Just a few months after completing his Cello Sonata op. 6, Strauss composed another work for this instrument: a Romance for cello and orchestra, which remained unpublished during his lifetime. According to the autograph manuscript, the composition was finished on June 27, 1883, and Strauss also prepared the piano reduction himself. The Romance is regarded as one of Strauss’ most mature youthful works, though it was long overshadowed by the cello sonata, despite several quite successful performances given by the then-famous principal cellist of the Munich Court Orchestra, Hanuš Wihan. Only since the posthumous first edition of 1986 has the music world been rediscovering this striking work, which now also appears in a Henle Urtext edition.
- Violoncello Romance F major
Two concertante Romances by Richard Strauss (1864 – 1949) have been handed down, both of them unpublished during his lifetime. The Romance in E flat major for clarinet and orchestra was composed in 1879 for the annual final concert of Munich’s Ludwigsgymnasium, the school Strauss attended until 1882. By contrast, we know of no specific reason for the composition of the … 계속
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.|