Richard Strauss - Also Sprach Zarathustra [Score]
Музыка
George Solti, Conductor
Chicago Symphony Orchestra
0:00 - I. Sunrise; Zarathustra emerges from his mountaintop cave after 10 years in order to rejoin humanity and share his wisdom
1:53 - II. Of Those in Backwaters; Zarathustra descends the mountain. He wants to explain the meaning of life to humanity
2:33 - Zarathustra meets a religious saint in the woods. The saint says that humanity's purpose is to follow god and religion
5:10 - III. Of the Great Longing; Humanities religious faith cannot dominate nature, but the saint cannot let go of his desire to be close to God
6:55 - IV. Of Joys and Passions; Zarathustra suggests an alternate path to humanity: to derive meaning from nature and to seek life's pleasures
8:14 - Zarathustra second-guesses himself as he isn't convinced that this is the correct path for humanity
8:50 - V. The Song of the Grave; Zarathustra trashes both of these ideas, as neither are the right answer
10:53 - VI. Of Science and Learning; Zarathustra suggests science can give humanity answers.
14:18 - VII. The Convalescent; (Fugue) Zarathustra finds that science cannot explain the meaning of life either
15:05 - Zarathustra has an existential breakdown. He retreats back to his cave as he cannot justify his existence
15:30 - He collapses
15:46 - Zarathustra slowly regains consciousness
16:51 - Zarathustra breaks out laughing. He gets up and starts to dance
19:01 - VIII. The Dance Song; Zarathustra dances to a rustic Bavarian waltz and becomes one with nature
26:30 - IX. Song of the Night Wanderer; Zarathustra transcends nature, emerging from his cave and fly's up into the cosmos. The 12 chimes signal the arrival of midnight
27:25 - Back on Earth, humanity reaches for the stars as they yearn to be as free as Zarathustra
29:51 - Humanity cannot reach Zarathustra as they can not transcend nature. They keep trying only to fail
Also Sprach Zarathustra, Op. 30 (Thus Spoke Zarathustra or Thus Spoke Zarathustra) is a tone poem by Richard Strauss, composed during 1896 and inspired by Friedrich Nietzsche's philosophical treatise of the same name.
The piece is divided into nine sections played with only three definite pauses. Strauss named the sections after selected chapters of the Nietzsche's book:
"Sonnenaufgang" (Sunrise)
"Von den Hinterweltlern" (Of the Backworldsmen)
"Von der großen Sehnsucht" (Of the Great Longing)
"Von den Freuden und Leidenschaften" (Of Joys and Passions)
"Das Grablied" (The Song of the Grave)
"Von der Wissenschaft" (Of Science and Learning)
"Der Genesende" (The Convalescent)
"Das Tanzlied" (The Dance Song)
"Nachtwandlerlied" (Song of the Night Wanderer)
Пікірлер: 53
This orchestra was incredible
@iaf4454
4 ай бұрын
Yep, great sound
This piece describes the book very well.
Nietzsche's theme song
Richard strauss is an incredible composer, his music is meaningfull, full of colours and ideas... like philosophy itself Thanks for uploading
WOOOOOOO
The Nature Boy Ric Flair Wooooo!
0:00 전주곡 10:53 학문에 대하여
4:07 - 4:32
13:48, 13:58 I bet you didn't think a cello could play that high
@elliottherring5021
Ай бұрын
Prokofiev sinfonia concertante and Tchaikovsky rococo variations (: Both great prices of music as well.
14:05 cello excerpt
Certainly my biggest inspiration for writing my Thus Spoke Zarathustra, but unfortunately I'm feeling a bit unsure about my Opus.12 as it's the first time I've used the atonal mode in composition. I scan it in Musescore 4 and post it on my channel. Also the recording is very good!
@miguelsuarez8010
Жыл бұрын
I wasn't aware that this was atonal. Meaning that it changes key often?
@Cunhacomposer
Жыл бұрын
@@miguelsuarez8010 it does have key changes (the piece itself starts in C major, but ends in B minor), but has lots of chromatic changes and exotic harmonys.
@miguelsuarez8010
Жыл бұрын
@@Cunhacomposer yes, that's typical of his music. I see all the instruments in c major except 2, 3 and 4. I can't distinguish them well on my cell phone.
@Cunhacomposer
Жыл бұрын
@@miguelsuarez8010 I edited my comment, because i thought you was talking about my Opus.12, Zarathustra, sorry. But Strauss's Zarathustra is tonal, i think it ends in B minor or something like that.
@initsownjuices8034
2 ай бұрын
You Was ? - Hmm
7:05-7:49
thank you, i dont like the recording on the other video
@RyanPower
Жыл бұрын
I'm honestly not a big fan either, my favourite recording is Karajan with the BPO which I wanted to use it, but that recording has some copyright issues on youtube.
@jakenowell5211
Жыл бұрын
@@RyanPower that's alright. Thank you for putting out all of those score videos, it really is interesting to see everything
@johnockwell7168
Жыл бұрын
I agree Jake ...I know it's romantic but come on ! also the playing in the opening is a bit hit and miss.
26:13 Trombone excerpt
23:00
15:29
5:27
06:11 and 14:05 excerpts ;)
26:15
7:40
18:20
1:50 organ fail?
@Maddenhawk
Жыл бұрын
The organ doesn't play there?
@carlosgarciareche6764
Жыл бұрын
@@Maddenhawk It does but out of tune I hear.
@marshalltrogers
Жыл бұрын
@@carlosgarciareche6764 Those are double basses in tremolo, not the organ. They're not out of tune, just playing very rapidly.
@carlosgarciareche6764
Жыл бұрын
@@marshalltrogers Page 3 bar 3, organ plays C major chord extended alone, and it seems to be something out of tune. However it is indeed uncommon that an organist plays wrongly a simple major chord haha. It is weird. 1:42
@newworld6422
Жыл бұрын
There is nothing wrong
The upbeat note at the beginning is wrong just like with most recordings. It is a SEMIQUAVER, not a crotch or a quaver. Strauss emphasised this many times, that's why his preffered conductor was KARL BÖHM/BOEHM. This recording is not that. Sorry, admirer lol
@kevinp.8970
5 ай бұрын
Are you a richard strauss expert?
@rogerstrukhoff4716
4 ай бұрын
I hustled over to a Boehm recording, and indeed you are correct. I have to say it sounds snappier and more explosive this way, and was no doubt what Strauss had in mind. I then listened to Karajan and the VSO's version for the movie 2001: A Space Odyssey. Herb seems to split the difference between an eighth and a sixteenth note. Georg goes full boat eighth note - he was not above a little over-dramatization and showboating, as we know, and he apparently thought this was the way to go. This doesn't make me crazy, though. I do have a bug up my nose about the trumpet opening, which is marked p, then mf, then f. And Boehm once again gets the player to follow the score. But I personally like it better if it were mp, mf, and f - Herseth seems to play it this way for Solti. I think the problem here is that the opening is so simple it allows for excruciating scrutiny over every detail. All great conductors are anal-retentive enough to make the many thousands of necessary decisions about dynamics, balance, tempo and the rest, most of which go straight over the heads of people who think conductors just wave their arms around. Even though avid listeners often have immediate opinions about tempos in particular, it's rare we analyze things to the nth degree. The Zarathustra opening is one of those places where we can.
6:07
20:05
6:40