Strauss – Salome and Orchesterlieder

   At the end of 19th century, many considered the romanticism as an era gone irretrievably into the past. There were many different visions and attitudes towards music of forthcoming century. Some were ahead of their time. Others were conservative. Main style of these years called modernism was trying to reconcile different aspirations but in consequence led to expressionism. Richard Strauss (1864-1949) was one of most famous in the group of composers who transpose late 19th century music and its early modernistic meanings into full range modern style of first half of 20th century. In his works neoromantic idiom was developing into full-blown expressionism. While most famous part of his orchestral works are tone poems, and most adored operas are musical dramas Salome and Electra, there are great list of compositions between these extremes only music lovers and professionals know. Featured place on such register took songs. In Strauss’ oeuvres in total number of 180 songs, 41 were composed with symphonic orchestra.
   In vocal repertoire music by Richard Strauss is present with many features. He is popular for strongly emotional, dramatic stage music. Electra and Salome, likewise his deeply moving symphonic songs occupy the position of rich and complex artistic work. Thus many great singers performed and recorded his most popular songs as well as fragments of his dramatic music. These works in Strauss’ huge creative output are highlights being the source of pride even for the greatest stars. One of such recordings was 1978 album recorded by Leonard Bernstein with Montserrat Caballé and Orchestre National de France for Deutsche Grammophon (2530 963). Program comprises fragments from Salome: Final Song and symphonic Dance of the Seven Veils, and Five Songs for Voice and Orchestra, a choice of best known and highly appreciated songs from different opuses. 

Monserat Caballe in Richard Strauss' Salome and Orchesterlieder

   Symphonic fragment Dance of Seven Veils is the ballet scene where Salome seduces King Herod with sensual dance. King possessed by desire promises to fulfill the wish of Salome. The scene of Salome’s Final Song is one of most dramatic fragments in stage music. It is common idea in opera to give heroine last chance of expressing her attitude. Artistic and intellectual context and maybe model for this scene was final Love Death (Liebestod) scene from Tristan und Isolde by Richard Wagner. In this composed almost 50 years earlier fragment Wagner set romantic love beyond the value of life. Strauss in accordance with play by Oscar Wilde took one step further. Salome receiving the severed head of John the Baptist kisses it and declares her love. Seeing this, King Herod ordered to kill Salome. Whole final scene called in original Schlußgesang is often performed as the concert piece.

   Lust and sensuality combined with brutal desire, authority powers and human weakness, these are the key values in the aesthetics of expressionism. In program of the album conducted by Leonard Bernstein Tanz der sieben Schleier occupies central position as a kind of interlude between dramatic Schlußgesang and songs. Performing Final Song of Salome or Strauss’ songs is quite a challenge for singer. Problem is not quite technical, although it requires a big voice and perfect technique. The real difficulties are decisions regarding interpreting frame of musical and poetic message. As most romantic composers, Strauss was writing his songs as a kind of dramatic music. Short but rich in narrative and emotional contents, these songs require deep emotionalism and full control.
   In 1978 album Montserrat Caballé performed five songs from four opuses of Richard Strauss’ songs with orchestra: Cäcille Op. 27 Nr. 2 to the poem of Heinrich Hart, Wiegendlied Op. 41 Nr. 1 with text by Richard Dehmel, Ich liebe dich Op. 37 Nr. 2 with words by Detlev von Liliencron, Morgen Op. 27 Nr. 4 to the poem by John Henry Mackay and Zueignung Op. 10 Nr. 1 with text of Hermann von Gilm. Creating lyrical, deeply emotional renditions, Montserrat Caballé shows the other side of Strauss’ music. The sound of Orchestre National de France perfectly conducted by Leonard Bernstein makes the whole program powerful and rich. To sum up, this is perfect program of great Strauss compositions in one of best renditions. Four and a half of in five star scale.

Fritz Reiner, CSO – Strauss’ Also sprach Zarathustra, Don Juan

   Like almost every great artist of modern era, Richard Strauss was a versatile composer. By the contemporaries he was recognized to be the greatest composer of his times. His works include a lot of music with various purposes, vocal and instrumental, chamber and large cast, concert and theatrical. He is known for his operas, especially those defining musical modernism and expressionism – Salome and Electra – or later, neoclassical operas like Der Rosenkavalier or Ariadne auf Naxos. But he owes his fame to the cycle of 10 symphonic poems he wrote earlier in neo-romantic style. Although many Strauss orchestral works look as inconsistent, in the form of tone poem he found his vocation.
   The cycle of Strauss’ tone poems is the culmination in the romantic development of this form. Sixth tone poem by Richard Strauss called Also sprach Zarathustra op. 30 (Thus Spoke Zarathustra) is the work of deep intellectual program, considered to be the example of the philosophical type of tone poem. Starting with prologue Sonnenaufgang (Sunrise) which is probably most famous fanfare in the history of symphonic music, and premiered in 1896 Also sprach Zarathustra is one of most famous tone poems ever composed. This popularity was not automatic, for decades this has a fame of hard to understand, uneasy listening. The starting fanfare and whole work became instant hit after Stanley Kubrick used fragment of this poem in soundtrack to his famous movie. After success of 2001: A Space Odyssey in public imagination this music has inextricably bounded with space representations.

Fritz Reiner – Strauss – Also sprach Zarathustra (1954)

   Question of philosophical program presented in this poem is not really solved. Subtitled as “freely composed after Friedrich Nietzsche” was classified as philosophical tone poem. But this was not quite justified. According to Richard Strauss own explanation, the composition was musical apotheosis of human development from its beginnings, through religious and scientific stages, to the moment of awaited overcome, liberation and raise of superman as in Nietzsche’s original. Composer also defined this poem as a musical homage to the great philosopher. In some fragments it is purely late romantic in melodic style and in emotional involvement, but Sonnenaufgang is already modern, overcoming the limitations of existing style. Organ pedal note C subcontra in unison with double basses and contrabassoon has its continuation in overtone three-note motiv C-G-C played by brass interrupted with timpani. Explained as the nature-motiv this characteristic and very powerfull idea became iconic in last decades of 20th century.

Fritz Reiner – Chicago Symph. Orch. – Also sprach Zarathustra (1954)

   Fritz Reiner recorded Also sprach Zarathustra three times, twice with Chicago Symphony Orchestra and once with Vienna Philharmonic at the Salzburg Festival in 1956. He was entitled Richard Strauss friend from time they work together in Staatsoper Dresden in the beginnings of his career. He recorded also with Vienna Philharmonic two other Strauss’ tone poems: Death and Transfiguration and Till Eulenspiegel and with Chicago Symphony Orchestra Ein Heldenleben, Burleske and musical dramas Salome and Electra. After he took the post of the music director of the Chicago Symphony Orchestra, March 8th, 1954 he recorded Richard Strauss’ Also sprach Zarathustra for RCA Victor for the first time in stereo. Released the same year record was one of the first RCA’s “sound spectaculars” and became praised as triumph of arts and science. Next recording was made in 1961 and with new technics of sound engineering.
   The performance of 1954 was pressed by RCA Victor Red Seal and coupled together with recorded two days earlier recording of Strauss’ Ein Heldenleben op. 40 (registered in stereo March 6th, 1954) published in RCA Red Seal or with outstanding Don Juan op. 20 performance from (December 6th, 1954) published under Victrola label. The sound of the orchestra is alive and intense. Solo violin parts were played with perfection by John Weicher, the concertmaster of Chicago Symphony. Whole interpretation is melodious, but the levels of singing and dancing inspiration in fragment called Das Tanzlied breaks all the convenances. Conductor showed here this kind of proximity only personal friendship with composer can justify. And as emotional effect in this performance is congenial, Library of Congress has selected this famous recording to the National Recording Registry of historic recordings.

Richard Strauss – Sinfonia Domestica – Herbert von Karajan

   Late romantic and early modernist Richard Strauss lived at the crossroads of epochs. His early compositions, mostly chamber and solo works in traditional romantic style, were not remarkable accomplishments. Also his two symphonies composed these years (1st D Minor – 1880 and 2nd F Minor op. 12 – 1883) weren’t noteworthy and now they have historic meaning only. In late 1880’s Strauss evolved to new vision of big scale forms, operas and symphonic poems. Using modern harmonic language and post romantic principles, he constructed musical work with great results. Especially opera and symphonic poems was his remarkable contribution to the history of music, Salome and Electra are highlights of expressionistic music drama, and series of ten symphonic poems and songs are his crowning achievements.

   Richard Strauss created his symphonic poems in span of three decades are elements of the history of German modernism. It was the exact time Wilhelm II ruled in Germany. The time of great social changes found its reflection in consecutive musical pictures Aus Italien (From Italy) Don Juan, Macbeth, Tod und Verklärung (Death and Transfiguration), Till Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks), Also sprach Zarathustra (Thus Spoke Zarathustra), Don Quixote, Ein Heldenleben (A Hero’s Life). And it is not an accident, his last two poems has been called as symphonies. Although Sinfonia Domestica and Alpensinfonie were not in typical symphonic form and the idea of building symphonic pictures was far from classical symphonic development, Strauss used this title as a kind of universal statement.

Richard Strauss – Sinfonia Domestica – Herbert von Karajan (1973)

   Sinfonia Domestica was a tribute to the everyday life, the orderly according to the rhythm of a stable home life. The family and home life were highly valued by Strauss, and his tone poem dedicated to the private part of everyday life was his challenging intention. In first version the score of Sinfonia Domestica has been enriched with several comments. Later Strauss removed most of them. Some critics accused him of self-centeredness anyway, but it’s deeply humanistic and universal. The whole work is extremely difficult. It demands from the orchestra of over one hundred members the perfect sound and rhythmic discipline. Especially the wind section has a difficult task here. Third theme of first movement Bewegt is started with solo of oboe d’amore. It is symbolizing the child and is the one of rare cases of using this instrument in modern symphonic music. Symbolic subjects of this tone poem is a common point of narration presented in many historical and critical overviews of the work, but the best perspective to know and understand the musical composition is to listen it without prejudice. And unlike many works of program music, Sinfonia Domestica is shows deep universal contents of the symphonic poem.
   As a later reference to Sinfonia Domestica Richard Strauss composed in 1925 concert piece commissioned by famous left handed pianist Paul Wittgenstein. Strauss knew him and even they played duets as composer was frequent guest in his father’s house. Paul Wittgenstein was the World War I veteran who lost his right hand, who inspired many great concertos and concert pieces of Maurice Ravel, Sergei Prokofiev, Benjamin Britten, Paul Hindemith, Alexandre Tansman, Erich Korngold and many others. The 1925 Strauss’ work was titled Parergon zur Symphonia Domestica. There is also transcription of this tone poem for two pianos, recorded in 1995 for Teldec by Martha Argerich and Alexandre Rabionovitch. Thanks to numerous recordings Sinfonia Domestica is well known to listeners all over the world, but the score is quite a challenge for the orchestra and especially for the conductor, so this beautiful tone poem is still hard to find in concert programs. It is worth to remember in 1944 Richard Strauss recorded this work himself with Vienna Philharmonic, and the same year Wilhelm Furtwängler recorded this composition with Berliner Philharmoniker. The recording under Karajan’s direction was 12th on the list and followed by many further renditions.

Eric Ericson – Virtuoso Choir Music

It is quite easy assumption that legendary choirmaster and conductor Eric Ericson is a successor of great Swedish tradition of the joint singing. Sweden has always lively musical culture – both folk and artistic. And great choirs were natural element of musical live in the country where basic form of prayer and social behavior across centuries was singing. Conducting the choir is never the same as conducting the orchestra. Choirmaster is more teacher than conductor and best choirs are always connected with best leaders.
One of best choir conductors of 20th century is Eric Ericson. Born in 1918 he was studied in best conservatory in Sweden - Stockholm Kungliga Musikhögskolan and after graduating he improved his skills abroad in Switzerland, Germany, England and USA. From 1951, for forty years he was principal conductor of Sangsällskapet Orphei Drängar in Uppsala University (before Ericson the chief of this famous male choir was Hugo Alfvén). On initiative of Eric Ericson in 1951 was established also Swedish Radio Choir for which he was choirmaster until 1982.

Eric Ericson – Virtuoso Choir Music (1978)

There is a lot of recordings made by choirs conducted and mastered by Eric Ericson. His name is featured as choirmaster of vocal ensembles in numerous recordings of other conductors. Among many records of Ericson’s choirs one set is exceptionally rich. It is released by EMI in 1978 set of 4 LPs entitled Virtuoso Choir Music (Virtuose Chormusik). The choirs immortalized on these records are Swedish Radio Choir and Stockholmer Kammerchor. Vocal perfection and flexibility, dynamic precision and scale of expression of two choirs lead by Eric Ericson make this album everlasting testimony on music potential of the seventies.

Huge program of this album comprises mainly works of 20th century composers. There is variety of highly exacting works by modern French composers – Epithalame by Andre Jolivet, 7 Chansons by Francis Poulenc, 5 Rechants by Olivier Messiaen, Ariel’s Choir from Shakespeare’s „Tempest” and „Messe” by Frank Martin. Only German composer is Richard Strauss presented in two choral works: Die Göttin in Putzzimmer with lyrics by Friedrich Rückert and Der Abend to poem of Friedrich von Schiller. Contemporary music is present in three compositions from Italy – Il coro delle malmaritate and Il coro dei melsmmogliati by Luigi Dallapiccola and Tre composizioni corali by Ildebrando Pizzetti and one Swedish work Elegi by Lars Edlund.

Early music works are represented by Claudio Monteverdi’s Sestina „Lagrime d’amante al sepolcro dell’amata” and Thomas Tallis’ Spem in alium, first sung by Stockholmer Kammerchor, second by Swedish Radio Choir. Perfection of sound required in contemporary works and discipline of early music mark out the space for vocal artistry of Eric Ericson’s choirs.