the Rare destiny has fallen to Riharda Strauss's lot. About seventy years its amazingly happy career lasted; to it the glory has early come. The amplitude of its musical activity including composer work is huge, conducting, a management is musical-public organisations, and at all it is the magnificent health which has caused creative indefatigability and longevity. And good luck - the good luck which has made the climate of a life of Riharda Strauss, despite of a separate creative hardship.
The Son of the Munich hornist - the great master of the business, Strauss has started to study in music since four years. But from the first, lullabies even days he lived in its atmosphere. Strauss is obliged by riches of the sound thinking at all to teachers. He studied in music at the music. And teachers have played not the big role, than those who has learnt to Chekhov's reading and writing, Romena Rollana or Stefana Zweig.
without having reached twenty years, it it becomes fearless for a conductor's stand side by side with the great master of management of an orchestra Hans Bjulovym. And by thirty years holds a post of the main conductor of Royal opera theatre in Berlin - the highest tribune musical ispolnitelstva Germany. Statnyj, with an ideal conductor's figure, with a quiet face topped with a dome of a huge forehead, light-eyed, any most complicated score knowing everyone detail, Rihard Strauss the occurrence behind the panel "=юэшчшЁютры" an orchestra. Its first conductor's performances concern the beginning of 80th years, last time it dictated the will to an orchestra shortly before the death which have followed on September, 8th, 1949. About 70 years behind the panel!
It is possible to find In the list of compositions of Strauss many magnificent products of a chamber genre, But they - only branches of the most defining creative highways - symphonic and opera.
In Strauss's early scores the voice of the passionate advocate of the neo-romantic direction distinctly sounds, forcing to recollect, along with Wagner and Sheet, their predecessor Hector Berlioz, one of founders of program symphonic music. Strauss's talent is developed very dynamically. Within one decade, 1888-1898, there are programmno-symphonic products: "-юэ-гѕрэ" "¦ръсх=" "РьхЁ=і and яЁюётх=ыхэшх" "Кшыі Лыхэ°яшухыі" "Кръ spoke ГрЁр=ѕё=Ёр" "-юэ -ш§ю=" "гшчэі ухЁю " the House symphony.
Almost always, when speak or write about the young composer, specify that it made a way by a maturity on the steps conducting to skill. In Strauss's biography of it is not present! Two early symphonies - only first attempts at writing. Then a trip to Italy. Oversaturated impressions, Strauss hardly constrains a stream of sound images, "ѕё=Ёхьы ¦Ёш§ё " on partiturnuju a paper. So, in 1886 there is a first symphonic poem "Ђч Ђ=рышш" the music full of a spontaneity and admiration, original musical "фэхтэшъ яѕ=х°хё=тш ".
And in two years - "-юэ-гѕрэ" too the symphonic poem, one of the greatest masterpieces of the creative biography of the composer. To huge gallery of portraits of the Seville seducer created by Tirso di Molina, Moliere, Mozart, Byron, Pushkin, Dargomyzhsky, Lesej the Ukrainian, Strauss has added one more. The tireless passion to world knowledge storms in its hero. Infinite adventures, adventures are caused not by aspiration to easy victories, and celebratory perception of a life. From under Strauss's feather the characteristic - a portrait Don-Zhuana is born amazing brightness. Four French horns in a unison intonirujut a theme against uneasy tremolirujushchih violins, and it sounds as an impudent and captivating call. The score "-юэ-гѕрэр" includes some fragments-epigraphs borrowed from the drama poem with the same name of Nikolay Lenau, but they play a role of modest notes. Strauss's imagination selects for flight the way, immeasurably more "чхьэющ" Than an image of hero Lenau captured by a reflexion. An orchestra "-юэ-гѕрэр" - enchanting "чтѕъютюх яшЁ°хё=тю". An amazing abundance of paints, a variety of the tool invoice, dynamics saturation, unexpectedness tembrovyh combinations, an inescapable stream of optimism, a bright emotional tone of a narration, a sharpness of contrasts - not to list everything that grasps in "-юэ-гѕрэх" composed dvadtsatichetyrehletnim the composer.
In day of the first execution "-юэ-гѕрэр" autumn of 1889 in Weimar, to Strauss the international recognition has come. It is fixed by symphonic poems "¦ръсх=" (1890), "РьхЁ=і and яЁюётх=ыхэшх" (1890). And droops as a result of reserved reception of its first opera "+ѕэ=Ёрь" a little; (1893). In two years Strauss takes a creative revenge a symphonic poem "Кшыі Лыхэ°яшухыі". Strauss's glory again sharply rises.
In memory of each of us there live images Tilja Ulenshpigelja, his father - Klaasa, friend Tilja - Llama Gudzaka, so talently drawn by Charles de Kosterom in its novel. Til - made destitute, but cheeful and on a scaffold the son of Flanders enthralled, the Spanish conquerors clamped in a vice; Til, ashes of the burnt father are knocked on whose heart, - not this Til has taken hold of Strauss's imagination. It was carried away by naughty tricks, the cheerful turmoil always arising there where Til skipping is, singing or whistling a song, somersaulting, someone imitating, starting a hilarious mischief.
And today, after so much years after the occurrence, shtrausovsky "Кшыі" shakes by wit, dazzling brightness of orchestral paints, imagination violence from which inexhaustible bowels there are chains of the sound images not less perceived than if they have appeared before us on a theatrical scene or even in a real life.
With the same inexhaustible power of imagination the symphonic portrait of the Knight of the Rueful Countenance and its charming lady - Dulcineas Tobossky is created. From score pages "-юэ -ш§ю=р" aggressive calls, a ring of swords, intense fights with armies of Alifanfarona rush, there is a picture of a duel with the Knight of brilliant month. Deep sympathy for destiny of the hidalgo from La Manchi gets the description of death of the noble hero. Left everything, feeling approach of other world, Quixote plunges into memoirs. He looks through the faded pages of the book of the life; similar an echo, voices of people, echoes of events, adventures are carried by before it. Calming down solo violoncellos, elegicheskaja a clarnet phrase - and all is terminated.
Comparing "-юэ -ш§ю=р" with other symphonic poems, it is easy to notice a back programmnosti when the composer does not let the heroes take a single step without that this step has not been fixed on a musical camp. Such excessive "юяхър" the hero is blocked up with product by the excessive details, very conditionally translated into musical language and leads to prolixity of a musical design. It is indicative that "-юэ -ш§ю=" lasts about 40 minutes, while "Кшыі Лыхэ°яшухыі" - 18, and "-юэ-гѕрэ" - 17 minutes.
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