STRAUSS: Symphonia Domestica 8.571216

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Richard Strauss’s orchestral music includes several works with autobiographical significance, including Ein Heldenleben (Naxos 8.554417). Scored for large symphony orchestra, the Symphonia domestica depicts the joys and worries of married life with Strauss, his wife, child and other family members deftly portrayed in a variety of situations, including a ‘cheerful quarrel’ in which the father has the last word! NAXOS NAXOS Richard Strauss’s orchestral music includes several works with autobiographical significance, including Ein Heldenleben (Naxos 8.554417). Scored for large symphony orchestra, the Symphonia domestica depicts the joys and worries of married life with Strauss, his wife, child and other family members deftly portrayed in a variety of situations, including a ‘cheerful quarrel’ in which the father has the last word! The DDD Symphonic Fragment from the opera Die Liebe der Danae, based on mythic themes, was arranged by one of Strauss’s great champions, conductor Clemens Krauss. 8.571216 Playing Time R. STRAUSS: Richard 60:09 R. STRAUSS: 7 STRAUSS 47313 12167 (1864-1949) Symphonia domestica Symphonia domestica Symphonia domestica, Die Liebe der Danae – Opera, Op. 83, TrV 278: Symphonia domestica Op. 53, TrV 209 48:04 6 1 Bewegt – 5:41 Symphonic Fragment 12:05 2 Scherzo – 7:08 (arr. Clemens Krauss) 0 3 www.naxos.com Made in the USA Booklet notes in English Naxos Rights International Ltd. ℗ Wiegenlied – 5:59 4 Adagio – 13:17 1987, 1989, 1992, 1993 5 Finale 15:59 Seattle Symphony • Gerard Schwarz Recorded on 14 & 15 November 1988 (Symphonia domestica); (Die Liebe der Danae: recording date unknown) at the Seattle Center Opera House, USA Executive Producer: Amelia S. Haygood • Recording Producers: Adam Stern and Bejun Mehta & Recording Engineer: John M. Eargle • Associate Engineer: Al Swanson ( ) Die Liebe © Assistant Engineers: Al Swanson & Laura Wirthlin (Symphonia domestica); Li Teo (Die Liebe) 2012 8.571216 Booklet notes by Keith Anderson 8.571216 Cover photo & inlay photo of Gerard Schwarz by Ben VanHouten Publishers: Kalmus reprint of Bote & BOCK (Symphonia domestica) Boosey and Hawkes Music Publishers Ltd. (Die Liebe) Previously released on Delos International.

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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
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570895bk RStrauss US:557541bk Kelemen 3+3 3/8/09 8:42 PM Page 1 Antoni Wit Staatskapelle Weimar Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Founded in 1491, the Staatskapelle Weimar is one of the oldest orchestras in the world, its reputation inextricably linked Richard Henryk Czyz˙ and composition with Krzysztof Penderecki at the Academy of Music in to some of the greatest works and musicians of all time. Franz Liszt, court music director in the mid-nineteenth Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. He also century, helped the orchestra gain international recognition with premières that included Wagner’s Lohengrin in graduated in law at the Jagellonian University in Kraków. Immediately after completing 1850. As Weimar’s second music director, Richard Strauss conducted first performances of Guntram and STRAUSS his studies he was engaged as an assistant at the Warsaw Philharmonic Orchestra by Humperdinck’s Hänsel und Gretel. The orchestra was also the first to perform Strauss’s Don Juan, Macbeth and Death Witold Rowicki and was later appointed conductor of the Poznan´ Philharmonic. He and Transfiguration. After World War II Hermann Abendroth did much to restore the orchestra’s former status and Symphonia domestica collaborated with the Warsaw Grand Theatre, and from 1974 to 1977 was artistic director quality, ultimately establishing it as one of Germany’s leading orchestras. The Staatskapelle Weimar cultivates its of the Pomeranian Philharmonic, before his appointment as director of the Polish Radio historic tradition today, while exploring innovative techniques and wider repertoire, as reflected in its many recordings.
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Richard Lert Papers 0210
http://oac.cdlib.org/findaid/ark:/13030/kt638nf3ww No online items Finding Aid of the Richard Lert papers 0210 Finding aid prepared by Rebecca Hirsch The processing of this collection and the creation of this finding aid was funded by the generous support of the National Historic Publications and Records Commission. USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California, 90089-0189 213-740-5900 [email protected] June 2010 Finding Aid of the Richard Lert 0210 1 papers 0210 Title: Richard Lert papers Collection number: 0210 Contributing Institution: USC Libraries Special Collections Language of Material: English Physical Description: 58.51 Linear feet70 boxes Date (inclusive): 1900-1981 Abstract: This collection consists of Richard Lert's video and audio recordings of performances, rehearsals and lectures, personal papers and his music score library. Lert was born in Vienna and trained as an orchestral conductor in Germany. He moved to the United States in 1932 with his family and was the conductor of the Pasadena Symphony Orchestra from 1932 until his retirement in 1972. creator: Lert, Richard, 1885-1980 Biographical Note Richard Lert was born September 19, 1885, in Vienna, Austria. He trained as an orchestral conductor under Arthur Nikisch and began his career in Darmstadt, Germany, where he met and married his wife, Vicki Baum, in 1916. They had two sons. Lert held posts in Frankfurt, Kiel and Hannover before becoming the music director of the Berlin National Opera. Lert and his family moved to Los Angeles in 1932, where he became the music director of the Pasadena Symphony Orchestra.
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Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
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Rundfunk-Sinfonieorchester Berlin Rundfunkchor Berlin Marek Janowski SYMPHONIA DOMESTICA & DIE TAGESZEITEN Richard Strauss
Richard Strauss SYMPHONIA DOMESTICA & DIE TAGESZEITEN Rundfunk-Sinfonieorchester Berlin Rundfunkchor Berlin Marek Janowski Richard Strauss (1864-1949) Symphonia statement (if meant sincerely) does not the Frenchman recommended the reference to the (outdated) traditional necessarily win you friends... work be performed only without the genre, in order to subsequently Symphonia Domestica, Op. 53 Domestica, Op. 53 accompanying programme, as it would demolish the internal musical structure 1 Bewegt 5. 03 In fact, the content of the Symphonia certainly distract the listener and and compositional content with 2 Scherzo 12. 46 Richard Strauss was a master at domestica does seem rather trivial, as misrepresent the character of the work. powerful irony. After all, one would 3 Adagio 11. 22 creating double entendres in his the composer places his own, deeply To which Strauss responded: “For me, surely elect a completely diff erent 4 Mäßig langsam. Bewegter 15. 43 music. Nothing is as it seems at fi rst bourgeois family idyll in the spotlight of the poetic programme is no more than genre to accompany the private glance. One should always keep this the musical scene. His original working a means of expressing and developing area of a domestic idyll: an art song, Die Tageszeiten, Op. 76 in mind when dealing with such a title for the work was: “My home. A my perception in a purely musical perhaps, a sonata – but certainly not (Poems by Joseph von Eichendorff ) controversial work as his Symphonia symphonic portrait of myself and my manner; not, as you think, merely a a symphony written for the concert For Male Chorus and Orchestra domestica, Op.
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Eine Alpensinfonie and Symphonia Domestica in Full Score Pdf, Epub, Ebook
EINE ALPENSINFONIE AND SYMPHONIA DOMESTICA IN FULL SCORE PDF, EPUB, EBOOK Richard Strauss | 288 pages | 22 Oct 2009 | Dover Publications Inc. | 9780486277257 | English | New York, United States Eine Alpensinfonie and Symphonia Domestica in Full Score PDF Book Oehms Classics. Schonberg put it, Strauss would say things that would have meant being sent to a concentration camp had he not been the icon he was and the Nazi's simply "did not know exactly what to do with him. Seller Inventory M13J Subscribe to our Weekly Newsletter Want to know first what the latest reviews are that have been posted to ClassicsToday each week? As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Carlton Classics. Once started, however, he gave it his main attention for almost 40 years, producing 15 operas in that period. Salome, with its shocking, perverse sensuality, and Elektra, which goes beyond that in violence and unremitting tension, are prime examples of German expressionism in its most lurid phase. Paul Lewis , Piano. Munich: F. It was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal. IMP Classics Franz Konwitschny. Rosenkavalier opera Rosenkavalier , Op. In principle, however, Strauss's method remained constant. Preiser Records. Orfeo C B. Classica d'Oro There are only six works in his entire output dating from after which are for chamber ensembles, and four are arrangements of portions of his operas. AllMusic Featured Composition Noteworthy.
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Current Review
Current Review Wolfgang Amadeus Mozart & Richard Strauss: Violin Concerto K 219 & Symphonia Domestica aud 97.535 EAN: 4022143975355 4022143975355 www.musicweb-international.com (Mark Sebastian Jordan - 2008.09.05) This disc provides a pleasant snapshot of the work of Vladimir Ashkenazy live in concert with the Deutsches Symphonie Orchester, Berlin, the ensemble originally formed as the RIAS-Berlin Symphony and led by the great Ferenc Fricsay in the 1950s. Before Fricsay’s death, the ensemble changed its name to the Berlin Radio Symphony, a name it kept through several music directors. Ashkenazy was director of the orchestra for a decade, starting in 1989, and was presiding when the ensemble changed to its present name in 1993. Presented here are two snapshots of his work with the orchestra, featuring Ashkenazy’s “private passions” for the orchestral works of Richard Strauss and the concerted pieces of Wolfgang Mozart. Ashkenazy has shown a strong commitment to Strauss both in concert and in the recording studio, so his Symphonia Domestica is a welcome visitor. The live performance from 1998 captured here brings Ashkenazy’s soulful warmth and a delight in Strauss’s orchestral effects—yes, even the vulgar ones, such as the infamous crying baby sequence. This release serves well to represent this part of Strauss’s body of works in Ashkenazy’s career, as well as a nice souvenir of his work in Berlin. I have seen that Ondine also released a Symphonia Domestica from when Ashkenazy conducted the Czech Philharmonic, but I haven’t been able to hear that for comparison. The present performance is amply satisfying, even if doesn’t unseat any of the great recordings of the past, especially considering that a couple of those are performed by formidable representatives of what was once known as “the American sound”.
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Und Richard Strauss (1906)
Richard Strauss – Der Komponist und sein Werk MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Begründet von Thrasybulos G. Georgiades Fortgeführt von Theodor Göllner Herausgegeben seit 2006 von Hartmut Schick Band 77 Richard Strauss Der Komponist und sein Werk Überlieferung, Interpretation, Rezeption Bericht über das internationale Symposium zum 150. Geburtstag München, 26.–28. Juni 2014 Richard Strauss Der Komponist und sein Werk Überlieferung, Interpretation, Rezeption Bericht über das internationale Symposium zum 150. Geburtstag München, 26.–28. Juni 2014 Herausgegeben von Sebastian Bolz, Adrian Kech und Hartmut Schick Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Juni 2017 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2017 Buch&media GmbH, München © 2017 der Einzelbeiträge bei den AutorInnen Satz und Layout: Johanna Conrad, Augsburg Printed in Germany · ISBN 978-3-86906-990-6 Inhalt Vorwort . 9 Abkürzungsverzeichnis ............................................. 13 Richard Strauss in seiner Zeit Hans-Joachim Hinrichsen Des Meisters Lehrjahre. Der junge Richard Strauss und seine Meininger Ausbildungszeit bei Hans von Bülow ................................................ 17 Dietmar Schenk Berlins »Richard-Strauss-Epoche«. Richard Strauss und das Musikleben im kaiserlichen Berlin .............. 37 Dörte Schmidt Meister – Freunde – Zeitgenossen. Richard Strauss und Gerhart Hauptmann ............................. 51 Albrecht Dümling »… dass die Statuten der Stagma dringend zeitgemässer Revision
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Burleske . Romanze Duett-Concertino Violin Concerto
RICHARD STRAUSS BURLESKE . ROMANZE DUETT-CONCERTINO VIOLIN CONCERTO TASMIN LITTLE VIOLIN MICHAEL MCHALE PIANO JULIE PRICE BASSOON MICHAEL COLLINS CONDUCTOR | CLARINET Richard Strauss, 1880 Richard Strauss, Drawing by Else Demelius-Schenkl, now at the Strauss Archives, Garmisch / AKG Images, London Richard Strauss (1864 – 1949) 1 Burleske, TrV 145 (1885 – 86)* 20:09 in D minor • in d-Moll • en ré mineur for Piano and Orchestra Eugen d’Albert freundschaftlich zugeeignet Allegro vivace Duett-Concertino, TrV 293 (1947)†‡ 18:30 for Clarinet and Bassoon with String Orchestra and Harp Hugo Burghauser, dem Getreuen 2 Allegro moderato – L’istesso tempo – Tempo I – Un poco più scorrevole – Più animato – Un poco maestoso – Più scorrevole – 5:53 3 Andante – Quasi cadenza – Più animato – 3:03 4 Rondo. Allegro ma non troppo (in cominciando un poco esitando) – [ ] – Tempo I – Un poco più tranquillo – Tempo I – Poco più mosso 9:34 3 5 Romanze, TrV 80 (1879)† 8:24 in E flat major • in Es-Dur • en mi bémol majeur for Clarinet and Orchestra Andante – [ ] – Tempo I – Con moto – Tempo I Concerto, TrV 110 (1881 – 82)§ 29:26 in D minor • in d-Moll • en ré mineur for Violin and Orchestra Dem königl. bayer Concertmeister Herrn Benno Walter zugeeignet 6 Allegro 15:02 7 Lento, ma non troppo 5:59 8 Rondo. Presto – Andante – Prestissimo 8:14 TT 76:53 Julie Price bassoon‡ Tasmin Little violin§ Michael McHale piano* BBC Symphony Orchestra Igor Yuzefovich leader (Duett-Concertino) Stephanie Gonley leader (other works) Michael Collins conductor • clarinet† 4 © Chris Christodoulou Julie Price Richard Strauss: Concertante Works Romanze in E flat for clarinet and orchestra immersing himself in Mozart’s piano During his final years as a pupil at the concertos, and the influence of Viennese Ludwigsgymnasium in Munich, the teenage classical composers is very much in evidence prodigy Richard Strauss (1864 – 1949) in the Romanze.
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Symphonia domestica, Op. 53 Richard Strauss he idea of the symphonic poem was cod- Symphonia domestica he expanded the idea of Tified in the 1840s and ’50s by Franz Liszt an autobiographical program to embrace the through a dozen single-movement orches- remainder of his household — his wife, Pau- tral pieces that drew inspiration from, or line, and his son, Franz, to whom the work is were in some way linked to, literary sources. jointly dedicated. Pauline de Ahna, an accom- The repertoire quickly grew thanks to no- plished and temperamental soprano, began table contributions by such composers as in 1887 as Strauss’s voice pupil and starred in Smetana, Dvořák, Musorgsky, Tchaikovsky, his first opera, Guntram, in 1894. They were Saint-Saëns, Franck, and — most impres- married that same year; he proposed — and sively of all — Richard Strauss. she accepted — while she was in mid-tantrum In 1886 Strauss produced what might be during a rehearsal of Tannhäuser that he was considered his first symphonic poem, Aus conducting. The composer often collaborated Italien (it is more precisely a descriptive with her in performance, either as pianist in symphony), and he continued through the recital or as conductor, until she effectively series of tone poems that many feel represent retired from the stage in 1906, by which time the genre at its height: Macbeth (1886–08), her voice had grown unreliable and her stage Don Juan and Tod und Verklärung (Death deportment had become downright bizarre. and Transfiguration)both 1888–89, Till Eu- They remained married for 55 years, and lenspiegels lustige Streiche (Till Eulenspie- she survived her husband by only eight gel’s Merry Pranks, 1894–95), Also sprach Zarathustra (Thus Spake Zarathustra, 1895–96), Don Quixote (1896–97), Ein Hel- In Short denleben (A Hero’s Life, 1897–98), and Sym- Born: June 11, 1864, in Munich, Bavaria phonia domestica (1902–03; sometimes the (Germany) title is given as Sinfonia domestica).
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6 X 10.Long.P65
Cambridge University Press 978-0-521-02774-8 - Richard Strauss: Man, Musician, Enigma Michael Kennedy Index More information index Aagard-Oestvig, Karl, 196, 212 Annunzio, Gabriele d’, 175, 187 Abendroth, Walther, 290–1 Arnim, Achim von, 103, 202 Adam, Adolphe, 105 Artôt de Padilla, Lola, 193 Adler, Guido, 295 Aschenbrenner, Carl, 19, 27 Adler, Hans, 374 Asow, Dr Erich Müller von, 18, 347 Adolph, Dr Paul, 262, 285, 298, 299 Astruc, Gabriel, 144 Adorno, Theodor, on R.S., 224 Auber, Daniel, 16–17, 32, 48, 130, 316, 366 Ahlgrimm, Isolde, 353 Audibert, Comte d’, 368 Ahna, Major General Adolf de (father-in- law), 58, 81–3 Bach, Johann Sebastian, 4, 128, 395; Well- Ahna, Mädi de (sister-in-law), 81–2 Tempered Clavier, 15 Ahna, Maria de (mother-in-law), 58 Baden-Baden, 28 Ahna, Pauline de. See Strauss, Pauline Bahr, Hermann, 96, 199, 231, 341; works Aibl, Joseph, 34, 109 on R.S. libretto, 196 Albert, Eugen d’, 32, 56 Bakst, Léon, 186 Albert, Hermann, 328 Bantock, Sir Granville, 284 Allen, Sir Hugh, 312 Bärmann, Carl, 20 Allgemeiner Deutscher Musikverein, 73, Barrymore, Lionel, invites R.S. to 108, 153, 306 Hollywood, 372–3 Allgemeine Musikzeitung, 33, 62, 290 Basile, Armando, 381 Altenberg, Peter (Richard Englander), 148 Bayreuth, 8, 26, 47, 54, 55, 57, 60, 61, 68, Alvary, Max, 68 83, 85, 86, 143, 281, 287; R.S. ﬁrst Alwin, Carl, 94, 212, 222, 224, 238, 255, conducts at, 78; R.S. conducts Parsifal 256, 329 at, 276–7; Pauline sings at, 66, 78 Ampico (piano rolls, Chicago 1921), 406 Beardsley, Aubrey, 148 Amsterdam.
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Ein Heldenleben (A Hero’s Life), Op. 40 Richard Strauss ne of the most enduring contributions the guiding principle for my own sym- Oof the “Music of the Future” camp of phonic work. Berlioz, Liszt, and Wagner was the orches- tral genre known as the symphonic poem (or Ein Heldenleben is among several of the tone poem). One of the circle’s ancillary fig- composer’s works that can be read as musi- ures was Alexander Ritter, an Estonian-born cal autobiography. By this point of his career violinist and composer who married a niece — he was 34 years old when he conducted of Wagner’s, composed six symphonic po- its premiere — Strauss’s sense of self-esteem ems of his own, and served as associate con- was in no way underdeveloped. He had got- certmaster of the Meiningen Court Orchestra, ten his first leg up in the music business in which was conducted by the eminent Hans 1885 with his Meiningen appointment, and von Bülow. In Meiningen he grew friendly he proceeded from there to positions at the with the young Richard Strauss, whom Von Munich Court Opera, the Bayreuth opera Bülow had brought in as an assistant music house, and the Court of the Grand Duke of director in 1885. Strauss would later say that Saxe-Weimar-Eisenstadt. He was routinely it was Ritter who revealed to him the great- hailed at the premieres of his new composi- ness of the music of Wagner, Liszt, and Ber- tions, was in demand throughout Germany lioz and, by extension, opened his eyes to the as a guest conductor, was on the verge of possibilities of the symphonic poem.
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