partitura que

vendría a ser uno de sus primeros éxitos ante el público europeo; para

describir cada uno de los pasajes y sentimientos que expone Lenau en su

texto, Strauss se decidió por la forma del poema sinfónico, que años antes

acuñó con genialidad el húngaro Franz Liszt. El estreno de Don Juan tuvo

lugar, bajo la batuta de Strauss, el 11 de noviembre de 1889 en Weimar, y

que según comentan por ahí requirió de una buena cantidad de ensayos

dadas las dificultades orquestales que planteaba la partitura. Aunque este

poema sinfónico resulta ser música altamente descriptiva y que se antoja

para diseccionar casi compás por compás, Richard Strauss siempre se negó

a que se analizara su obra en los programas de mano, y como no deseo

bailar sobre la tumba de uno de mis autores predilectos, prefiero seguir sus

órdenes a pie juntillas y reproducir el poema de Lenau como guía para el

oyente, esperando siga el ejercicio de ir leyendo poco a poco el texto

mientras la orquesta la interpreta, sin temor a perderse, pues las letras lo

llevarán directamente a los sonidos y viceversa:

La familia Strauss: Richard, Pauline y su hijo Franz (1910)

“Ese círculo mágico, inconmensurablemente amplio, de la bella femineidad

con sus múltiples atractivos, deseo atravesarlo en una tempestad de placer, y

morir de un beso en los labios de la última mujer. Amigo mío, deseo volar a

todo lugar donde florezca una hermosa mujer, arrodillarme ante cada una de

ellas y conquistarlas, aunque sea por un breve instante… esquivo la saciedad

y el aburrimiento del placer y me conservo fresco al servicio de las bellas; al

herir a la mujer individual, adoro a toda la especie. El aliento de una mujer

es para mí la fragancia de la primavera hoy, que oprime mañana como el

aire de un calabozo. Cuando vago con mis mudables afectos por el amplio

círculo de las mujeres hermosas, mi amor por cada una es diferente; no

deseo construir templos con ruinas. ¡Sí! La pasión debe ser nueva cada vez;

no puede ser transferida de una mujer a la siguiente, sólo puede morir en un

lugar y surgir nuevamente en otro; y si se reconoce a sí misma, no sabe el

arrepentimiento. Así como cada bella es única en el mundo, así es el amor al

que da placer. ¡Fuera, pues, y a la búsqueda de siempre nuevas victorias

mientras que los fieros ardores de la juventud se remonten todavía! … Era

una bella tormenta la que me llevaba; ahora ha amainado y ha dejado la

calma. Todos mis deseos y esperanzas están en estado cataléptico; tal vez un

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rayo, desde las alturas que he menospreciado, golpeó mortalmente mis

facultades amorosas, y súbitamente mi mundo quedó desierto y rodeado de

tinieblas. Y con todo, o tal vez no -el combustible se ha consumido y el

corazón se ha vuelto frío y oscuro.

[Nicolaus Lenau]

JOSÉ MARÍA ÁLVAREZ

viernes 11 de junio de 2010

ANIVERSARIO DEL NACIMIENTO DE RICHARD STRAUSS (1864-1949)

Richard Strauss fue un compositor alemán. Nació tal día como hoy hace 146 años, y la

mejor manera de celebrarlo es escuchando una de sus obras. ¡¡Espero que la disfrutéis!!

(CONCIERTO PARA VIOLÍN EN RE OP.8)

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richard.html

LINKS DE DESCARGA:

1 - Allegro

2 - Lento ma non troppo

3 - Rondo presto

PUBLICADO POR QUINTO EN 09:56

ETIQUETAS: CONCIERTOS PARA VIOLIN

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Richard Strauss

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OBC: El Caballero de la Rosa

Sobre el espectáculo 'OBC: El Caballero de la Rosa'

La Orquesta Sinfónica de Barcelona y Nacional de Catalunya, dirigida por Frank Strobel, interpretará El Caballero de La Rosa de Richard Strauss en el maravilloso Auditori de Barcelona.

A mediados de los años veinte Richard Strauss y su libretista Hugo von Hofmannsthal se lanzaron a la aventura de colaborar en una película basada en su ópera El caballero de la rosa, estrenada en 1911. Para ello contaron con el director cinematográfico Robert Wiene y con un reparto internacional. El propio Strauss dirigió la orquesta el día del estreno de la película en Dresde y también cuando se proyectó por primera vez en Londres, hecho este que nos da una idea de la importancia de este trabajo para el compositor. Su recuperación para la OBC es una gran noticia y se convierte en un concierto −con imágenes− de gran interés.

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RICHARD STRAUSS, Compositor, Director, Pianista y Pianista acompañante

Sello: MEMBRANReferencia: 232597Compositor: Strauss, Richard, Beethoven, Mozart, Wagner, Gluck, Weber, CorneliusInterprete(s): Maria Reining, Anton Dermota, Hilda Konetzni, Heinrich Schlusnus, Lea PilttiDirector: Richard Strauss y otros

Formato: BOX SET 10 CD DE LUXEUnidades: 10Cod. Barras:

Descripción:Un homenaje con las mejores selecciones de su obra, como director de sus poemas sinfonicos y obras orquestales incluyendo `Till Eulenspiegel`, Àlso sprach Zarathustra` , y selecciones de operas: `Salome`, Èl Caballero de la Rosa`, Ìntermezzo`. Como pianista en sus primeras composiciones y no menos significativo como acompañante al piano de sus más famosos Lieder, asi mismo como director es destacable, el estuche contiene Sinfonias de Beethoven y obras Mozart entre otros.




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Richard Strauss (1864 –1949)

One of the most important composers of the 19th and 20th centuries, he was considered ahead of his time, only then (around the middle of his long life) to fall behind the times. Strauss was unquestionably a great force in the musical Modern as well as a glorious summation of late-romanticism.

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From prodigy to mature master

He was a musician’s son and a prodigy who surpassed all expectations. As a conductor in Munich, Meiningen andWeimar he perfected his craft (he was regarded as one of the leading conductors of his time) and honed the skills which would prepare him for later positions as the artistic director at the Berlin Court Opera (1898 – 1918) and the Vienna State Opera (1919 – 1924).

His works

These include the symphonic poems Tod und Verklärung, Till Eulenspiegel and Also sprach Zarathustra, which brought him lasting fame before the turn of the century. From the first childlike attempts (Weihnachtslied, 1870) into old age (Four Last Songs, 1948), Strauss devoted himself to song composition. He was to become the unsurpassed master of the genre.

Opera and politics

Following the revolutionary drama Salome (text by Oscar Wilde), the collaboration with Hugo von Hofmannsthal put his operatic output on a new footing. Today collaborative stage works such as Elektra, Der Rosenkavalier, Ariadne auf Naxos or Die Frau ohne Schatten are essential features of the operatic repertoire.

In 1933 the Nazi regime appointed Strauss, Germany’s leading musician, as President of the Reichsmusikkammer (Reich Chamber of Musicians). Politically naive, Strauss accepted, but by 1935 he had fallen out of favour and resigned. Family reasons (his son Franz had been married to a Jew since 1924) and the financial necessity of having his works performed in Germany prevented him from breaking with the Nazi regime.

Life in art

This musical giant left behind some 300 sketches along with completed works in all genres, 86 of them with opus numbers. But he left hardly any theoretical or autobiographical writings. Richard Strauss expressed his life and thoughts through art: his grand ambitions and adversaries in the tone poem Ein Heldenleben, an occasionally turbulent family life with his beloved wife Pauline (a celebrated singer in her time) in the Symphonia Domestica and the opera Intermezzo, or his love for the mountainous near his hoSalome (text by Oscar Wilde), the collaboration with Hugo von Hofmannsthal put his operatic output on a new footing.

Today collaborative stage works such as Elektra, Der Rosenkavalier, Ariadne auf Naxos or Die Frau ohne Schatten are essential features of the operatic repertoire.

In 1933 the Nazi regime appointed Strauss, Germany’s leading musician, as President of the Reichsmusikkammer (Reich Chamber of Musicians). Politically naive, Strauss accepted, but by 1935 he had fallen out of favour and resigned. Family reasons (his son Franz had been married to a Jew since 1924) and the financial necessity of having his works performed in Germany prevented him from breaking with the Nazi regime.

Life in art

This musical giant left behind some 300 sketches along with completed works in all genres, 86 of them with opus numbers. But he left hardly any theoretical or autobiographical writings. Richard Strauss expressed his life and thoughts through art: his grand ambitions and adversaries in the tone poem Ein Heldenleben, an occasionally turbulent family life with his beloved wife Pauline (a celebrated singer in her time) in the Symphonia Domestica and the opera Intermezzo, or his love for the mountainous near his home in Garmisch in his last tone poem Alpensymphonie.

Music was the central focus of his life. But how did the private Richard Strauss live? How did the artist cope with daily routine, how did he relax and where did he get his energy from? How did he live from day to day? What importance did he give to reading, education, social contact?

The answers to these questions and more can be found on this page.

Casual adjustment at the rostrum.

The parental Home

The horn player Franz Joseph Strauss (1822 – 1905) was already 42 years old when his second wife (the first had been carried off by cholera) bore him a son, Richard. "He was a so-called character”. So begins the "Memories of my Father” by Richard Strauss. The son’s gratitude for the education and encouragement his father offered him is mixed with gentle criticism of the father’s authoritarian manner. "A difficult childhood had made my father bitter. […] At home he was violent, irascible and tyrannical. It needed my sweet mother’s entire gentleness and goodness to maintain a harmonious relationship between my parents even though their marriage was always born by genuine love and respect.” The later nervous disorder of Josepha (nèe Pschorr, 1838 – 1910), Richard’s sensitive mother, was, at least, nourished by the patriarchal family situation: "To what extent, however, my mother’s very sensitive nerves really suffered, I can no longer decide.” Both parents bequeathed the boy positive qualities: thrift and level headedness from his father, sensibility and a "poetic bent” from his mother.

Richard’s mother helped write down the text of the first compositional attempts while his father involved him in chamber music and performed the early works of the thirteen-year old with the orchestral society Wilde Gung’l. Thanks to his father – and from a certain point against his father – Richard Strauss very quickly developed into an outstanding, independent musician. And although Franz did not appreciate his son’s interest in Wagner and Liszt, he remained an untiring source of advice. Countless letters to and from Richard’s parents testify to the closeness of their relationship and the correspondence covers almost everything: the young man’s travel impressions, health concerns, his initially sweeping conducting style against which his father advised and the bold talent of the emerging composer that Strauss senior always sought to control in the spirit of the Viennese classics. Franz Joseph Strauss died seven months before the first performance of his son’s opera Salome and never witnessed the "opera revolution” the work sparked.

Father Strauss also recommended friendly diplomacy toward Pauline de Ahna: ‘Miss de Ahna seems a somewhat exalted lady but an educated man can sometimes turn a blind eye without conceding anything.’ Richard’s mother was also optimistic when Richard and Pauline exchanged their vows, ‘because her light-hearted, clever nature will always cheer you up and she knows how to look after you so lovingly.

Pauline and Franz

As an artist the thirty-year old Richard Strauss was viewed as an enfant terrible but in his private life he longed for a bourgeois existence. The wife he chose to realise this existence

guaranteed a regulated but far from peaceful daily routine. Pauline de Ahna, born in Ingolstadt on 4 February 1863 (for reasons of professional advancement she passed herself off as eleven years younger), was the daughter of a general. She was not only a promising singer but also of fiery temperament.

As Strauss proposed to her in the middle of the turbulent rehearsals for Guntram in 1894, the young woman was aware of what she would have to give up for the emerging conductor and warned him: "You, yourself know best how many weaknesses I have, … your parents and Hanna also know my moods; oh well, and now I am supposed to suddenly become the model housewife.” She did become the perfect housewife but Pauline never gave up her moods in the slightest. The couple were married on 10 September 1894 and they spent their honeymoon in Venice.

A son was born on 12 April 1897. The birth put Pauline in mortal danger. Richard Strauss, in Stuttgart on a concert tour, learned of the happy outcome by telegram. A "huge baby”, he was named Franz (after his grandfather) Alexander (after the late friend Ritter), but throughout his life was called Bubi.

In 1906 Pauline ended her professional artistic career as a worldwide renowned lieder singer. It had united her with her husband and it is with a touch of bitter irony that Richard Strauss writes: ‘It is a pity that she turned prematurely to the beautiful calling of an exemplary housewife and mother.” From now on the family, Bauxerl and Bubi, was to be an indispensable support in the busy working life of the conductor and composer.

The anecdotes about Pauline’s forked tongue, her temperamental outbreaks and extravagances are legendary. Alma Mahler recalled (not entirely credibly) in her memoirs the "rage” of the other composer’s wife and Strauss‘ comments about it, "My wife is often extremely harsh, but, you know, I need that.” Yet, the works Strauss devoted to his family life deserve as much attention as the gossip of contemporaries. Ein Heldenleben contains a glowing tribute to his "companion”, the Symphonia domestica portrays daily worries, a domestic argument and a sensual reconciliation in the Strauss household while the opera Intermezzo was inspired by an episode of unfounded jealousy on the part of Pauline. The numerous songs Strauss conceived for the voice of his wife should also be mentioned as must the role of the Färberin in Die Frau ohne Schatten which Hofmannsthal modelled on the moody wife of the composer.

Pauline was deeply devoted to her Richard and his art. She accompanied him to his final resting place in the Munich East Cemetery on 12 September 1949. The Rosenkavalier trio was sung and, "at the climax her arms reached out ecstatically, her hands locked and grasping wildly in the air, as if with her summoned power she wanted to hold something back that was disappearing” (Alois Melichar). Pauline died only a few months later on 13 May 1950.

Son and Grandson

As an only child, Franz Strauss (born in 1897) was especially attached to his parents. This was heightened by his sickliness during his first years. The Strauss biographer Kurt Wilhelm, who knew Franz personally, described him as, ‘a peaceful, calm, good-natured person, sensitive and vulnerable, with an intuitive feel for people, who would certainly have made more of his life had the dominating love of his parents not been stronger than his will.’

Bubi accompanied his father on his travels, helped with contracts and, with a heavy heart, abstained from studying medicine. Instead, he studied law and wrote his dissertation on the Association of German Composers, an organisation always close to his father’s heart. At the age of eighteen he volunteered for military service in 1915, but was rejected – to his parent’s great relief – on health grounds.

In 1923 Franz Strauss became engaged to Alice von Grab-Hermannswörth. The two families had met in 1907 at a performance of Salome in Prague, where the Jewish industrialist Emanuel von Grab owned textile factories. The wedding took place in Vienna in January 1924. Richard Strauss composed the Hochzeitspräludium for two harmony instruments, for which he used motives from Domestica, Guntram and Rosenkavalier.

With Alice, his modest but highly intelligent daughter-in-law the "family business” was enriched not only by a beloved person but also by a valuable staff member. In no time at all she made herself indispensable as secretary to Richard Strauss. Her father-in-law once said to her, "You know, Alice, we two are the only ones in the house who do any work.” She was particularly useful during the difficult war years rescuing the archive and numerous items of value from the threat of confiscation or destruction, and moved them from Vienna to Garmisch. She looked after the priceless estate after the master’s passing until her own death in 1991.

In 1927 Franz and Alice’s first son Richard (Max Emanuel Hermann) was born in Vienna, where they lived in a villa in Jaquingasse. And in 1932 the second grandson of the composer, (Franz Adolf) Christian was born.

During the Nazi era Richard Strauss protected his son’s Jewish relatives as best as he could and enabled his grandchildren to attend school in Vienna. His grandchildren’s education was one of his main concerns. Close to the end of the war he wrote copies of some of his scores for the boys as "Christmas presents of value”.

While Christian, his younger grandson, became a doctor, Richard, an opera director, devoted himself to the preservation and management of his grandfather’s work. His second wife was Hans Hotter’s daughter, Gabriele. She not only brought a "genetic” love and knowledge of Richard Strauss’ work, but, as a librarian, made a valuable contribution to the recording and publication of the archives as well.

From Richard I to Richard III

“Lohengrin is a sweetish inanity“ … “the horn parts in DieMeistersinger are actually parts for the clarinet“ – Franz Joseph Strauss, Richard’s father and first hornist of the Munich Court Orchestra, scarcely missed an opportunity to inveigh against Richard Wagner’s music. His artistic creed centred on the “trinity of Mozart (above all), Haydn and Beethoven“. On the day after Wagner’s death he was the only member of the orchestra who refused to rise in commemoration of the deceased.

It is all the more surprising how soon Richard Strauss shook off the hatred of Wagner he had inherited from his father. Statements like the following one, after a performance of Siegfried, were rapidly to become a thing of the past: “The introductory passage is a long-drawn-out drum-roll with the bass tuba and bassoons roaring out deep notes so stupidly that I couldn’t help laughing … not a trace of coherent melody … and again the initial roar … utter chaos, I would say.”

Strauss eagerly imbibed the “poison”, as his father used to call it, clandestinely at first in order to avoid scandal in the family, then quite openly, particularly when voicing his enthusiasm about Tristan, the “most splendorous belcanto opera” (Strauss in 1886 after a rehearsal in Bologna). As early as 1882, his father most reluctantly decided to reward Richard for having successfully completed grammar school by taking him along to Bayreuth for a performance of Parsifal. When he encountered Maestro Wagner in person, however, Richard simply dared not address him – a missed opportunity. Strauss’ early compositions clearly show how much he was already under Wagner’s spell. His actual involvement with Bayreuth, however, only came about at a later date: Hans von Bülow, a disciple of Liszt’s and Cosima Wagner’s first husband, mediated Strauss’ appointment as musical director at Meiningen. Bülow’s later dictum, “Wagner is Richard I, there is no Richard II, so Strauss is Richard III”, was soon to become legend.

Strauss began to study Wagner even more intensely when he met Alexander Ritter in Meiningen in 1885. Ritter, first violinist at Meiningen and married to one of Wagner’s nieces, was a member of the Neudeutsche Schule around Wagner and Liszt. He acquainted Strauss with the writings of Wagner and Schopenhauer and dispelled the last misgivings that Strauss still had about Liszt: “New ideas have to find new forms of expression – this basic principle

underlying Liszt’s symphonic works, in which the poetic idea was in actual fact the formative element, then became the guiding principle I followed in my symphonic endeavours…”.

It was his friendship with Ritter that also spurred Strauss – much to the gratification of opera lovers – to devote himself to musical theatre: “Guntram”, a mediaeval story of chivalry, set to music to Strauss’ own libretto.

The Conquest of Bayreuth

On the recommendation of Wagner enthusiasts amongst his friends – Alexander Ritter, Hans von Bülow - Strauss was appointed Music Assistant in Bayreuth in 1889, even before he got his position in Weimar. He acted as répétiteur for the production of Parsifal, played a certain role in society and began to appreciate the Bayreuth atmosphere: “I should like to present a hectolitre of beer to the spa orchestra, how much do you think will that cost? Could you perhaps see to it, Dad? Actually Uncle George might easily treat them to a barrel, or at least let us have it at half the price”.

Shortly thereafter Strauss, then Second Kapellmeister at Weimar, conducted his first Wagner opera, and his promise to Wagner’s widow, Cosima, to promote Wagner and Liszt, resulted in an intensive exchange of letters between them: Cosima wrote, “I do appreciate your taking your promise so seriously - at a time when the big theatres deplore the disgraceful state of our art, it is moving and gratifying to see that the spirit that has made us Germans great is still cherished by the smaller stages”. Their acquaintance soon turned into genuine friendship: in 1890, Strauss was invited by the Wagner family for Christmas, and Cosima jokingly announced that she would love her daughter Eva to become Strauss’ wife. She might well have liked the idea of having both a son and a son-in-law devoted to Bayreuth, but Strauss had already fallen in love with the soprano Pauline de Ahna, who was also highly esteemed in Bayreuth. Cosima took the slight disappointment in her stride, and both Eva and Cosima’s eldest daughter from her marriage with Bülow, Daniela von Bülow-Thode, became Strauss’ life-long friends. Cosima's son, the composer Siegfried Wagner, benefited from his contacts with the older colleague. “Firmly and safely settled in our art like none beside him”, is how Cosima described her “Sträusschen”, the form of endearment she was wont to use when speaking of Richard. Reconcilement with his father followed in due course, and by 1891 the two were seen going for walks arm in arm.

Numerous letters were exchanged and finally, in 1894, Richard was entrusted with conducting the Bayreuth performances of Tannhäuser, as he had keenly wished for a long time. Pauline de Ahna, who became Richard’s wife in September, was again cast in the part of Elisabeth. However, when Strauss felt that no heed was paid to his wishes concerning performances and cast, the tone of his correspondence with Cosima began to change. It was in particular the

disparagement of his Salome by the Wagner family (whose anti-Semitism was clearly betrayed by references to “that Jewish girl”) that resulted in a rift between Strauss and Cosima. Strauss was to return to Bayreuth only after a long interval – one of 39 years.

Wagner: A life-long love

Was it merely a coincidence that Strauss had a splendid villa built at Garmisch, somewhat on the lines of "Wahnfried", and that he became the co-founder of his “own” festival in Salzburg in 1920? Even though Strauss turned his back on Bayreuth in 1895, Wagner continued to play a central role in his life – witness, among other things, the pictures in Strauss’ composing studio his son Franz was so keenly interested in at the tender age of not even two years and a half: “Bubi (...) watches me writing and time and again explains to me the pictures on the studio wall: Wagner, Beek-hoffen, Liszt, Bilo.“

When Strauss was director of the Vienna State Opera, Verdi's and particularly Wagner's operas held pride of place in the repertoire. Later, in 1927, Strauss wrote to his librettist, Hugo von Hofmannsthal: “I recently heard Wagner’s Meistersinger, a magnificent work, and ever since I’ve wished I could follow in his footsteps – unfortunately only at some distance – but still write a genuinely German work, a good dramatic piece and at the same time one that truly reflects German culture.”

It came as a surprise some six years later, when he was nearly 70, that Strauss resumed his cooperation with Bayreuth in 1933, a decision that was greatly resented by the general public abroad and gave rise to polemics in the foreign press. Toscanini had announced his withdrawal from Bayreuth in order to demonstrate his protest against anti-Semitism and dictatorship - and also because he was hurt by the unfriendly reviews his Parsifal had received on account of his broad tempi. As the spectre of cancellation hung over the festival, Strauss spontaneously volunteered to step in – without a fee –and save the day for the new manager, Winifred Wagner. Strauss had never before conducted Parsifal and knew it only from his Bayreuth days as répétiteur. In his interpretation he tried, in line with Wagner’s intentions, to free the work from insincere pathos and to achieve solemnity by other means than excessively slow tempi. When Ivar Andresen gave an epically broad rendering of the Tale of Gurnemanz (“Titurel, der fromme Held...“), Strauss stopped him and asked(in broad dialect) “Why are you singing this in such a pious manner? You’ve got to tell the story like a Bavarian game keeper who’s just shot a buck”. It is said that his Parsifal was a full 45 minutes shorter than that of his predecessors - and met with the whole-hearted approval of the Wagner family. In fact, Winifred Wagner and her artistic director, Heinz Tietjen, congratulated Strauss on his 70th birthday on June 4, 1934: “On the day which honours the seventieth recurrence of his birth we should like, in faithful friendship and deep thankfulness, to shake most warmly the hand of the man to whom Bayreuth owes a great debt of gratitude for putting his unique personality and artistic mastery at the disposal of Bayreuth during the critical days it experienced in 1933 and 1934.” They

added, “Please accept the expression of our most heartfelt loyalty which we offer you proudly for so faithfully supporting us in our endeavours to continue the work of the other Richard on the Green Hill.”

Opera

Arabella, lyric comedy in three acts,

Year of composition: 1932, op. 79 (Trenner 263)

Ariadne auf Naxos, opera in one act and a prelude,

Year of composition:1916, op. 60 (II) (Trenner 228a)

Ariadne auf Naxos, opera in one act to be performed after the play Le Bourgeois Gentilhomme by Molière,

Year of composition: 1912, op. 60 (I) (Trenner 228)

Capriccio, a conversation piece for music in one act,


Daphne, bucolic tragedy in one act,


Der Rosenkavalier, comedy in three acts,


Die ägyptische Helena, opera in two acts,


Die Frau ohne Schatten, opera in three acts,


Die Liebe der Danae, comic mythology in three acts,


Die Schweigsame Frau, comic opera in three acts,


Elektra, tragedy in one act,


Feuersnot, poem for singing in one act,


Friedenstag, opera in one act,


Guntram, drama in three acts,


Intermezzo, bourgeois comedy with songs and interludes in two acts,


Salome, music drama in one act,


Other Stage Works

Bühnenmusik zu Romeo und Julia für Singstimmen und Instrumente (Incidental music for Romeo and Juliet for voices and instruments),

Year of composition: 1887, o.op. 86 (Trenner 150)

Der Bürger als Edelmann, comedy with dancing by Molière,

Year of composition: 1917, op. 60 (III) (Trenner 228b)

Divertimento after keyboard pieces by Francois Couperin for small orchestra,

Year of composition: 1940, op. 86 (Trenner 245b)

Fanfare to the play Die Jäger by August Wilhelm Iffland for orchestra,

Year of composition: 1891, o.op. 88 A (Trenner 165)

Josephs Legende, Handlung in einem Aufzug (Ballett), Year of composition: 1914, op. 63 (Trenner 231)

Kythere, ballet sketch in three acts,

Year of composition: 1900, AV 230 (Trenner 201)

Musik zu Lebende Bilder for orchestra,


Schlagobers, humorous Viennese ballet in two acts, Year of composition: 1922, op. 70 (Trenner 243)

Tanzsuite nach Klavierstücken von Francois Couperin für kleines Orchester (Dance Suite after keyboard pieces by Francois Couperin for small orchestra),


Verklungene Feste, dance visions from two centuries after Francois Couperin for small orchestra, Year of composition: 1940, o.op. 128 (Trenner 245a)

Two Songs from the Der Richter von Zalamea,


Symphonic Poems

Also sprach Zarathustra, tone poem freely after Friedrich Nietzsche for large orchestra,


Die Donau, symphonic poem for large orchestra, choir and organ (fragment), Year of composition: 1941, AV 291 (Trenner 284)

Don Juan, tone poem after N. Lenau’s dramatic poem,


Don Quixote, fantastic variations on a theme of knightly character for large orchestra, Year of composition: 1897, op. 35 (Trenner 184)

Ein Heldenleben, tone poem for large orchestra, Year of composition: 1898, op. 40 (Trenner 190)

Eine Alpensinfonie, for large orchestra,


Macbeth, tone poem after Shakespeare’s drama for large orchestra,


Sinfonia Domestica, for large orchestra,


Till Eulenspiegels lustige Streiche, Till Eulenspiegels lustige Streiche, after an old picaresque legend in rondo form for large orchestra,


Tod und Verklärung, tone poem for large orchestra, Year of composition: 1889, op. 24 (Trenner 158)

Orchestral Works

Andante cantabile in D major for orchestra,


Andante in B-flat major for orchestra,


Aus Italien, symphonic fantasy in G major for large orchestra,


Incidental music to the film Der Rosenkavalier for orchestra, Military March in F major,

Year of composition: 1925, o.op. 112 (Trenner 227b)

Concert Overture in C minor for large orchestra, , Year of composition: 1883, o.op. 80 (Trenner 125)

Concert Overture in B minor for orchestra,


Der Rosenkavalier, second waltz series,

Year of composition: 1910, op. 59 (Trenner 227a)

Die Liebe der Danae, symphonic fragment (arranged by Clemens Krauss),

Year of composition: 1952, (Trenner 278a)

Introduction and Waltz from Der Rosenkavalier, Acts I and II, Year of composition: 1944, o.op. 139 (Trenner 227c)

Symphony No. 1 in D minor for large orchestra, Year of composition: 1880, o.op. 69 (Trenner 94)

Festmarsch in C major for large Orchestra,


Festmarsch in in D major for orchestra,


Festmarsch E-flat major for orchestra,


Festmusikfor large orchestra on the occasion of the 2600th jubilee of the Kingdom of Japan (Japanese Festival Music)Year of composition: 1940, op. 84 (Trenner 277)

Gavotte IV in D major,


Lied ohne Worte in E-flat major for orchestra,


München, memorial waltz for large orchestra (2nd version),

Year of composition: 1945, o.op. 140 (Trenner 274a)

München, occasional waltz for large orchestra (1st version)


Orchestersuite from the ballet Schlagobers, Year of composition: 1932, op. 70 (Trenner 243a)

Orchestersuite from the music for Le Bourgeois Gentilhomme by Molière,

Year of composition: 1912, op. 60 (IIIa) (Trenner 228c)

Ouverture in A minor,


Ouverture in E major,


Overture in E minor for the planned opera Ein Studentenstreich for orchestra,


Overture in E-flat major for the planned opera Dom Sebastian,


Overture to the singspiel Hochlands Treue, Year of composition: 1873, o.op. 15 (Trenner 17)

Serenade in G major for orchestra,


Symphony on three themes in E-flat major,


Suite from the opera Der Rosenkavalier,

Year of composition: 1945, o.op. 145 (Trenner 227d)

Symphonic Fantasy from Die Frau ohne Schatten, Year of composition: 1946, o.op. 146 (Trenner 234a)

Symphonic fragment from Josephs Legende, Year of composition: 1947, o.op. 148 (Trenner 231a)

Four Symphonic Interludes from Intermezzo, Year of composition: 1921, (Trenner 246a)

Two Military Marches for large orchestra: War March in C minor,


Two Military Marches for large orchestra: Military March in E-flat major,


Symphony No. 2 in F minor for large orchestra, Year of composition: 1883, op. 12 (Trenner 126)

Other Instrumental Works

Burleske in D minor for piano and orchestra, Year of composition: 1886, o.op. 85 (Trenner 145)

Concerto in D minor for violin and orchestra, Year of composition: 1882, op. 8 (Trenner 110)

Daphne-Etüde in G major after a theme from Daphne for violin solo,

Year of composition: 1945, o.op. 141 (Trenner 272b)

Der Zweikampf, polonaise in B-flat major for flute and bassoon with orchestra,


Duet Concertino in F major for clarinet and bassoon with string orchestra and harp,


Sonatina No. 1 in F major for sixteen wind instruments: Aus der Werkstatt eines Invaliden,


Concerto No. 1 in E-flat major for horn


Fanfare for brass and timpani for the opening of the City of Vienna Music Week


Feierlicher Einzug der Ritter des Johanniter-Ordens, investiture march for brass and timpani, Year of composition: 1909, o.op. 103 (Trenner 224)

Festliches Präludium for large orchestra and organ, , Year of composition: 1913, op. 61 (Trenner 229)

Festmusik for brass and timpani


Hochzeitspräludium for two harmoniums, Year of composition: 1924, o.op. 108 (Trenner 247)

Concerto in D major for oboe and small orchestra, Year of composition: 1945, o.op. 144 (Trenner 292)

Metamorphosen, study for 23 solo strings, Year of composition: 1945, o.op. 142 (Trenner 290)

Panathenäenzug, symphonic studies in the form of a passacaglia for piano (left hand) and orchestra, Year of composition: 1927, op. 74 (Trenner 254)

Parergon zur Sinfonia Domestica for piano (left hand) and orchestra,

Year of composition: 1925, op. 73 (Trenner 209a)

Rhapsodie in C-sharp minor for piano and orchestra, Year of composition: 1886, AV 213 (Trenner 146)

Romanze in in E-flat major for clarinet and orchestra, Year of composition: 1879, o.op. 61 (Trenner 80)

Romanze in F major for violoncello with orchestra or piano accompaniment,


Serenade in E-flat major for 13 wind instruments, Year of composition: 1881, op. 7 (Trenner 106)

Suite from Capriccio with a concert finish for harpsichord, Year of composition: 1944, (Trenner 279c)

Suite in B-Dur in B-flat major for 13 wind instruments,


Vienna Fanfare for brass and timpani, Year of composition: 1943, o.op. 134 (Trenner 287)

Vienna Philharmonic Fanfare for brass and timpani,


Two Studies for horn,


Sonatina No. 2 in E-flat major for sixteen wind instruments: Fröhliche Werkstatt,


Concerto No. 2 in E-flat major for horn and orchestra, Year of composition: 1942, o.op. 132 (Trenner 283)

Chamber Music

Allegretto in E major for violin and piano,


Andante in C major for horn and piano,


Concertante for two violins, violoncello and piano, Year of composition: 1875, AV 157 (Trenner 33)

Sketch for a string quartet,

Year of composition: 1901, AV 232 A (Trenner 205)

Fantasy for bassoon, flute and guitar on themes by Giovanni Paisiello

Year of composition: 1883, (Trenner 116)

Festmarsch in D major for violin, viola, violoncello and piano,


Hochzeitsmusic for piano and children’ s instruments, Year of composition: 1879, AV 163 (Trenner 84)

Introduction, Theme and Variation for flute and piano, Year of composition: 1879, o.op. 56 (Trenner 76)

Introduction, Theme and Variation for horn and piano,


Quartet in A major for two violins, viola and violoncello, Year of composition: 1880, op. 2 (Trenner 95)

Quartet in C minor for piano, violin, viola and violoncello,


Quartet Movement in C minor for two violins, viola and violoncello,


Quartet Movement in E-flat major allegro moderato for two violins, viola and violoncello,


Sextet from Capriccio for two violins, two violas and two violoncellos,


Sonata in E-flat major for violin and piano, Year of composition: 1887, op. 18 (Trenner 151)

Sonata in F major for violoncello and piano, Year of composition: 1881, op. 6 (Trenner 115)

Dances from Capriccio for violin, violoncello and harpsichord (piano),


Dances from Capriccio for violin, violoncello and harpsichord (piano),

Year of composition: 1941, (Trenner 279b)

Trio No. 1 in A major for violin, violoncello and piano,


Trio No. 2 in D major for violin, violoncello and piano, Year of composition: 1878, o.op. 53 (Trenner 71)

Variations on Das Dirndl is harb auf mi for violin, viola and violoncello,


Variations on an a dance song by Cesare Negri (1604) in Milan for two violins, viola and violoncello, Year of composition: 1883, AV 174 (Trenner 123)

Two Small Pieces for violin and piano,


Two Pieces for violin, viola, violoncello and piano: Arabian Dance in D minor,


Two Pieces for violin, viola, violoncello and piano: Liebesliedchen G major,


Piano Music

14 Improvisations and Fugue on an original theme for piano two hands, Year of composition: 1884, o.op. 81 / AV 177 (Trenner 130)

Albumblatt for piano,


Allegro assai in B-flat major for piano,


Andante in C minor for piano,


Aus alter Zeit, a small gavotte for piano, Year of composition: 1879, o.op. 57 (Trenner 72)

De Brandenburgsche Mars, Präsentiermarsch (arranged) for piano,


Fantasy in C major for piano,


Fragment for Sonatinas for piano,

Year of composition: 1873, AV 197 - AV 202 (Trenner 28)

Fugue on four themes for piano,


Five Piano Pieces,


Five Small Pieces for piano,


Grand Sonata No. II in C minor for piano,


Intermezzo in F major for piano four hands, Year of composition: 1885, (Trenner 138)

Slow Movement for piano,


Largo in A minor for piano,


Melody in G-flat major for piano,


Militärischer Festmarsch in E-flat major,


Moderato in C major for piano,


Panzenburg - polka for piano,


Parade Marsch für Cavalerie No. 2,


Parade-Marsch des Regiments Königs-Jäger zu Pferde No.1 for piano,


Polka, waltzes and other small compositions for piano,


Scherzando in G major for piano,


Scherzo in B minor for piano,


Schneiderpolka for piano,


Sketches, five small piano pieces: Allegro in E major for piano,


Sketches, five small piano pieces: Andante in G major for piano,


Sketches, five small piano pieces: Gavotte II in D major for piano,


Sketches, five small piano pieces: Gavotte III in G major for piano,


Sketches, five small piano pieces: Gavotte IV in D major for piano,


Sonata in B minor for piano two hands, Year of composition: 1881, op. 5 (Trenner 103)

Sonata No. 1 in E major for piano,


Sonatina I in C major for piano,


Sonatina II in F major for piano,


Sonatina III in B major for piano,


Sonatina No. I in C major for piano


Sonatina No. II in E major for piano,


Sonatina No. IV in E major for piano,


Sonatina No. V in E-flat major for piano,


Sonatina No. VI in D major for piano,


Stiller Waldespfad for piano,


Stimmungsbilder for piano two hands (Auf stillem Waldespfad, An einsamer Quelle, Intermezzo, Träumerei), Year of composition: 1884, op. 9 (Trenner 127)

Waltz in G-flat major, Kupelwieserwalzer by Franz Schubert for piano notated by Richard Strauss, Year of composition: 1943, AV 192 (Trenner 285)

Two Small Pieces for piano,


Two Small Pieces for piano,


Twelve Variations in D major for piano,


Songs

Abend- und Morgenrot,


Eight Poems: Allerseelen,


Eight Poems: Die Georgine,


Eight Poems: Die Nacht,


Eight Poems: Die Verschwiegenen,


Eight Poems: Die Zeitlose,


Eight Poems: Geduld,


Eight Poems: Nichts,


Eight Poems: Zueignung,


Eight Songs: Ach was Kummer, Qual und Schmerzen, Year of composition: 1901, op. 49 (Trenner 204)

Eight Songs: Das Lied des Steinklopfers,


Eight Songs: In goldener Fülle,


Eight Songs: Junggesellenschwur,


Eight Songs: Sie wissen's nicht,


Eight Songs: Waldseeligkeit,


Eight Songs: Wer lieben will, muß leiden,


Eight Songs: Wiegenliedchen,


Alphorn for solo voice with piano and horn accompaniment,


Ballade,


Begegnung,


Alphorn for solo voice with piano and horn accompaniment, Year of composition: 1942, o.op. 130 (Trenner 281)

Das Bächlein,


Das rote Laub,


Der böhmische Musikant,


Der Dorn ist Zeichen der Ver0ung,


Der Fischer,


Der Graf von Rom,


Der Morgen,


Der müde Wanderer,


Des Alpenhirten Abschied,


Die drei Lieder,


Die Drossel,


Die erwachte Rose,


Alphorn for solo voice with piano and horn accompaniment: An sie,


Alphorn for solo voice with piano and horn accompaniment: Die Ulme zu Hirsau, Year of composition: 1899, op. 43 (Trenner 196)

Alphorn for solo voice with piano and horn accompaniment: Muttertändelei, Year of composition: 1899, op. 43 (Trenner 196)

Three Hymns for high voice and large orchestra: Hymne an die Liebe,


Three Hymns for high voice and large orchestra: Liebe,


Three Hymns for high voice and large orchestra: Rückkehr in die Heimat,


Three Songs for high voice and piano: Nachgang,


Three Songs for high voice and piano: Schlagende Herzen,


Three Songs for high voice and piano: Traum durch die Dämmerung,


Three Songs: Die Lilien glühn in Düften,


Three Songs: O schneller mein Roß,


Three Songs: Waldgesang,


Durch allen Schall und Klang,


Ein Röslein zog ich mir im Garten,


Ein Spielmann und sein Kind, Ballad for soprano and orchestra,


Einkehr,


Erschaffen und Beleben, for bass and piano, Year of composition: 1922, o.op. 106 (Trenner 244)

Frühlingsanfang,


Five Poems: Die sieben Siegel,


Five Poems: Ein Obdach gegen Sturm und Regen, Year of composition: 1900, op. 46 (Trenner 199)

Five Poems: Gestern war ich Atlas,


Five Poems: Ich sehe wie in einem Spiegel, Year of composition: 1900, op. 46 (Trenner 199)

Five Poems: Morgenrot,


Five Little Songs: Der Pokal,


Five Little Songs: Der Stern,


Five Little Songs: Einerlei,


Five Little Songs: Schlechtes Wetter,


Five Little Songs: Waldesfahrt,


Five Songs for middle voice and piano: Aus den Liedern der Trauer, Year of composition: 1886, op. 15 (Trenner 148)

Five Songs for middle voice and piano: Heimkehr,


Five Songs for middle voice and piano: Lob des Leidens,


Five Songs for middle voice and piano: Madrigal,


Five Songs for middle voice and piano: Winternacht,


Five Songs: Am Ufer,


Five Songs Auf ein Kind,


Five Songs: Befreit,


Five Songs: Bruder Liederlich,


Five Songs: Der Arbeitsmann,


Five Songs: Des Dichters Abendgang,


Five Songs: Einkehr,


Five Songs: Freundliche Vision,


Five Songs: Himmelsboten zu Liebchens Himmelbett, Year of composition: 1896, op. 32 (Trenner 174)

Five Songs: Ich schwebe,


Five Songs: Ich trage meine Minne,


Five Songs: In der Campagna,


Five Songs: Junghexenlied,


Five Songs: Kling! Meine Seele gibt reinen Ton!, Year of composition: 1900, op. 48 (Trenner 202)

Five Songs: Leise Lieder,


Five Songs: Leises Lied,


Five Songs: Liebeshymnus,


Five Songs: Lied an meinen Sohn,


Five Songs: O süßer Mai,


Five Songs: Rückleben,


Five Songs: Sehnsucht,


Five Songs: Von den sieben Zechbrüdern,


Five Songs: Wiegenlied,


Five Songs: Winterliebe,


Five Songs: Winterweihe,


Für Musik,


Geheiligte Stätte,


Songs of the Orient: Die Allmächtige,


Songs of the Orient: Huldigung,


Songs of the Orient: Ihre Augen,


Songs of the Orient: Liebesgeschenke,


Songs of the Orient: Schwung,


Gute Nacht,


Herbstabend (Fragment),

Year of composition: unbekannt, AV 244 (Trenner 226 )

Herz, mein Herz,


Husarenlied,


Im Sonnenschein, for bass and piano,


Im Walde,


Immer leiser wird mein Schlummer,


In Vaters Garten heimlich steht ein Blümlein, Year of composition: 1879, o.op. 64 (Trenner 88)

John Anderson,


Krämerspiegel: Die Händler und die Macher, Year of composition: 1918, op. 66 (Trenner 236)

Krämerspiegel: Die Künstler sind die Schöpfer, Year of composition: 1918, op. 66 (Trenner 236)

Krämerspiegel: Drei Masken sah ich am Himmel stehn, Year of composition: 1918, op. 66 (Trenner 236)

Krämerspiegel: Einst kam der Bock als Bote, Year of composition: 1918, op. 66 (Trenner 236)

Krämerspiegel: Es liebte einst ein Hase,


Krämerspiegel: Es war einmal ein Bock,


Krämerspiegel: Es war mal eine Wanze,


Krämerspiegel: Hast du ein Tongedicht vollbracht, Year of composition: 1918, op. 66 (Trenner 236)

Krämerspiegel: O lieber Künstler sei ermahnt, Year of composition: 1918, op. 66 (Trenner 236)

Krämerspiegel: O Schröpferschwarm, o Händlerkreis, Year of composition: 1918, op. 66 (Trenner 236)

Krämerspiegel: Unser Feind ist, großer Gott, Year of composition: 1918, op. 66 (Trenner 236)

Krämerspiegel: Von Händlern wird die Kunst bedroht, Year of composition: 1918, op. 66 (Trenner 236)

Laß ruhn die Toten,


Lust und Qual,


Mädchenblumen: Efeu,


Mädchenblumen: Kornblumen,


Mädchenblumen: Mohnblumen,


Mädchenblumen: Wasserrose,


Malven,


Mein Geist ist trüb,


Mutter, o sing mich zur Ruh,


Nebel,


Rote Rosen,


Sankt Michael,for bass and piano,


Schlichte Weisen: Ach Lieb, ich muß nun scheiden, Year of composition: 1889, op. 21 (Trenner 160)

Schlichte Weisen: Ach weh mir unglückhaftem Mann, Year of composition: 1889, op. 21 (Trenner 160)

Schlichte Weisen: All' mein Gedanken,


Schlichte Weisen: Die Frauen sind oft fromm und still, Year of composition: 1890, op. 21 (Trenner 160)

Schlichte Weisen: Du meines Herzens Krönelein, Year of composition: 1889, op. 21 (Trenner 160)

Six Songs from Lotusblätter by A. F. Graf von Schack: Breit' über mein Haupt,


Six Songs from Lotusblätter by A. F. Graf von Schack: Hoffen und wieder verzagen,


Six Songs from Lotusblätter by A. F. Graf von Schack: Mein Herz ist stumm,


Six Songs from Lotusblätter by A. F. Graf von Schack: Schön sind, doch kalt die Himmelssterne,


Six Songs from Lotusblätter by A. F. Graf von Schack: Wie sollten wir geheim sie halten,


Six Songs from Lotusblätter by A. F. Graf von Schack: Wozu noch, Mädchen, soll es frommen,


Six Songs for a high voice and piano: Three songs from the Büchern des Unmuts des Rendsch Nameh: Hab' ich euch denn je geraten, Year of composition: 1918, op. 67 (Trenner 238)

Six Songs for a high voice and piano: Three songs from the Büchern des Unmuts des Rendsch Nameh: Wanderers Gemütsruhe, Year of composition: 1918, op. 67 (Trenner 238)

Six Songs for a high voice and piano: Three songs from the Büchern des Unmuts des Rendsch Nameh: Wer wird von der Welt verlangen, Year of composition: 1918, op. 67 (Trenner 238)

Six Songs for a high voice and piano: Three songs of Ophelia from Hamlet: Guten Morgen, 's ist Sankt Valentinstag,


Six Songs for a high voice and piano: Three songs of Ophelia from Hamlet: Sie trugen ihn auf der Bahre bloß,


Six Songs for a high voice and piano: Three songs of Ophelia from Hamlet: Wie erkenn' ich mein Treulieb',


Six Songs for high voice and piano: Glückes genug,


Six Songs for high voice and piano: Herr Lenz,


Six Songs for high voice and piano: Hochzeitlich Lied,


Six Songs for high voice and piano: Ich liebe dich,


Six Songs for high voice and piano: Mein Auge,


Six Songs for high voice and piano: Meinem Kinde,


Six Songs by A. F. von Schack for high voice and piano: Aus den Liedern der Trauer,


Six Songs by A. F. von Schack for high voice and piano: Barcarole, Year of composition: 1887, op. 17 (Trenner 149)

Six Songs by A. F. von Schack for high voice and piano: Das Geheimnis, Year of composition: 1886, op. 17 (Trenner 149)

Six Songs by A. F. von Schack for high voice and piano: Nur Mut, Year of composition: 1887, op. 17 (Trenner 149)

Six Songs by A. F. von Schack for high voice and piano: Seitdem dein Aug' in meines schaute,


Six Songs by A. F. von Schack for high voice and piano: Ständchen, Year of composition: 1886, op. 17 (Trenner 149)

Six Songs: Als mir dein Lied erklang,


Six Songs: Amor,


Six Songs: An die Nacht,


Six Songs: Blindenklage,


Six Songs: Die heiligen drei Könige aus Morgenland, Year of composition: 1906, op. 56 (Trenner 220)

Six Songs: Frühlingsfeier,


Six Songs: Gefunden,


Six Songs: Ich wollt ein Sträußlein binden, Year of composition: 1918, op. 68 (Trenner 235)

Six Songs: Im Spätboot,


Six Songs: Lied der Frauen,


Six Songs: Mit deinen blauen Augen,


Six Songs: Säusle, liebe Myrthe!,


Sinnspruch,


Skatkanon for four male voices,


Soldatenlied for low voice and piano, Year of composition: 1878, o.op. 48 (Trenner 66)

Spielmann und Zither,


Spruch,


Und dann nicht mehr, for bass and piano,


Four Songs for voice with orchestral accompaniment: Gesang der Apollopriesterin,


Four Songs for voice with orchestral accompaniment: Hymnus,


Four Songs for voice with orchestral accompaniment: Pilgers Morgenlied,


Four Songs for voice with orchestral accompaniment: Verführung,


Four Last Songs for soprano and orchestra: Beim Schlafengehen,


Four Last Songs for soprano and orchestra: Frühling, Year of composition: 1948, o.op. 150 (Trenner 296)

Four Last Songs for soprano and orchestra: Im Abendrot, Year of composition: 1948, o.op. 150 (Trenner 296)

Four Last Songs for soprano and orchestra: September, Year of composition: 1948, o.op. 150 (Trenner 296)

Four Songs for (high) voice and piano: Blauer Sommer,


Four Songs for (high) voice and piano: Stiller Gang,


Four Songs for (high) voice and piano: Weißer Jasmin,


Four Songs for (high) voice and piano: Wenn,


Four Songs for (high) voice and piano: Anbetung,


Four Songs for (high) voice and piano: Das Rosenband,


Four Songs for (high) voice and piano: Für fünfzehn Pfennige,


Four Songs for (high) voice and piano: Hat gesagt - bleibt's nicht dabei,


Four Songs: Cäcilie,


Four Songs: Heimlich Aufforderung,


Four Songs : Morgen,


Four Songs : Ruhe, meine Seele,


Vom künftigen Alter, for bass and piano, ,


Vorüber ist der Graus der Nacht (unfinished pencil sketch),


Waldconcert,


Waldesgesang,


Weihnachtsgefühl,


Weihnachtslied,


Wer hat's getan?,


Wiegenlied,


Winterreise,


Wir beide wollen springen,


Xenion,


Zugemessne Rhythmen reizen freilich,


Two Songs for law bass voice with orchestral accompaniment: : Das Tal,


Two Songs for law bass voice with orchestral accompaniment: : Der Einsame,


Two Longer Songs for low voice with orchestral accompaniment: Nächtlicher Gang,


Two Longer Songs for low voice with orchestral accompaniment: Notturno,


Two Songs: Frühlingsgedränge,


Two Songs: O wärst du mein,


Melodramas

Das Schloß am Meer, melodrama after the poem by Ludwig Uhland,


Enoch Arden, melodrama for piano, Year of composition: 1897, op. 38 (Trenner 181)

Choral Works

An den Baum Daphne, epilogue from Daphne for a cappella nine-voice mixed choir, Year of composition: 1943, o.op. 137 (Trenner 272a)

Austria, for large orchestra and male choir, Year of composition: 1929, op. 78 (Trenner 259)

Bardengesang for male choir and orchestra, Year of composition: 1906, op. 55 (Trenner 219)

Bardengesang from Die Hermanns-Schlacht for male choir and instruments,


Besinnung for mixed choir and orchestra, fragment,

Year of composition: 1949 , AV 306 (Trenner 298 )

Cantata for a cappella four-voice male choir, Year of composition: 1914, o.op. 104 (Trenner 232)

Chorus from Elektra by Sophocles for male voices and orchestra,


German Motets, for four solo voices and a cappella 16-voice mixed choir,


Die Göttin im Putzzimmer for a cappella eight-voice mixed choir,


Die Tageszeiten, song cycle for male choir and orchestra: Der Abend,


Die Tageszeiten, song cycle for male choir and orchestra: Der Morgen,


Die Tageszeiten, song cycle for male choir and orchestra: Die Nacht,


Die Tageszeiten, song cycle for male choir and orchestra: Mittagsruh,


Three Male Choruses: Der Brauttanz,


Three Male Choruses: Lied der Freundschaft,


Three Male Choruses: Schlachtgesang,


Three Male Choruses: Traumlicht,


Three Male Choruses: Vor den Türen,


Three Male Choruses:Fröhlich im Maien,


Durch Einsamkeiten, for a cappella four-voice male choir,


Festchor with piano accompaniment,


Hymn for wind choir, large orchestra and female choir, Year of composition: 1897, o.op. 91 (Trenner 183)

Kaiserhymne for mixed choir,

Year of composition: 1915, (Trenner 218b)

Olympische Hymne for mixed choir and orchestra, Year of composition: 1934, o.op. 119 (Trenner 266)

Schwäbische Erbschaft for mixed choir and orchestra, Year of composition: 1884, o.op. 83 (Trenner 134)

Six folk song arrangements for a cappella four-part male chorus: Geistlicher Maien,


Six folk song arrangements for a cappella four-part male chorus: Hüt du dich!,


Six folk song arrangements for a cappella four-part male chorus: Kuckuck,


Six folk song arrangements for a cappella four-part male chorus: Mißlungene Liebesjagd, Year of composition: 1905, o.op. 101 (Trenner 216)

Six folk song arrangements for a cappella four-part male chorus: Tummler,


Six folk song arrangements for a cappella four-part male chorus: Wächterlied,


Soldatenlied for a cappella male choir,


Sturmliedfor six-voice choir and large orchestra, Year of composition: 1885, op. 14 (Trenner 131)

Taillefer, ballad for mixed choir, soloists and orchestra accompaniment,


Four Movements of a Mass in D major for a cappella mixed choir,


Volkshymne for mixed choir,


Two Songs: Der Abend, for a cappella sixteen-voice mixed choir,


Two Songs: Hymne, for a cappella sixteen-voice mixed choir,


Two Songs for a cappella four-voice mixed choir: Frühlingsnacht,


Two Songs for a cappella four-voice mixed choir: Morgengesang,


Two Male Choruses: Altdeutsches Schlachtlied, Year of composition: 1899, op. 42 (Trenner 194)

Two Male Choruses: Liebe,


Other Vocal Music

Der weiße Hirsch, for alto, tenor, bass and piano, Year of composition: 1871, o.op. 6 (Trenner 6)

Hab Dank du güt'ger Weisheitsspender, four-line text for bass,


Hymne auf das Haus Kohorn for two tenors and two basses,


Canon,


Notschrei aus den Gefilden Lapplands, four-line text for one voice,


Richard Till Khnopff,


Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Käferlied,


Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Pfingsten,


Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Schneeglöcklein, Year of composition: 1880, o.op. 67 (Trenner 92)

Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Spielmannsweise, Year of composition: 1880, o.op. 67 (Trenner 92)

Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Trüb blinken nur die Sterne, Year of composition: 1880, o.op. 67 (Trenner 92)

Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Waldessang, Year of composition: 1880, o.op. 67 (Trenner 92)

Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Winterlied,


Utan svafvel och fosfor, Swedish matchbox text for four male voices,


Wer tritt herein, six-line text for solo voice, Year of composition: 1943, o.op. 136 (Trenner 289)

Arrangements

Die Feen by Richard Wagner, insertion to Act II, Year of composition: 1888, AV 185 (Trenner 154)

Die Ruinen von Athen, a festive piece with dances and choral pieces after Die Geschöpfe des Prometheus by Ludwig van Beethoven,


Ganymed (instrumentation after Franz Schubert), Year of composition: 1897, (Trenner 179)

Idomeneo, opera seria in three acts by Wolfgang Amadeus Mozart,

Year of composition: 1930, o.op. 117 / AV 191 (Trenner 262)

Instrumentallehre von Hector Berlioz,

Year of composition: 1903 , AV 316 / 317 (Trenner 212)

Iphigenie auf Tauris, opera in three acts by Christoph Willibald von Gluck, arranged for the German stage, Year of composition: 1890, AV 186 (Trenner 161)

Johann von Paris by Francois-Adrien Boieldieu, aria of the princess,

Year of composition: 1922 , (Trenner 242 )

Cadenzas for the Piano Concerto in C minor (KV 491) by Wolfgang Amadeus Mozart,


Nonett in F major (composition by Franz Lachner, arrangement for four hands),


Nun hält Frau Minne Liebeswacht, from Liebesnächte by Alexander Ritter,


Overture to Der faule Hans by Alexander Ritter (piano excerpt),


Rienzi by Richard Wagner,


Walzerlied in F major from an operetta by Maximiliano Niederberger,


Two Songs by Ludwig von Beethoven (op. 83/1) (instrumentation): Wonne der Wehmut,


Two Songs by Ludwig von Beethoven (WoO 123) (instrumentation): Ich liebe dich,


Two Marches for Bernhard von Weimar, Trauerspiel by Joachim Raff, piano excerpt,


Studies for Unspecified Instruments

Contrapuntal Studies I,


Contrapuntal Studies II,


Contrapuntal Studies III,


Four-voice Choral Movement in B-flat major,


Four-voice movement in A-flat major,


Four-voice movement in B-flat major,


Four-voice movement in D minor,


Vorstudien zu Harmonielehre und Kontrapunkt, Year of composition: 1875, AV 196 (Trenner 36)

Sketches/Operas

Der Kampf mit dem Drachen, singspiel in one act, Year of composition: 1876, AV 206 (Trenner 44)

Des Esels Schatten, comedy in six scenes, Year of composition: 1947, AV 300 (Trenner 294)

Lila, singspiel by Johann Wolfgang von Goethe, Year of composition: 1878, AV 206 / o.op. 44 / o.op. 45 (Trenner 61)

Lila, singspiel by Johann Wolfgang von Goethe, Year of composition: 1895, AV 221 (Trenner 177)

Scenes for a singspiel for voices and piano, Year of composition: 1876, o.op. 28 / AV 205 (Trenner 40)

Other

Posthumous works for horn by Franz Strauss,

AV 323 (Trenner 225)

strauss

Documents

Transcript of strauss