The Origins and Roles of Instrumental Music in the Operas of by Malcolm Rowat

By Malcolm Rowat

Finds the significance of Richard Strauss' operatic compositions instead of basically his instrumentals through giving certain research of ways and why they have been composed. the most objective of this quantity is to supply an summary to all of Richard Strauss' musical and operatic compositions. often the operas are neglected through students and composers who merely practice his instrumental works. This e-book indicates that there's marvelous musical worth within the operas besides. It additionally showcases his compositional sort and methods, because the writer states, Strauss may perhaps compose whereas using on a loud teach, he was once simply that proficient.

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By Malcolm Rowat

Finds the significance of Richard Strauss' operatic compositions instead of basically his instrumentals through giving certain research of ways and why they have been composed. the most objective of this quantity is to supply an summary to all of Richard Strauss' musical and operatic compositions. often the operas are neglected through students and composers who merely practice his instrumental works. This e-book indicates that there's marvelous musical worth within the operas besides. It additionally showcases his compositional sort and methods, because the writer states, Strauss may perhaps compose whereas using on a loud teach, he was once simply that proficient.

Show description

Read Online or Download The Origins and Roles of Instrumental Music in the Operas of Richard Strauss: From Concert Hall to Opera House PDF

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Extra resources for The Origins and Roles of Instrumental Music in the Operas of Richard Strauss: From Concert Hall to Opera House

Sample text

But it does contain some chromatic harmonies that would anticipate the work of the Second Viennese School by several decades. Guntram was the first of a number of Strauss's operas that featured preludes but no meaningful interludes-a second category of Strauss's operas would do just the opposite. The importance Strauss attached to GUl1tram has, over the years, proved to be sadly out of prop0l1ion of its intrinsic value as a lasting work of art. The very great prominence of its many themes in the famous 'Works of 45 46 Del Mar, Richard Strauss, 1:95.

47 In summary, Strauss's first operatic venture ended in failure but not before he had demonstrated certain skills in composing for the female voice and had begun, albeit in a very modest way, to incorporate his tone poem instrumental skills into the body of the opera with calculated effect. But the trauma of this particular experience would lead him back to compose a second cycle of tone poems over the next five years. Strauss himself had once remarked that the entire opera Guntram was a 'prelude' to his further operatic work.

Structurally, musical analysts have debated over many years whether the piece was in fi:ee sonata or rondo fonn. A recent exhaustive analysis ofthe work suggests that it is neither but rather a structural process in dialogue with several generic traditions. 3D But more important than the form and structure of the work was Strauss's use of accelerations of tempi, metre, and harmonic progression, as well as elaborate orchestration, as an input to tone painting. Indeed, Don Juan is the first truly Straussian piece with no quotations or copying from his predecessors.

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