On Problems of Communication in Richard Strauss’s Salome (Womenws Power in Culture)

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Amazon Inspire Digital Educational Resources. Amazon Rapids Fun stories for kids on the go. Amazon Restaurants Food delivery from local restaurants. ComiXology Thousands of Digital Comics. 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 [9] as Strauss's first piece to show his mature personality, the tone poem Don Juan , which displays a new kind of virtuosity in its bravura orchestral manner.

Strauss went on to write a series of increasingly ambitious tone poems: One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra. James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between and It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first.

Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists— Horn Concerto No. Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram and Feuersnot , were controversial works: Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics.

In , Strauss produced Salome , a somewhat dissonant modernist opera based on the play by Oscar Wilde , which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Maurice Ravel said that Salome was "stupendous", [13] and Gustav Mahler described it as "a live volcano, a subterranean fire".

As with the later Elektra , Salome features an incredibly taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra , which took his use of dissonance even further, in particular with the Elektra chord.

Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: This resulted in operas such as Der Rosenkavalier having great public success.

Strauss continued to produce operas at regular intervals until For Intermezzo Strauss provided his own libretto.

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Strauss's final opera, Capriccio , had a libretto by Clemens Krauss , although the genesis for it came from Stefan Zweig and Joseph Gregor. Strauss was a prolific composer of Lieder. He often composed them with the voice of his wife in mind. His Lieder were written for voice and piano, and he orchestrated several of them after the fact. In —, around the age of 30, he published several well-known songs including " Ruhe, meine Seele! In , after a long hiatus devoted to opera, he wrote Sechs Lieder , Op.

He completed his works in the genre in with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. 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' work since viewing Salome in —would promote German art and culture.

Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, [18] in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary:.

Nevertheless, because of Strauss's international eminence, in November 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 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. Strauss privately scorned Goebbels and called him "a pipsqueak". 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 , Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich.

This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in Strauss's seeming relationship with the Nazis in the s attracted criticism from some noted musicians, including Arturo Toscanini , who in had said, "To Strauss 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.

Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. In , when the entire nation was preparing for war, Strauss created 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 the outbreak of war in When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in , Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen , to secure her safety.

He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann.

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In the end, Neumann and 25 other relatives were murdered in the camps. In , Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach , the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early , while Strauss was away, Alice and his son Franz were abducted by the Gestapo and imprisoned for two nights.

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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 the composition of Metamorphosen , a work for 23 solo strings, in 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.

Conceived and written during 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:. In April , Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.

Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year.

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The metaphor " Indian Summer " is often used by journalists, biographers, and music critics to describe Strauss's late creative upsurge from to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The Four Last Songs , composed shortly before Strauss's death, deal with the subject of dying. Soon after the Munich celebrations of the composer's 85th birthday, Strauss began to suffer from heart failure. Georg Solti , who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial.

Strauss's late works, modelled on "the divine Mozart at the end of a life full of thankfulness," [37] are widely considered by music critics as the greatest works by any octogenarian composer. Strauss himself declared in with characteristic self-deprecation: Until the s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, [39] albeit one who still utilized and sometimes revered tonality and lush orchestration.

I had no idea music could do the things he was doing with harmony and melody. Strauss's music had a considerable influence on composers at the start of the 20th century. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South Alassio and other works [44] to Benjamin Britten in his opera writing.

Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character Don Juan, Till Eulenspiegel, the Hero and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post late romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film".

As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars.