A masterpiece by Richard Strauss. Popular classical music.

Oboe Concerto in D majorShutefan Shīri

R. Strauss: Oboe Concerto in D major, Op. 144 / Stefan Schilli; Bavarian Radio Symphony Orchestra conducted by Mariss Jansons, March 2006

Composed in 1945 during his later years by Richard Strauss, a master representing the late Romantic era.

While preserving a classical atmosphere, it is accompanied by orchestration similar to the programmatic works he had written up to that point.

Rather than merely sounding harmonies, it is crafted with a sense of mood and narrative, making it a concerto very characteristic of Strauss.

There are many works that feature the oboe, but this is the only one he wrote in concerto form, so when we refer to Strauss’s Oboe Concerto, this is the piece we mean.

It brings the strengths of the symphonic poem into a work with the air of courtly music, and as you listen, it envelops you in a sumptuous and elegant atmosphere.

ElektraRihyarto Shutorausu

Richard Strauss: Elektra (complete) — Karl Böhm conducting / Staatskapelle Dresden

From the master of the late German Romantic era, Richard Strauss, I’d like to introduce a work from his masterpiece operas that draws on Greek tragedy as its motif.

This piece is known for its complex musical structure, yet it has been highly acclaimed abroad and is popular among classical music enthusiasts.

Scored for a large orchestra in a single act, it uses dissonance and polytonality to portray the characters’ psychology.

The themes are revenge and madness.

The protagonist’s intense emotions—driven by the murder of her father—are reflected in the music, so you may enjoy it even more by listening while imagining her inner turmoil.

Premiered in Dresden in January 1909, the work initially provoked mixed reactions, but today it is performed worldwide as one of Strauss’s signature masterpieces.

Ariadne of NaxosRihyarto Shutorausu

R. Strauss: Ariadne auf Naxos: “Großmächtige Prinzessin”

Richard Strauss, known for his tone poems Don Juan and Macbeth, was the son of the principal horn player of the Munich Court Orchestra, and under his father’s musical guidance he began serious composition at the age of six.

Having composed from an early age, Strauss left a large body of work, including more than 200 songs.

This piece is an opera based on Greek mythology, notable for its fusion of tragedy and comedy.

Despite the small orchestral forces, Strauss’s masterful musical expression shines through.

The revised version, which premiered at the Vienna Court Opera on October 4, 1916, is still performed today.

It’s a recommended piece for those interested in classical music or looking to discover new charms in opera.

Metamorphosen: Étude for 23 Solo String InstrumentsRihyarto Shutorausu

♪ Richard Strauss: Metamorphosen (Study for 23 Solo Strings), TrV 290 / André Previn conducting the Vienna Philharmonic, February 1986

Completed in April 1945 near the end of World War II, this piece is a set of variations written for 23 string players.

It conveys deep sorrow over the cultural losses caused by the war and quotes a motif from the second movement of Beethoven’s Eroica Symphony.

Characterized by intricately woven, complex harmonies, it reflects Strauss’s spirit of artistic exploration.

It is a highly recommended work not only for classical music enthusiasts but also for those interested in the relationship between war and music.

Symphonic Fantasia “From Italy,” Op. 16Zdenek Kosler/Slovak Philharmonic Orchestra

Richard Strauss – Aus Italien, Op. 16

Richard Strauss, a master of the symphonic poem and one of Germany’s foremost composers, wrote many pieces with descriptive titles, often depicting landscapes, people, and other subjects in music rather than composing absolute music.

The first work in which Strauss used such a programmatic approach was this piece, the symphonic fantasy From Italy, composed in 1886.

It portrays scenes of Italy, such as “The Neapolitan Folk-Life.” Because Strauss received a conservative musical education under his father’s influence, he initially revered Mozart, and this work shows many traces of that influence.

It stands at a turning point on his path to becoming a master of the symphonic poem; in terms of content, it does not yet employ overtly pictorial expression.

Instead, its musical character resembles that of Beethoven and Brahms, with a four-movement structure using sonata form, among others.

From this work onward you can hear the origins of the Strauss we now associate with the symphonic poem, so it may be worthwhile to explore his earlier works after listening to this piece.

You will likely enjoy hearing the evolution of his style.

Burlesque in D minor (for Piano and Orchestra)Maruta Arugeritchi

Argerich Strauss Burlesque

Richard Strauss is often regarded as a master of the symphonic poem, known for works like Don Juan and Till Eulenspiegel’s Merry Pranks, but he also left behind an impressive piano concerto.

One of his concertante works is Burleske; while the title may sound unfamiliar, it refers to a form found in classical music.

The piano writing is of a highly virtuosic caliber, and it took some time from composition to premiere.

The first performance was given by Eugen d’Albert, a direct musical descendant of Beethoven and a distinguished pupil of Liszt.

A performance by Martha Argerich—one of the world’s most highly esteemed pianists in the classical music scene—is also very famous.

Beyond its technical challenges, it seems difficult to play in a way that conveys the atmosphere in more pictorial passages.

Still, it is very characteristic of Strauss that so many moments sound as if the music itself is narrating scenes or characters.

Four Last SongsJōji Seru shiki / Berurin Hōsō Kōkyō Gakudan

Strauss “Four Last Songs” Schwarzkopf (1965)

Whereas “Serenade” is a short song with piano accompaniment, this work that Strauss composed in his later years is large-scale, featuring orchestral accompaniment and divided into four sections.

The poems are selected from those by Hesse and Eichendorff.