Listening to Richard Strauss to Read Nietzsche:

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Meet Richard Wagner and Arthur Schopenhauer

Written by Nurel Javissyarqi
Translated by Agus B. Harianto

Richard Strauss, the son of Franz Strauss. Born at June 11, 1864 in Munich, and he died at September 8, 1949, and he is a German composer. Since he was young he had comprehensive music education from his father. He firstly wrote about the music at 6 years old, and kept writing it until he died. At 1874, he heard Wagner’s opera, Lohengrin and Tannhäuser. Wagner’s influence was profound; his father forbade learning it: not until 16 years, he gained a score of Tristan und Isolde. In the Strauss family, Wagner’s music is considered inferior, but Strauss said in a written that he very much regretted this. In 1882, he entered the University of Munich, studied philosophy and history of art, not music. Leaving it a year and then he went to Berlin, studied briefly before securing a position as assistant conductor Hans von Bulow, and he got the position in Meiningen, when Billow resigned in 1885. His style of composition was influenced by Robert Schumann or Felix Mendelssohn, according to his father’s teachings. Strauss married to Pauline de Ahna September 10, 1894 whom famously tempered, eccentric and too blunt, but basically they were happy, because she was the greatest source of his inspiration. Strauss style changed when he met Alexander Ritter, composer and violinist, the husband of one of Wagner’s nieces. Ritter persuaded him to leave the conservative style of his youth, and then he wrote a poem of tone, he was introduced by Strauss onto Richard Wagner’s essay and Arthur Schopenhauer’s writings. Mature personality of Strauss is looked in the tone poem “Don Juan,” and wrote a series of tone poems: Death and Transfiguration (1888-1889), Eulenspiegel’s Merry Pranks (Eulenspiegels lustige Streiche, 1894-1895), Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (A Hero’s Life, 1897-1898), Domestic Symphony (1902-1903) and An Alpine Symphony (Eine Alpensinfonie, 1911-1915). (Taken from http://en.wikipedia.org/wiki/Richard_Strauss)

Strauss orchestra intends to describe so many aspects of actual events is truly rich, deep and amazing. Standpoint in his deep orchestra of in the classic creations, is in its friction have been composed into the blower. For Strauss, it is the most important, and tools at large also have meaning. For him, orchestration attains the level of excellence that couldn’t be meant. His musical grandeur lies not in the appliance, but the delineation and job. Strauss symphonies poem are massive party for the orchestra. A warrior who spent his time with the desire; the warrior who strove for a stronger consciousness; life of a boy who has no sorrow life, as well as a large livelihood of an artist; this are moldy-art aspects of the most beautiful symphony of Richard Strauss. (J. Van Ackere, in the book of Musik Abadi (Eternal Music), translated by J. A. Dungga, Gunung Agung, Djakarta, n.d., the original book entitle Eeuwige Muziek, published by NV Standaard-Boekhandel, Antwerpen, Belgie, which is retranslated into English would be more or less like above)

While I paid attention to the musical Don Juan by Richard Strauss, on the Leicestershire Schools Symphony Orchestra performed by Peter Fletcher.

Recorded in the De Montfort Hall, Leicester 1981 via You Tube, hence I wrote this:

In the depths of Strauss’s music, there is a call for the soul, the grandeur sounds of science substances.

On the experiences of life he apprehended, transformed to melodies and enriches the view of humanity.

By believing his conviction until his creation tones is echoed on devotional, quiet-peaceful shake the heart of faith.

Like snoring of ages accrued into beating of conscience, pounded the value of humanity with the face of livelihood.

Kept increasing the intention to the height of passion, he melted space-time in pastoral charm of spiritual.

The maturity of searching was languishing in a long contemplation, where the true origin of the longing of heart cries.

He has prophetic influenced appeals. Who sheltered under a tree of comfort.

Smooth blowing surpassed the mountains and valley of civilization.

Infiltrates isolated niches of human heart along with a dreamed.

A combination of pure sound reverbs tone of purity since the mountain of eternity.

On the pebbles on the journey, Strauss knows the difference of time.

Dust was flying, he understands the period of time.

Paid to the air to understand the thickness of the breaths age’ of the universe.

Which encompasses the spirit of greatness is absolutely achieved.

The comfort of his rhythm embodiment of his heart is magical, so it is the five senses of his music says.

Achievement of Richard Strauss’s is like the position of Friedrich Nietzsche (1844-1900) in the world of literature.

Successful combination was from the finding soul of Richard Wagner (1813-1883) and Arthur Schopenhauer (1788-1860).

Hence I quoted here, the Word of Zarathustra part III:

“You are looking up when you missed the compliment, but, instead, I just looked down, because I have been elevated.
Who among you can laugh and be exalted?
It was he who climbed the highest mountain, laughing at all the tragedy and also the reality of tragic. ”

At the top, Strauss aroused his human instinct, like a wind gust supports meadow of grasses.

Sow pistils of flowers. Flight and assessed the shadow of certitude in stretching concomitant.

He carried the heavy burden of memories on the necessity.

Scraped with forged doubt, pale ghost of sorrow really made him suffer and in surviving.

The leaving of regret, sadly to be aware, plaintive cries revived nuance of aridity.

The plays had cut and sliced by stage lights, tears about to settle but does not fit, shed into the stillness of the heart.

His music is special blessed at the closing eyes, to the bent on knees before the period.

After far wandering around the world, chorus harmonies, maturity bent the problems.

Body in pools of destiny’s prison was sincerely received to be patient, this is where the height of the wind and the light.

Unified the comfort fate wisely, when was presenting the performance for all mankind.

http://www.sastra-indonesia.com/2010/04/menyimak-richard-strauss-membaca-nietzsche/

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