Richard Strauss Symphonie domestique, Op. 53 Vidéos
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Richard Georg Strauss Richard Wagner Franz Liszt Gustav Mahler Lachmann Wilde Bülow Bayreuth Pauline Ahna Arturo Toscanini Felix Mendelssohn Zweig Meiningen Court Orchestra Bavarian State Opera Vienna State Opera Deutsches Nationaltheater Staatskapelle Weimar Bayreuth Festival Berlin State Opera Salzburg Festival 1864 1870 1883 1885 1886 1889 1894 1898 1913 1919 1920 1924 1933 1948 1949
Strauss Blue Danube Richard Georg Strauss 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886–1889. He then served as principal conductor of the Deutsches Nationaltheater and Staatskapelle Weimar from 1889–1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894–1898, after which he was principal conductor of the Berlin State Opera from 1898–1913. From 1919–1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest of the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler, and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Johann Strauss,Johann,Strauss,II,Sul,bel,Danubio,blu,valzer,On,the,Beautiful,blue,Danube,Blue Danube,Waltz,An,der,schönen,schonen,blauen,Donau,Walzer,El,Azul,Vals,Le,Beau,Bleu,Valse,Vienna,Wien,classical music,Classical,Music,Neujahrskonzert,New,Year's,Concert,Concerto,di,Capodanno,
Richard Strauss Ferdinand Leitner 1990
Symphonia Domestica, op 53 by Richard Strauss 1. Thema 2. Scherzo (munter) 3. Wiegenlied 4. Finale (sehr lebhaft) Orchestra Sinfonica di Torino della RAI Ferdinand Leitner, Conductor 17.II.1990
Richard Strauss Karajan Mendelssohn Calma Berlin Philharmonic Orchestra 1436 1715 1759 1828 1850 1903 1927 1957 1973 2005
00:00 1. Thema I, II, III 05:17 2. Scherzo 11:34 2. Wiegenlied - Interlude 17:15 3. Adagio - Langsam 30:12 4. Finale Karajan - Berlin Philharmonic Orchestra - EMI 1973 I. Introduction of the Family and development of the three chief groups of themes. The Father's themes - Fa M "Strauss" 00:00 a. Easy-going (Bewegt - emotional) ♩=104 00:07 b. Dreamy. 00:23 c. Surly - Disgruntled motive. 00:28 d. Fiery - Fire theme. F1 The Wife's themes - Si M “Pauline”: 00:49 a. Joyous - Merry Motive. (Fresh) F2 00:59 b. Vivace - Lively and gay. (Thema II - molto vivace) F3 01:02 c. Grazioso. F3 01:18 d. Sentimental Mood. F5 -6 01:26 e. Angry. F5 01:31 F5 +4 02:07 Husband: F8 (lentement) 02:45 Wife & Husband F11 The Child's Theme I "Son" - Re m “Franz” - Oboe d'amore 03:35 Tranquil – Reverie. (Thema III) calm - very tender F14 03:53 Calm. F15 04:10 A little clearer gradually more expressive. F15 +8 II. Scherzo. 05:17 Parents' happiness & Playtime 05:17 The Child at play. (Vivace) F18 +8 05:41 Mother - grazioso - Violin solo F20 05:59 Tranquillo F21 +4 06:33 Grazioso - espressivo - gradually. F24 06:45 Espressivo Violin solo F25 07:20 Center of Family life - vivace F29 07:57 Strings F31 08:08 The Child at play. un più tranquillo F31+5 08:16 Grazioso F32 08:24 (gliss) F33 08:40 Child: Sweet & Calm. F34 -13 09:09 Violin Solo (tenderly moved) F34 09:39 Something lively F35 09:53 Starting gently F36 -3 10:47 Child: Temper tantrum. F40 -6 Interlude: 11:34 F44 -2 11:41 a. Cradle song - Wiegenlied (Lento cantando) Lullaby/Bed-time / Mendelssohn "Venetian Boat Song" Op.19 No.6 from Songs Without Words. F44 13:48 The Clock strikes seven PM in the evening, the seven strokes by the Glockenspiel. F47 14:36 b. Husband: Contemplation - Strauss watching over son. (Lento, molto calmo espressivo) F49 III. Adagio (Lento espressivo) 17:15 (development of symphony) 17:15 The Night - Doing and Thinking. (Majestic) F55 17:59 Vivace and wide F56 18:28 Lento F57 18:50 Speed up F58 19:27 Love scene - The composer's own sexual relations with his wife F59 +2 19:57 Horns F60 20:05 Both wife and husband: reflect on their beautiful home & the dreams of the sleeping couple. (Poco calando, calmo, motlo espressivo) F61 -5 23:18 Sleepy theme: Succeed the dreams of the sleeping couple, or sometimes pass a thought of the sleepy child. "2 Horns". (very dear) F64 +11 23:31 Love scene: Overwhelmed with Passion, their love-making is re-energized (appassionato) F65 23:57 Espressivo F66 24:13 Molto espressivo F67 25:07 Un poco largo F71 -2 25:24 (Molto Appassionato) Strings F72 25:40 Sempre accelerando F73 25:58 A tempo accelerando F75 -1 26:17 Molto espressivo F76 26:42 Dreams and cares. Their love fulfilled. They contemplate domestic bliss. (Calando, molto tranquillo) F77 -2 27:45 First hints of day break - Wisps of the dawn. (Lento) F78 28:08 Oboe d'amore (agitato) F79 28:20 Birds stirring (Flute) F80 28:31 Violin solo F81 28:58 Strings (unexpectedly) F83 29:30 Calando F85 29:50 The Clock strikes seven AM in the morning, the seven strokes by the Glockenspiel. F85 +7 IV. Finale. 30:12 30:12 Awakening, first with cries of the child with woodwinds and trumpets. (Molto vivace) F86 -8 Merry dispute & arguments (Double Fugue on 2 Themes & 4 other Themes). 30:28 Theme I. (marcato) F87 31:11 Theme II. (very violently) F92 31:29 *Child Theme F94 31:58 Trumpet F98 -1 32:19 *Joyous & Merry Theme (Fun) F101 32:40 *Sentimental Theme (motlo espressivo) F104 32:48 Poco più vivace F105 33:22 *Dreamy Theme (Accelerando, molto vivace) F110 -4 34:02 Tranquility Restored. Fiery theme (più calmo) F114 - Violin solo. 34:22 Espressivo - Violin Solo F115 +7 35:44 Reconciliation - Popular song – Morning Hymn - Prefiguration of Rosenkavalier’s final. (Calm and simple) F119 37:38 Poco calma (Bassons) F127 38:02 Complexity of Family life, portrayed in an exchange of motives (Molto espressivo) F128 38:30 More moving F130 -2 38:47 Molto espressivo accelerando F132 -7 39:03 Più mosso F133 -8 39:10 Trumpets F133 39:49 The Glory of the Child. (Suddenly a little wider - ma sempre molto vivace) F139 40:12 F140 40:41 F142 -1 40:54 Poco ritenuto F143 -3 40:58 Joyous conclusion - Happy Ending – Rewind everyone who runs the household. (molto vivace and fun) F143 41:10 Phrase in 3 mesures F144 41:26 Phrase in 2 mesures (with great brilliance) F146 41:47 F149 42:42 Molto espressivo F155 42:58 Molto cresc F157 43:09 Wife: F159 -2 43:26 Climatic Ending: "Husband" he has the last word. (Molto vivace) F160 -4 The Figure (F) numbers used to identify sections in this outline refer to rehearsal numbers in the full orchestral score. The reference F.160 -4 or +4 indicates the 4 measure before or after rehearsal F160./ For history and details see the Pinned Comment*** Favorite Parts: 07:57 Strings 09:09 Violin Solo 19:27 Strings 19:57 Horns 20:05 27:45 34:22 Cover photo: Grosses Festspielhaus Salzburg
Richard Strauss Lorin Maazel Concertgebouw Orchestra Royal Concertgebouw Orchestra 1864 1902 1903 1949 2000
Faces of Classical Music (http•••) • Richard Strauss +••.••(...)) ♪ Symphonia Domestica, Op.53 +••.••(...)) Royal Concertgebouw Orchestra Lorin Maazel Amsterdam, Concertgebouw October 14, 2000 Radio Orpheus (HD 1080p - Audio video) Thanks to the blog PANOVNIK (panovnik.blogspot.com) • Faces of Classical Music (http•••)
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