Also sprach Zarathustra (Strauss)

It was premiered on 27 November 1896 conducted by the composer in Frankfurt am Main.

Historical

Richard Strauss took a liking to Nietzsche's cultural criticism 1895 attacks on the German " philistinism ". He was also declared to be averse to Christianity. Perhaps the language of Nietzsche Strauss has also challenged musically directly. Sinnigerweise Nietzsche himself said: "Under which heading actually heard this, Zarathustra? I almost think under those symphonies ' " However, whether Strauss thought at work from the beginning to Nietzsche, is not certain. ; Leave notes in the sketches realize that it also Goethe's Faust, especially the monologue of Faust at the beginning as well as the invocation of the earth spirit, stood in the composition in mind.

It is noteworthy that the four parts of Nietzsche's Zarathustra correspond to the movements of a symphony. Nietzsche conceived the Scriptures as a Dionysian dithyramb, a hymn that is inherent in a great musicality. And so it is not surprising that even Gustav Mahler interested simultaneously with Strauss for the text.

Occupation

Thus Spake Zarathustra has the following instrument Instrumentation:

Construction

A normal performance lasts about half an hour. The piece is divided into nine parts, but these are isolated in only three places of breaks. Strauss named the parts into chapters from the book:

Musical interpretation

At the beginning of the first part, the " preface " Zarathustra with its famous increase ( crescendo ) is based on the "nature" motif ( c'- g ' c'' ) - where the scale type initially alternates between major and minor. This motif runs through the whole first part, after vociferous return precisely this " nature" motif ends in a general pause in the " convalescent ". The musical structure shortly before the general pause corresponds to the collapse of Zarathustra from disgust at man. The convalescence of Zarathustra in the second part of the composition is quite marked by " dance song", the long pendulum between B major and C major, finally leads to a glorified B major. But no sounds at the end in the lower strings to B major in the highest return to the nature motif CGC: the eternal recurrence of the same?

The tone poem begins with the decision of Zarathustra go down before sunrise, to the people. The tremolo in the lower strings forms the background for by the " nature " motif c ' g' c'' Sunrise shown. Powered by drumbeats of C major climax is reached after a few sforzati and cadences, with the bouquet of the organ, the beigibt the whole a religious tone added draws.

The contrast program to follow in " From backworldsmen " who believe in an imperfect God and are trapped in their world between good and evil. Strauss generated by many of divided strings " with devotion " Argument raised cantabile -flat major topic of a religious atmosphere. "Credo in unum Deum ", play the horns and the organ, quite ironic. In " Of the great longing " fighting the rising in broken triads longing motive against the pious motives of the previous part. The desire prevailed and creative is only occurring from the back "nature" tamed. In "Of the pleasures and passions ," a big theme in C minor, selfsame feelings free running is allowed. The "Joy " motif can be recognized by the Dezimsprung, followed by a chromatically falling melody. Towards the end, however, terminate in disgust motif of the trumpets to doubt. This brings us to " grave Song ", in which the oboe sings a plaintive melody. Motifs from the previous parts of sound, especially in the solo violin, as a reminder of a better time. A Liegeton leads over to " From science ". In this part, Strauss takes small-minded academicism with a dry joint on the grain.

" The Convalescent " is the center of the work. In the first part the music is heading for collapse Zarathustra: At the end of a dramatic increase in the trumpets blare the " nature " motif on a held in triple forte chord CG of the whole orchestra. General pause. Slowly Zarathustra rises again, the second part of the work begins. Compared to the first part he is more uniform. Zarathustra's recovery takes its course: A peppy waltz in C major, also the themes of the first part are drawn into the dithyrambic cheers, empties into the dance song: the starting point for a longer development and recapitulation. After two major waves increase the momentum of sounds in the " sleepwalker Song ", which begins with the first chime of twelve midnight strikes. The music seems to be in B major to fulfill the key of the great longing. But sounds like the work in a conflict between C major and B major from between nature and spirit. While the violins and the high woodwinds with B major chords are trying to bring to a peaceful conclusion the work that prevents them from the " nature " motif in C major, played by cellos and basses pizzicato.

There are no good or bad more. The arch at the beginning of the play is beaten. Promises that the next morning, the "eternal recurrence of the same? " In any case, the formal unity acts as a narcotic against the contradictions of the world where Nietzsche despaired.

Adaptations

Film

World famous were the opening bars of the piece by Stanley Kubrick's film 2001: A Space Odyssey. For the film, a recording with the Vienna Philharmonic under Herbert von Karajan was used. On the record released as a soundtrack Karajan recording, however, was replaced by a recording by Karl Böhm with the Berlin Philharmonic.

In this film (and thus on this piece of music ) also refer many other films, mostly in comedic type:

• Werner - Beinhart! in the "The first human word " scene
• WALL -E - Legend of the Dee to the earth, as the captain of the spaceship rebel against the ship's computer.
• For example, the expansion of Homer Simpsons to illustrate belly Simpsons in several episodes and the movie.
• Futurama is when the robot Bender in space drifting to the "Metal God " for tiny creatures that live on it.
• Scott & Hooch in the first race of the Great Dane Huutsch.
• Married with Children Al Bundy as a soundtrack in home-produced film " Sheos " (in the film is a deliberately misspelled "Shoes " = engl. For " shoes ").
• Charlie and the Chocolate Factory for the teleportation of a giant chocolate bar
• The hair-raising trip to The Big Bus is run as the nuclear powered Superbus Cyclops slowly out of the garage
• Planet 51 as astronaut Chuck enters the supposedly uninhabited planet and plated " Neil Armstrong " style flag touches.
• The amazing world of Gumball at the beginning of the episode 2.20a "The World ".

Music

The Brazilian musician Eumir Deodato arranged a funky interpretation of the introduction to his album Prelude, whose single version in 1972 moved into the charts. A cover version of the package was published in 2001 by the Mardi Gras Brass Band with Deodato as a guest musician.

The Japanese electronics artist Isao Tomita composed a version on synthesizer.

Elvis Presley used it as triumphalische Introduction every concert of his later career.

The English rock band Deep Purple put the opening motif at the beginning of their interpretation of River Deep, Mountain High one, appeared on the album The Book of Taliesyn (1968). Just put the Salsoul Orchestra the opening bars as a prelude to his title Salsoul 3001, which on the LP Nice ' N' Naasty B- side ( 1976) appeared.

Perplexer used the beginning of the play in 1994 as a motive for his single " Da Capo ", which climbed into the Top Ten of the German Charts.

The American progressive metal band Dream Theater played the opening bars of the opening theme of their "Chaos in Motion " tour 2007.

From the American nu-metal band Mudvayne it was used in previous concerts as the opening theme / intro.

The German Brass Ensemble Blechschaden arranged the theme in the play " So Brass Zarathustra ," appeared on the eponymous album ( 2009).

The techno music project Members of Mayday used the opening motive in the hymn Made in Germany for 2012 held Techno Mayday event.

Others

Various Planetariums accompany the start-up of the star projector with the opening theme of the piece.

It also serves to underscore the fireworks at the end of each performance the Störtebeker Festival in Ralswiek.

The U.S. wrestler Ric Flair used it as a feeder anthem.

The opening theme has already been voiced in the 1970s, each a few minutes before kick-off of the home games of the football team of Borussia Mönchengladbach in the old Bökelbergstadion.

In the PC game released in 1996, Heroes of Might and Magic II, the piece is used as background music; also in many other video games is listening to the introduction of the musical work in certain places.

In addition, the piece is used in the advertisements of beer Warsteiner brand.