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In 1882, Strauss' friend, Ludwig Thuile, introduced Strauss to the poetry of Gilm contained in the volume Letzte Blätter (Last Pages), published in the year of the poet's death, (and the composer's birth), 1864, which contained the poem, Allerseelen. [2] The Opus 10 songs were all intended for the tenor voice and were dedicated to the ...
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.
", 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.
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"Zueignung" was the first of eight songs by Strauss published as Op. 10, [4] which were all settings of Gilm's poems. In 1885, they were the first songs Strauss ever published. [ 4 ] The song was given its first public performance at Meiningen in a chamber concert on 5 March 1886 (along with three other Opus 10 songs "Nichts", " Allerseelen ...
10 — 193: 1871: Lied "Gute Nacht" (Schon fängt es an zu dämmern), for voice and piano 11 — 10: 1872: piano: Panzenburg-Polka, for piano 12 — 11: 1872: piano: Langsamer Satz in G major, for piano 13 — 151: 1872: Lied "Des Alpenhirten Abschied" (Ihr Matten lebt wohl!), for voice and piano 14 — 152: 1872: piano: Polka, Walzer und ...
It was well received by audiences and Strauss's reputation was enhanced more by it than by his symphonic poems. [4] The following year Strauss capitalised on its success by writing Das Schloss am Meere (The Castle by the Sea) to words by Ludwig Uhland. [5] The work has been described as falling within the genre of incidental music. It consists ...
Strauss set eleven poems by the German poet Richard Dehmel between 1895 and 1901. Dehmel was a controversial figure in the Germany of Kaiser Wilhelm II, a socialist who had been convicted for blasphemy in Berlin during 1897. [1] He was the same age as Strauss, and "Dehmel worked squarely within the aesthetic territory occupied by Strauss". [2]