Zugl.: Würzburg, Univ., Diss., 2004

No description available.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura / Proyecto Fondecyt de iniciación N°11140911

This thesis discusses the lieder of Richard Strauss including a comparison between Richard Strauss and Johannes Brahms.

It can be said that Strauss not only brought the valved trumpet to prominence but revived somewhat the use of the trumpet as a solo instrument to the importance it had attained during the baroque period. From the time of these works to the present there have been many improvements in the instruments themselves and the players have become more proficient. At the time these works were written and first performed the trumpets were not yet perfected. They were difficult to play and the intonation of the instrument was very poor. With the improvements in the instruments and the works of Strauss to show what could be done by the trumpet, composers started using the instrument in more important passages. In the compositions for orchestra written in the twentieth century up until the present time it is not uncommon to find the trumpet used extensively as a solo instrument. Some of the more prominent compositions employing the trumpet in this manner are: Concerto for Piano and Orchestra by Dimitri Shostakovich, The Quiet C by Aaron Copland, L'Histoire du Soldat by Igor Stravinsky, Concerto No. 2 for Piano and Orchestra by Maurice Ravel. In fact, in most of the larger orchestral works written in this century it is common for the trumpet to be used much in the same manner as Strauss used the instrument in the three symphonic poems cited. It can be stated, therefore, that Richard Strauss, although he did nothing really new or revolutionary so far as the instrument is concerned, started a trend in the use of the trumpet that was to be developed much more by the composers to follow. The trumpet today is secondary in importance to no other wind instrument in the orchestra.

Diss.--Graz--Karl-Franzens-Univ., 2003. / Bibliogr. p. 399-408.

Thesis (Ph.D.)--Tampereen yliopisto, 2004. / Includes bibliographical references (p. 253-263) and discography (p. 251-252). Also available online.

The purpose of this document is to examine Richard Strauss's 1918 song cycle Der Krämerspiegel in order to discern compositional intent and to address problems performers may face in communicating the work to a contemporary audience. Examining the existing literature, it is never clearly stated why Strauss composed such an anomalous song cycle that defied aesthetic and generic norms of the day. The premise taken in this study is that Strauss, who was litigiously forced to write the work in order to fulfill a contract with the publisher Bote & Bock, composed certain difficulties into the cycle to make it less marketable and thus less profitable for the firm. Furthermore, he commissioned a text that lampooned the publishing industry in general and certain firms and individuals in particular. Following a brief history of Strauss's involvement with the publishing industry, general considerations for interpretation are examined. The individual songs are then explored, keeping in mind the text's word play and parody, Strauss's use of self-quotation, and the challenges performers and audiences face when confronting Krämerspiegel. Finally, the individual songs are explored, and suggestions for preparation and performance of Krämerspiegel are given suggesting a more operatic understanding of the piece, especially given the cycle's relationship to Strauss's opera Der Rosenkavalier.

Der Komponist und Dirigent Richard Strauss gehört zum Kreis der Künstler, die an der Grenze vom 19. zum 20. Jahrhundert die Aufmerksamkeit der musikalischen Gesellschaft der ganzen Welt geweckt haben. Die ersten Konzerte von Richard Strauss fanden 1896 in Moskau statt. Gegenstand dieser Untersuchung sind die Gastspiele von Richard Strauss in St. Petersburg, die im Jahre 1913 stattgefunden haben.

La presente investigación se centra en el segundo ciclo de poemas de Richard Strauss (comprendido entre los años 1895-1915) pero particularmente en la Alpensinfonie (Op. 64), obra con la cual, Strauss cierra su faceta en este género. Si bien hoy en día la obra de Strauss está siendo más estudiada, es poco lo que se ha visto sobre los poemas de tono y, aún menos, lo que se ha estudiado sobre este último poema, muy probablemente, por sus implicancias filosóficas, las cuales, demandan de un estudio holístico de la obra y crecimiento intelectual del compositor. La relevancia del estudio de esta obra se funda no sólo en el hecho de que con ella se explora una dimensión poco estudiada sobre la tradición programática del romanticismo tardío o sobre el legado estético y espiritual de Richard Strauss sino porque también, con ello, se ahonda en los límites interdisciplinarios de la propia musicología. El objetivo central de esta investigación es, por lo tanto, el identificar en qué sentido la Alpensinfonie representó un hito en la maduración de la visión estética y ética de Richard Strauss. Asimismo, cabe decir que la tarea de presentar una interpretación de esta obra implica la comprensión de su funcionamiento musical y de su representación extramusical. Para ello, estoy tomando como base la concepción de los leitmotifs como unidades semióticas, con las cuales, se construye un discurso estructurado pero también una narración que va a intentar dialogar con las formas musicales tradicionales. De esta manera, el recorrido que propongo se estructura en tres partes. En la primera abordaré los años de aprendizaje de Strauss hasta antes de la composición de su segundo ciclo de poemas. Aquí abordaré las decisivas influencias de Franz Strauss (padre), de sus amigos y mentores Hans von Bülow y Alexander Ritter y de importantes teóricos y pensadores como lo fueron Richard Wagner y Friedrich Nietzsche. En la segunda parte me enfoco en los primeros cinco poemas de tono del segundo ciclo, a través de los cuales, Strauss expresa una crisis artística y profesional. Finalmente, me dedico al estudio de los bocetos (recopilados y ordenados por Rainer Bayreuther) y al análisis narrativo de la versión final de la Alpensinfonie, con lo cual, podré dar cuenta de cuál es el vínculo que esta obra tiene con sus predecesoras y con el compositor mismo / The following research focuses on the second cycle of tone poems by Richard Strauss (located between the years 1895-1915) but particularly on the Alpensinfonie (Op. 64), an oeuvre that closes Strauss’s facet in this genre. Although nowadays his work is being more studied, little has been seen about the tone poems–and even less about the last one–, likely, due to its philosophical implications, which demand an holistic study of the composer’s intellectual growth and work. The relevance of this research comes not only from the fact that it explores a little-studied dimension of the late Romanticism’s programmatic tradition or the aesthetic and spiritual legacy of Ricard Strauss but also from the fact that, with it, I try to delve into the interdisciplinary boundaries of musicology itself. The main objective of this research is, therefore, to identify in what sense the Alpensinfonie represented a milestone in the maturation of Strauss’s aesthetic and ethical vision. Likewise, it can be said that the task of presenting an interpretation of the Alpensinfonie implies the comprehension of its musical functioning and its extra-musical representation. To do this, I am taking the conception of leitmotivs as semiotic units as a basis that allow discourses to be structured and narratives to dialogue with traditional musical forms. In this manner, the route that I propose is structured in three parts. In the first one I will address Strauss’s apprenticeship years up to the beginning of the composition of the second cycle of tone poems. Here I will talk about the decisive influences of Franz Strauss Sr., his friends and mentors Hans von Bülow and Alexander Ritter and the guidance of important theorists and thinkers such as Richard Wagner and Friedrich Nietzsche. In the second part, I will focus on the first five tone poems of the second cycle, through which Strauss expresses his own artistic and professional crisis. Finally, I dedicate myself to the study of the sketches (compiled and arranged by Rainer Bayreuther) and to the narrative analysis of the final version of the Alpensinfonie. All of this will allow me to account for the link that this oeuvre has with its predecessors and with the composer himself