The Richard Strauss Companion

The Richard Strauss Companion

The Richard Strauss Companion

The Richard Strauss Companion

Synopsis

Features essays on various aspects of the composer's oeuvre-including his operas, choral works, and abstract instrumental compositions-and their formal criteria and critical reception.

Excerpt

Bryan Gilliam

As this volume goes to press, it has been a decade since the appearance of two volumes of essays and documents on Richard Strauss. One is the extension of the first major international musicological conference (at Duke University in Durham, North Carolina) on the composer, the other is a part of the Strauss music festival held at Bard College in Annandale-on-Hudson; New York. What has happened in these ten years—in both scholarship and performance—has been utterly remarkable. At least a half-dozen biographies of Strauss, a number of new monographs and dissertations on his work, and a host of newly published correspondence have appeared, and several more conferences have been held on both sides of the Atlantic. Moreover, an international institute for Strauss research opened in Garmisch, Germany, on 8 September 1999.

The music industry has been no less idle during this period. New recordings of his operas have enriched the market beyond the Salome, Elektra, Der Rosenkavalier, and Ariadne canon. Die Frau ohne Schatten, Die dgyptis che Helena, Friedenstag (three different versions), and Die Liebe der Danae have all appeared during a time when opera recording is generally in a serious decline. a series of recordings called Der unbekannte Strauss, which is now in its twelfth volume, feature previously unrecorded chamber music, orchestral music, ballet, and choral works.

In the realm of live performance (beyond the triangle of Vienna, Munich, and Berlin), later Strauss operas have made significant inroads at major opera houses such as Covent Garden, the Metropolitan Opera, the New York City Opera, the Houston Grand Opera, the Chicago Lyric Opera . . .

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