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98-579: Richard Georg Strauss ( German: [ˈʁɪçaʁt ˈʃtʁaʊs] ; 11 June 1864 – 8 September 1949) was a German composer and conductor best known for his tone poems and operas . 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

196-598: A denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele! , a song that he had originally composed in 1894. In December 1948, Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August, he suffered

294-594: A celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera . In 1920 he co-founded the Salzburg Festival with Max Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been

392-419: A composer and violinist who had married Richard Wagner 's niece and himself had written six symphonic poems similar to those of Franz Liszt . Strauss may have already been turning away from the conservative style of music, influenced by the music of Johannes Brahms , that he had been writing up to that point. Nevertheless, through Ritter he became acquainted with Liszt's symphonic poems. He soon started voicing

490-494: A concert of lieder with his wife. During this trip he was working intensively on composing his third opera, Salome , based on Oscar Wilde 's 1891 play Salome . The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome , Strauss had a string of critically successful operas which he created with

588-706: A concert pianist, performing Mozart's Piano Concerto No. 24 , for which he composed his own cadenzas . In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms 's Symphony No. 4 , which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on

686-602: A conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including

784-464: A crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1 , is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser . In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of

882-584: A heart attack and he quietly died of kidney failure in his sleep shortly after 2 PM on 8 September 1949, in Garmisch-Partenkirchen , West Germany . From his death-bed, typical of his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung ". Georg Solti , who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during

980-546: A new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate

1078-454: A new level of complexity, taking realism in orchestral depiction to unprecedented lengths, widening the expressive functions of program music as well as extending its boundaries. Because of his virtuoso use of orchestration, the descriptive power and vividness of these works is extremely marked. He usually employs a large orchestra, often with extra instruments, and he often uses instrumental effects for sharp characterization, such as portraying

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1176-589: A period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer , the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept

1274-489: A piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich , where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow , who had been enormously impressed by

1372-599: A prominent, freestanding monumental building in a city." Originally called the Königliche Oper ('Royal Opera'), the company was renamed the Preußische Staatsoper ('Prussian State Opera') in 1919. After World War II it began operating as the national opera company for Communist East Germany , taking the name Deutsche Staatsoper ('German State Opera') in 1955. In the West and colloquially, however, people used

1470-490: A third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter , a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems . He also introduced Strauss to

1568-508: A triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his 'Brahmsschwärmerei' ('Brahms adoration') during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor , Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." In 1885 Strauss met

1666-616: A year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Strauss was born on 11 June 1864 in Munich , the son of Josephine (née Pschorr) and Franz Strauss , who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule . His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich . Strauss began his musical studies at

1764-559: Is now about 1,300. After the Berlin Wall was built in 1961, the Opera was somewhat isolated, but still maintained a comprehensive repertoire that featured the classic and romantic period together with contemporary ballet and operas. After reunification, the Linden Opera rejoined the operatic world. Important works that had already performed in the past were rediscovered and discussed anew within

1862-723: The Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 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 to 1898, after which he

1960-542: The Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal ; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor , playing

2058-558: The Berlin Philharmonic in 1894–1895. In 1897, the Strausses' only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa ( Strauss-Villa  [ de ] ) built there with the down payments from the publisher Adolph Fürstner for his opera Salome , residing there until his death. Strauss left the Bavarian State Opera in 1898 when he became principal conductor of

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2156-620: The Berliner Tonkünstlerverein . He also served as editor of the book series Die Musik . He used all of these posts to champion contemporary German composers like Mahler . His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At

2254-558: The Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio . His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns,

2352-483: The Four Last Songs , which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration — meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by

2450-515: The Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Strauss completed

2548-487: The New Grove (1980), "Strauss liked to use a simple but descriptive theme—for instance the three-note motif at the opening of Also sprach Zarathustra , or striding, vigorous arpeggios to represent the manly qualities of his heroes. His love themes are honeyed and chromatic and generally richly scored, and he is often fond of the warmth and serenity of diatonic harmony as balm after torrential chromatic textures, notably at

2646-652: 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 against 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

2744-654: The Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner , Mozart , and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of

2842-694: The Theresienstadt concentration camp to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach ,

2940-487: The " Staatskapellmeister ". The second rebuilding took a long time. From 1945, the opera company performed at the Admiralspalast . From 1949, the company served as the state opera of East Germany . It moved back to its original home after the rebuilding in freely adapted baroque forms was finally completed in 1955. The newly rebuilt opera house was opened, again, with Wagner's Die Meistersinger von Nürnberg . The capacity

3038-477: The 1990s, the opera was officially renamed Staatsoper Unter den Linden . In 1992, the Argentine -Israeli conductor Daniel Barenboim was appointed Generalmusikdirektor (GMD). In 2000, the orchestra, according to its official website, elected Barenboim "conductor for life." During the 2002 Festtage , he led a Wagner cycle in ten parts, a production created in collaboration with director Harry Kupfer . In 2009,

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3136-500: The Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi,

3234-658: The Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of

3332-603: The Berlin State Opera was closed for renovation work led by German architect HG Merz . The roof of the opera building was raised and the proscenium prolonged to improve the acoustics. Other renovation and extension efforts included the director's building, the below-ground connection building and the depot building. The latter houses the new rehearsal center. The house was reopened in 2017 with premieres of Humperdinck's Hänsel und Gretel and Monteverdi's L'incoronazione di Poppea on one weekend. The opera house also hosts

3430-654: The Court Opera ( Hofoper ) was inaugurated with a performance of Carl Heinrich Graun's Cesare e Cleopatra on 7 December 1742. This event marked the beginning of the successful, 250-year co-operation between the Staatsoper and the Staatskapelle Berlin , the state orchestra, whose roots trace back to the 16th century. In 1821, the Berlin Opera—hosted at the Schauspielhaus Berlin —gave the premiere of Weber's Der Freischütz . In 1842, Wilhelm Taubert instituted

3528-734: The Montreux Palace hotel in Montreux. There they met the Swiss music critic Willy Schuh , who became Strauss's biographer. Short of money, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC . The trip was a critical success and provided him and his wife with some much-needed money. From May to September 1948, just before his death, Strauss composed

3626-583: The Nazi Party was done to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post 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

3724-479: The Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau , with his Jewish friend and librettist Stefan Zweig . When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending

3822-513: 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,

3920-406: The Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into

4018-804: 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 enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He

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4116-503: The age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. Soon after, he began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter ,

4214-601: The autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna , in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich ), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in

4312-423: The autumn of 1889. During the summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she

4410-531: The blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, American soldiers occupying Germany at

4508-529: The bleating of sheep with cuivré brass as well as fluttertongued reeds in Don Quixote . Strauss's handling of form is also worth noting, both in his use of thematic transformation and his handling of multiple themes in intricate counterpoint . His use of variation form in Don Quixote is handled exceptionally well, as is his use of rondo form in Till Eulenspiegel . As Hugh MacDonald points out in

4606-410: The boys or their mother being sent to concentration camps . Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor , a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne , but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation

4704-542: The collapse of the German Empire in 1918, the Opera was renamed Staatsoper Unter den Linden and the Königliche Kapelle became Kapelle der Staatsoper . In the 1920s, Kurt Adler , Wilhelm Furtwängler , Erich Kleiber , Otto Klemperer , Alexander von Zemlinsky , Bruno Walter occupied the conductor's post. In 1925, Alban Berg 's Wozzeck , was given its premiere in a production conducted by Erich Kleiber in

4802-592: 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. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style on Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on

4900-471: The composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer . Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent

4998-570: The composer – who had grown old, tired, and a little jaded – into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2 , Metamorphosen , his Oboe Concerto , his Duet concertino for clarinet and bassoon , and his Four Last Songs . In June 1945, after finishing Metamorphosen , Strauss completed his Sonatina No 2 in E-flat major (" Fröhliche Werkstatt ") for 16 wind instruments, which he had begun in early 1944; at

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5096-487: The composer's presence. After having undergone an extensive renovation, the Linden Opera reopened on 28 April 1928 with a new production of Mozart's Die Zauberflöte . The cast included Delia Reinhardt , Richard Tauber , Friedrich Schorr and Leo Schützendorf , conducted by Erich Kleiber. The same year, the famous Russian bass Feodor Chaliapin and Serge Diaghilev 's Ballets Russes with conductor Ernest Ansermet were guest performers. In 1930 Erich Kleiber conducted

5194-406: The composition of Metamorphosen , a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe , which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during

5292-406: The conductors Kurt Adler , Otto Klemperer and Fritz Busch . Clemens Krauss became a prominent German conductor first at the Berlin State Opera in 1933 and was then appointed as its director in 1935 due to Fritz Busch and Erich Kleiber resigning, respectively, their positions in protest over Nazi rule. In Nazi Germany , Robert Heger , Herbert von Karajan (1939–1945) and Johannes Schüler were

5390-477: The director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to

5488-509: The early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the Wilde Gung'l, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann and Felix Mendelssohn , true to his father's teachings. His father undoubtedly had

5586-550: The end of Don Quixote , where the solo cello has a surpassingly beautiful D major transformation of the main theme." Berlin State Opera The Staatsoper Unter den Linden ( lit. State Opera under the Lime Trees), also known as the Berlin State Opera (German: Staatsoper Berlin ), is a listed building on Unter den Linden boulevard in the historic center of Berlin , Germany. The opera house

5684-498: The end of the score he wrote "To the Manes of the divine Mozart at the end of a life full of thankfulness". Like those of most Germans, Strauss's bank accounts were frozen, and many of his assets seized by American forces. Now elderly and with very few resources left, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel outside Zurich, and later at

5782-453: The end of the war arrived at Strauss's Garmisch estate. As Strauss descended the staircase, he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome ." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie , who knew Strauss's orchestral writing for oboe thoroughly,

5880-446: The entire Ring Cycle , Die Meistersinger von Nürnberg , and Tristan und Isolde . The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde . In 1882 he went to

5978-422: The essays of Wagner and the writings of Arthur Schopenhauer . 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 as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays

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6076-580: The framework of a "Berlin Dramaturgy". Baroque Opera in particular was at the center of attention, with Graun's Cleopatra e Cesare , Keiser's Croesus , Florian Leopold Gassmann 's L'opera seria and Scarlatti's Griselda . These works were performed by Belgian conductor René Jacobs together with the Akademie für Alte Musik Berlin and the Freiburger Barockorchester on period instruments . In

6174-569: The glories of the post-Wagnerian symphony orchestra." Tone poems (Strauss) Note that Macbeth was actually written before Don Juan and Death & Transfiguration , but premiered after both of them. After leaving the University of Munich in 1883, Strauss left for Dresden, then Berlin, where he heard Hans von Bülow as pianist and conductor with the Meiningen orchestra . Bülow performed Strauss's Serenade and commissioned another work from

6272-633: The latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony Orchestra . He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed

6370-452: The librettist and poet Hugo von Hofmannsthal . These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as

6468-514: The music of banned composers such as Gustav Mahler and Claude Debussy . In 1933, Strauss wrote in his private notebook: I consider the Streicher –Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for

6566-454: The name Staatsoper Unter den Linden ('State Opera Unter den Linden ') after the boulevard on which the theatre sits. This usage became more common after the collapse of East Germany in 1990, but, contrary to the company's website, it was not officially adopted until 1995 and the old name still appeared on new recordings issued by the company as late as the following year. King Frederick II of Prussia , shortly after his accession to

6664-603: The opera's failure showed Strauss that there was still much to master when it came to narrative in purely orchestral form. Most of the tone poems written after this hiatus are significantly longer and larger in their orchestral demands than their predecessors. By 1898, he had composed Till Eulenspiegel , Also sprach Zarathustra , Don Quixote and Ein Heldenleben . Strauss wrote on a wide range of subjects, some of which had been previously considered unsuitable to be set to music, including literature, legend, philosophy and autobiography. In doing so, he elevated orchestral technique to

6762-494: The opera, and it was halted after three performances and subsequently banned by the Third Reich . On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig

6860-451: The outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen , to secure her safety. He drove to

6958-512: The philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. At the outbreak of World War I Strauss was invited to sign the Manifesto of German artists and intellectuals supporting the German role in the conflict. Several colleagues, including Max Reinhardt , signed, but Strauss refused, and his response

7056-408: The piece which would become his first fully fledged tone poem. Eight months after completing it, he would write Don Juan . Its premiere earned Strauss a name as a modernist. As he continued to make a name for himself as both conductor and composer, Strauss continued writing tone poems steadily through the 1880s. He took a six-year break from the form while he worked on his first opera, Guntram , but

7154-616: The position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser , and under Ebert . I'll survive under this one as well." He later wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it

7252-581: The premiere of Darius Milhaud's Christophe Colomb . However, in 1934, when symphonic pieces from Alban Berg's Lulu were performed by Kleiber, the National Socialists provoked a scandal and the conductor was forced into exile. After the Machtergreifung by the Nazis , members of Jewish origin were dismissed from the ensemble. Many German musicians associated with the opera went into exile, including

7350-422: The premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske , became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the summer of 1894 Strauss made his conducting debut at

7448-421: The senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in

7546-687: The singing of the famous trio from Rosenkavalier , "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later on 13 May 1950 at the age of 88. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in

7644-1035: The slogan, "New ideas must seek new forms" as central to Liszt's symphonic works, and from this point he considered abstract sonata form to be little more than "a hollow shell." Strauss left Meiningen in 1886 for a conducting position in Munich , which allowed him regular evenings "to exchange noble ideas and to listen to the teachings of the Lisztian Ritter," who had moved to Munich in September 1886. Before taking up his post in Munich, Strauss spent several weeks touring Italy, during which he took his "first hesitant step" into writing programmatic music by composing sketches for Aus Italien . As his duties in Munich were lighter than those in Meiningen, Strauss also had increased time to think about music and aesthetics while his friendship with Ritter deepened. He became convinced that an artist's duty included creating "a new form for every new subject" and addressed this problem with Macbeth ,

7742-633: The throne, commissioned the original building on the site. Though architecturally significant as an early example of the Palladian revival in Germany, the north and west façades are direct copies of Colen Campbell 's elevations at Stourhead and Wanstead respectively. Construction work began in July 1741, with what was designed by Georg Wenzeslaus von Knobelsdorff to be the first part of a "Forum Fredericianum" on present-day Bebelplatz . Although not entirely completed,

7840-468: The tradition of regular symphonic concerts. In the same year, Giacomo Meyerbeer succeeded Gaspare Spontini as General Music Director. Felix Mendelssohn also conducted symphonic concerts for a year. On 18 August 1843 the Linden Opera was destroyed by fire. The reconstruction of the building was supervised by architect Carl Ferdinand Langhans , and the Königliches Opernhaus (Royal Opera House)

7938-581: The various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl , to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at

8036-520: The writings of Arthur Schopenhauer , Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of

8134-407: The young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as

8232-507: The young composer. This work, a Suite in B-flat, became Strauss's debut as a conductor in 1884 when Bülow informed him that he would lead the Meiningen orchestra in it without the benefit of a rehearsal. The following year, Strauss became assistant conductor of the Meiningen orchestra, attending all of Bulow's rehearsals with pencil and paper in hand. Bülow exposed Strauss to the "music of the future" through his acquaintance with Alexander Ritter ,

8330-547: 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 ,

8428-573: Was 68, Adolf Hitler and the Nazi Party rose to power . Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting . For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct

8526-407: Was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram , in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich

8624-714: Was built by order of Prussian king Frederick the Great from 1741 to 1743 according to plans by Georg Wenzeslaus von Knobelsdorff in the Palladian style . Damaged during the Allied bombing in World War II , the former Royal Prussian Opera House was rebuilt from 1951 to 1955 as part of the Forum Fridericianum square. Nicknamed Lindenoper in Berlin, it is "the world´s oldest state opera" and "the first theater anywhere to be, by itself,

8722-410: 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

8820-437: Was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto , before the end of the year. The metaphor " Indian summer " has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964, to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring

8918-702: Was inaugurated the following autumn by a performance of Meyerbeer's Ein Feldlager in Schlesien . In 1849, Otto Nicolai's Die lustigen Weiber von Windsor was premiered at the Royal Opera House, conducted by the composer. At the end of the 19th century and the beginning of the 20th century, the Royal Court Opera, Berlin, attracted many illustrious conductors. They included Felix von Weingartner , Karl Muck , Richard Strauss , Leo Blech and George Szell . After

9016-528: Was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne , which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss

9114-441: Was just six years old and lasted until his death nearly eighty years later. 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

9212-402: Was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement,

9310-479: Was preparing for war, they presented Friedenstag ( Peace Day ), a one-act opera set in a besieged fortress during the Thirty Years' War . The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven 's Fidelio . Productions of the opera ceased shortly after

9408-421: Was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 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

9506-491: Was recorded with approval by the French critic Romain Rolland in his diary for October 1914: "Declarations about war and politics are not fitting for an artist, who must give his attention to his creations and his works." In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. In March 1933, when Strauss

9604-453: Was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, " Das Bächlein " ("The Little Brook"), to Goebbels, to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against

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