“Oboe Concerto 1945, inspired by an American soldier, (oboist from Chicago)” – was what Richard Strauss noted down. And the oboist and soldier with the American occupation John de Lancie had indeed asked Richard Strauss in May 1945 whether he had ever thought of writing an oboe concerto. Strauss answered in the negative, but soon got to work anyway. In October 1945, he had completed the score in Swiss exile; the premiere took place in Zurich in 1946. Not until 1948 did the first edition appear in London, presumably for the most part without the composer’s involvement, for both the printed score and the orchestral parts exhibit numerous errors. Some of these have been known for a while, though others have only now been discovered by Hansjörg Schellenberger through his exact reconciliation of the autograph full score with the autograph particella. The world-class oboist thus presents this concerto for the first time in a Henle Urtext edition in both full score and piano reduction!
- Oboe Concerto D major
On 8 May 1945, Germany surrendered, bringing the Second World War in Europe to a close. The eighty-year-old Richard Strauss (1864–1949) had remained unscathed in his Garmisch villa, but was forced to acknowledge that the war had brought cultural life to a complete standstill. The opera houses of Dresden, Munich and Vienna, where all his stage works had been premièred and … 続き
One of the most important opera composers of the twentieth century. His oeuvre comprises fifteen operas, nine symphonic poems, instrumental concerti, and a large number of songs. His stage works are marked by their great variety of genre and subject matter.
|1864||Born in Munich on June 11, the son of Franz Joseph Strauss, principal horn player in the court orchestra. Receives instruction in piano, violin, and composition.|
|1885–86||Conductor at the Meiningen Court Orchestra, initially under the tutelage of Hans von Bülow.|
|1886||Music director at the Munich Court Theatre.|
|1887–1903||He increasingly devotes himself to the symphonic poem, including “Tod und Verklärung” (“Death and Transfiguration”) in C minor, Op. 24; “Till Eulenspiegels lustige Streiche” (“Till Eulenspiegel’s Merry Pranks”) in F major, Op. 28; “Also sprach Zarathustra,” Op. 30; “Symphonia Domestica” in F major for large orchestra, Op. 53.|
|1889–94||Music director in Weimar. First Kapellmeister in Munich in 1894, in Berlin at the Royal Court Opera from 1898–1910.|
|1905||Breakthrough with the premiere of “Salome,” Op. 54.|
|1906||Beginning of his collaboration with Hugo von Hofmannsthal on the harmonically progressive opera “Elektra,” Op. 58, premiered in Dresden in 1909.|
|1911||Sensational premiere in Dresden of “Der Rosenkavalier,” Op. 59, which refers back to operatic tradition and makes him the leading German opera composer. He decides to dedicate himself primarily to operas: “Ariadne auf Naxos,” Op. 60 (1912); “Intermezzo” Op. 72 (1924); “Die ägyptische Helena,” Op. 75 (1928); “Arabella,” Op. 79 (1933); “Die schweigsame Frau,” Op. 80 (1935); “Friedenstag,” Op. 81, and “Daphne,” Op. 82 (1938); “Die Liebe der Danae,” Op. 83 (1944).|
|1919||Director of the Vienna State Opera. Premiere there of “Die Frau ohne Schatten,” Op. 65.|
|1931||Collaboration with Stefan Zweig.|
|from 1944||Composition of his last works: Metamorphosen, for 23 solo strings, Oboe Concerto in D major, Four Last Songs.|
|1949||Death in Garmisch-Partenkirchen on September 8.|