Die Frau ohne Schatten von Richard Strauss und die Strukturbedingungen der Orchestersprache in der deutschen Oper des Fin de siècle
Bibliographic Data
| ID | 21291766 |
|---|---|
| Authors | Jürgen Maehder (Em. Professor für Musikwissenschaft an der Freien Universität Berlin, corresponding author) |
| Year | 2023 |
| Volume | 80 |
| Issue | 1 |
| Pages | 14-42 |
| Publication date | 2023-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Archiv für Musikwissenschaft (JOURNAL) |
| Journal identifiers | ISSN: 0003-9292 • E-ISSN: 2366-2794 |
| Publisher | Wissenschaftliche Verlagsgesellschaft mbH (PUBLISHER • DE) |
| DOI | 10.25162/afmw-2023-0002 |
| OpenAlex | W4367722867 |
| Language | DE |
The decade between 1909 (Elektra) and 1919 (Die Frau ohne Schatten) marked a turning point in Richard Strauss’s career; traditional historiography has interpreted the transformation of his orchestral style as his personal farewell to musical modernism. The essay analyzes the gradual deployment of large orchestral forces in Strauss’s oeuvre prior to Die Frau ohne Schatten and the composer’s growing virtuosity in organizing the sound textures of the orchestra; special attention has been given to the temporal and spatial organization of instrumental timbres over the course of the opera’s action. Finally, the essay investigates some common features regarding instrumentation and orchestral technique that occur in Strauss’s opera as well as in the roughly contemporary scores of Hans Pfitzner’s Palestrina (Munich 1917) and Franz Schreker’s Die Gezeichneten (Frankfurt 1918)
Art · Die (integrated circuit) · Humanities · Arts, Culture, and Music Studies · Engineering · Historical Influence and Diplomacy · Musicology and Musical Analysis
| Highly cited | No |
|---|