Richard Strauss
Richard Georg Strauss was a German composer and conductor known for his tone poems and operas. A leading figure of the late Romantic and early Modern era, and a successor to Richard Wagner and Franz Liszt, he combined, along with his friend Gustav Mahler, subtleties of orchestration with an advanced harmonic style.
His compositional output began in 1870 when he 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 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, 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 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 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 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 musical positions in 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 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, was Jewish, and much of his apparent acquiescence to the Nazi Party was done to save her life and the lives of her children. 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 the Reichsmusikkammer and Bayreuth. Zweig, however, "had grown privately appalled and embarrassed by Strauss's partnership of opportunity with the Nazi regime". Strauss's 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.
Life
Early life and career (1864–1886)
Strauss was born on 11 June 1864 in Munich, the son of Josephine 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.A child prodigy in composition, Strauss began his musical studies at 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, 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 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 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 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 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. 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 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 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 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 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 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 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' during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13, Wandrers Sturmlied and Burleske."
Success in conducting and tone poems (1885–1898)
In 1885, Strauss met 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 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.In 1886, after leaving his post in Meiningen, 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 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. 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 met 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 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, 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 found much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In Leipzig he met and befriended the composer Gustav Mahler in 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 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 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 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, 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 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, Also sprach Zarathustra, Don Quixote, and Ein Heldenleben. He also served as principal conductor of 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 built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death.