By John Williamson
Richard Strauss's tone poem additionally sprach Zarathustra is considered one of his such a lot debatable works, however it is additionally one of many staples of the virtuoso orchestra. Its maximum acceptance has been accomplished in recent times with its organization with Kubrick's movie 2001--A area Odyssey. This consultant examines the highbrow history of the paintings and considers the ways that it's been bought through composers and writers. It additionally discusses the musical historical past of Liszt and Wagner which gave upward thrust to the style "tone poem," and gives an research of a number of features of Strauss's musical language.
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Additional resources for Strauss: Also sprach Zarathustra (Cambridge Music Handbooks)
5 This seems clearly to refer to Zarathustra, and the two melodic paragraphs concerned are almost certainly the sections later described as 'Von 31 Strauss: Also sprach Zarathustra den Hinterweltlern' and 'Von den Freuden- und Leidenschaften'. 6 The surrounding sketches are for 'Das Tanzlied', suggesting strongly that this reference is to the transformed version of the 'Freuden- und Leidenschaften' theme which enters at bar 629; this waltz-time version of the theme duly appears a few pages later in the sketches.
It achieves prominence in works before Zarathustra (notably §132 of Morgenrote and §§57 and 618 of Menschitches, Allzumenschliches) and after it (as in §262 ofjenseits von Gut und Bose). There are inevitably examples of related terms such as 'Individuen' (as in §§143 and 149 of Die frohliche Wissenschaft). But 'Individuum' is by no means the only term by which Nietzsche designates individuality, and 'Der Einzelne', or even 'Der Einsamste' ('the most lonely man', a label applied to Zarathustra at times) tend to be more common around the time of writing Also sprach Zarathustra.
The revaluation of morality which he embodied was aimed against conventional religion and was expressed as the Will to Power, which is synonymous more with living life than with achieving political power. The Will in this context is neither the aimless and implacable prime cause found in Schopenhauer's philosophy (which Nietzsche aimed to revalue almost as a first essential step), nor the violent exercise of a collective mind embodied in the totalitarian state of the twentieth century; it is the property of the liberated individual.