Album insights
Richard Strauss composed over 200 songs, but only about a dozen are widely recognized, with roughly 30 regularly performed in concerts. Despite the neglect of many deserving songs, this reflects an inherent imbalance, particularly evident during his middle creative period. Strauss acknowledged that some songs seemed to compose themselves, with musical ideas flowing until a suitable poem inspired a melody. However, if no fitting poem emerged, he redirected his creative impulse towards other verse, making the process deliberate but methodical.
Strauss' craftsmanship often matched his inspiration, challenging the notion that musical impulse was his primary driving force, contrasting with modern composers like Hugo Wolf. While Wolf emphasized the total importance of poetic texts, focusing on renowned poets, Strauss favored lesser-known ones. Although he incorporated works by Goethe, Rückert, and Heine, such texts were exceptions rather than indicative of his creative genius, with some Heine pieces, like "Die heiligen drei Könige," considered indispensable.
Responding to musical impulses, Strauss showcased his compositional skills, highlighting his knack for vocal melodies, harmonic nuances, and lavish orchestral textures within piano lines. Reports suggest that while playing the piano with his wife, soprano Pauline de Ahna, Strauss improvised, viewing intricate passages as if scoring for an orchestra. Pianists often crave such liberties in musical expression.
It's claimed Strauss harbored a lifelong fascination with the soprano voice, crafting glamorous pieces for it as few others did. While some songs were originally intended for tenors, roles within his operas were less generous to them. Thus, it’s unsurprising that the best, most singable pieces are favorably embraced by female vocalists recognizing Strauss' knack for flattering their vocal range.
Noteworthy is the fact that Strauss penned many outstanding songs at a young age. Three— "Zueignung," "Die Nacht," and "Allerseelen"—appeared in his first published cycle, Opus 10, with other famous pieces like "Morgen," "Ständchen," "Befreit," and "Wiegenlied" preceding his 1905 opera debut with "Salome." Ironically, the success of these early songs overshadowed many other exceptional compositions.
The song selection for this series was based on musical and musicological considerations, deviating from Opus numbers. While some groupings can be perceived through the poets, clarity regarding Strauss's intended organization isn't always apparent. Variations in vocal types and stylistic content, not necessarily complementary, challenge the cohesive grouping of songs.
The aim is to captivate listeners with a diverse song collection, highlighting each singer's strengths. Christine Brewer, initiating the series, suits a repertoire ranging from the well-known "Zueignung" to the rarely heard "Gesängen des Orients," Op. 77. Songs like these, along with dramatic pieces such as "Ich liebe dich" and "In der Campagna," require a voice with gravitas and versatility, attributes Christine Brewer possesses, providing listeners an extensive view into the depths of Strauss's songwriting.
Roger Vignoles © 2005
Translation: Viola Scheffel