Richard Strauss (11th June 1864 – 8th September 1949) was a German composer… Read Full Bio ↴Richard Strauss (11th June 1864 – 8th September 1949) was a German composer of the late Romantic era and early modern eras, particularly noted for his tone poems and operas which include Der Rosenkavalier and Salome; his lieder, especially his Four Last Songs; and his tone poems Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, An Alpine Symphony, and other orchestral works, such as Metamorphosen. Strauss was also a prominent conductor throughout Germany and Austria.
Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.
Strauss was born on 11 June 1864 in Munich, the son of Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death.
During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra, and he also received private instruction in music theory and orchestration from an assistant conductor there. In 1872 he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874 Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. 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 later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn.
In early 1882 in Vienna he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher and "cousin" Benno Walter as soloist. The same year he entered Munich University, 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 as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade 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 decided that Strauss should be his successor as conductor of the Meiningen orchestra when Bülow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of modern horn repertoire.
Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but the marriage, to all appearances, was essentially happy and she 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.
The Strausses had one son, Franz, in 1897. Franz married Alice von Grab, a Jewish woman, in a Catholic ceremony (despite being an agnostic) in 1924. Franz and Alice had two sons, Richard and Christian.
Before and during the 1939-45 War, he was criticised as a Nazi sympathiser, and held an official (musical) post. This claim is not entirely accurate. He lost the job when he refused to remove the name of a Jewish librettist from a programme. He was also condemned for criticisms of the Nazi party. He was thereafter denounced by the Nazi party, and he was forced to make concessions and submit to their will in order to save his family.
Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.
Strauss was born on 11 June 1864 in Munich, the son of Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death.
During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra, and he also received private instruction in music theory and orchestration from an assistant conductor there. In 1872 he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874 Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. 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 later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn.
In early 1882 in Vienna he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher and "cousin" Benno Walter as soloist. The same year he entered Munich University, 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 as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade 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 decided that Strauss should be his successor as conductor of the Meiningen orchestra when Bülow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of modern horn repertoire.
Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but the marriage, to all appearances, was essentially happy and she 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.
The Strausses had one son, Franz, in 1897. Franz married Alice von Grab, a Jewish woman, in a Catholic ceremony (despite being an agnostic) in 1924. Franz and Alice had two sons, Richard and Christian.
Before and during the 1939-45 War, he was criticised as a Nazi sympathiser, and held an official (musical) post. This claim is not entirely accurate. He lost the job when he refused to remove the name of a Jewish librettist from a programme. He was also condemned for criticisms of the Nazi party. He was thereafter denounced by the Nazi party, and he was forced to make concessions and submit to their will in order to save his family.
Don Quixote Op.35: Theme
Richard Strauss Lyrics
We have lyrics for these tracks by Richard Strauss:
4 Letzte Lieder TrV 296: No. 4. Im Abendrot Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
4 Letzte Lieder TrV 296: No. 4 Im Abendrot Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
4. Im Abendrot Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
Morgen Textdichter: John Henry Mackay (1864-1933) Sprache: deutsch …
Morgen! Textdichter: John Henry Mackay (1864-1933) Sprache: deutsch …
No. 4. Im Abendrot Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
Vier letzte Lieder AV 150: 4. Im Abendrot Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
Vier Letzte Lieder Four Last Songs: Im Abendrot Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
vier letzte lieder trv 296: 1. frühling Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
Vier letzte Lieder TrV 296: 2. September Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
Vier letzte Lieder TrV 296: 4. Im Abendrot Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
Vier Letzte Lieder Trv 296: Frühling Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
Vier letzte Lieder: "Im Abendrot" Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
Vier Letzte Lieder: Im Abendrot Wir sind durch Not und Freude Gegangen Hand in Hand Vom Wand…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@PentameronSV
Also in description:
0:22 - Introduction: "Don Quixote loses his sanity after reading novels about knights, and decides to become a knight-errant"
6:29 - Don Quixote's theme: "Don Quixote, knight of the sorrowful countenance"
7:33 - Sancho Panza's theme - Maggiore
[8:43 - Variation I: "Adventure at the Windmills" ]
[11:23 - Variation II: "The victorious struggle against the army of the great emperor Alifanfaron" ]
[13:01 - Variation III: "Dialogue between Knight and Squire" ]
[20:57 - Variation IV: "Unhappy adventure with a procession of pilgrims" ]
[22:45 - Variation V: "The knight's vigil" ]
[26:55 - Variation VI: "The Meeting with Dulcinea" ]
[28:12 - Variation VII: "The Ride through the Air" ]
[29:16 - Variations VIII: "The unhappy voyage in the enchanted boat" ]
[31:04 - Variation IX: "Battle with the magicians" ]
[32:05 - Variation X: "Duel with the knight of the bright moon" ]
36:22 - Finale: "Coming to his senses again"
@gabrielkaz5250
0:21 - Introduction: "Don Quixote loses his sanity after reading novels about knights, and decides to become a knight-errant"
(theme de la lecture, cuivres et cymbales annoncent les combats à venir, th. de la dulcinée péd. sol)
il lit tellement qu'il perd ne dort plus, ne chasse plus, perd le sens de la réalité.
6:29 - Don Quixote's theme: "Don Quixote, knight of the sorrowful countenance"
presentation thème de D Q
7:33 - Sancho Panza's theme - Maggiore
8:43 - Variation I "Adventure at the Windmills" chap 7, DQ SP partent de nuit incognito, combattent les moulins !
11:23 - Variation II: "The victorious struggle against the army of the great emperor Alifanfaron"
chap 18 L'armée est un troupeau de mouton,
13:01 - Variation III: "Dialogue between Knight and Squire"
sommet d'intensité, DQ expose sa vision d'un monde idéale, d'amour, l'amour à Dulcinée.
cf th. 1:21
20:57 - Variation IV: "Unhappy adventure with a procession of pilgrims"
22:45 - Variation V: "The knight's vigil"
chap 21 Veillée d'armes de DQ (repos), 12 epanchemts à la pensée de la lointaine dulcinée cf Ravel chanson romanesque
26:55 - Variation VI: "The Meeting with Dulcinea"
28:12 - Variation VII: "The Ride through the Air"
voyage imaginaire ds les airs, les yeux bandés, DQ PS montent un cheval de bois bourré de pétards ds le jardin de la contesse trifaldi,
l'assistance leur fait de l'air avc des gros soufflets. Ils s'imaginent atteignant les cieux, vers une zone de feu !
29:16 - Variation VIII: "The unhappy voyage in the enchanted boat"
31:04 - Variation IX: "Battle with the magicians"
32:05 - Variation X: "Duel with the knight of the bright moon"
Tragique au possible, joute grandiose, fin du rêve de DQ chap 64 livre 2, ce chevalier à la lune provoque DQ, sa femme serait plus belle
que Dulcinée ! DQ implore le ciel puis le combat commence. Rocinante ne fait pas le poids, DQ perd. DQ doit rester ds son village un an entier.
sans guerroyer. En musique : duel, le VCL a du mal à s'imposer, il est battu.
La retraite de DQ ensuite. Grande douleur, 32:491
36:22 - Finale: "Coming to his senses again"
"revenu à la sagesse, DQ vit ses derniers jours ds la contempla°"
DQ espère redevenir chevalier, mais ap. 1 an, il repasse dev. l'endroit ou il a perdu le combat, il comprend alors.
cf chap 68 livre 2, morale : il ne faut pas se laisser mourir, mais vivre ! vcl poignant, descendant.
Métaphore de l'artiste qui rêve d'un nv. monde. La var III témoigne de la générosité du chevalier.
@classicalmusicanalysis
Be sure to check the description! It may help you when listening to this amazing piece, because the two main motifs keep appearing again and again, and it's interesting to be able to recognize them. Enjoy!
@figarofeegarrooooo2782
Amazing piece, description helps thankyou!
@xcruxifiedx3477
28:12 I swear I could hear a choir, this is by far the best musical interpretation of pure imagination and the feeling of actually flying.
@tiellochridge
or maybe the horns? but yeah, there's a lot going on here so that makes sense haha
@FreakieFan
Yeah, definitely the Wind Machine. I thought the same. It sounded like a choir.
@PentameronSV
Also in description:
0:22 - Introduction: "Don Quixote loses his sanity after reading novels about knights, and decides to become a knight-errant"
6:29 - Don Quixote's theme: "Don Quixote, knight of the sorrowful countenance"
7:33 - Sancho Panza's theme - Maggiore
[8:43 - Variation I: "Adventure at the Windmills" ]
[11:23 - Variation II: "The victorious struggle against the army of the great emperor Alifanfaron" ]
[13:01 - Variation III: "Dialogue between Knight and Squire" ]
[20:57 - Variation IV: "Unhappy adventure with a procession of pilgrims" ]
[22:45 - Variation V: "The knight's vigil" ]
[26:55 - Variation VI: "The Meeting with Dulcinea" ]
[28:12 - Variation VII: "The Ride through the Air" ]
[29:16 - Variations VIII: "The unhappy voyage in the enchanted boat" ]
[31:04 - Variation IX: "Battle with the magicians" ]
[32:05 - Variation X: "Duel with the knight of the bright moon" ]
36:22 - Finale: "Coming to his senses again"
@JJ-eo9kw
Pentameron 31:04 thats very intense!
@stepheniansavage4913
The "Oh, sh..." moment at 25:01 is hilarious.
@bckm54
Many years ago I played the solo viola part, and I fell MADLY in love with this piece. Nice to see the sheet music again.
@lyricsronen
Possibly one of the most complex pieces of music ever written. This score is an absolute marvel