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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).
The following other wikis use this file: Usage on af.wikipedia.org Johann Strauss I; Usage on de.wikipedia.org Johann Strauss (Vater) Usage on es.wikipedia.org
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.
Print/export Download as PDF; Printable version; In other projects ... Allerseelen (band) "Allerseelen " (Strauss), an 1885 art song; All Souls, 1919;
Hermann von Gilm zu Rosenegg. Hermann von Gilm, officially Hermann Gilm von Rosenegg (1 November 1812 – 31 May 1864) was an Austrian lawyer and poet.. Born in Innsbruck, he studied law there.
"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 ...
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]