A masterpiece by Richard Strauss. Popular classical music.
Richard Strauss is a composer who represents the German late Romantic period.
Strauss’s representative work, the symphonic poem Thus Spoke Zarathustra, is known as the theme music for the film 2001: A Space Odyssey.
His symphonic poems Macbeth and Till Eulenspiegel’s Merry Pranks are also frequently performed by wind ensembles, making him a familiar composer to many wind band musicians.
In his early period, under the influence of his father, Strauss wrote many works that adhered to classical styles like those of Mozart and Schumann.
After meeting Alexander Ritter—who married one of Wagner’s nieces—he began composing more innovative works.
Here, I will introduce pieces that let you enjoy both Strauss’s classical side and his transformation into a master of the symphonic poem.
Listening in chronological order makes it easier to appreciate the changes in his style, so I hope you’ll keep the period of composition in mind as you listen.
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A masterpiece by Richard Strauss. Popular classical music (1–10)
Horn Concerto No. 1 in E-flat majorRihyarto Shutorausu
This is a work composed by Richard Strauss when he was about 18 years old.
Written in homage to his father, the piece is one of the most important repertoire items for horn players.
Its three movements are played without a break, and the music is distinguished by a youthful, radiant atmosphere.
The first movement features a brilliant, fanfare-like theme; the second presents a calm, expansive melody; and the third has a light, exhilarating character.
The horn’s soft, beautiful timbre stands out throughout.
The piece was premiered in 1883 with piano accompaniment, and later received its orchestral premiere on March 4, 1885.
It’s a highly recommended work for lovers of classical music.
Suite ‘Der Rosenkavalier’Rihyarto Shutorausu
We present a suite excerpted from the masterpiece opera by Richard Strauss, a leading composer of the late Romantic era.
Set in 18th-century Vienna, this work portrays the romantic entanglements of aristocratic society and had its world premiere at the Dresden Court Opera in January 1911, achieving great success.
It is characterized by accessible melodies inspired by Mozart and brilliant music that incorporates the rhythms of the waltz.
Its story—centering on the transience of love, the passage of time, and the virtue of self-sacrifice—resonates deeply with audiences.
Condensed to about 20 minutes from the full opera, this piece is recommended even for those interested in classical music who find long performances challenging.
Why not enjoy its graceful and beautiful melodies?
Suite ‘The Bourgeois Gentlemen’Rihyarto Shutorausu
This is a suite based on Molière’s play Le Bourgeois Gentilhomme, satirically portraying Monsieur Jourdain, a townsman who longs to be a nobleman.
Scored with Strauss’s characteristically delicate, chamber-like forces, it blends classical dance forms with a shining neoclassical style.
It was premiered in Vienna in January 1920.
With elegant minuets and lively dance music, it vividly captures the atmosphere of the story.
It’s a piece I highly recommend to anyone interested in classical music—you can fully savor the charm of Strauss’s music!
Richard Strauss’s masterpieces: Popular classical music (11–20)
Violin Concerto in D minor, Op. 8, TrV 110Vaiorin: Urufu Herushā/Kangenraku: Shutātsukapere Doresuden/Shiki: Rudorufu Kempe
When you think of Strauss, you think of symphonic poems, but this is the only violin concerto he left behind.
It’s interesting that the piece he wrote as a teenager isn’t saturated with the pictorial color that would later become his hallmark; instead, it sounds more like somewhat older Classical-era music.
That’s because, under the influence of his father, a horn player, he received a conservative musical education in his youth, and Strauss’s roots lay in this kind of classical music.
He only began to write in an innovative style after meeting Alexander Ritter, a violinist who married one of Wagner’s nieces, and many of his works composed before 1889 are in this classical vein.
It follows a traditional three-movement form and contains no cadenza.
The violin part is notable for its high technical demands, especially in the outer movements.
I’m including a video with the score, so violinists, give it a try.
MacbethKenpe shiki, Shutātsikapere Doresuden
One of Richard Strauss’s major achievements was creating music in the form known as the symphonic poem.
It’s a genre that blends the orchestral symphony and the operatic narrative sung by vocalists, akin to how film soundtracks evoke scenes in your mind.
Rather than expressing pure, abstract sound, it portrays music based on a specific program or title.
Macbeth is the first symphonic poem Strauss wrote.
While the original is an orchestral work, it’s also a well-known piece frequently performed by wind bands—familiar to many who were in school wind ensembles or play in community concert bands.
Among Strauss’s works, it underwent the most revisions; the number of revisions reflects the difficulty he faced in conveying exactly what he wanted.
Because it was revised repeatedly, there are various versions; if you find different recordings, try comparing them.
SalomeRihyarto Shutorausu
This piece is an opera that premiered in 1905, with a story based on an episode from the New Testament.
It is characterized by sensual and decadent content, which stirred controversy at the time of its premiere.
The role of the heroine, Salome, is known as a challenging part that combines delicacy and madness.
Its rich orchestration and profound psychological portrayal are captivating, and the “Dance of the Seven Veils” is especially famous.
It has been performed in opera houses around the world and continues to fascinate many.
Its profound themes depicting human desire and madness remain undimmed in the modern era and are sure to leave a strong impression on viewers.
Death and TransfigurationSā Georugu Shoruti shiki/Shikago Kōkyō Gakudan
Although this is often counted as a symphonic poem, it is in fact a work written as absolute music in an instrumental style, not directly tied to extramusical elements such as a program or title.
So profound was its brilliance that Alexander Ritter—Strauss’s longtime acquaintance, a violinist and also a conductor—was moved to add poetry to the music, thereby completing a symphonic poem created through the reverse process.
Its depth and introspective character rival those of Metamorphosen.
This work became Strauss’s third symphonic poem.
On September 8, 1949, Strauss passed away at the age of 85, but there is an anecdote that he briefly regained consciousness from a coma 48 hours before his death and said, “Everything I composed in Death and Transfiguration was correct.” It’s an episode that makes it feel as though this piece was destined to be born.
Truly, it is a work in which one can experience the very “death and transfiguration” of its title.
It is one of the Strauss works I most strongly recommend you hear.