Strauss

Japanese: シュトラウス

German composer and conductor. Born in Munich to a horn player. He learned piano, violin, and composition from childhood, and showed mature compositional techniques as early as his teens. He became acquainted with Bülow, who recommended him to become assistant conductor of the Meiningen court orchestra in 1885, and later court music director. While he was actively composing, he also served as court conductor in Munich, Weimar, and Berlin, and was conductor of the Vienna State Opera from 1919 to 1924. His appointment as director of the music bureau (1933-1935) under the Nazi regime was questioned after the war because his music lacked ideological quality. He is the composer who marked the end of German late romanticism, and his two peaks are the symphonic poems he wrote in large numbers at the end of the 19th century, and the operas that became the core of his creative activities in the 20th century. The sophisticated compositional techniques he used in symphonic poems such as Don Juan (1887-1888), Also Spoke Zarathustra (1895-1896), and A Hero's Life (1898) were carried over to the opera Salome (1904-1905), which used a large orchestra, and established his reputation as a successor to Richard Wagner. In the following Elektra (1906-1908), he ventured into the world of atonality (see Atonal Music) and expressionism, and then his style changed completely, moving to a simpler musical style reminiscent of the Viennese Classical School in Der Rosenkavalier (1909-1910) and Ariadne auf Naxos (1911-1912). Since Elektra, six opera librettos have been written by Hofmannsthal. He also has many masterpieces in his songs (lied), including "Four Last Songs" (1948), which he composed in his final years. →Music drama/K. Boehm/Mahler →Related topicsElgar｜Oboe｜Szymanowski｜Schwarzkopf｜Till Eulenspiegel｜Nijinsky｜Nilson｜Der Rosenkavalier｜Bartók｜Baleys｜Busch｜Humperdinck｜Mengelberg｜Leitmotif｜Reiner｜Lehmann｜Romanticism

Strauss

Austrian composer, conductor, and violinist. Son of J. Strauss, known as the "Father of the Waltz," he is called the "King of the Waltz." He secretly learned to play the violin against his father's wishes, and in 1844 organized an orchestra and made his debut. After his father's death, he absorbed the orchestra and toured Europe and the United States. His refined artistic sense and sophisticated orchestration were praised by Brahms, and he was widely respected in the music world. He composed over 500 pieces, including about 170 waltzes such as "The Beautiful Blue Danube" (1867), "Life of an Artist," "Tales from the Vienna Woods," "Viennese Temperament," "Voices of Spring," and "Emperor Waltz," as well as about 120 polkas, including the "Tritzch-Tratsch Polka" and the "Pizzicato Polka," which he co-wrote with his brother Joseph (1827-1870). Inspired by Offenbach in Paris, he also devoted himself to composing operettas from the 1870s. He left behind 18 compositions, including Die Fledermaus (1874) and Der Gypsy Baron (1885). →Lehá

Strauss

Austrian composer, conductor, and violinist. Known as the "father of the waltz." From his early teens, he played viola in the dance orchestra led by M. Palmer (1782-1827), and in 1819, he went independent with composer JFK Lanner (1801-1843). The following year, he organized his own orchestra, and from 1833, he toured Europe, becoming widely popular. Of his more than 250 compositions, about 150 were waltzes, and together with Lanner, he established the style of the so-called Viennese waltz. Other well-known works include the Annen Polka and the Radetzky March. His eldest son, Johann, who was famous, as well as his second son Joseph (1827-1870) and fourth son Eduard (1835-1916), were also composers.
→ Related article Polka | Lehar

Strauss

German Protestant theologian. In his two-volume Life of Jesus (1835-1836), he argued that the Gospels were myths, not historical facts, sparking a controversy that led to the split of the Hegelian school into left, center, and right wings.

Source : Heibonsha Encyclopedia About MyPedia Information

Japanese:

ドイツの作曲家，指揮者。ホルン奏者を父にミュンヘンに生まれる。少年時代からピアノ，バイオリン，作曲を学び，10代で早くも成熟した作曲技法を示した。ビューローの知遇を得，その推薦で1885年マイニンゲン宮廷楽団の副指揮者，のち宮廷音楽監督となる。本格的な作曲活動に入る一方，ミュンヘン，ワイマール，ベルリンの宮廷楽長を歴任し，1919年−1924年にはウィーン国立歌劇場の指揮者を務めた。ナチス政権下で音楽局総裁（1933年−1935年）のポストに就いたことは，大戦後その音楽の思想性の不足と関連して問題にされた。ドイツ後期ロマン派の掉尾(ちょうび)を飾る作曲家であり，19世紀末に集中して書かれた交響詩群，20世紀に入って創作活動の要となったオペラが２つの峰を形づくる。《ドン・フアン》（1887年−1888年），《ツァラトゥストラはこう語った》（1895年−1896年），《英雄の生涯》（1898年）などの交響詩で駆使された精緻な作曲技巧は，大管弦楽を用いたオペラ《サロメ》（1904年−1905年）に引き継がれ，R.ワーグナーの後継者としての名声を確立。続く《エレクトラ》（1906年−1908年）で無調的（無調音楽参照），表現主義的な世界に踏み込んだのち作風は一転，《ばらの騎士》（1909年−1910年），《ナクソス島のアリアドネ》（1911年−1912年）ではウィーン古典派を思わせる簡素な音楽様式に移行する。《エレクトラ》以来，６つのオペラ台本がホフマンスタールによって書かれている。最晩年の《４つの最後の歌》（1948年）をはじめ，歌曲（リート）にも名品が多い。→楽劇／K.ベーム／マーラー
→関連項目エルガー｜オーボエ｜シマノフスキ｜シュワルツコップ｜ティル・オイレンシュピーゲル｜ニジンスキー｜ニルソン｜ばらの騎士｜バルトーク｜バレーズ｜ブッシュ｜フンパーディンク｜メンゲルベルク｜ライトモティーフ｜ライナー｜レーマン｜ロマン主義

シュトラウス

オーストリアの作曲家，指揮者，バイオリン奏者。〈ワルツの父〉J.シュトラウスの子で，〈ワルツの王〉と呼ばれる。父の反対を押してひそかにバイオリンを習い，1844年には楽団を組織してデビュー。父の死後はその楽団を吸収し，欧米各地に演奏旅行を重ねた。その洗練された芸術的感覚と精緻な管弦楽法はブラームスからも称賛され，広く音楽界の尊敬を集めた。作品は500曲を超え，ワルツは《美しく青きドナウ》（1867年），《芸術家の生活》《ウィーンの森の物語》《ウィーン気質》《春の声》《皇帝円舞曲》など約170曲，ほかに《トリッチ・トラッチ・ポルカ》，弟ヨゼフ〔1827-1870〕と共作の《ピチカート・ポルカ》など約120曲のポルカがある。またパリのオッフェンバックに触発され，1870年代からはオペレッタの作曲にも力を注いだ。《こうもり》（1874年），《ジプシー男爵》（1885年）など18曲が残されている。→レハール

シュトラウス

オーストリアの作曲家，指揮者，バイオリン奏者。〈ワルツの父〉と呼ばれる。10代前半からM.パーマー〔1782-1827〕率いるダンス楽団でビオラ奏者を務め，作曲家J.F.K.ランナー〔1801-1843〕とともに1819年独立。翌年自分の楽団を組織し，1833年からはヨーロッパ各地に楽旅し，広く人気を博した。250曲以上の作品のうち約150曲がワルツで，ランナーとともにいわゆるウィンナ・ワルツの様式を確立した。ほかに《アンネン・ポルカ》《ラデツキー行進曲》なども知られる。高名な長男ヨハンをはじめ，次男ヨーゼフ〔1827-1870〕，４男エドゥアルト〔1835-1916〕も作曲家。
→関連項目ポルカ｜レハール