Lyrics Рихард Штраус - Соната для скрипки и фортепиано. 3-я часть
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Рихард Штраус родился 11 июня 1864 года в Мюнхене (в то время Баварское Королевство, сейчас на территории Германии), отец — Франц Штраус, первый валторнист в Придворном оперном театре Мюнхена. В юности получил от своего отца широкое, хотя и консервативное музыкальное образование; свою первую музыкальную пьесу написал в возрасте 6 лет; с тех пор и до своей смерти, последовавшей почти 80 лет спустя почти непрерывно сочинял музыку.
Будучи ребёнком, имел возможность посещать оркестровые репетиции Мюнхенского придворного оркестра, там же от ассистента дирижёра получил частные уроки по теории музыки и оркестровке. В 1874 году Штраус впервые услышал оперы Рихарда Вагнера Лоэнгрин, Тангейзер и Зигфрид; влияние музыки Вагнера на стиль Штрауса могло стать определяющим, но поначалу его отец запрещал ему изучать Вагнера: лишь в возрасте 16 лет Штраус смог получить партитуру Тристана и Изольды. В действительности, в доме Штраусов музыка Рихарда Вагнера считалась музыкой низкого сорта. В дальнейшем в своей жизни Рихард Штраус писал и говорил о том, что он глубоко сожалеет об этом.
В 1882 году он поступил в Мюнхенский университет, где он изучал философию и историю—но не музыку—однако, год спустя он покинул его, чтобы отправиться в Берлин. Там он непродолжительное время учился, а затем получил пост ассистента дирижёра при Гансе фон Бюлове, заменив его в Мюнхене, когда тот вышел в отставку 1885. Его композиции этого периода была весьма консервативными, в стиле Роберта Шумана или Феликса Мендельсона, верными стилю преподавания его отца. Его Концерт для валторны № 1 (1882—1883) типичен для этого периода, и тем не менее его по прежнему регулярно играют. Стиль Штрауса начинает заметно меняться, когда он встречает Александра Риттера, известного композитора и скрипача и мужа одной из племянниц Рихарда Вагнера. Именно Риттер убедил Штрауса отказаться от своего консервативного юношеского стиля и приступить к сочинению симфонических поэм; он также познакомил Штрауса с эссе Рихарда Вагнера и сочинениями Шопенгауэра. Штраус собирался дирижировать одной из опер Риттера, а позднее Риттер написал поэму по мотивам симфонической поэмы Рихарда Штрауса «Смерть и просветление» (Tod und Verklarung).
Рихард Штраус женился на певице — обладательнице сопрано Паулине Марии де Ана 10 сентября 1894 года. Она была известна своим властным и вспыльчивым характером, эксцентричностью и прямотой, но брак был счастливым — супруга стала для него большим источником вдохновения. На протяжении своей жизни, с ранних песен до последних, написанных в 1948 году Четырёх последних песен, он всегда предпочитал сопрано любым другим голосам.
Благодаря увлечению симфоническими поэмами появилась первая из них, показавшая зрелое мастерство, симфоническая поэма Дон Жуан. Во время премьеры в 1889 году, половина публики аплодировала в то время как другая половина шикала. Штраус знал, что он обрёл свой собственный музыкальный голос, заявив: «Теперь я утешаю себя сознанием того, что я нахожусь на сознательно выбранной дороге, всецело осознавая, что не существует художника, которого тысячи его современников не считали бы умалишенным.» Штраус написал ряд симфонических поэм, в том числе Смерть и просветление (1888—89), Веселые проделки Тиля Уленшпигеля (Till Eulenspiegels lustige Streiche, 1894—95), Так говорил Заратустра (Also sprach Zarathustra, 1896, начальные фразы которой сегодня широко известны благодаря фильму Стенли Кубрика 2001: Космическая одиссея и передаче Что? Где? Когда?), Дон Кихот (1897), Жизнь героя (1897—98), Домашняя симфония (1902—03) и Альпийская симфония (1911—15).
В конце XIX века Штраус обращается к опере. Его первые опыты в этом жанре Гунтрам в 1894 году и Погасшие огни (Feuersnot) в 1901 году провалились. В 1905 году он создаёт Саломею (по пьесе Оскара Уайльда), которая была встречена столь же пылко и неоднозначно, как в свое время Дон Жуан. На премьере в Метрополитен Опера в Нью-Йорке протесты публики были столь громкими, что опера была снята после первого же представления. Без сомнения, эти протесты в значительной сте
Richard Strauss was born on June 11, 1864 in Munich (at that time the Bavarian Kingdom, now in Germany), his father is Franz Strauss, the first horn player at the Munich Court Opera. In his youth, received from his father a broad, albeit conservative, musical education; wrote his first piece of music at the age of 6; from then until his death, which followed almost 80 years later, he composed music almost continuously.
As a child, he had the opportunity to attend orchestral rehearsals of the Munich Court Orchestra, where he received private lessons in music theory and orchestration from the assistant conductor. In 1874, Strauss first heard the operas of Richard Wagner by Lohengrin, Tannhäuser and Siegfried; the influence of Wagner's music on Strauss's style could be decisive, but at first his father forbade him to study Wagner: only at the age of 16 could Strauss get the score of Tristan and Isolde. In fact, in the Strauss house, Richard Wagner's music was considered low-grade music. Later in his life, Richard Strauss wrote and said that he deeply regrets it.
In 1882, he entered the University of Munich, where he studied philosophy and history — but not music — however, a year later he left him to go to Berlin. There he studied for a short time, and then received the post of assistant conductor under Hans von Bülow, replacing him in Munich when he retired in 1885. His compositions of this period were very conservative, in the style of Robert Schumann or Felix Mendelssohn, faithful to the teaching style of his father . His Concerto for French Horn No. 1 (1882–1883) is typical of this period, and yet he is still regularly played. Strauss's style begins to change markedly when he meets Alexander Ritter, the famous composer and violinist and husband of one of Richard Wagner's nieces. It was Ritter who convinced Strauss to abandon his conservative youthful style and begin to compose symphonic poems; he also introduced Strauss to an essay by Richard Wagner and the works of Schopenhauer. Strauss was about to conduct one of Ritter’s operas, and later Ritter wrote a poem based on Richard Strauss' symphonic poem, Death and Enlightenment (Tod und Verklarung).
Richard Strauss married the singer - owner of the soprano Pauline Maria de Ana on September 10, 1894. She was known for her domineering and hot-tempered character, eccentricity and directness, but the marriage was happy - the wife became a great source of inspiration for him. Throughout his life, from the earliest songs to the last, written in 1948 of the Four Last Songs, he always preferred soprano to any other voices.
Thanks to his enthusiasm for symphonic poems, the first of them appeared, showing mature skill, a symphonic poem by Don Juan. During the premiere in 1889, half of the audience applauded while the other half giggled. Strauss knew that he had found his own musical voice, stating: “Now I console myself with the consciousness that I am on a consciously chosen road, fully realizing that there is no artist that thousands of his contemporaries would not consider insane.” Strauss wrote a series symphonic poems, including Death and Enlightenment (1888–89), The Merry Tricks of Till Ulenspiegel (Till Eulenspiegels lustige Streiche, 1894–95), So Zarathustra said (Also sprach Zarathustra, 1896, the initial phrases of which are widely known today thanks to the Stanley Kubrick film 2001: Space Odyssey and transfer What? Where? When?), Don Quixote (1897), Life Hero (1897-98), Home Symphony (1902-03) and An Alpine Symphony (1911-15).
At the end of the 19th century, Strauss turned to opera. His first experiments in this genre of Guntram in 1894 and the Extinguished Lights (Feuersnot) in 1901 failed. In 1905, he creates Salome (based on the play by Oscar Wilde), which was greeted as ardently and ambiguously as Don Juan at one time. At the premiere of the Metropolitan Opera in New York, public protests were so loud that the opera was shot after its first performance. No doubt these protests are largely
As a child, he had the opportunity to attend orchestral rehearsals of the Munich Court Orchestra, where he received private lessons in music theory and orchestration from the assistant conductor. In 1874, Strauss first heard the operas of Richard Wagner by Lohengrin, Tannhäuser and Siegfried; the influence of Wagner's music on Strauss's style could be decisive, but at first his father forbade him to study Wagner: only at the age of 16 could Strauss get the score of Tristan and Isolde. In fact, in the Strauss house, Richard Wagner's music was considered low-grade music. Later in his life, Richard Strauss wrote and said that he deeply regrets it.
In 1882, he entered the University of Munich, where he studied philosophy and history — but not music — however, a year later he left him to go to Berlin. There he studied for a short time, and then received the post of assistant conductor under Hans von Bülow, replacing him in Munich when he retired in 1885. His compositions of this period were very conservative, in the style of Robert Schumann or Felix Mendelssohn, faithful to the teaching style of his father . His Concerto for French Horn No. 1 (1882–1883) is typical of this period, and yet he is still regularly played. Strauss's style begins to change markedly when he meets Alexander Ritter, the famous composer and violinist and husband of one of Richard Wagner's nieces. It was Ritter who convinced Strauss to abandon his conservative youthful style and begin to compose symphonic poems; he also introduced Strauss to an essay by Richard Wagner and the works of Schopenhauer. Strauss was about to conduct one of Ritter’s operas, and later Ritter wrote a poem based on Richard Strauss' symphonic poem, Death and Enlightenment (Tod und Verklarung).
Richard Strauss married the singer - owner of the soprano Pauline Maria de Ana on September 10, 1894. She was known for her domineering and hot-tempered character, eccentricity and directness, but the marriage was happy - the wife became a great source of inspiration for him. Throughout his life, from the earliest songs to the last, written in 1948 of the Four Last Songs, he always preferred soprano to any other voices.
Thanks to his enthusiasm for symphonic poems, the first of them appeared, showing mature skill, a symphonic poem by Don Juan. During the premiere in 1889, half of the audience applauded while the other half giggled. Strauss knew that he had found his own musical voice, stating: “Now I console myself with the consciousness that I am on a consciously chosen road, fully realizing that there is no artist that thousands of his contemporaries would not consider insane.” Strauss wrote a series symphonic poems, including Death and Enlightenment (1888–89), The Merry Tricks of Till Ulenspiegel (Till Eulenspiegels lustige Streiche, 1894–95), So Zarathustra said (Also sprach Zarathustra, 1896, the initial phrases of which are widely known today thanks to the Stanley Kubrick film 2001: Space Odyssey and transfer What? Where? When?), Don Quixote (1897), Life Hero (1897-98), Home Symphony (1902-03) and An Alpine Symphony (1911-15).
At the end of the 19th century, Strauss turned to opera. His first experiments in this genre of Guntram in 1894 and the Extinguished Lights (Feuersnot) in 1901 failed. In 1905, he creates Salome (based on the play by Oscar Wilde), which was greeted as ardently and ambiguously as Don Juan at one time. At the premiere of the Metropolitan Opera in New York, public protests were so loud that the opera was shot after its first performance. No doubt these protests are largely