Strauss, Richard (Georg)

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Strauss, Richard (Georg)

Strauss, Richard (Georg), great German composer and distinguished conductor, one of the most inventive music masters of his era, son of Franz (Joseph) Strauss; b. Munich, June 11, 1864; d. Garmisch-Partenkirchen, Sept. 8, 1949. Growing up in a musical environment, he studied piano as a child with August Tombo, harpist in the Court Orch.; then took violin lessons from Benno Walter, its concertmaster, and later received instruction from the court conductor, Friedrich Wilhelm Meyer. According to his own account, he began to improvise songs and piano pieces at a very early age; among such incunabula was the song Weihnachtslied, followed by a piano dance, Schneiderpolka. On March 30, 1881, his first orch. work, the Sym. in D minor, was premiered in Munich under Hermann Levi. This was followed by the Sym. in F minor, premiered on Dec. 13, 1884, by the N.Y. Phil, under Theodore Thomas. Strauss also made progress as a performing musician; when he was 20 years old, Hans von Biilow engaged him as asst. conductor of his Meiningen Orch. About that time, Strauss became associated with the poet and musician Alexander Ritter, who introduced him to the “music of the future,” as it was commonly called, represented by orch. works of Liszt and operas by Wagner.

In 1886 Strauss received an appointment as the third conductor of the Court Opera in Munich. On March 2, 1887, he conducted in Munich the first performance of his symphonic fantasy, Aus Italien. This was followed by the composition of his first true masterpiece, the symphonic poem Don Juan, in which he applied the thematic ideas of Liszt; he conducted its premiere in Weimar on Nov. 11, 1889; it became the first of a series of his tone poems, all of them based on literary subjects. His next tone poem of great significance in music history was Tod und Verklärung; Strauss conducted it for the first time in Eisenach on June 21, 1890, on the same program with the premiere of his brilliant Burleske for Piano and Orch., featuring Eugen d’Albert as soloist. There followed the first performance of the symphonic poem Macbeth, which Strauss conducted in Weimar on Oct. 13, 1890. In these works, Strauss established himself as a master of program music and the most important representative of the nascent era of musical modernism; as such, he was praised extravagantly by earnest believers in musical progress and damned savagely by entrenched traditionalists in the press. He effectively adapted Wagner’s system of leading motifs (leitmotifs) to the domain of symphonic music. His tone poems were interwoven with motifs, each representing a relevant programmatic element. Explanatory brochures listing these leading motifs were publ. like musical Baedekers to guide the listeners. Bülow, ever a phrasemaker, dubbed Strauss “Richard the third,” Richard the first being Wagner but no one worthy of direct lineage as Richard the second in deference to the genius of the master of Bayreuth.

Turning to stage music, Strauss wrote his first opera, Guntram, for which he also composed the text; he conducted its premiere in Weimar on May 10, 1894, with the leading soprano role performed by Pauline de Ahna; she was married to Strauss on Sept. 10, 1894, and remained with him all his life; she died on May 13, 1950, a few months after Strauss himself. While engaged in active work as a composer, Strauss did not neglect his conducting career. In 1894 he succeeded Bülow as conductor of the Berlin Phil., leading it for a season. Also in 1894 he became asst. conductor of the Munich Court Opera; he became chief conductor in 1896. In 1896–97 he filled engagements as a guest conductor in European music centers. His works of the period included the sparkling Till Eugenspiegels lustige Streiche (Cologne, Nov. 5, 1895), Also sprach Zarathustra, a philosophical tone poem after Nietzsche (Frankfurt am Main, Nov. 27, 1896, Strauss conducting), and Don Quixote, variations with a cello solo, after Cervantes (Cologne, March 8, 1898). In 1898 Strauss became a conductor at the Berlin Royal Opera; in 1908 he was made its Generalmusikdirektor, a position he held until 1918. He conducted the first performance of his extraordinary autobiographical tone poem Ein Heldenleben in Frankfurt am Main on March 3, 1899; the hero of the title was Strauss himself, while his critics were represented in the score by a cacophonous charivari; for this exhibition of musical self-aggrandizement, he was severely chastised in the press. There followed his first successful opera, Feuersnot (Dresden, Nov. 21, 1901).

In June 1903 Strauss was the guest of honor of the Strauss Festival in London. It was also in 1903 that the Univ. of Heidelberg made him Dr.Phil., honoris causa. For his first visit to the U.S., he presented to the public the premiere performance of his Symphonia domestica at Carnegie Hall in N.Y. on March 21, 1904. The score represented a day in the Strauss household, containing an interlude describing, quite literally, the feeding of the newly born baby. The reviews in the press reflected aversion to such a musical self-exposure. There followed his opera Salome, to the German tr. of Oscar Wilde’s play. Schuch led its premiere in Dresden on Dec. 9, 1905. Salome had its American premiere at the Metropolitan Opera in N.Y. on Jan. 22, 1907; the ghastly subject, involving intended incest, 7-fold nudity, and decapitation followed by a labial necrophilia, administered such a shock to the public and the press that the Metropolitan Opera took it off the repertoire after only 2 performances. Scarcely less forceful was Strauss’s next opera, Elektra, to a libretto by the Austrian poet and dramatist Hugo von Hofmannsthal, in which the horrors of matricide were depicted with extraordinary force in unabashedly dissonant harmonies. Schuch conducted its premiere in Dresden on Jan. 25, 1909.

Strauss then decided to prove to his admirers that he was quite able to write melodious operas to charm the musical ear; this he accomplished in his next production, also to a text of Hofmannsthal, Der Rosenkavalier, a delightful opera-bouffe in an endearing popular manner; Schuch conducted its premiere in Dresden on Jan. 26, 1911. Turning once more to Greek mythology, Strauss wrote, with Hofmannsthal again as librettist, a short opera, Ariadne aufNaxos, which he conducted for the first time in Stuttgart on Oct. 25, 1912. In June 1914 Strauss was awarded an honorary D.Mus. degree from the Univ. of Oxford. His next work was the formidable, and quite realistic, score Eine Alpensinfonie, depicting an ascent of the Alps, and employing a wind machine and a thunder machine in the orch. to illustrate an Alpine storm. Strauss conducted its first performance with the Dresden Court Orch. in Berlin on Oct. 28, 1915. Then, again with Hofmannsthal as librettist, he wrote the opera Die Frau ohne Schatten (Vienna, Oct. 10, 1919), using a complex plot, heavily endowed with symbolsst.

In 1917 Strauss helped to organize the Salzburg Festival and appeared there in subsequent years as conductor. In 1919 he assumed the post of co-director with Franz Schalk of the Vienna State Opera, a position he held until 1924. In 1920 he took the Vienna Phil, on a tour of South America; in 1921 he appeared as a guest conductor in the U.S. For his next opera, Intermezzo (Dresden, Nov. 4, 1924), Strauss wrote his own libretto; then, with Hofmannsthal once more, he wrote Die ägyptische Helena (Dresden, June 6, 1928). Their last collaboration was Arabella (Dresden, July 1, 1933).

When Hitler came to power in 1933, the Nazis were eager to persuade Strauss to embrace the official policies of the Third Reich. Hitler even sent him a signed picture of himself with a flattering inscription, “To the great composer Richard Strauss, with sincere admiration.” Strauss kept clear of formal association with the Führer and his cohorts, however. He agreed to serve as president of the newly organized Reichsmusikkammer on Nov. 15, 1933, but resigned from it on July 13, 1935, ostensibly for reasons of poor health. He entered into open conflict with the Nazis by asking Stefan Zweig, an Austrian Jew, to provide the libretto for his opera Die schweigsame Frau; it was duly premiered in Dresden on June 24, 1935, but then taken off the boards after a few performances. His political difficulties grew even more disturbing when the Nazis found out that his daughter-in-law was Jewish. Zweig himself managed to escape Nazi horrors, and emigrated to Brazil, but was so afflicted by the inhumanity of the world that he and his wife together committed suicide.

Strauss valiantly went through his tasks; he agreed to write the Olympische Hymne for the Berlin Olympic Games in 1936. On Nov. 5, 1936, he was honored with the Gold Medal of the Royal Phil. Soc. in London; the next day he conducted the visiting Dresden State Opera in a performance of his Ariadne auf Naxos at Covent Garden. For his next opera, he chose Joseph Gregor as his librettist; with him Strauss wrote Daphne (Dresden, Oct. 15, 1938), which was once more a revival of his debt to Greek mythology. For their last collaboration, Strauss and Gregor wrote the opera Die Liebe der Danae, also on a Greek theme. Its public dress rehearsal was given in Salzburg on Aug. 16, 1944, but by that time World War II was rapidly encroaching on devastated Germany, so that the opera did not receive its official premiere until after Strauss’s death. The last opera by Strauss performed during his lifetime was Capriccio. Its libretto was prepared by the conductor Clemens Krauss, who conducted its premiere in Munich on Oct. 28, 1942. Another interesting work of this period was Strauss’s Horn Concerto No. 2, first performed in Salzburg on Aug. 11, 1943.

During the last weeks of the war, Strauss devoted himself to the composition of Metamorphosen, a symphonic work mourning the disintegration of Germany; it contained a symbolic quotation from the funeral march from Beethoven’s Eroica Sym. He then completed another fine score, the Oboe Concerto. In Oct. 1945 he went to Switzerland.

In Oct. 1947 Strauss visited London for the Strauss Festival and also appeared as a conductor of his own works. Although official suspicion continued to linger regarding his relationship with the Nazi regime, he was officially exonerated of all taint on June 8, 1948. A last flame of creative inspiration brought forth the deeply moving Vier letzte Lieder (1948), for Soprano and Orch., inspired by poems of Herman Hesse and Eichendorff. With this farewell, Strauss left Switzerland in 1949 and returned to his home in Germany, where he died at the age of 85. Undeniably one of the finest master composers of his era, Strauss never espoused extreme chromatic techniques, remaining a Romanticist at heart. His genius is unquestioned as regards his tone poems from Don Juan to Ein Heldenleben and his operas from Salome to Das Rosenkavalier, all of which have attained a permanent place in the repertoire, while his Vier letzte Lieder stand as a noble achievement of his Romantic inspiration. In 1976 the Richard-Strauss-Gesellschaft was organized in Munich.

Works

DRAMATIC: opera: Guntmm, op.25 (1892–93; Hoftheater, Weimar, May 10, 1894, composer conducting; rev. version, with score cut by one third, 1934–39; Deutsches Nationaltheater, Weimar, Oct. 29, 1940); Feuersnot, op.50 (1900–01; Hofoper, Dresden, Nov. 21, 1901, Ernst von Schuch conducting); Salome, op.54 (1903–05; Hofoper, Dresden, Dec. 9, 1905, Schuch conducting); Elektra, op.58 (1906–08; Hofoper, Dresden, Jan. 25, 1909, Schuch conducting); Der Rosenkavalier, op.59 (1909–10; Hofoper, Dresden, Jan. 26, 1911, Schuch conducting); Ariadne auf Naxos “zu spielen nach dem Bürger als Edelmann des Moliere,” op.60 (1911–12; Hoftheater, Stutt gart, Oct. 25, 1912, composer conducting; rev. version, with prologue, 1916; Hofoper, Vienna, Oct. 4, 1916, Franz Schalk conducting); Die Frau ohne Schatten, op.65 (1914–18; Staatsoper, Vienna, Oct. 10, 1919, Schalk conducting); Intermezzo, op.72 (1918–23; Staatsoper, Dresden, Nov. 4, 1924, Fritz Busch conducting); Die ägyptische Helena, op.75 (1923–27; Staatsoper, Dresden, June 6, 1928, Fritz Busch conducting; rev. version, 1932–33; Festspielhaus, Salzburg, Aug. 14, 1933); Arabella, op.79 (1929–32; Staatsoper, Dresden, July 1, 1933, Clemens Krauss conducting; rev. version, Munich, July 16, 1939); Die schweigsame Frau, op.80 (1933–34; Staatsoper, Dresden, June 24, 1935, Karl Böhm conducting); Friedenstag, op.81 (1935–36; Nationaltheater, Munich, July 24, 1938, Krauss conducting); Daphne, op.82 (1936–37; Staatsoper, Dresden, Oct. 15, 1938, Böhm conducting); Die Liebe der Danai, op.83 (1938–40; public dress rehearsal, Festspielhaus, Salzburg, Aug. 16, 1944, Krauss conducting; official premiere, Festspielhaus, Salzburg, Aug. 16, 1944, Krauss conducting; Capriccio, op.85 (1940–41; Bayerische Staatsoper, Munich, Oct. 28, 1942, Krauss conducting). ballet and other dramatic works: Romeo und Julia, incidental music to Shakespeare’s drama (Nationaltheater, Munich, Oct. 23, 1887); Josephslegende, op.63 (1912–14; Opéra, Paris, May 14, 1914, composer conducting); Der Bärger als Edelmann, incidental music to Hofmannsthal’s version of Molière’s drama, op.60 (1917; Deutsches Theater, Berlin, April 9, 1918); Schlagobers, op.70 (1921–22; Staatsoper, Vienna, May 9, 1924, composer conducting); Verklungene Feste, after Couperin (1940; Nationaltheater, Munich, April 5, 1941, Krauss conducting); Des Esels Schatten, comedy for music (1949; Hellbrunn Castle, near Salzburg, July 31, 1982, Ernst Märzendorfer conducting). ORCH.: Overture for the Singspiel Hochlands Treue (1872–73); Festmarsch in E-flat major, op.1 (1876; Munich, March 26, 1881, Franz Strauss conducting); Concert Overture in B minor (1876); Serenade in G major (1877); Overture in E major (1878); Romanze in E-flat major for Clarinet and Orch. (1879); Overture in A minor (1879); Sym. in D minor (1880; Munich, March 30, 1881, Hermann Levi conducting); Violin Concerto in D minor, op.8 (1880–82; Vienna, Dec. 5, 1882, Benno Walter violinist, composer pianist; official premiere, Leipzig, Feb. 17, 1896, Alfred Krasselt violinist, composer conducting); Serenade in E-flat major for 13 Wind Instruments, op.7 (1881; Dresden, Nov. 27, 1882, Franz Wiillner conducting); Horn Concerto No. 1 in E-flat major, op.11 (1882–83; Meiningen, March 4, 1885, Gustav Leinhos soloist, Hans von Bülow conducting); Overture in C minor (Munich, Nov. 28, 1883, Levi conducting); Romanze in F major for Cello and Orch. (1883); Lied ohne Worte in E-flat major (1883); Sym. in F minor, op.12 (1883–84; N.Y., Dec. 13, 1884, Theodore Thomas conducting); Suite in B-flat major for 13 Wind Instruments, op.4 (Munich, Nov. 18, 1884, composer conducting); Der Zweikampf—Polonaise in B-flat major for Flute, Bassoon, and Orch. (1884); Festmarsch in D major (1884; Munich, Jan. 8, 1885, Franz Strauss conducting; rev. 1888); Burleske in D minor for Piano and Orch. (1885–86; Eisenach, June 21, 1890, Eugen d’Albert soloist, composer conducting); Aus Italien, symphonic fantasy, op.16 (1886; Munich, March 2, 1887, composer conducting); Macbeth, tone poem after Shakespeare’s drama, op.23 (1886–88; rev. 1889–90; Weimar, Oct. 13, 1890, composer conducting; rev. 1891); Don Juan, tone poem after Lenau, op.20 (1888–89; Weimar, Nov. 11, 1889, composer conducting); Tod und Verklärung, tone poem, op.24 (1888–89; Eisenach, June 21, 1890, composer conducting); Festmarsch in C major (Munich, Feb. 1, 1889, Franz Strauss conducting); Fanfare for A.W. Iffland’s drama Der Jäger (1891); Festmusik “Lebende Bilder” for the golden wedding anniversary of the Grand Duke and Duchess of Weimar (Weimar, Oct. 8, 1892, composer conducting); Till Eulenspiegels lustige Streiche, nach alter schelmenweise—in Rondeauform, op.28 (1894–95; Cologne, Nov. 5, 1895, Wüllner conducting); Also sprach Zarathustra, tone poem after Nietzsche, op.30 (1895–96; Frankfurt am Main, Nov. 27, 1896, composer conducting); Don Quixote, fantastische Variationen über ein Thema ritterlichen Charakters for Cello and Orch., op.35 (1896–97; Cologne, March 8, 1898, Wüllner conducting); Ein Heldenleben, tone poem, op.40 (1897–98; Frankfurt am Main, March 3, 1899, composer conducting); Symphonia domestica, op.53 (1902–03; N.Y, March 21, 1904, composer conducting); Zwei Militärmärsche, op.57 (1906; Berlin, March 6, 1907, composer conducting); Feierlicher Einzug der Ritter des Johanniter-Ordens for Brass and Timpani (1909); Festliches Präludium for Orch. and Organ, op.61 (for the dedication of the Konzerthaus, Vienna, Oct. 19, 1913, Ferdinand Löwe conducting); Eine Alpensinfonie, op.64 (1911–15; Berlin, Oct. 28, 1915, composer conducting); Der Bürger als Edelmann, suite, op.60 (1918; Vienna, Jan. 31, 1920, composer conducting); Tanzsuite aus Klavierstücken von François Couperin for Small Orch. (Vienna, Feb. 17, 1923, Krauss conducting); Wiener Philharmoniker Fanfare for Brass and Timpani (Vienna, March 4, 1924); Fanfare zur Eröffnung der Musikwoche der Stadt Wien im September 1924 for Brass and Timpani (Vienna, Sept. 14, 1924); Parergon zur Symphonia domestica for Piano, Left-hand, and Orch., op.73 (1924; Dresden, Oct. 16, 1925, Paul Wittgenstein soloist, Fritz Busch conducting); Militärmarsch in F major for the film Der Rosenkavalier (1925; Dresden, Jan. 10, 1926, composer conducting); Panathenäenzug, symphonische Etüden in Form einer Passacaglia for Piano, Left-hand, and Orch., op.74 (1927; Vienna, March 11, 1928, Wittgenstein soloist, Schalk conducting); Vier sinfonische Zwischenspiele aus Intermezzo (BBC, London, May 24, 1931); München, “ein Gelegenheitswalzer” (for the film München, 1939; Munich, May 24, 1939; rev. 1945 as München, “ein Gedächtniswalzer”; Vienna, March 31, 1951); Festmusik zur Feier des 2600jährigen Bestehens des Kaiserreichs Japan, op.84 (Tokyo, Dec. 7, 1940); Divertimento, Klavierstücke von Couperin for Small Orch., op.86 (1940–41; Vienna, Jan. 31, 1943, Krauss conducting); Horn Concerto No. 2 in E-flat major (1942; Salzburg, Aug. 11, 1943, Gottfried Freiberg soloist, Böhm conducting); Festmusik der Stadt Wien for Brass and Timpani (1943; second version as Fanfare der Stadt Wien, Vienna, April 9, 1943, composer conducting); Sonatina No. 1 in F major, “Aus der Werkstatt eines Invaliden,” for 16 Wind Instruments (1943; Dresden, June 18, 1944, Karl Elmendorff conducting); Erste Walzerfolge aus Der Rosenkavalier (1944; London, Aug. 4, 1946, Erich Leinsdorf conducting); Metamorphosen for 23 Solo Strings (1945; Zürich, Jan. 25, 1946, Paul Sacher conducting); Sonatina No. 2 in E-flat major, “Fröhlische Werkstatt,” for 16 Wind Instruments (1944–45; Winterthur, March 25, 1946, Hermann Scherchen conducting); Oboe Concerto in D major (1945–46; Zürich, Feb. 26, 1946, Marcel Saillet soloist, Volkmar Andreae conducting); Symphonische Fantasie aus Die Frau ohne Schatten (1946; Vienna, June 26, 1947, Böhm conducting); Duett-Concertino for Clarinet, Bassoon, Strings, and Harp (1947; Radio Svizzera Italiana, Lugano, April 4, 1948); Symphonisches Fragment aus Josephslegende (1948; San Antonio, Feb. 26, 1949, Max Reiter conducting). CHAMBER : String Quartet in A major, op.2 (1880; Munich, March 14, 1881); Cello Sonata in F major, op.6 (1880–83; Nuremberg, Dec. 8, 1883); Piano Quartet in C minor, op.13 (1883–84; Weimar, Dec. 8, 1885); Violin Sonata in E-flat major, op.18 (1887; Munich, Oct. 3, 1888); Allegretto in E major for Violin and Piano (1948). piano : 5 Klavierstücke, op.3 (1880–81); Sonata in B minor, op.5 (1880–81); 5 Stimmungsbilder, op.9 (1882–84). VOCAL: choral: Chorus for Elektra of Sophocles (1881); Wanderers Sturmlied for Chorus and Orch., op.14 (1884; Cologne, March 8, 1887, composer conducting); Taillefer for Soprano, Tenor, Baritone, Chorus, and Orch., op.52 (Heidelberg, Oct. 26, 1903, composer conducting); Bardengesang for Men’s Chorus and Orch., op.55 (1905; Dresden, Feb. 6, 1906); Deutsche Motette for Soprano, Alto, Tenor, Bass, and Chorus, op.62 (Berlin, Dec. 2, 1913); Die Tageszeiten for Men’s Chorus and Orch., op.76 (Vienna, July 21, 1928); Olympische Hymne for Chorus and Orch. (1934; Berlin, Aug. 1, 1936, composer conducting); Die Göttin im Putzzimmer for Chorus (1935; Vienna, March 2, 1952, Krauss conducting); An dem Baum Daphne, epilogue to Daphne, for Chorus (1943; Vienna, Jan. 5, 1947, Felix Prohaska conducting). songs (source of text precedes date of composition): Weihnachtslied (C. Schubart; 1870); Einkehr (Uhland; 1871); Winterreise (Uhland; 1871); Waldkonzert (J. Vogel; 1871?); Der böhmische Musikant (O. Pletzsch; 1871?); Herz, mein Herz (E. Geibel; 1871); Der müde Wanderer (A. Hoffman von Fallersleben; 1873?); Husarenlied (von Fallersleben; 1873?); Der Fischer (Goethe; 1877); Die Drossel (Uhland; 1877); Lass ruhn die Toten (A. von Chamisso; 1877); Lust und Qual (Goethe; 1877); Spielmann und Zither (T. Körner; 1878); Wiegenlied (von Fallersleben; 1878); Abend- und Morgenrot (von Fallersleben; 1878); Im Walde (Geibel; 1878); Der Spielmann und sein Kind (von Fallersleben; 1878; orchestrated); Nebel (Lenau; 1878?); Soldatenlied (von Fallersleben; 1878?); Ein Röslein zog ich mir im Garten (von Fallersleben; 1878?); Waidegesang (Geibel; 1879); In Vaters Garten heimlich steht ein Blümchen (Heine; 1879); Die erwachte Rose (F. von Sallet; 1880); Begegnung (O. Gruppe; 1880); John Anderson, mein Lieb (Burns; F. Freiligrath, tr.; 1880); Rote Rosen (K. Stieler; 1883); Acht Lieder aus Letzte Blätter, op.10 (H. von Gilm; 1885): Zueignung (orchestrated, 1940), Nichts, Die Nacht, Die Georgine, Geduld, Die Verschwiegenen, Die Zeitlose, and Allerseelen; Wer hat’s gethan? (Gilm; 1885); Fünf Lieder, op.15 (1884–86): Madrigal (Michelangelo), Winternacht (Schack), Lob des Leidens (Schack), Aus den Liedern der Trauer (Dem Herzen ähnlich) (Schack), and Heimkehr (Schack); Sechs Lieder, op.17 (Schack; 1885–87): Seitdem dein Aug’ in meines schaute, Ständchen, Das Geheimnis, Aus den Liedern der Trauer (Von dunklem Schleier umsponnen), Nur Muthl, and Barkarole; Sechs Lieder aus Lotusblättern, op.19 (Schack; 1885–88): Wozu noch, Mädchen, soll es frommen, Breit über mein Haupt dein schwarzes Haar, Schön sind, doch kalt die Himmelssterne, Wie sollten wir geheim sie halten, Hoffen und wieder versagen, and Mein Herz ist stumm, mein Herz ist kalt; Schlichte Weisen, op.21 (F. Dahn; 1887–88): All’ mein Gedanken, mein Herz und mein Sinn, Du meines Herzens Krönelein, Ach Lieb, ich muss nun scheiden, Ach weh, mir unglückhaften Mann, and Die Frauen sind oft fromm und still; Mädchen-blumen, op.22 (Dahn): Kornblumen (1888), Mohnblumen (1888), Efeu (1886–88), and Wasserrose (1886–88); Zwei Lieder, op.26 (Lenau; 1891): Frühlingsgedränge and O wärst du mein; Vier Lieder, op.27 (1894): Ruhe, meine Seele (K. Henckell; orchestrated, 1948), Cäcilie (Hart; orchestrated, 1897), Heimliche Aufforderung (J. Mackay), and Morgen (Mackay; orchestrated, 1897); Drei Lieder, op.29 (Bierbaum; 1895): Traum durch die Dämmerung, Schlagende Herzen, and Nachtgang; Wir beide wollen springen (Bierbaum; 1896); Drei Lieder, op.31: Blauer Sommer (Busse; 1896), Wenn (Busse; 1895), and Weisser Jasmin (Busse; 1895); added song, Stiller Gang (Dehmel; 1895); Fünf Lieder, op.32 (1896): Ich trage meine Minne (Henckell), Sehnsucht (Lilien-cron), Liebeshymnus (Henckell; orchestrated, 1897), O süsser Mai (Henckell), and Himmelsboten (Des Knaben Wunderhorn); Vier Gesänge, op.33, for Voice and Orch.: Verfuhrung (Mackay; 1896), Gesang der Apollopriesterin (E. von und zu Bodman; 1896), Hymnus (1896), and Pilgers Morgenlied (Goethe; 1897); Vier Lieder, op.36: Das Rosenband (Klopstock; orchestrated, 1897), Für fünfzehn Pfennige (Des Knaben Wunderhorn; 1897), Hat gesagt—bleibt’s nicht dabei (Des Knaben Wunderhorn; 1898), and Anbetung (Rückert; 1898); Sechs Lieder, op.37: Glückes genug (Liliencron; 1898), Ich liebe dich (Liliencron; 1898; orchestrated, 1943), Meinem Kinde (Falke; 1897; orchestrated, 1897), Mein Auge (Dehmel; 1898; orchestrated, 1933), Herr Lenz (Bodman; 1896), and Hochzeitlich Lied (A. Lindner; 1898); Fünf Lieder, op.39 (1898): Leises Lied (Dehmel), Junghexenlied (Bierbaum), Der Arbeitsmann (Dehmel), Befreit (Dehmel; orchestrated, 1933), and Lied an meinen Sohn (Dehmel); Fünf Lieder, op.41 (1899): Wiegenlied (Dehmel; orchestrated, 1916), In der Campagna (Mackay), Am Ufer (Dehmel), Bruder Liederlich (Liliencron), and Leise Lieder (Morgenstern); Drei Lieder, op.43 (1899): An Sie (Klopstock), Muttertändelei (G. Bürger; orchestrated, 1900), and Die Ulme zu Hirsau (Uhland); Zwei grössere Gesänge, op.44, for Voice and Orch. (1899): Notturno (Dehmel) and Nächtlicher Gang (Rückert); Weihnachtsgefühl (Greif; 1899); Fünf Lieder, op.46 (Rückert): Ein Obdach gegen Sturm und Regen (1900), Gestern war ich Atlas (1899), Die sieben Siegel (1899), Morgenrot (1900), and Ich sehe wie in einem Spiegel (1900); Fünf Lieder, op.47 (Uhland; 1900): Auf ein Kind, Des Dichters Abendgang (orchestrated, 1918), Rückleben, Einkehr, and Von den sieben Zechbrüdern; Fünf Lieder, op.48 (1900): Freundliche Vision (Bierbaum; orchestrated, 1918), Ich schwebe (Henckell), Kling! (Henckell), Winterweihe (Henckell; orchestrated, 1918), and Winterliebe (Henckell; orchestrated, 1918); Acht Lieder, op.49: Waldseligkeit (Dehmel; 1901; orchestrated, 1918), In goldener Fülle (P. Remer; 1901), Wiegenliedchen (Dehmel; 1901), Das Lied des Steinklopfers (Henckell; 1901), Sie wissen’s nicht (O. Panizza; 1901), Junggesellenschwur (Des Knaben Wunderhorn; 1900), Wer lieben will (C. Mündel; 1901), and Ach, was Kummer, Qual und Schmerzen (Mündel; 1901); Zwei Gesänge, op.51, for Voice and Orch.: Das Thal (Uhland; 1902) and Der Einsame (Heine; 1906); Sechs Lieder, op.56: Gefunden (Goethe; 1903), Blindenklage (Henckell; 1903–06), Im Spätboot (Meyer; 1903–06), Mit deinen blauen Augen (Heine; 1903–06), Frühlingsfeier (Heine; 1903–06; orchestrated, 1933), and Die heiligen drei Könige aus Morgenland (Heine; 1903–06; orchestrated, 1906); Der Graf von Rom (no text; 1906); Krümerspiegel, op.66 (A. Kerr; 1918): Es war einmal ein Bock, Einst kam der Bock als Bote, Es liebte einst ein Hase, Drei Masken sah ich am Himmel stehn, Hast due ein Tongedicht vollbracht, O lieber Künstler sei ermahnt, Unser Feind ist, grosser Gott, Von Händlern wird die Kunst bedroht, Es war mal eine Wanze, Die Künstler sind die Schöpfer, Die Händler und die Macher, and O Schöpferschwarm, o Händlerkreis; Sechs Lieder, op.67 (1918): 1, Lieder der Ophelia (Shakespeare; K. Simrock, tr.): Wie erkenn ich mein Treulieb vor andern nun?, Guten Morgen, ’s ist Sankt Valentinstag, and Sie trugen ihn auf der Bahre bloss; 2, Aus den Büchern des Unmuts der Rendsch Nameh (Goethe): Wer wird von der Welt verlangen, Hab’ ich euch denn je geraten, and Wanderers Gemütsruhe; Sechs Lieder, op.68 (Brentano; 1918): An die Nacht, Ich wollt’ ein Strausskin binden, Säusle, liebe Myrthe, Als mir dein Lied erklang, and Amor (all 5 orchestrated, 1940); Lied der Frauen (orchestrated, 1933); Fünf kleine Lieder, op.69 (1918): Der Stern (A. von Arnim), Der Pokal (Arnim), Einerlei (Arnim), Waldesfahrt (Heine), and Schlechtes Wetter (Heine); Sinnspruch (Goethe; 1919); Drei Hymnen von Friedrich Hölderlin, op.71, for Voice and Orch. (1921): Hymne an die Liebe, Rückkehr in der Heimat, and Die Liebe; Durch allen Schall und Klang (Goethe; 1925); Gesänge des Orients, op.77 (Bethge, tr.; 1928): Ihre Augen (Hafiz), Schwung (Hafiz), Liebesgeschenke (Die chinesische Flöte), Die Allmächtige (Hafiz), Huldigung (Hafiz); and Wie etwas sei leicht (Goethe; 1930); Vom künftigen Alter, op.87 (Rückert; 1929); Erschaffen und Beleben (Goethe; 1922); Und dann nicht mehr (Rückert; 1929); Im Sonnenschein (Rückert; 1935); Zugemessne Rhythmen (Goethe; 1935); Das Bachlein, op.88 (1933; orchestrated, 1935); Blick vom oberen Belvedere (J. Weinheber; 1942); Sankt Michael (Weinheber; 1942); Xenion (Goethe; 1942); Vier letzte Lieder for Voice and Orch. (1948): Frühling (Hesse), September (Hesse), Beim Schlafengehen (Hesse), and Im Abendrot (Eichendorff) (London, May 22, 1950, Kirsten Flagstad soloist, Wilhelm Furtwängler conducting); Malven (B. Knobel; 1948; N.Y., Jan. 10, 1985). SPEAKER AND PIANO: Enoch Ar den, after Tennyson, op.38 (Munich, March 24, 1897); Das Schloss am Meer, after Uhland (Berlin, March 23, 1899). ARRANGEMENTS, ETC.: Strauss prepared a cadenza for Mozart’s C- minor Piano Concerto, K.491 (1885); arranged Gluck’s Iphigénie en Tauride (1899; Hoftheater, Weimar, June 9, 1900); made a new version of Beethoven’s Die Ruinen von Athen with Hugo von Hofmannsthal (Staatsoper, Vienna, Sept. 20, 1924, composer conducting); made a new version of Mozart’s Idomeneo with Lothar Wallerstein (1930; Staatsoper, Vienna, April 16, 1931, composer conducting).

Biblography

works, source material: There is no complete ed. of Strauss’s works. A critical edition of his stage works was publ. in 18 vols, in 1996 and of his orchestral works in 12 vols. in 1999 by the Verlag Dr. Richard Strauss of Vienna and C.F. Peters Musikverlag of Frankfurt am Main. The standard thematic catalog was prepared by E.H. Mueller von Asow, R. S.: Thematisches Verzeichnis (3 vols., Vienna, 1954–74). See also F. Trenner, S. R.: Werkverzeichnis (Munich, 1993). Many of his writings may be found in W. Schuh, ed., R. S.: Betrachtungen und Erinnerungen (Zürich, 1949; Eng. tr., N.Y., 1953; second Ger. ed., rev., 1957). The major bibliographical source is R.-S.- Bibliographie (2 vols., Vienna; Vol. 1, 1882–1944, ed. by O. Ortner, 1964; Vol. II, 1944–1964, ed. by G. Brosche, 1973). Other sources include the following: R. Specht, R. S.: Vollständiges Verzeichnis der im Druck erschienen Werke (Vienna, 1910); J. Kapp, R. S. und die Berliner Oper (Berlin, 1934–39); E. Wachten, R. S., geboren 1864: Sein Leben in Bildern (Leipzig, 1940); R. Tenschert, Anekdoten um R. S. (Vienna, 1945); idem, R. S. und Wien: Eine Wahlverwandtschaft (Vienna, 1949); E. Roth, ed., R. S.: Bühnenwerk (Ger., Eng., and French; London, 1954); W. Schuh, Das Bühnenwerke von R. S. in den unter Mitwirkung des Komponisten geschaffenen letzten Münchner Inszenierungen (Zürich, 1954); F. Trenner, R. S.: Dokumente seines Lebens und Schaffens (Munich, 1954); R. Petzoldt, R. S.: Sein Leben in Bildern (Leipzig, 1962); F. Dostal, ed., Karl Böhm: Begegnung mit R. S. (Vienna, 1964); F. Grasberger and F. Hadamowsky, eds., R.-S.-Ausstellung zum 100. Geburtstag (Vienna, 1964); F. Hadamowsky, R. S. und Salzburg (Salzburg, 1964); W. Schuh, Ein paar Erinnerungen an R. S. (Zürich, 1964); W. Schuh and E. Roth, eds., R. S.: Complete Catalogue (London, 1964); W. Thomas, R. S. und seine Zeitgenössen (Munich, 1964); F. Grasberger, R. S.: Höhe Kunst, erfülltes Leben (Vienna, 1965); W. Deppisch, R. S. in Selbstzeugnissen und Bilddokumenten (Reinbek, 1968); F. Grasberger, R. S. und die Wiener Oper (Vienna, 1969); A. Jefferson, R. S. (London, 1975); F. Trenner, Die Skizzenbücher von R. S. aus dem R.-S.-Archiv in Garmisch (Tutzing, 1977); idem, R. S. Werkverzeichnis (Vienna, 1985). CORRESPONDENCE: F. Strauss, ed., R. S.: Briefwechsel mit Hugo von Hofmannsthal (Berlin, 1925; Eng. tr., N.Y., 1927); R. S. et Romain Rolland: Correspondance, fragments de Journal (Paris, 1951; Eng. tr., 1968); F. von Schuch, R. S., Ernst von Schuch und Dresdens Oper (Leipzig, 1952; second ed., 1953); W. Schuh, ed., R. S. und Hugo von Hofmannsthal: Briefwechsel: Gesamtausgabe (Zürich, 1952; second ed., rev., 1955; Eng. tr., 1961, as A Working Friendship: The Correspondence between R. S. and Hugo von Hofinannsthal); idem, ed., R. S.: Briefe an die Eltern 1882–1906 (Zurich, 1954); R. Tenschert, ed., R. S. und Joseph Gregor: Briefwechsel 1934–1949 (Salzburg, 1955); W. Schuh, ed., R. S., Stefan Zweig: Briefwechsel (Frankfurt am Main, 1957; Eng. tr., 1977, as A Confidential Matter: The Letters of R. S. and Stefan Zweig 1931–1935); D. Kämper, ed., R. S. und Franz Wüllner im Briefwechsel (Cologne, 1963); G. Kende and W. Schuh, eds., R. S., Clemens Krauss: Briefwechsel (Munich, 1963; second ed., 1964); A. Ott, ed., R. S. und Ludwig Thuille: Briefe der Freundschaft 1877–1907 (Munich, 1969); W. Schuh, ed., R. S.: Briefwechsel mit Willi Schuh (Zürich, 1969); G. Brosche, ed., R. S., Clemens Krauss Briefwechsel: Gesamtausgabe (Tutsing, 1997). biographical: A. Seidl and W. Klatte, R. S.: Eine Charakterskizze (Prague, 1896); G. Brecher, R. S.: Eine monographische Skizze (Leipzig, 1900); E. Urban, R. S. (Berlin, 1901); R. Batka, R. S. (Charlottenburg, 1908); E. Newman, R. S. (London, 1908); M. Steinitzer, R. S. (Berlin, 1911; final ed., enl., 1927); H. Finck, R. S.: The Man and His Works (Boston, 1917); R. Specht, R. S. und sein Werk (2 vols., Leipzig, 1921); R. Muschler, R. S. (Hildesheim, 1924); S. Kallen-berg, R. S.: Leben und Werk (Leipzig, 1926); J. Cooke, R. S.: A Short Biography (Philadelphia, 1929); W. Hutschenruyter, R. S. (The Hague, 1929); E. Gehring, ed., R. S. und seine Vaterstadt: Zum 70. Geburtstag am 11. Juni 1934 (Munich, 1934); F. Gysi, R. S. (Potsdam, 1934); W. Brandi, R. S.: Leben und Werk (Wiesbaden, 1949); E. Bücken, R. S. (Kevelaer, 1949); K. Pfister, R. S.: Weg, Gestalt, Denkmal (Vienna, 1949); C. Rostand, R. S. (Paris, 1949; second ed., 1965); O. Erhardt, R. S.: Leben, Wirken, Schaffen (Olten, 1953); E. Krause, R. S.: Gestalt und Werk (Leipzig, 1955; third ed., rev., 1963; Eng. tr., 1964); I. Fabian, R. S. (Budapest, 1962); H. Kralik, R. S.: Weltbürger der Musik (Vienna, 1963); W. Panofsky, R. S.: Partitur eines Lebens (Munich, 1965); G. Marek, R. S.: The Life of a Non-Hero (N.Y., 1967); A. Jefferson, The Life of R. S. (Newton Abbot, 1973); M. Kennedy, R. S. (London, 1976; second ed., rev., 1983; rev. and aug., 1995); W. Schuh, R. S.: Jugend und Meisterjahre: Lebenschronik 1864–98 (Zürich, 1976; Eng. tr. as R. S.: A Chronicle of the Early Years 1864–98, Cambridge, 1982); K. Wilhelm, R. S. persönlich: Eine Bildbiographie (Munich, 1984; new ed., 1999); T. Ashley, R. S. (London, 1999); M. Kennedy, R. S.: Man, Musician, Enigma (Cambridge, 1999). CRITICAL, ANALYTICAL: G. Jourissenne, R. S.: Essai critique et biographique (Brussels, 1899); E. Urban, S. contra Wagner (Berlin, 1902); O. Bie, Die moderne Musik und R. S. (Berlin, 1906); L. Gilman, S.’ Salome: A Guide to the Opera (N.Y, 1906); J. Manifarges, R. S. als Dirigent (Amsterdam, 1907); E. Schmitz, R. S. als Musikdramatiker: Eine aesthetisch-kritische Studie (Munich, 1907); E. von Ziegler, R. S. und seine dramatischen Dichtungen (Munich, 1907); P. Bekker, Das Musikdrama der Gegenwart (Stuttgart, 1909); E. Fischer-Plasser, Einführung in die Musik von R. S. und Elektra (Leipzig, 1909); G. Gräner, R. S.: Musikdramen (Berlin, 1909); F. Santoliquido, II dopo-Wagner: Claude Debussy e R. S. (Rome, 1909); O. Hübner, R. S. und das Musikdrama: Betrachtungen über den Wert oder Unwert gewisser Opernmusiken (Leipzig, 1910); E. Hutcheson, Elektra by R. S.: A Guide to the Opera with Musical Examples from the Score (N.Y., 1910); M. Steinitzer, S.iana und Anderes (Stuttgart, 1910); H. Daffner, Salome: Ihre Gestalt in Geschichte und Kunst (Munich, 1912); A. Seidl, S.iana: Aufsätze zur R.S.—Frage auf drei Jahrzehnten (Regensburg, 1913); O. Bie, Die neuere Musik bis R. S. (Leipzig, 1916); H. von Waltershausen, R. S.: Ein Versuch (Munich, 1921); R. Rosenzweig, Zur Entwicklungsgeschichte des S:’sehen Musikdramas (diss., Univ. of Vienna, 1923); W. Schrenk, R. S. und die neue Musik (Berlin, 1924); E. Blom, The Rose Cavalier (London, 1930); T. Armstrong, S.’Tone Poems (London, 1931); G. Röttger, Die Harmonik in R. S. ’ Der Rosenkavalier: Ein Beitrag zur Entwicklung der romantische Harmonik nach Richard Wagner (diss., Univ. of Munich, 1931); E. Wachten, Das psychotechnische Formproblem in den Sinfonischen Dichtungen von R.S. (mit besonderer Berücksichtigung seiner Bühnenwerk) diss., Univ. of Berlin, 1932; publ. in an abr. ed., Berlin, 1933); K.-J. Krüger, Hugo von Hofmannsthal und R. S.: Versuch einer Deutung des künstlerisschen Weges Hugo von Hofmannsthals, mit einem Anhang; erstmalige Veröffentlichung der bischer ungedruckten einzigen Vertonung eines Hofmannsthalschen Gedichtes durch R. S. (Berlin, 1935); H. Röttger, Das Formproblem bei R. S. gezeigt an der Oper Die Frau ohne Schatten, mit Einschluss von Guntram und Intermezzo (diss., Univ. of Munich, 1935; publ. in an abr. ed., Berlin, 1937); J. Gregor, R. S.: Der Meister der Oper (Munich, 1939; second ed., 1942); G. Becker, Das Problem der Oper an Hand von R. S.’ Capriccio (diss., Univ. of Jena, 1944); R. Tenschert, Dreimal sieben Variationen über das Thema R. S. (Vienna, 1944; second ed., 1945); O. Gatscha, Librettist und Komponist: Dargestellt an den Opern R. S.’ (diss., Univ. of Vienna, 1947); A. Pryce-Jones, R. S.: Der Rosenkavalier (London, 1947); W. Schuh, Über Opern von R. S. (Zürich, 1947); F. Trenner, Die Zusammenarbeit von Hugo von Hofmannsthal und R. S. (diss., Univ. of Munich, 1949); D. Lindner, R. S./Joseph Gregor: Die Liebe der Danae: Herkunft, Inhalt und Gestaltung eines Opernwerkes (Vienna, 1952); R. Schopenhauer, Die antiken Frauengestalten bei R. S. (diss., Univ. of Vienna, 1952); G. Hausswald, R. S.: Ein Betrag zur Dresdener Operngeschichte seit 1945 (Dresden, 1953); W Wendhausen, Das stilistische Verhältnis von Dichtung und Musik in der Entwicklung der musikdramatischen Werke R. S.’ (diss., Univ. of Hamburg, 1954); G. Kende, R. S. und Clemens Krauss: Eine Künstlerfreundschaft und ihre Zusammenarbeit an Capriccio (op.85): Konversationsstück für Musik (Munich, 1960); N. Del Mar, R. S.; A Critical Commentary on His Life and Works (3 vols., London, 1962, 1969, and 1972; reprint with corrections, 1978); A. Jefferson, The Operas of R. S. in Britain, 1910–1963 (London, 1963); A. Natan, R. S.: Die Opern (Basel, 1963); A. Berger, R. S. als geistige Macht: Versuch eines philosophischen Verständnisses (Gisch, 1964); L. Lehmann, Five Operas and R. S. (N.Y., 1964; publ. in London, 1964, as Singing with R. S.); W Mann, R. S.: A Critical Study of the Operas (London, 1964); K. Pörnbacher, Hugo von Hofmannsthal/R. S.: Der Rosenkavalier (Munich, 1964); W. Schuh, Hugo von Hofinannsthal und R. S.: Legende und Wirklichkeit (Munich, 1964); A. Goléa, R. S. (Paris, 1965); R. Gerlach, Tonalität und tonale Konfiguration im Oeuvre von R. S.: Analysen und Interpretationen als Beiträge zum Verständnis von tonalen Problemen und Formen in sinfonischen Werken und in der “Einleitung” und ersten Szene des Rosenkavalier (diss., Univ. of Zürich, 1966; publ. as Don Juan und Rosenkavalier, Bern, 1966); R. Schäfer, Hugo von Hofmannsthals Arabella (Bern, 1967); W. Gruhn, Die Instrumentation in den Orchesterwerken von R. S. (diss., Univ. of Mainz, 1968); W. Schuh, Der Rosenkavalier: 4 Studien (Olten, 1968); J. Knaus, Hugo von Hofinannsthal und sein Weg zur Oper Die Frau ohne Schatten (Berlin, 1971); W. Schuh, ed., Hugo von Hofinannsthal, R. S.: Der Rosenkavalier: Fassungen, Filmszenarium, Briefe (Frankfurt am Main, 1971); A. Abert, R. S.: Die Opern: Einführung und Analyse (Hannover, 1972); A. Jefferson, The Lieder of R. S. (London, 1972); W. Colson, Four Last Songs by R. S. (diss., Univ. of 111., 1974); D. Daviau and G. Buelow, The “Ariadne auf Naxos” of Hugo von Hofinannsthal and R. S. (Chapel Hill, 1975); B. Peterson, Ton und Wort: The Lieder of R. S. (Ann Arbor, 1979); K. Forsyth, Ariadne auf Naxos by Hugo von Hofinannsthal and R. S.: Its Genesis and Meaning (Oxford, 1982); R. Hartmann, R. S.: The Staging of His Operas and Ballets (Oxford, 1982); R. Schlötter, Musik und Theater im “Rosenkavalier” vom R. S. (Vienna, 1985); H. Wajemann, Die Chorkomposition von R. S. (Tutzing, 1986); G. Splitt, R. S. 1933–1935: Ästhetik und Musikpolitik zu Beginn der nationalsozialistischen Herrschft (Pfaffenweiler, 1987); C. Osborne, The Complete Operas of R. S. (London, 1988); E.-M. Axt, Musikalische Form als Dramaturgie: Prinzipien eines Spätstils in der Oper “Friedenstag” von R. S. und Joseph Gregor (Munich, 1989); B. Gilliam, R. S.’s Elektra (Oxford, 1991); D. Greene, Listening to S. Operas: The Audience’s Multiple Standpoints (N.Y., 1991); W. Krebs, Der Wille zum Rausch: Aspekte der musikalischen Dramaturgie von R. S.’ “Salome” (Munich, 1991); B. Gilliam, ed., R. S. and His World (Princeton, 1992); idem, ed., R. S.: New Perspectives on the Composer and His Work (Durham, N.C., 1992); B. Meier, Geschichtliche Signalmen der Musik bei Mahler, S. und Schönberg (Hamburg, 1992); A. Unger, Welt, heben und Kunst als Themen der “Zarathustra-Kompositionen” von R. S. und Gustav Mahler (Frankfurt am Main, 1992); J. Williamson, S.: Also sprach Zarathustra (Cambridge, 1993); J. Liebscher, R. S.: Also sprach Zarathustra: Tondichtung (frei nach Friedr. Nietzsche) für grosses Orchester op.30 (Munich, 1994); J. Schaarwächter, R. S. und die Sinfonie (Cologne, 1994); S. Bayerlein, Musikalische Psychologie der drei Frauengestalten in der Oper Elektra von R. S. (Tutzing, 1996); R. Bayreuther, R. S.’ Alpensinfonie: Entstehung, Analyse und Interpretation (Hildesheim, 1997); V. Beci, Der ewig Moderne: R. S. 1864–1949 (Düsseldorf, 1998).