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Topic: Also sprach Zarathustra (Strauss)

	Also sprach Zarathustra (Strauss) - Wikipedia, the free encyclopedia
		30 is a symphonic poem by Richard Strauss, composed in 1896 and inspired by the book of the same title by Friedrich Nietzsche.
		The use of this piece at South Carolina began in 1983, when the school's late football coach Joe Morrison introduced it as the team's entrance music, intending it for the school's bicentennial in 2001.
		The late musical group Phish was also known to often play a reinvented jam version of the piece live in concert (often labeled as "2001"), though this is widely considered to be more a cover of Deodato's version than Strauss'.
	en.wikipedia.org /wiki/Also_sprach_Zarathustra_(Strauss) (1049 words)

	Richard Strauss's Also Sprach Zarathustra - Picture and Sound Clip - MSN Encarta
		Richard Strauss was the son of German horn player/composer Franz Strauss.
		Strauss wrote symphonic poems to both philosophical and descriptive programs and saw no limit to what could be expressed in music.
		His Also Sprach Zarathustra is based on the rhapsodic expression of Friedrich Nietzsche’s personal philosophy.
	encarta.msn.com /media_701505523_761566570_-1_1/Richard_Strauss's_Also_Sprach_Zarathustra.html (134 words)

	Epinions.com - Also Sprach Zarathustra - Thus Strauss Began His Descent (Site not responding. Last check: 2007-10-12)
		Strauss has said he meant the piece to be a depiction of man's development from the beginning to present, so "The Dawn Of Man" is an accurate moniker for the opening (strangely, Strauss and Kubrick were almost artistic brothers in that each looked to literature to find the subject of their next work.
		Strauss included the opening of the Nietzsche work in the score, in which Zarathustra (usually Zoroaster in English) addresses the sun before returning to man to spread his knowledge.
		Strauss scoring of the strings once again makes sense, as it allows all four voices of the fugue to be entirely in the cellos and basses, while still allowing for additional cello parts later on.
	www.epinions.com /content_4695236740 (3142 words)

	All Brahms
		The music expresses the cosmic dimensions of Zarathustra's ambition with simple yet extraordinary means: a soft tremolo in the bass drum and the double bass, a long-held deep C in the organ, followed by a brief trumpet fanfare and a striking orchestral motif juxtaposing a major and a minor chord.
		Zarathustra's voice also resounded in such a manner that his animals came to him frightened, and out of all the neighboring caves and lurking-places all the creatures slipped away - flying, fluttering, creeping, or leaping, according to their variety of foot or wing.
		Strauss used an extremely sophisticated, virtuosic orchestration (a spectacular violin solo, divided strings, harp) that brings about the climax of the entire piece and a veritable "apotheosis of the dance" (to borrow the famous phrase that Wagner had applied to the last movement of Beethoven's Seventh Symphony).
	www.clevelandorch.com /images/ftpimages/performance/program_notes/080103.html (3666 words)

	Richard Strauss - Also Sprach Zarathustra and other Tone Poems conducted by Herbert von Karajan
		Herbert von Karajan is acknowledged as one of the foremost interpreters of the music of composer Richard Strauss, which may be why his recording of the opening of Also Sprach Zarathustra was used in the opening of "2001: A Space Odyssey".
		This also represent a sort of duality in man between the "Backworldsman" his physical or genetic heritage, and the spiritual "Superman" to which he aspires.
		There is also a certain duality of key in the work which has important material in the close yet remote keys of C and B. In the Tone Poem, this duality is not resolved and the music ends on an enigmatic decrescendo which alternates between the C-G-C motto and a B minor chord.
	www.mfiles.co.uk /reviews/strauss-zarathustra-karajan.htm (994 words)

	Richard Strauss, Also Sprach Zarathustra, Op. 30 (1896)
		It's true also that the seed of one element in Nazism can be traced in Nietzsche's radical rejection of the Christian ethos—of mercy and compassion, and the exaltation of the meek—in favor of a hard-edged, clear-eyed, ecstatically arrogant confrontation of the mysteries of the universe.
		Also sprach Zarathustra, which offers mankind "not the Joy of Life (for there is no such thing), but the Fullness of Life, in the joy of the senses, in the triumphant exuberance of vitality," is a work of the imagination.
		When Zarathustra was thirty years old, he left his home and the lake of his home, and went into the mountains.
	www.americansymphony.org /dialogues_extensions/99_2000season/2000_03_08/strauss.cfm (1029 words)

	Utah Symphony (Site not responding. Last check: 2007-10-12)
		Strauss shared Nietzsche's contempt for the Christian religion as one which absolves its believers of responsibility for their own actions through confession, and which fosters an attitude of dependence and subservience.
		Strauss satirizes the dry dogma of organized religion by quoting the Credo chant in the horns.
		The recapitulation also arrives with a memorable gesture: the thundering unison D that opened the concerto returns, but now the soloist takes the initiative with the theme and thrusts the music abruptly into E major, the musical equivalent of changing gears without a clutch.
	www.utahsymphony.org /concert_search_detail.cfm?id=240 (1719 words)

	Program Notes
		While the twenty-four-year-old Strauss enjoyed challenging performers to their limits (the eighty-four-year-old Strauss would enjoy it just as much), his primary intention was less to frighten the Weimar fiddlers out of their wits than to paint a portrait and create an atmosphere.
		Strauss realized he had to give them a group of songs, but he was not about to give them a substantial body of work like the Brentano Lieder, on which he had begun working.
		Strauss suggested she sing some of his songs, which led to the two of them giving a concert for some of the internees in Zurich.
	www.sfsymphony.org /templates/pgmnote.asp?nodeid=3495&callid=117 (4086 words)

	Schott Music - Shop - - Don Juan / Macbeth / Also sprach Zarathustra
		In "Macbeth" it is not the Shakespeare drama which Richard Strauss reproduces here, but rather its essence: a psychogram of the two protagonists in musical terms, a psychic profile of the Scottish nobleman turned criminal usurper and his spouse who ensnares him and spurs him on.
		Nevertheless, there is also no doubt that he undertook the task - inspired by intensive study of Nietzsche - of singing the praises of a "superhuman" being in the sense of a spiritual creature conscious of itself and freed of all earthly traces.
		Also sprach Zarathustra: Tondichtung frei nach Friedrich Nietzsche für großes Orchester op.
	www.schott-music.com /shop/show,93608.html (246 words)

	Dallas Symphony Orchestra (Site not responding. Last check: 2007-10-12)
		Strauss was born on June 11, 1864, in Munich, and died on September 8, 1949, in Garmisch.
		Also Sprach Zarathustra received its Carnegie Hall premiere on March 22, 1900, with the Boston Symphony Orchestra conducted by Wilhelm Gericke.
		Strauss read several of Nietzsche’s writings while working on his first opera, Guntram (1892–93), and was particularly drawn to Also sprach Zarathustra.
	www.carnegiehall.org /article/box_office/events/evt_4424_pn.html?selecteddate=04082005 (1398 words)

	Classical Net - Basic Repertoire List - Richard Strauss
		Strauss began to compose at an early age in an idiom which owed much to Robert Schumann.
		During this period as well, Strauss became an official of the Third Reich, although his job was largely ceremonial, and he considered most of the powerful Nazis Philistines and barbarians.
		Strauss became a whipping-boy for modernist critics, who regarded him as a moss-back and failed to discern how he led to modernism.
	www.classical.net /~music/comp.lst/straussr.html (985 words)

	Los Angeles Philharmonic Association - Piece Detail
		Strauss depicts the sunrise vividly with a blazing fanfare that employs the full resources of his enlarged orchestra, including the organ.
		Strauss' tone poem closes with the "Song of the Night Wanderer," as Zarathustra again returns to his cave and reflects on the song that life has taught him, a song contrasting woe and joy.
		Strauss ends the work serenely as Zarathustra prepares for the approach of another sunrise.
	www.laphil.org /resources/piece_detail.cfm?id=673&back=http://www.LAPhil.com/resources/performer_detail.cfm?id=54;; (480 words)

	SA-CD.net - Richard Strauss: Also Sprach Zarathustra, etc. - Karajan
		Also the vivid presence and instrumental timbres lend amazing colour to the performance, especially to the more reflective passages — I can’t recall the exquisite string and wind playing after the opening sounding so downright eerie as here.
		Some tape noise also afflicts the very quietest passages in the enjoyable Don Juan (a work where Karajan’s last, digital, recording is his finest) and the Dance of the Seven Veils.
		To sum up, the Also Sprach and Till Eulenspiegel are excellent and superbly recorded, bearing in mind they were set down over 45 years ago.
	www.sa-cd.net /showreviews/2685 (831 words)

	GMCD 7204 - Richard Strauss
		His symphonic poem is not, as Strauss pointed out, "setting philosophy to music," but, rather, his expression of the impact that the book made on him when he read it--one of exaltation and wonder.
		The score is prefaced by an excerpt from Zarathustra's prologue describing his withdrawal from home and family and the years he spent searching for the truth: "Having attained the age of thirty, Zarathustra left his home and the lake of his home and went into the mountains.
		Strauss recorded his progress in writing this work in the detailed entries he made in his diary: "Began scoring at noon on August 12." The score was finished at "11.42 a.m.
	www.guildmusic.com /catalog/gui7204z.htm (1891 words)

	Richard Strauss (Site not responding. Last check: 2007-10-12)
		Richard Strauss was the most clearly programmatic composer of the nineteenth century, and he used the freedoms of musical pictorialism to create sounds that bring us into the twentieth century.
		Strauss was composing by the age of six, having received basic instruction from his father, a virtuoso horn player.
		Strauss' first symphony premiered when he was seventeen, his second (in New York) when he was twenty.
	www.wwnorton.com /enjoy/shorter/composers/strauss.htm (624 words)

	Strauss, R.: Also Sprach Zarathustra; Mahler / Boulez, et al : Music (Site not responding. Last check: 2007-10-12)
		Compared with my other favorite recording of Also Sprach Zarathustra (Previn in Vienna on Telarc) which is astronomical in proportion, Boulez´s rendition, by contrast, is earthy and gritty.
		It is particularly interesting that the Strauss Also Sprach Zarathustra is presented along with this piece, as its opening uses a motive borrowed (?) from the end of the Totenfeier; the loud C Major to minor chord with the "sighing" trumpet changing the E to an E-flat.
		The motion that begins the Strauss (C, G, C´, E, E-flat) also contains an inversion of one of the primary motives of the Totenfeier, (C´, G, C) which is presented throughout as a dotted figure.
	store.edcal.com /an/B00001IVO8.html (871 words)

	Essentials of Music - Audio Examples
		Set as a series of variations ("ad absurdum," he was later to say), Strauss tells this story of the idealistic Don Quixote and his doomed quests.
		Also Sprach Zarathustra (Thus Spake Zarathustra) was based on a book by the same name by Friedrich Nietzsche.
		Strauss wrote that his intent in this piece was "to convey in music the idea of the development of mankind...
	www.essentialsofmusic.com /composer/47656.html (225 words)

	Amazon.com: Richard Strauss: Also sprach Zarathustra; Ein Heldenleben: Music: Richard Strauss,Fritz Reiner,Chicago ... (Site not responding. Last check: 2007-10-12)
		A similar treasure is realized in Strauss' "Ein Heldenleben" or "A Hero's Life." Filled with quotes from earlier Strauss works, this is an intense, powerful, and dramatic work that seems something of an ego trip for the composer since he is clearly the "hero" of the story.
		However, Strauss may actually be celebrating his accomplishments and achievements, often as he sought to please his wife Pauline, who clearly expected nothing but the best from her husband.
		Strauss Also sprach Zaratustra will be performed with such electrifying flair, mercurial rapture, vibrating intensity and delirious apotheosis as possibly has been made.
	www.amazon.com /exec/obidos/tg/detail/-/B000003FE9?v=glance (2168 words)

	Saint Louis Symphony
		Richard Strauss was born on June 11, 1864, in Munich; he died on September 8, 1949, at his villa in the Bavarian town of Garmish-Partenkirchen.
		Putting this theory into practice, Strauss proceeded to use literary programs as the basis for a number of tone poems he composed in the late 1880s and throughout the 1890s.
		Until recently, he also served as Managing Director and Conductor of Sequitur, a New York-based contemporary music ensemble, of which he was a cofounder.
	www.slso.org /0203notes/sub11.htm (2390 words)

	Phish.Net FAQ: 2001
		Nietszche's Zarathustra: Nietszche wrote a book (Thus Spoke Zarathustra) about a man who lived among people for most of his life, went to a mountain cave for ten years, and then came back down to the world and witnesses the madness and insanity there.
		Today, it's the real deal." Graff also called it "a piece that evokes birth and renewal." Maybe this was an inspiration for Phish opening set two night after night after night (for most of the summer 1993 tour) with Deodato's version.
		Hear also: On Stan Kenton's 1973 album entitled 7.5 on the Richter Scale, track 5 is "2002-Zarathustrevisited", which revisits the tune in a big band style.
	www.phish.net /faq/2001.html (998 words)

	Amazon.ca: Also Sprach Zarathustra/Don Ju: Music (Site not responding. Last check: 2007-10-12)
		Also sprach Zarathustra (Thus Spoke Zoroaster), tone poem for orchestra, Op.
		His Zarathustra (aka 2001: A Space Odyssey) is, along with Fritz Reiner's, probably among the two or three best performances preserved on disc, and von Karajan is nearly flawless on the other works as well.
		The rest of Also Sprach Zarathrustra is less tham impressive later on.
	www.amazon.ca /exec/obidos/ASIN/B000001GQT (1565 words)

	Composer Biography - Strauss, Richard
		Strauss followed it with Ariadne auf Naxos, at first linked with a Molière play, later revised as prologue (behind the scenes at a private theatre) and opera, mixing commedia dell'arte and classical tragedy to a delicate, chamber orchestral accompaniment.
		During the 1930s Strauss, seeking a smooth and quiet life, had allowed himself to accept – without facing up to their full import – the circumstances created in Germany by the Nazis.
		When Germany was defeated, and her opera houses destroyed, Strauss wrote an intense lament, Metamorphosen, for 23 solo strings; this is one of several products of a golden 'Indian summer', which include an oboe concerto and the Four Last Songs, works in a ripe, mellow idiom, executed with a grace worthy of his beloved Mozart.
	www.sfsymphony.org /templates/composer.asp?nodeid=203 (899 words)

	INKPOT -- R. Strauss -- Ein Heldenleben, Frau ohne Schatten Suite -- Reference Recordings
		American-born conductor John Fiore's new recording of Strauss's Also sprach Zarathustra (with the Düsseldorf Symphony) is the latest in a long list of similar works.
		The Persian Zarathustra was the founder of the eponymous Zoroastrian movement, and tradtionally the first to profess the dichotomy and conflict between good and evil as one of the fundamental workings of the physical world.
		was also recorded live, earlier in November 2001, but as before, the amplitude of the sound, while lush and full, tends towards a flocculent ambience - and the audience presence curiously gives little nothing towards a sense of involvement and occasion in these recordings.
	inkpot.com /classical/haenss.html (751 words)

	2001 A Space Odyssey - Soundtrack music by Richard Strauss, Johann Strauss, Gyorgi Ligeti and Aram Khachaturian
		The title track is the opening music from "Also Sprach Zarathustra" by Richard Strauss.
		This ballet also includes the famous "Sabre Dance", and the theme from the TV Series "The Onedin Line" is the Adagio from another of Khachaturian's ballets called Spartacus.
		His contribution is a number of largely atmospheric pieces which are also associated with the fl monoliths, and the inexplicable effects they create.
	www.mfiles.co.uk /reviews/2001-a-space-odyssey.htm (980 words)

	Also Sprach Zarathustra by Richard Strauss Songfacts
		Strauss was a German composer who wrote what he called "Tone Poems," which were classical pieces in one movement inspired by some kind of literary or visual art.
		It was used 3 times in the movie, including the opening sequence, which is considered one of the most famous pieces of film history.
		Strauss' movement is about 40 minutes long; the portion used in the movie was the beginning of the piece, which is known as "Sunrise" or "Dawn."
	www.songfacts.com /detail.php?id=4186 (258 words)

	Unicast: Also sprach Zarathustra (Site not responding. Last check: 2007-10-12)
		The tone poem 'Also Sprach Zarathustra' was composed by Richard Strauss not Wagner.
		I also recently made the same mistake of attributing the composition to Wagner.
		In fact, searching on kazaa for Wagner, the piece that got the most hits was "also sprach zarathustra"...
	unicast.org /archives/000185.html (172 words)

	Classical Net Review - Strauss/Mahler - Also sprach Zarathustra/Totenfeier
		Deutsche Grammophon taped these performances three years ago; their delayed release, however, should not be interpreted as a sign of any artistic or technical shortcomings, because these are top-of-the-line readings of Strauss's and Mahler's scores in every way.
		Mahler's inspiration was a poem by the Pole Adam Mickiewicz in which a sensitive young man kills himself after his sweetheart has married someone else; in consequence, he is doomed to eternal, mute wanderings in her presence.
		Mahler also was inspired by a morbid vision of himself "lying dead upon a bier under wreaths and flowers" following the successful premiere of Die drei Pintos, an opera that Mahler had constructed from sketches by Carl Maria von Weber.
	www.classical.net /~music/recs/reviews/d/dgg57649a.html (515 words)

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