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Richard Georg Strauss (; ; 11 June 1864 – 8 September 1949) was a German composer and conductor best known for his tone poems and operas. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmony style.
Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome, which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used Libretto written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen.
A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally.
In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss née, was Jewish and much of his apparent acquiescence to the Nazi Party was done to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich.
A child prodigy in composition, Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. Soon after, he began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883.
In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the Wilde Gung'l, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann and Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1 is representative of this period and is a staple of the modern horn repertoire.
In 1874, Strauss heard his first Richard Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works.
In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own .
In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his 'Brahmsschwärmerei' ('Brahms adoration') during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)."
After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy.
Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the autumn of 1889. During the summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure.
In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892.
In the summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses' only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner
'Salome 2'. Salome (opera). Adolph Fürstner. 'The Bible Through Music'. Indiana University. (USA).
In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony Orchestra. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of lieder with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Max Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Semperoper with both the music and libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success.
At the outbreak of World War I Strauss was invited to sign the Manifesto of German artists and intellectuals supporting the German role in the conflict. Several colleagues, including Max Reinhardt, signed, but Strauss refused, and his response was recorded with approval by the French critic Romain Rolland in his diary for October 1914: "Declarations about war and politics are not fitting for an artist, who must give his attention to his creations and his works."
In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian.
In 1933, Strauss wrote in his private notebook:
I consider the Julius Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent.
Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary:
Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic.
Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Friedrich Ebert. I'll survive under this one as well." He later wrote in his journal:
In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers.Bill McGlaughlin. "Richard Strauss", Exploring Music (2004) on the WFMT Radio Network; episode 5 of 5, first aired 9 January 2004. Quoted at 01:35 of episode "Friday, July 14, 2024".
Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, " Das Bächlein" ("The Little Brook"), to Goebbels, to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. That year, he also replaced Jewish conductor Bruno Walter after Walter was forced by Goebbels to withdraw from a concert at the Berlin Philharmonic.
Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Nazi Germany.
On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated:
Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none.
This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. In 1940, Strauss was chosen by Goebbels to compose the Japanese Festival Music to celebrate the 2600th anniversity of the founding of the Japanese Empire. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps.
When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. "Music; Richard Strauss and Hitler's Reich: Jupiter in Hell" by Michael Hans Kater, The New York Times, 6 January 2002 While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the Schutzstaffel pleading for the release of her children who were also held in camps; his letters were ignored.
In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war.
The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom.
In April 1945, American soldiers occupying Germany at the end of the war arrived at Strauss's Garmisch estate. As Strauss descended the staircase, he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year.
In June 1945, after finishing Metamorphosen, Strauss completed his Sonatina No 2 in E-flat major (" Fröhliche Werkstatt") for 16 wind instruments, which he had begun in early 1944; at the end of the score he wrote "To the Manes of the divine Mozart at the end of a life full of thankfulness".
Like those of most Germans, Strauss's bank accounts were frozen, and many of his assets seized by American forces. Now elderly and with very few resources left, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel outside Zurich, and later at the Montreux Palace hotel in Montreux. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Short of money, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much-needed money.
From May to September 1948, just before his death, Strauss composed the Four Last Songs, which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration — meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894.
In December 1948, Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August, he suffered a heart attack and he quietly died of kidney failure in his sleep shortly after 2 PM on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, he remarked to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. Portrait of Sir Georg Solti., documentary (1984), directed by Valerie Pitts The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later on 13 May 1950 at the age of 88.
Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century".
After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948.
He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon.
James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first.
In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls.Derrick Puffett et al, Richard Strauss: "Salome" (1989), p. 4 Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous"; Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance.
Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor.
Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist,Shirley, Hugo (2012). "In Search of Strauss" in Journal of the Royal Musical Association, vol. 137, issue 1, pp. 187–192 albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody."
Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle.Elliott Antokoletz and Paolo Susanni, Béla Bartók: A Research and Information Guide, 2nd revised edition (1997), Routledge, London, , Introduction p. xxi. Similarly, Strauss had a huge impact on Arnold SchönbergSee Craig De Wilde, "Arnold Schoenberg and Richard Strauss", in The Cambridge Companion to Schoenberg, edited by Jennifer Shaw and Joseph Auner, Cambridge University Press, 2011, 68–78. and Anton Webern.See for example, Sebastian Wedler, "Thus Spoke the Early Modernist: Zarathustra and Rotational Form in Webern's String Quartet (1905)", Twentieth-Century Music 12/2 (2015), 225-251. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies,Paul Caldrin, "Orchestra music and orchestration", pp. 166–169 in Paul Cadrin and Stephen Downes (editors), The Szymanowski Companion, Routledge, London, revised edition (2015). and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other worksIan Parrott, Elgar (Master Musician), Everyman Ltd, London, First Edition (1971), p. 60. to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano.Ross, Alex (2010). "Strauss's Place in the Twentieth Century". In The Cambridge Companion to Richard Strauss, edited by Charles Youmans, 195–212. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press, . p. 211.
Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of . Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film".Timothy Scheurer, Music and Mythmaking in Film, Mcfarland, 2007 . p. 41. Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring."Roy Prendergast, Film Music: A neglected Art, W. W. Norton & Company, 1992, . Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie . The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars.
Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Arkivemusic . The ranking is Debussy, Ravel, Rachmaninoff, Strauss, Prokofiev.
Koch records has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Richard Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers.
There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor.
In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers ( Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Richard Strauss: The Last Concerts, CD issued by Testament SBT2 1441, 2009
Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony.
Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity".
Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote:
It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels.Peter Gutmann, "Richard Strauss Conducts" on classicalnotes.net
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