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Published online by Cambridge University Press: 04 February 2010
Recently there has been a revival of interest in the music of Richard Strauss, and in Britain more attention has been paid to his lesser-known works. The symphonic poems such as Don Juan and Till Eulenspiegel, along with operas such as Salome, Etektra and Der Rosmkavalier, have never lapsed from the performance and recording repertoires. But the undeserved neglect of pieces such as the Duett-Concertino for clarinet and bassoon, and operas that rarely reach the stage in this country, such as Die Frau ohne Schatten, has begun to be remedied. A new development which can be seen as both cause and effect of this revival is the appearance of books in English dealing with Strauss and his music. These include recent reissues of Norman del Mar's three-volume Richard Strauss: a Critical Commentary on his Life and Works (1962–72, reprinted with corrections 1978) and Michael Kennedy's Master Musicians volume reissued with additional material in 1988. The study by Willi Schuh, whom Strauss chose as his biographer, was issued in 1982 in an English translation by Mary Whittall entitled Richard Strauss: a Chronicle of the Early Years.
1 In German, the only literature directly concerned with the choral music is Emil Thilo's article ‘ Richard Strauss als Chorkomponist’ in Die Musik vol. 13 (1913–1914 Google Scholar), written before the later choral pieces were composed, and Heiner Wajemann's doctoral thesis of 1984 ‘ Die Chorkompositionen von Richard Strauss’, an exhaustive and fascinating study published in book form (Tutzing, 1986)Google Scholar.
2 The op.34 pieces, with English translations by John Bemhoff, later became the property of Universal-Edition, Vienna, by whom they have recently been reprinted, apparently with little or no change from the 1897 plates. Copies can be purchased, but are not available on hire from the agents for Universal-Edition in London. Copyright in the Deutsche Motette, with English translations by Kalisch, Alfred, was assigned to Booscy & Hawkes Ltd., London, in 1943 Google Scholar. Copies of the most recent reprint, apparently from the original plates, can be obtained from Boosey & Hawkes Ltd. for purchase or hire.
3 Op.cit., pp.241–55.
4 Wajcmann (pp. 122–24) cites its similarity in outlook to that of Brahms's, non-liturgical Ein deutsches Requiem op.45, completed and published in 1868 Google Scholar.
5 I should like to place on record our gratitude to Boosey & Hawkes Ltd. for their help and flexibility over the hire of scores for the workshop.
6 This piece, in an extremely clear score with keyboard reduction and modem clefs but no English translation, is available for purchase or hire from Boosey & Hawkes Ltd.
7 Quoted in Wajemann, p. 132.
8 The extremely clear score, with keyboard reduction but without translation (much of the music is textless in any case) is published by Boosey & Hawkes Ltd. and can be purchased from them.
9 Op. cit., pp. 141–44
