| Death And Transfiguration |
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| compositions by richard strauss | |
| symphonic poems | |
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Unusually for a composer of 25 years of age, the music depicts the death of an artist. At Strauss's request, this was described in a poem by the composer's friend Alexander Ritter as an interpretation of Death and Transfiguration, after it was composed.Gilliam, Grove As the man lays dying, thoughts of his life pass through his head: his childhood innocence, the struggles of his manhood, the attainment of his worldly goals; and at the end, he receives the longed-for transfiguration "from the infinite reaches of heaven". There are four parts (with Ritter's poetic thoughts condensed):
English music critic Ernest Newman described this as music to which one would not want to die to or awaken. "It is too spectacular, too brilliantly lit, too full of pageantry of a crowd; whereas this is a journey one must make very quietly, and alone". Strauss conducted the premiere on June 21 1890 at the Eisenach Festival (on the same program with the premiere of his Burleske for piano and orchestra). He also conducted this work for his first appearance in England. This was at the Wagner Concert with the Philharmonic Society on June 15 1897 at the Queen's Hall in London. Upon Strauss' own death, he remarked that his music was absolutely correct; his feelings mirrored those of the artist depicted within. Strauss said to his daughter-in-law as he lay on his deathbed in 1949: "It's a funny thing Alice, dying is just the way I composed it in Tod und Verklärung." (Derrick Puffett's comments on DG disc 447 762-2) INSTRUMENTATION The work is scored for 3 Flute s, 2 Oboe s, English Horn , 2 Clarinet s in B flat, Bass Clarinet in B flat, 2 Bassoon s, Contrabassoon , 4 Horns in F, 3 Trumpet s in F and C, 3 Trombone s, Tuba , Timpani , Tam-tam , 2 Harp s and Strings . DISCOGRAPHY REFERENCES
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