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"Allerseelen" ("All Souls' Day") is an art song for voice and piano composed by Richard Strauss in 1885, setting a poem by the Austrian poet Hermann von Gilm from his collection Letzte Blätter (Last Pages).
The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction.
Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded [ 34 ] as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888 ...
", Op. 27, No. 1, is the first in a set of four songs composed by Richard Strauss in 1894. It was originally for voice and piano, and not orchestrated by Strauss until 1948, after he had completed one of his Four Last Songs, "Im Abendrot ". [2] The words are from a poem "Ruhe, meine Seele!" (Rest, my soul) written by the poet Karl Henckell.
An Alpine Symphony, tone poem for orchestra 234: 65 — 1919: opera: Die Frau ohne Schatten, opera in three acts 234a — 146: 1947: orchestral: Symphonische Fantasie aus 'Die Frau ohne Schatten' 235: 68 — 1918: Lieder: Six songs (after poems of Clemens Brentano) for voice and piano, orchestrated 1940
The German composer Richard Strauss (1864–1949) was prolific and long-lived, writing 16 operas from 1892 up until his death in 1949. Strauss "emerged soon after the deaths of Wagner and Brahms as the most important living German composer", [1] and was crucial in inaugurating the musical style of Modernism.
Allerseelen (band) "Allerseelen " (Strauss), an 1885 art song; All Souls, 1919; See also. All Souls (disambiguation) This page was last edited on 20 ...
Strauss had also recently been given a copy of the complete poems of Hermann Hesse and was strongly inspired by them. He set three of them – "Frühling", "September", and "Beim Schlafengehen" – for soprano and orchestra, and contemplated setting two more, "Nacht" (Night) and "Höhe des Sommers" (Height of Summer), in the same manner.