It is not a biography. It is also not a deep research. It is what I have thought after the Alpine Symphony performance by Vienna Philharmonic Orchestra at BBC Proms 2012. Not live. Not in Royal Albert Hall.
It is fascinating how even so different composers (compared to their principles of orchestration, compositions’ structure, harmony, philosophy) can actually seek to create at least some pieces in Classicism manner. After the shocking presentation of radical compositions such as symphonic tone poems and modern operas (Salome and Elektra) Strauss decides to come back to its youth’s writing style once approved by Brahms – the comic opera Der Rosenkavalier was written in W.A. Mozart’s way and was well greeted by the audiences and critics. There is no doubt why Classicism is an example of a perfectly structured and perfectly positive (maybe not always) music. Even if it looked so old fashioned in 19th and 20th centuries, it was usually defined as a model of a truly fulfilled music.
Funny enough, that composer’s father was strong opponent of rebellious Wagner. Richard Strauss was always thought to admire the Haydn’s, Mozart’s, Beethoven’s or Brahms’s works full of classic flame. This influence was reflected through his first compositions. However, we now know Strauss as a respectful colleague of Wagner (understanding of orchestration, drama and voice) and Liszt (development of tone poems). So even if parents would like to see what they want, children always get their way.
I am also impressed by Strauss’s symphonic style – these realistic descriptions of various natural sounds cannot compete with any other former attempts. Even Liszt is defined as the ‘creator of tone poems’ while Strauss – ‘a perfector’ (P.G. Goulding, 1992). Strauss’s manner of orchestration is soaked with mystical and unpredictable sense which is created by a unique usage of its colours, abilities and rhythms.
By the way, now I am sure that not only Tchaikovsky’s works were influential in writing the soundtracks for all films of Harry Potter.
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