Search results
Results From The WOW.Com Content Network
"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 ...
" Die Nacht" ("The Night") is an art song composed by Richard Strauss in 1885, setting a poem by the Austrian poet Hermann von Gilm. It was included in the first collection of songs Strauss ever published, as Op. 10 in 1885 (which also included "Zueignung"). The song is written for voice and piano.
It is the last in a collection of eight songs which were all settings of Gilm poems from the same volume entitled Acht Lieder aus Letzte Blätter (Eight Songs from Last Pages), the first collection of songs Strauss ever published as Op. 10 in 1885, also including "Zueignung" (Dedication) and "Die Nacht" (The Night).
Strauss in 1917, portrait by Emil Orlík. Strauss himself called this opera his "child of woe"; he even called it Die Frosch [This quote needs a citation] ("Frosch" means "frog" in German), that is "Die Frau ohne Schatten"). The complexity of the text and the stress of wartime made its composition a laborious task, and Strauss was also ...
Hochzeitsmusik (Wedding Music), for piano and toy instruments 85 — 211: 1879: chamber music: String Quartet in E♭ major 86 — 63: 1879: piano: Scherzo in B minor, for piano 87 — 164: 1879: Lied: Die drei Lieder, for voice and piano 88 — 64: 1879: Lied "Im Vaters Garten heimlich steht ein Blümlein", for voice and piano 89 — 165: 1880 ...
The full score of the work, Strauss's first tone poem, was completed in Munich on September 12, 1886. The work is named by the composer as "Symphonic Fantasy", and is dedicated to his mentor Hans von Bülow. It is the only work by Richard Strauss for which he himself wrote a specific program. The entire work takes over forty minutes to perform.
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 ...
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.