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Hermann von Gilm, the author of the lyrics. 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 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.
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.
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 two stanzas are through-composed, with two slight changes to the text: Strauss added the word "hin" to the third line and changed the order of the adjectives in the last line. [13] The song is completed by a modified repeat of the last three lines, this time in Bierbaum's word order. Richard Strauss in 1886. The even time picks up the slow ...
• A Garland for Linda • A German Requiem (Brahms) • A German Requiem discography • A Handshake in the Dark • A Hero's Song • A Hundred Hardanger Tunes • A Hymn of St Columba • A Hymn to God the Father • À la musique • A la Verge Santíssima: Dues Lletretes a Una Veu • A Land of Pure Delight • A Little Suite for ...