Artist Info
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| Title | Release |
 Richard Strauss: The Last Concerts |
2009 |
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Strauss conducts Der Rosenkavalier |
2008 |
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Richard Strauss Conducts Don Quixote |
2004 |
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Strauss Conducts Ein Heldenleben |
2003 |
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Odense Symphony Orchestra |
2002 |
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Strauss Conducts An Alpine Symphony |
2001 |
 Beethoven: Symphonies Nos. 5 & 7 |
2000 |
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Richard Strauss Conducts |
1999 |
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Richard Strauss conducts Richard Strauss |
1998 |
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Richard Strauss Conducts "Eine Alpensinfonie" & Film Music from "Der Rosenkavalier" W |
1993 |
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Richard Strauss Conducts Beethoven |
1991 |
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Richard Strauss Conducts Mozart |
1991 |
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Richard Strauss Conducts...the Berlin Philharmonic Orchestra |
1991 |
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Strauss Conducts Strauss |
1976 |
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DER ROSENKAVALIER (HYBR) |
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Friedenstag (Peace Day) |
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Mozart: Symphonien No. 40 & No. 41 "Jupiter"; Die Zauberflöte Ouvertüre |
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Richard Strauss Conducts Till Eulenspiegel; Don Juan; Le Bourgeois Gentilhomme |
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Richard Strauss dirigiert eigene Tondichtungen |
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Wagner: Die Meistersinger von Nürnberg; Strauss: Sinfonia Domestica, Till Eulenspiegels lustige Streiche |
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 (329) Also sprach Zarathustra (Thus Spoke Zoroaster), tone poem for orchestra, Op. 30 (TrV 176) |
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(365) Der Rosenkavalier, opera, Op. 59 (TrV 227) |
1926 |
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(42) Der Rosenkavalier, suite from the opera for orchestra, o.Op. 145 (TrV 227d, AV 145) |
1991 |
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(264) Don Juan, tone poem for orchestra, Op. 20 (TrV 156) |
1991 |
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(135) Don Quixote, fantastic variations for cello & orchestra, Op. 35 (TrV 184) W |
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(52) Horn Concerto No. 1 in E flat major, Op. 11 (TrV 117) |
1967 |
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(37) Horn Concerto No. 2 in E flat major, o.Op. 132 (TrV 283, AV 132) |
1991 |
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(43) Oboe Concerto in D major, o.Op. 144 (TrV 292, AV 144) |
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(158) Salome, opera, Op. 54 (TrV 215) |
1954 |
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(235) Till Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks), tone poem for orchestra, Op. 28 (TrV 171) |
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(162) Tod und Verklärung (Death and Transfiguration), tone poem for orchestra, Op. 24 (TrV 158) |
1955 |
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(134) Vier letzte Lieder (Four Last Songs), for soprano & orchestra, o.Op. 150 (TrV 296, AV 150) |
1973 |
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(3) Little Songs (Kleine Lieder) (5) for voice & piano, Op. 69 (TrV 237) |
1969 |
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Songs (5) for voice & piano, Op. 48 (TrV 202) |
1969 |
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(3) Songs (6) for voice & piano, Op. 17 (TrV 149) |
1967 |
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Songs (6) for voice & piano, Op. 56 (TrV 220) |
1969 |
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(9) Krämerspiegel (Shopkeeper's Mirror), songs (12) for voice & piano, Op. 66 (TrV 236) |
1969 |
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(9) Mädchenblumen, songs (4) for voice & piano, Op. 22 (TrV 153) |
1968 |
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Songs (2) for voice & piano, Op. 26 (TrV 166) |
1968 |
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(4) Songs (3) for voice & piano ("Aus den Büchern des Unmuts des Rendsch Nameh"), Op. 67/4-6 (TrV 238/4-6) |
1969 |
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(4) Songs (3) for voice & piano, Op. 29 (TrV 172) |
1968 |
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Songs (3) for voice & piano, Op. 43 (TrV 196) |
1969 |
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Songs (4) for voice & piano, Op. 31 (TrV 173) |
1968 |
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(3) Songs (4) for voice & piano, Op. 36 (TrV 186) |
1968 |
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(2) Songs (5) for voice & piano, Op. 32 (TrV 174) |
1968 |
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(2) Songs (5) for voice & piano, Op. 39 (TrV 189) |
1969 |
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Songs (5) for voice & piano, Op. 41 (TrV 195) |
1969 |
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Songs (5) for voice & piano, Op. 46 (TrV 199) |
1969 |
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Songs (5) for voice & piano, Op. 47 (TrV 200) |
1969 |
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(14) Songs (6) for voice & piano (or orchestra) ("Brentano Lieder"), Op. 68 (TrV 235) |
1969 |
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Songs (6) for voice & piano, Op. 37 (TrV 187) |
1968 |
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Songs (6) from "Lotosblätter" for voice & piano, Op. 19 (TrV 152) |
1968 |
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(2) Songs of the Orient (Gesänge des Orients), song cycle for voice & piano, Op. 77 (TrV 257) |
1969 |
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(4) An den Baum Daphne ("Geliebter Baum!"), for chorus (epilogue to the opera "Daphne"), o.Op. 137 (TrV 272a, AV 137) |
1997 |
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(2) Choruses (3) for male chorus, Op. 45 (TrV 193) |
1997 |
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(7) Fanfare zur Eröffnung der Musikwoche der Stadt Wien im September 1924, for brass & timpani, o.Op. 110 (TrV 250, AV 110) |
1979 |
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(7) Festmusik der Stadt Wien, for brass & timpani, o.Op. 133 (TrV 286, AV 133) |
1979 |
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(9) Wiener Philharmonic Fanfare, for brass & timpani, o.Op. 109 (TrV 248, AV 109) |
1979 |
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(3) Hymns (3) of Friedrich Hölderlin, for soprano or tenor & orchestra, Op. 71 (TrV 240) |
1992 |
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(7) Malven ("Aus Rosen, Phlox [und] Zin[n]ienflor"), fragment for voice & piano (TrV 297, AV 304) |
1985 |
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(7) String Quartet in A major, Op. 2 (TrV 95) |
1984 |
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(3) Abend- und Morgenrot ("Die Mücke sitzt am Fenster"), song for voice & piano, o.Op. 42 (TrV 60, AV 42) |
1995 |
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(19) Ach Lieb, ich muss nun scheiden!, song for voice & piano, Op. 21/3 (TrV 160/3) |
1987 |
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(6) Ach, Was Kummer, Qual und Schmerzen, for voice & piano, Op. 49/8 (TrV 204/8) |
1966 |
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(12) Ach, weh mir unglückhaftern Mann, song for voice & piano, Op. 21/4 (TrV 160/4) |
1957 |
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(15) All' mein Gedanken, mein Herz und mein Sinn, song for voice & piano, Op. 21/1 (TrV 160/1) |
1988 |
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(4) Allegretto for violin & piano in E major (TrV 295, AV 149) |
1995 |
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(91) Allerseelen ("Stell' auf den Tisch die duftenden Reseden"), song for voice & piano, Op. 10/8 (TrV 141/8) |
1937 |
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(11) Alphorn ("Ein Alphorn hör' ich schallen"), song for voice, horn & piano, o.Op. 29 (TrV 64, AV 29) |
1990 |
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(7) Als mir dein Lied erklang ("Dein Lied erklang! Ich habe"), song for voice & piano (or orchestra), Op. 68/4 (TrV 235/4) |
Individual Bio
Though the long career of Richard Strauss spanned one of the most chaotic periods in political, social, and cultural history of the world, the composer retained his essentially romantic aesthetic even into the age of television, jet engines, and atom bombs. Born in Munich in 1864, Strauss was the son of Franz Joseph Strauss, the principal hornist in the Munich Court Orchestra. Strauss demonstrated musical aptitude at an early age, and extensive training in piano , violin , theory, harmony , and orchestration equipped him to produce music of extraordinary polish and maturity by the time he reached adulthood. His primary teachers had been his father, who was a musical conservative, and Ludwig Thuille, a Munich School composer and family friend. Strauss' Serenade for 13 Winds, Op. 7 (1881), written when he was 17, led conductor Hans von Bülow to pronounce him "by far the most striking personality since Brahms." Bülow was able to give Strauss his first commission and an assistant conductor position. Through new friendships, Strauss learned to admire the writings of Schopenhauer and Nietzsche and the music of Wagner and Liszt. He embarked on a long career of conducting and composing, which take him all over Europe and the U.S.
From the beginning of Strauss' career as a composer, it was evident that the orchestra was his natural medium. With the composition of the "symphonic fantasy" Aus Italien in 1886, Strauss embarked on a series of works that represents both one of the pivotal phases of his career and a body of music of central importance in the late German romantic repertoire. Though he did not invent the tone poem per se, he brought it to its pinnacle. In such works as Don Juan (1888-1889), Ein Heldenleben (1897-1898), and Also sprach Zarathustra (1895-1896) -- whose first minute or so, thanks to its use in the film 2001: A Space Odyssey, is the composer's most readily recognizable music -- Strauss displayed his abundant gift for exploiting the coloristic possibilities of the orchestra as a dramatic device like few composers ever had (or have since).
With the arrival of the twentieth century, after becoming conductor at Berlin's Hofoper, Strauss' interest turned more fully to opera , resulting in a body of unforgettable works that have long been fixtures of the repertoire: Salome (1903-1905), Elektra (1906-1908), and Der Rosenkavalier (1909-1910) are just a few of his best-known efforts for the stage. In 1919, Strauss became co-director of the Vienna Staatsoper, but was forced to resign five years later by his partner, Franz Schalk, who resented being left with many of the operational duties while Strauss was frequently away guest conducting or being feted as a great composer. When the political situation in Europe became malignant in the 1930s, profound political naïveté led to Strauss' confused involvement the Nazi propaganda machine, and the composer eventually alienated both the Nazis and their opponents. With the end of World War II, however, he was permitted to resume his professional life, although it would be a mere echo of his previous fame. He began to have serious health problems, his financial situation had been compromised, and the monuments that embodied great German art for him -- Goethe's Weimar house; the Dresden, Munich, and Vienna opera houses -- had been destroyed. Throughout his last years, works such as the Oboe Concerto (1945) and the gorgeously expressive Four Last Songs (1948) attest to Strauss' unwavering confidence in his singular musical voice. ~ All Music Guide, All Music Guide
From the beginning of Strauss' career as a composer, it was evident that the orchestra was his natural medium. With the composition of the "symphonic fantasy" Aus Italien in 1886, Strauss embarked on a series of works that represents both one of the pivotal phases of his career and a body of music of central importance in the late German romantic repertoire. Though he did not invent the tone poem per se, he brought it to its pinnacle. In such works as Don Juan (1888-1889), Ein Heldenleben (1897-1898), and Also sprach Zarathustra (1895-1896) -- whose first minute or so, thanks to its use in the film 2001: A Space Odyssey, is the composer's most readily recognizable music -- Strauss displayed his abundant gift for exploiting the coloristic possibilities of the orchestra as a dramatic device like few composers ever had (or have since).
With the arrival of the twentieth century, after becoming conductor at Berlin's Hofoper, Strauss' interest turned more fully to opera , resulting in a body of unforgettable works that have long been fixtures of the repertoire: Salome (1903-1905), Elektra (1906-1908), and Der Rosenkavalier (1909-1910) are just a few of his best-known efforts for the stage. In 1919, Strauss became co-director of the Vienna Staatsoper, but was forced to resign five years later by his partner, Franz Schalk, who resented being left with many of the operational duties while Strauss was frequently away guest conducting or being feted as a great composer. When the political situation in Europe became malignant in the 1930s, profound political naïveté led to Strauss' confused involvement the Nazi propaganda machine, and the composer eventually alienated both the Nazis and their opponents. With the end of World War II, however, he was permitted to resume his professional life, although it would be a mere echo of his previous fame. He began to have serious health problems, his financial situation had been compromised, and the monuments that embodied great German art for him -- Goethe's Weimar house; the Dresden, Munich, and Vienna opera houses -- had been destroyed. Throughout his last years, works such as the Oboe Concerto (1945) and the gorgeously expressive Four Last Songs (1948) attest to Strauss' unwavering confidence in his singular musical voice. ~ All Music Guide, All Music Guide