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In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward.
Only 88 compositions by the German composer Richard Strauss (1864–1949) have been assigned opus numbers; these numbers are shown in the table below in the column "Op."." Two volumes of a catalogue of the remaining works were published by Erich Hermann Mueller von Asow (1892–1964) in 1959
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.
The title Four Last Songs was provided posthumously by Strauss's friend Ernst Roth, who published the four songs as a single unit in 1950 after Strauss's death. Strauss died in September 1949. The premiere was given at the Royal Albert Hall in London on 22 May 1950 by soprano Kirsten Flagstad and the Philharmonia Orchestra , conducted by ...
Strauss in 1888, the year he composed Don Juan Excerpt from a 1992 recording by the Frankfurt Radio Symphony conducted by Dmitri Kitayenko. Don Juan, Op. 20, is a tone poem in E major for large orchestra written by the German composer Richard Strauss in 1888.
Die schweigsame Frau (The Silent Woman), Op. 80, is a 1935 comic opera in three acts by Richard Strauss to a libretto by Stefan Zweig after Ben Jonson's 1609 comedy Epicœne, or The Silent Woman. Composition history
Die Frau ohne Schatten (The Woman without a Shadow), Op. 65, is an opera in three acts by Richard Strauss with a libretto by his long-time collaborator, the poet Hugo von Hofmannsthal. It was written between 1911 and either 1915 or 1917.
Richard Strauss in 1888. 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 ...