[Neo Romanza]

My choices:

Also Sprach Zarathustra
Eine Alpensinfonie
Vier Letzte Lieder
Horn Concerto no. 2
Metamorphosen

I am not a great fan of Richard Strauss although I respect his craftsmanship a lot. In general, Mahler was a lot deeper, Bruckner more noble, Wagner the superior opera composer. Strauss has always sounded somewhat bourgeois and rather shallow to me.

The works I listed are masterpieces, though.

One of the great known facts about Strauss was that a lot of his music was written with a smile behind it. He had a great sense of humor and it was actually his dream to be an operetta composer. There are moments in many of his works, however, that show genuine emotion. I'm thinking here of the last movement of Ein Heldenleben when there is a theme that comes with the strings and it just melts my heart. The Adagio from Symphonia Domestica is another just beautiful moment. Another moment that breaks my heart when I hear it is the last two minutes (or so) of the first movement from his Horn Concerto No. 2 where there's this emotional sigh from the horn and the orchestral accompaniment is absolutely exquisite. There are also moments in several of his operas where "the mask comes off" so to speak. I think it's all too easy to level a criticism about his music like "shallow" or whatever, but more familiarity with his music reveals that he could be as emotionally deep as any of the great composers that have proceeded or succeeded him.

 

[Waehnen]

One of the great known facts about Strauss was that a lot of his music was written with a smile behind it. He had a great sense of humor and it was actually his dream to be an operetta composer. There are moments in many of his works, however, that show genuine emotion. I'm thinking here of the last movement of Ein Heldenleben when there is a theme that comes with the strings and it just melts my heart. The Adagio from Symphonia Domestica is another just beautiful moment. Another moment that breaks my heart when I hear it is the last two minutes (or so) of the first movement from his Horn Concerto No. 2 where there's this emotional sigh from the horn and the orchestral accompaniment is absolutely exquisite. There are also moments in several of his operas where "the mask comes off" so to speak. I think it's all too easy to level a criticism about his music like "shallow" or whatever, but more familiarity with his music reveals that he could be as emotionally deep as any of the great composers that have proceeded or succeeded him.

I am sure there is more depth to Strauss than I have so far witnessed. Like you have said yourself quite often, if a composer doesn´t click, why bother. For me Strauss is such a case. For example many of the happy tone poems sound so merry that I just do not care for them. Nevertheless, I consider the works I listed wonderful and deep enough.

So I am only saying what I think at this moment. I do not claim to possess any kind of truth on the matter.

(When it comes to Mahler on the other hand, despite my certain reservations, I have been motivated to listen to the music from the very beginning. So in that sense, Mahler certainly clicks.)

 

[Alfacharger]

I didn't want to put just operas because I love his other stuff and wanted it represented....and wish he had written full symphonies... so:

FAVORITES by the way....wouldn't know where to start rating 4 songs vs Frau Ohne Schatten:

Rosenkavalier
Death and Transfiguration
Ariadne
Four Last Songs
Frau Ohne Schatten

Just today I heard a beautiful movement from the violin sonata in a student recital...gorgeous!

Just for the record, Strauss did compose two full symphonies early in his career.

 

[Neo Romanza]

I am sure there is more depth to Strauss than I have so far witnessed. Like you have said yourself quite often, if a composer doesn´t click, why bother. For me Strauss is such a case. For example many of the happy tone poems sound so merry that I just do not care for them. Nevertheless, I consider the works I listed wonderful and deep enough.

So I am only saying what I think at this moment. I do not claim to possess any kind of truth on the matter.

(When it comes to Mahler on the other hand, despite my certain reservations, I have been motivated to listen to the music from the very beginning. So in that sense, Mahler certainly clicks.)

Mahler and Strauss, for this listener, are on an equal plateau. Both composers are in my 'Top 5', so, obviously, I'm going to defend his music or, at the very least, provide someone who doesn't quite like his music with another perspective. But I certainly understand your sentiments about Strauss and there are many composers whom so many love that I do not as well. That's the beauty of this music is that we all hear things differently and that's great.

 

[Waehnen]

Mahler and Strauss, for this listener, are on an equal plateau. Both composers are in my 'Top 5', so, obviously, I'm going to defend his music or, at the very least, provide someone who doesn't quite like his music with another perspective. But I certainly understand your sentiments about Strauss and there are many composers whom so many love that I do not as well. That's the beauty of this music is that we all hear things differently and that's great.

I think that is what this forum is about: exchanging thoughts on music. I am free to voice my current reservations on Strauss and you are free to defend his music -- just as it ought to be. I appreciate it.

 

[annaw]

Eine Alpensinfonie, Ein Heldenleben, Der Rosenkavalier, Also sprach Zarathustra, and Vier Letzte Lieder are my favourites, although the favorite tone poems (except, Eine Alpensinfonie) also constantly keep changing.

I absolutely love the recording of the Four Last Songs with Schwarzkopf/Szell though . A wonderful recording! And Karajan is excellent with almost anything Strauss.

 

[Neo Romanza]

Eine Alpensinfonie, Ein Heldenleben, Der Rosenkavalier, Also sprach Zarathustra, and Vier Letzte Lieder are my favourites, although the favorite tone poems (except, Eine Alpensinfonie) also constantly keep changing.

I absolutely love the recording of the Four Last Songs with Schwarzkopf/Szell though . A wonderful recording! And Karajan is excellent with almost anything Strauss.

The recording with Schwarzkopf and Szell of the Vier letzte Lieder (plus other orchesterlieder) is magnificent. A desert island disc for me! And, yes, Strauss + Karajan = .

 

[starthrower]

I don't listen to R. Strauss all that much but I picked three operas, Metamorphosen, and Death and Transfiguration. I know it's heresy around here but I really don't know the Four Last Songs all that well. Salome by Bohm, Elektra, and Die Frau Ohne Shatten are three operas I found at used shops and I enjoy these. I listen to the orchestral pieces by Klemperer. I have the Kempe box but I haven't really gotten into it yet.

 

[RobertJTh]

Strauss is one of the greatest post-Wagner opera composers, so I voted for Salome, Elektra and Der Rosenkavalier. The two expressionist horror-masterpieces, both indispensable, and the luxuriously post-modern extravaganza that even more exemplifies Strauss' true nature.
If I had to pick one symphonic poem, it'd be Don Juan, naturally. Pure genius. I don't get the love for the Alpine Symphony - to me that's an empty vessel containing only 2nd rate melodies and superficial filler.
Then there's the "Indian Summer" works, I chose Metamorphosen over the 4 Last Songs, because I think Strauss has written better songs - orchestral or not - but Metamorphosen is completely unique in his output.

 

[Kjetil Heggelund]

Maybe my next "project" should be to hear more Strauss. I used to say he was my favorite composer when I was ca. 18 years old, but got fed up when I heard the Alpine symphony live...Now I think it's awesome. I have only listened to the symphonic poems and the 4 last songs...wait, there's a song called "Morgen"!!!

 

[Brahmsianhorn]

Tod und Verklarung and Metamorphosen, especially on the 70s Karajan disc featuring the Janowitz Four Last Songs, are anything but shallow works.

Strauss was a wonderfully inventive composer. He was the last of the great German line going back to Bach.

 

[larold]

Strauss wrote scores of songs, most masterful and full of meaning with memorable tunes, aside from the famous Four Last Songs. Of those September is perhaps the most meaningful as it is metaphor for September of one's life though Im Abendrot covers similar ground.

Aside from Also Sprach Zarathustra, which I find meaning in throughout its duration (especially the second half) I find his large orchestral edifices trying and difficult to sit through. They seduced me when I first knew them but over time they lost their appeal. Many contain the same technicolor range as Wagner but without the electric witchery. Also it's clear Strauss wrote a lot of those about himslef, his family and his own ideas of the world.

His least well-known ouevre is his works that mimic his hero Mozart. Among others he wrote a range of wind music on Mozart's model, almost all of which is wonderful, well written, and full of lasting tune-memories. People think they know Strauss because they saw Rosenkavalier and/or heard the Alpine Symphony in concert but he has -- like Brahms -- a private or introverted side. Those are his Mozartean compositions.

Here's one of my favorites; my preferred recording is on a German LP from students of the Folkwang Hochschule Essen is N/A on YouTube so the Netherlands Wind Ensemble will have to do:

 

[Waehnen]

I will revisit Don Juan today, due to this wonderful thread!

 

[mmsbls]

I'll go with

Four Last Songs
Tod und Verklarung
Metamorphosen
Don Juan
Elektra

Supposedly Strauss said he is a first class second rate composer. I'm not sure if he was joking, but I think he's a first rate composer (unless first rate means maybe only 10 or so which seems way too low).

 

[Brahmsianhorn]

I'll go with

Four Last Songs
Tod und Verklarung
Metamorphosen
Don Juan
Elektra

Supposedly Strauss said he is a first class second rate composer. I'm not sure if he was joking, but I think he's a first rate composer (unless first rate means maybe only 10 or so which seems way too low).

He didn’t create the memorable melodies that the top rank composers did, but his use of form and orchestration was unmatched. Perhaps this is what he meant.

 

[larold]

Supposedly Strauss said he is a first class second rate composer. I'm not sure if he was joking, but I think he's a first rate composer (unless first rate means maybe only 10 or so which seems way too low).

He was being facetious of course. There was a schism in the 20th century between hangover romantcis like him and modernists. Sibelius wrote his Third Symphony with restraint in both orchestration and dynamics as protest against the romantic bigness of Strauss, Mahler and other late romantics. Strauss also had an ego the size or Europe that rubbed many the wrong way.

 

[joen_cph]

My own minimalistic Strauss collection would be
Metamorphosen
Till Eulenspiegel
Burleske
4 Letzte Lieder
and maybe the Piano Quartet

 

[starthrower]

I'm doing a R. Strauss marathon on YouTube watching the Frankfurt Radio Symphony so I have to add Ein Heldenleben to my favorites.

 

[feierlich]

As seen from the results of the vote, Till Eulenspiegel is largely overlooked! This may sound surprising but it is my favourite and I think the best tone poem composition by Richard Strauss.

 

[HenryPenfold]

I've edited my post because it looks weird in English, so I've put the titles in their proper German.

Shame I had to leave out Don Juan and Till Eulenslpiegels Lustige Streiche

1. Ein Heldenleben
2. Vier Letze Lieder
3. Elektra
3. Salome
5. Tod und Verklärung

Favourite recordings:

1. Any one of the Karajan BPO rperformances
2. Karajan Janowitz BPO, closely followed by: HvK/Anna Tomowa-Sintow/BPO and Lucia Pop/Tennstedt/LPO
3. Sawallisch (Elektra)
3. Culshaw/Solti/Nilsson (Salome)
5. Karajan BPO DG 1973 analogue (listened to Vasily Petrenko, Oslo Philharmonic via Qobuz streaming this morning and was blown away)