![]() Strauss's friend and colleague, Fritz Reiner, made the first stereophonic recording of the music with the Chicago Symphony Orchestra in March 1954 for RCA Victor. This was later released on LP by Vanguard Records and on CD by various labels. In 1944, Strauss conducted the Vienna Philharmonic in an experimental high fidelity recording of the piece, made on a German Magnetophon tape recorder. The first recording was made in 1935 with Serge Koussevitzky and the Boston Symphony Orchestra. Neither C major nor B major is established as the tonic at the end of the composition. The unsolvable end of the universe: for Strauss was not pacified by Nietzsche's solution. The tone-poem ends enigmatically in two keys, the Nature-motif plucked softly, by the basses in its original key of C-and above the woodwinds, in the key of B major. The ending of the composition has been described: īut the riddle is not solved. ![]() The other is that the two conflicting keys in the final section represent the World riddle (C–G–C B–F ♯–B 8va), with the unresolved harmonic progression being an unfinished or unsolved riddle: the melody does not conclude with a well-defined tonic note as being either C or B, hence it is unfinished. One is that the fifth/octave intervals (C–G–C 8va) constitute the World riddle motif. There are two opinions about the world riddle theme. Because B and C are adjacent notes, these keys are tonally dissimilar: B major uses five sharps, while C major has none. One of the major compositional themes of the piece is the contrast between the keys of B major, representing humanity, and C major, representing the universe. Measure 223 contains one of the very few sections in the orchestral literature where the basses must play a contra B (the lowest B on a piano), which is only possible on a 5-string bass or (less frequently) on a 4-string bass with a low-B extension.Īudio playback is not supported in your browser. "Of Science and Learning" features an unusual fugue beginning at measure 201 in the double-basses and cellos, which consists of all twelve notes of the chromatic scale. The following portion of the piece can be analyzed as a large development section. The strings prevail in "The Song of the Grave", in which some would say the second subject theme, in B minor, starts in this section. "Of Joys and Passions", in C minor, marks the first subject theme of the work's allegro (exposition) proper. "Of the Great Longing" introduces motifs that are more chromatic in nature. "Of the Backworldsmen" begins with cellos, double-basses and organ pedal before changing into a lyrical passage for the entire section. The major third is immediately changed to a minor third, which is the first note played in the work (E flat) that is not part of the overtone series. On its first appearance, the motif is a part of the first five notes of the natural overtone series: octave, octave and fifth, two octaves, two octaves and major third (played as part of a C major chord with the third doubled). This transforms into the brass fanfare of the Introduction and introduces the "dawn" motif (from "Zarathustra's Prologue", the text of which is included in the printed score) that is common throughout the work the motif includes three notes, in intervals of a fifth and octave, as C–G–C (known also as the Nature-motif). The piece starts with a sustained double low C on the double basses, contrabassoon and church organ. ![]() The work is orchestrated for piccolo, 3 flutes (3rd doubling piccolo), 3 oboes, English horn, clarinet in E-flat, 2 clarinets in B-flat, bass clarinet in B-flat, 3 bassoons, contrabassoon, 6 horns in F and E, 4 trumpets in C and E, 3 trombones, 2 tubas, timpani, bass drum, cymbals, triangle, glockenspiel, bell on low E, organ, and strings: 2 harps, violins I, II (16 each), violas (12), cellos (12), and double basses (8) (with low B string). The initial fanfare – titled "Sunrise" in the composer's programme notes – became well known after its use in Stanley Kubrick's 1968 film 2001: A Space Odyssey. A typical performance lasts half an hour. The composer conducted its first performance on 27 November 1896 in Frankfurt. 30 ( German: ( listen), Thus Spoke Zarathustra or Thus Spake Zarathustra) is a tone poem by Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche's philosophical 1883–1885 novel Thus Spoke Zarathustra. Richard Strauss, 1894Īlso sprach Zarathustra, Op. For other uses, see Also sprach Zarathustra (disambiguation). For the original book by Nietzsche after which this piece is named, see Thus Spoke Zarathustra. This article is about the musical work by Strauss. ![]()
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