|This is my post from this week's Tuesday Blog.|
This week’s Vinyl’s Revenge is an old favourite recording of mine, featuring Karl Böhm conducting four works by his friend and mentor Richard Strauss, including two of his oft-heard tone Poems: Till Eulenspiegel and Don Juan.
I thought I would sjhare with you excerpts from a Gramophone interview from 1972 authored by music critic Alan Blyth. In it, there are a pair of long anecdotes about Richard Strauss and their mutual admiration:
His tone poens – Also Sprach Zarathustra, Ein Heldeleben, his Alpine Symphony and the two shorter works featured this week show him as part trail blazer, par successor to the Liszt tradition. Böhm has stidied these scores with great care, and every subtlety, every indication is given full consideration in his rendition.
In addition to the two Strauss staples, we add the infamous Dance of the Seven Veils from his one-act opera Salome, as well as the less-heard Festival Prelude, written in 1913 for the opening of the Wiener Konzerthaus. This circumstance suggests a parallel with Beethoven's Consecration of the House, written for the opening of a theatre. If Beethoven came up with a Handelian overture, Strauss wrote a solemn work, based on hymn-like tunes, celebratory fanfares and majestic organ chords, in all their diatonic grandeur.
Richard STRAUSS (1864 –1949)
Till Eulenspiegels lustige Streiche, op. 28 [TrV 171]
Festliches Praeludium: für grosses Orchester und Orgel, op. 61 [TrV 229]
Don Juan, op. 20 [TrV 156]
Salome's Dance From "Salome", op. 54 [TrV 215]
Wolfgang Meyer, Organ (opp. 28, 61)
Thomas Brandis, violin (opp. 20, 54)
Karl Böhm, conducting
Studio recording, 1963
Deutsche Grammophon AAA reissue – 2535 208
Internet Archive URL - https://archive.org/details/03StraussRDonJuanOp.20