Richard Strauss, the great composer of symphonic poems and grand operas, wrote solo songs throughout his life: his first compositions, performed within his family circle, were songs and his setting of the poem Malven (Mallows) was to be the last piece he completed. Taking a keen interest in the possibilities and limitations of the human voice, Strauss in the solo song genre found the opportunity to try out various musical options and to discover his own individual style. But the writing of songs also served as a form of relaxation, a way of passing the time. The result is a varied spectrum of atmospheres, moods and emotions: from the jesting tone of Hat gesagt — bleibt’s nicht dabei to the heart-felt declaration of love in Cäcilie and the portrayal of madness of the Three Songs of Ophelia.
The other major orchestral release here features the Richard Strauss recordings conducted for Sony Classical by Zubin Mehta.
In honor of the 150th anniversary of Richard Strauss' birth, DG gives us this collection featuring the composer as conductor. While on the surface this would seem a wonderful opportunity to hear his music as Strauss intended it, this set winds up being something else: an examination of what happened when 19th century conducting styles met 20th century technology. For while Strauss is regularly feted as being one of the great conductors of his era, those who know also emphasize the fact that he didn't like recording all that much. Thus, this Strauss set is fascinating evidence of how recording technology can alter our perceptions of music.
Richard Strauss’s (1864–1949) acceptance into the pantheon of great Lieder composers began in the early 1950s, perhaps marked by the enthusiastic reception of his Four Last Songs, premiered by Kirsten Flagstad eight months after Strauss’s death. It wasn’t long before these songs became widely performed, and by extension, his Lieder as a whole, began to gain greater acceptance as high art along with Schubert, Schumann, Brahms, and Wolf. This compilation concentrates on Strauss Lieder recordings from an earlier era that display the sort of vocal charm and straightforward approach to the music not usually heard in today’s style of Lieder singing. Many of these recordings are extremely important historic documents retaining their position as the definitive versions of Strauss Lieder. Some of the singers included here not only knew Strauss, but worked with him, and their recordings could have been heard and judged by him. This three CD-set contains forty songs in eighty-two performances by fifty-seven singers.
Strauss sits alongside Mahler as a leading conductor – as well as composer - of his age, winning plaudits and support even before the age of 20 from contemporaneous luminaries such as Hans von Bülow. In fact between them, Mahler and Strauss controlled the two most powerful opera houses in the world in their mid-Thirties, with Strauss in Berlin and Mahler in Vienna.
"…Seven CDs is undoubtedly a major collection. There will inevitably be some frustrations that the enterprise was not more thorough in terms of repertoire, and as discussed, there are some howling omissions. Having made the point, let me conclude by acknowledging the high standards of performance and recording that lie at the heart of this set. While there may be a few regrets that it is not as comprehensive as it might (as it ought to?) have been, what we do have is undoubtedly well worth having." ~musicweb-international