This article may need to be rewritten entirely to comply with Wikipedia's quality standards. You can help. The discussion page may contain suggestions. (March 2011)

Shareese Renée Ballard, better known by her stage name Res ( /ˈriːs/), is a female singer from Philadelphia, Pennsylvania. Her musical style is a blend of indie pop, soul, and rock. She is currently involved in Talib Kweli's collaborative project Idle Warship.

Solo career[link]

Res released her debut album, How I Do, in 2001 along with its first single "Golden Boys." Despite heavy rotation on VH1, the song did not catch on in radio play. "Ice King" (Remixed by Nas) emerged as the second single later that year but also failed to breakthrough with radio audiences and no video was filmed. In early 2002, Res released the third single from How I Do, "They-Say Vision." The song and accompanying video were breakthrough hits and reached #1 on the Billboard Dance chart^[1] and #37 on the Hot 100 Singles Sales chart. With the chart success of the single, the album entered the Billboard 200 for the first time.^[2] A fourth single, "Sittin' Back," was also released but did not enjoy the same success as "They-Say Vision."

Meanwhile, in 2002, Res appeared on a track with Tony Allen, Ray Lema, Baaba Maal, Positive Black Soul and Archie Shepp for the Red Hot Organization's compilation album Red Hot and Riot, a tribute to Nigerian musician Fela Kuti. Res also performed a cover of Jefferson Starship song, "Miracles" for the Jennifer Lopez movie Maid in Manhattan.

Res' career would hit a snag in 2003 when her record label, MCA Records, would be phased out by MCA Inc. and be absorbed by Geffen Records. Years later, Res was released from her contract at her request after the label refused to release any further work despite paying her contracted label salary. After parting ways with Geffen, Res was called upon to model for Marc Ecko's "Ecko Red" clothing line and appeared in print advertising.

In 2006, Res recorded "To Empower" for the soundtrack of the drama film Akeelah and the Bee. She would then join Gnarls Barkley's St. Elsewhere tour providing supporting vocals while writing and recording material for her second album.

In 2009, Res released her second album Black.Girls.Rock! through digital media available on iTunes. The album features tracks originally recorded for her shelved Geffen album. Black.Girls.Rock! is described by Res as "more of a singer/songwriters album than my debut. Great, classic songs!" As of March 2011, the album is no longer available through iTunes, and no other method of distribution has been secured. Res herself has funded a limited production run of vinyl pressings for sale at Amoeba Music in Los Angeles as she begins a grassroots campaign for the album to be carried in independently-owned record stores.

Though currently unsigned, Res is currently working on a new album with producer Doc McKinney, who produced her debut album How I Do. The new album is tentatively titled Reset and is being recorded in a house studio in Toronto, Canada. To support the project, she is also making appearances as a public speaker on the topics of success in the music industry and vocal health for professional singers.

On February 14, 2011, Res released a "mixtape" of unreleased demos and remixed songs titled A Box of Chocolates after the iconic Forrest Gump quote. The digital-only album is mixed by DJ NI** Sky (Nicole Albino of Nina Sky) and features a blend of music from multiple genres of music. The album is intended as a Valentine's Day gift to her fans as they await a proper release of Black.Girls.Rock!.

Social networking presence[link]

Res is very active in several forms of social media. She uses these sites to keep her followers informed of performances, public speaking appearances, and current progress on projects through her aliases "the1res" on Facebook, "@Res" Twitter and "theoneRES" on YouTube.

Idle Warship[link]

In 2009, Res joined long-time collaborator and emcee Talib Kweli to form a hip-hop/electro duo known as Idle Warship. They have released a few teaser tracks online including a song named "Steady" that borrows from '80s classic "Sunglasses At Night" by Corey Hart. In June 2009, Idle Warship completed their first headlining tour through Europe. They performed to sold-out crowds in Switzerland, Norway, France and Germany. Idle Warship has produced a mixtape called Party Robots made available for download in October 2010 available from Res' official site. Idle Warship just finished their debut album Habits of the Heart, released November 1, 2011. The first single from this debut, "Laser Beams" is produced by DJ Khalil.

Discography[link]

Studio Albums

• 2001: How I Do (MCA Records)^[3]
• 2009: Black.Girls.Rock! (currently unavailable—only 1000 copies printed and offered on Res' official site)
• 2011: Habit of the Heart (Blacksmith Records/Fontana)
• 2012: ReFried Mac Ep (Javotti Media)
• 2012: Reset (MCA Records)

Compilations

• 2010: Party Robots Mixtape (Idle Warship)
• 2011: A Box of Chocolates (digital only, available on Res' official site)

See also[link]

• List of number-one dance hits (United States)
• List of artists who reached number one on the US Dance chart

References[link]

External links[link]

• Official website
• Sirens of Song: Res

Look up res in Wiktionary, the free dictionary.

Res or RES may refer to:

• Resistencia International Airport (IATA airport code: RES)
• RES (magazine), a bimonthly media lifestyle magazine
  • RESFest, a digital short film festival run by the magazine
• Review of Economic Studies
• Russian and Eurasian Security Network
• Res (singer), a soul/indie pop/experimental rock singer
• RES - The School for Renewable Energy Science
• Renewable Electricity Standard, a legal requirement for a system of regulated utilities to derive a minimum fraction of electric power from renewable sources
• Renewable Energy Sources, ways to produce power that deplete extremely slowly (such as sunlight)
• Renewable Energy Systems, a UK-based renewable energy company
• The Reticuloendothelial system, part of the immune system
• An abbreviation of Electrical resonance used in conjunction with Sound synthesis
• Randomized Exchange Sort (or bogosort), an extremely inefficient sorting algorithm that is not guaranteed to terminate
• Railway Enthusiasts Society, a railway society in New Zealand
• Rail Express Systems, the mail sector of British Rail up to privatisation
• Spanish Supercomputing Network (Spanish: Red Española de Supercomputación)
• Red-eared slider, a species of aquatic turtle commonly kept as a pet
• res, a predefined intranetwork protocol that is used for internal database request. (other predfined protocol include: mailto)

Res is also a very common Latin word meaning "thing", and as such is the first word of several Latin phrases:

• Res divina (service of the gods)
• Res Extensa Descartes' physical world
• Res gestae (Things done)
• Res inter alios acta (A thing done between others)
• Res ipsa loquitur (The thing speaks for itself)
• Res judicata (A matter [already] judged)
• Res nullius (An unowned thing)
• Res publica (A public thing), the origin of the word republic
• Ad rem (to the matter)
• De rerum natura, a poem by the Roman poet and philosopher Lucretius
• Ubi re vera whereas, in reality...

See also[link]

• Rez (disambiguation)
• Reticuloendothelial system

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Elizabeth Parcells ( /pɑrˈsɛlz/; December 28, 1951, Detroit, Michigan – December 29, 2005, Detroit, Michigan) was an American coloratura soprano. In the USA, she sang at the Michigan Opera Theater, the Boston Lyric Opera and The Washington (D.C.) Opera, among others.

Aged 16 she began her voice lessons and went on to study at the Interlochen Arts Academy. She earned her undergraduate and graduate degrees with honors from the New England Conservatory of Music (Boston).

Parcells was a winner of the 1977 Metropolitan Opera Council National Finals in New York City and was awarded a Pro Musicis Foundation sponsorship which helped launch her professional singing career. She moved to Switzerland Operastudio Zurich then moved to Germany where she sang at Augsburg, Wiesbaden, Frankfurt am Main, West Berlin, Basel, Switzerland and Stuttgart. During her concert career, Elizabeth Parcells sang at international festivals such as Tanglewood, Salzburg, Touraine, Bologne, Colorado, Luxembourg, Melk, Lisbon, Rheingau, Huddersfield and Torino. She recorded with the BBC, National Public Radio, Radio France, WDR Cologne and the Radio Luxembourg Orchestra.

Her roles included: "Olympia" in Tales of Hoffmann, "Norina" in Don Pasquale, "Zerbinetta" in Ariadne auf Naxos, "Queen of the Night" in The Magic Flute, and the title characters in Lucia di Lammermoor and Maria Stuarda.

Parcells' farewell recital was given at the Weill Recital Hall at Carnegie Hall in February 2005 under the sponsorship of the Pro Musicis Foundation, whose award so many years earlier had helped launch her career.

After living and working in Europe for over twenty years, where she was married in Germany since 1985 to Dierk-Eckhard Becker, Hamburg, Parcells returned home to Grosse Pointe, Michigan in 1997 to coach voice students at Oakland University in Rochester Hills and at Schoolcraft College in Livonia, Michigan. In Germany Parcells worked as voice instructor at Bremen University until 1997.

She battled cancer for two and a half years and died the day after her 54th birthday.

References[link]

• New York Times review by Allen Hughes (February 18, 1978), accessed 8 February 2010
• New York Times review by Edward Rothstein (October 18, 1981), accessed 8 February 2010
• New York Times obituary (January 8, 2006), accessed 8 February 2010
• Boston Globe obituary (January 8, 2006), accessed 8 February 2010

External links[link]

• Elizabeth Parcells' website, accessed 8 February 2010
• Parcells' Bach Cantatas biographical page, accessed 8 February 2010
• Fightcolorectalcancer.org site

Saint Maurice and companions
Statue of St. Maurice
Martyrs
Born	3rd century. Thebes, Egypt
Died	287 Agaunum, Switzerland
Honored in	Coptic Orthodox Church, Roman Catholic Church, Eastern Orthodox Church
Canonized	Pre-Congregation for the Causes of Saints
Major shrine	Abbaye de Saint-Maurice d'Agaune (until 961), Cathedral of Magdeburg (961-present)
Feast	September 22 (West), October 5 = Thout 5 (East)
Attributes	banner; soldier; soldier being executed with other soldiers, knight; indigenous African in full armour, bearing a standard and a palm; knight in armour with a red cross on his breast, which is the badge of the Sardinian Order of Saint Maurice
Patronage	against cramps; alpine troops;[1]Appenzell Innerrhoden;[2] armies;[1] armorers; Burgundians; Carolingian dynasty;[2] Austria; clothmakers; cramps; dyers; gout; infantrymen;[1] Lombards; Merovingians;[2] Piedmont, Italy; Pontifical Swiss Guards;[1] Saint-Maurice-en-Valais; St. Moritz;[2]Sardinia;[1] Savoyards;[2] soldiers; Stadtsulza, Germany; swordsmiths; weavers; Holy Roman Emperors [1]

Saint Maurice (also Moritz, Morris, or Mauritius) was the leader of the legendary Roman Theban Legion in the 3rd century, and one of the favorite and most widely venerated saints of that group. He was the patron saint of several professions, locales, and kingdoms. He is also a highly revered saint in the Coptic Orthodox Church.

Biography[link]

According to the hagiographical material, the legion, entirely composed of Christians, had been called from Thebes in Egypt to Gaul to assist Maximian to defeat a revolt by the bagaudae.^[3] However, when Maximian ordered them to harass some local Christians, they refused and Maximian ordered the unit punished. Every tenth soldier was killed, a military punishment known as decimation. More orders followed, they still refused, partly because of Maurice's encouragement, and a second decimation was ordered. In response to their refusal to use violence against fellow Christians, Maximian ordered all the remaining members of the 6,666 unit executed. The place in Switzerland where this occurred, known as Agaunum, is now Saint Maurice-en-Valais, site of the Abbey of Saint Maurice-en-Valais.

So reads the earliest account of their martyrdom, contained in the public letter Eucherius, bishop of Lyon (c. 434–450), addressed to his fellow bishop Salvius. Alternate versions^{[citation needed]} have the legion refusing Maximian's orders only after discovering a town they had just destroyed had been inhabited by innocent Christians, or that the emperor had them executed when they refused to sacrifice to the Roman gods.

Bertran de la Farge asserted in La Croix occitane (2000) that the original Occitan cross, located somewhere in the marquisate of Provence, probably Venasque, could be a mixture of the Constantinople cross and the Coptic cross,^[4] which was brought to Provence by monks and maybe also through the influence of a historical Saint Maurice.

Historicity and evidence[link]

This article's section called "Historicity" needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2010)

Supportive evidence[link]

There are four pieces of historical evidence that support the story.

1. A military papyrus requisiting supplies for troops of a legion's size embarking overseas from southern Egypt, at precisely the same time as the story was later considered to take place.
2. Coins from Alexandria that also coincided with the same time period, that were minted in a style used only when troops for a new legion were leaving port.
3. A roman army list called the Novita Dignitatum.
4. A passage from the account of the martyr Maximilian which shows the existence of Theban Christian legionairies in the same units as mentioned in the Novita Dignitatum.^[5]

A Greek hagiography stated that the soldiers were baptized by Zabdes, bishop of Jerusalem, which could have fit if their corps had been raised to fight in the contemporary war with Persia, and would also fit with the fact that roman military doctrine held that new legions should be used to replace experienced units in order to move them to the front (thus leaving the newly raised Theban corps in the rear closer to Jerusalem).^[5]

The Papyrus[link]

The military papyrus was found at Panopolis on the Nile just north of Thebaid district, and it contained a receipt of delivery and an auditor's note mentioning requisition and receipt. The letter is dated "In the Sixth year of our Lord the Emperor Caesar Marcus Aurelius Probus Pius Augustus, Tubi sixteenth" (January 13 282AD), and the delivery was for 38,496 modii of bread (estimate about 577,440 pounds, or 384,490 daily rations, which would sustain a legion for about three months) to be delivered to Panopolis to the "mobilized soldiers and sailors".^[5]

The papyrus did not call them legionaries, however, which may have been due to the fact that native Egyptians were forbidden from serving in legions, but were allowed to serve in auxiliary corps during that time period. The papyrus also strangely mentioned the grain as being requisitioned as a tax by the government (ordinarily the roman government paid a fixed price from sellers to buy grain for its soldiers, as opposed to taking the food without payment).^[5]

The coins[link]

An eagle flanked with banners was depicted on Alexandrian coins during the reigns of Marcus Aurelius, Commodus, Septimus Severus, and Aurelian, and on no other occasion prior to 282. These coins were minted precisely during the times when troops were raised to create (respectively) the new legions I and III Italica, nova classis Libica, I II and III Parthica, I Illyricorum with IV Martia. No other legion is known to have been created from Egypt during this time, leaving historians only with the account from monasteries about the creation of the supposed Theban legion during this time.^[5]

The Notitia Dignitatum[link]

The Notitia Dignitatum recorded four legions from Thebes, plus reference to a fifth 'legio Thebeorum' and a 'Thebei Palatini', which was the only eastern force in the west after Constantine and remarkably had replaced the 'Praetoriani' (i.e. the Praetorian guard) whom he had disbanded, which is an impressive note in consideration of whether Constantine (the first Christian emperor) knew of the story of the martyred soldiers from Thebes. The four legions from Thebes were 'I Maximiana Thebeorum', 'II Flavia Constantia Thebeorum', 'III Diocletiana Thebeorum', and 'I Flavia Constantia' (the first and the third bear the names of tetrachs in 293, the second and fourth bear Constantine's name and were listed serving in Thebaid in the late fourth century).^[5]

The names of these legions meant they were personal bodyguards for the pagan tetrarchs (I Flavia Constantia may have formerly been IV Galeriana Thebeorum). It is not clear why Theban troops were chosen for the imperial bodyguard, although Donald O'Reilly hypothesized that if they were in fact Christian units, this may have been as a result of the fact that Christians refused to murder and every single emperor in the previous century had been killed by his own soldiers.^[5] The fact that they were listed as bodyguards for the tetrach corresponds exactly with the further evidence below.

Maximilian[link]

The martyr Maximilian was executed in North Africa in 295, for refusing Diocletian's conscription to the army. In the acta of his martyrdom, there is a record of his trial which contains the following exchange at one point:

Maximilian: "I will not accept the seal. I already have the seal of Christ who is my God." [to which the judge responded] "In the sacred bodyguard of our Lords Diocletian and Maximian, Constantius and Maximus, there are soldiers who are christians, and they serve."^[5]

Counterarguments[link]

One of the strongest arguments against the story is the fact the Romans did not execute entire legions for insubordination.^[5] Decimation had not been used to discipline a Roman legion for centuries^{[citation needed]}: the previous documented execution of this sentence was in the reign of Galba, who ordered this done to a formation of marines that Nero had formed into a legion, and who demanded an eagle and standards. The monastic accounts themselves do not specifically state that all the soldiers were collectively executed; an eleventh century monk named Otto of Freising wrote that most of the legionaries escaped, and only some were executed.^[5] It's possible that the legion was simply re-organized during Diocletian's re-organization of units (breaking up legions of 6000 men to create smaller units of 1000), and that some of the soldiers had been executed, and that this was where the story of the legion's destruction originated from.^[5] Alternative theories explaining the story's origin also exist.

Further, the military staunchly followed Isis or Mithras (Sol Invictus), until Constantine's time at the earliest, making it unlikely they filled an entire legion.

Some^[who?] suggest that the statement that the entire legion was Christian was a pious fabrication by Theodore, bishop of Octodurum, sometime between 388 and 394, whom Eucherius, bishop of Lyon, cites as his source for this story, to encourage his contemporary Christians serving in the Roman army to ignore the orders of their pagan superiors and instead side with the Church. This view is not accepted by Church historians, who assert the authenticity of the account. If it was a later fabrication, by Eucherius himself, its dissemination was certainly successful in drawing pilgrims to the abbey at Agaunum. That institution was created ex nihilo from 515 onwards by Sigismund, the first Catholic king of the Burgundians. The abbey was unique in its time as the creation of a king working in concord with bishops, rather than an organic development that occurred round the central figure of a holy monk.

Veneration[link]

Saint Maurice became a patron saint of the Holy Roman Emperors. In 926, Henry I (919–936), even ceded the present Swiss canton of Aargau to the abbey, in return for Maurice's lance, sword and spurs. The sword and spurs of Saint Maurice were part of the regalia used at coronations of the Austro-Hungarian Emperors until 1916, and among the most important insignia of the imperial throne. In addition, some of the emperors were anointed before the Altar of Saint Maurice at St. Peter's Basilica.^[2] In 929 Henry I the Fowler held a royal court gathering (Reichsversammlung) at Magdeburg. At the same time the Mauritius Kloster in honor of Maurice was founded. In 961, Otto I was building and enriching the cathedral at Magdeburg, which he intended for his own tomb. To that end,

in the year 961 of the Incarnation and in the twenty-fifth year of his reign, in the presence of all of the nobility, on the vigil of Christmas, the body of St. Maurice was conveyed to him at Regensburg along with the bodies of some of the saint's companions and portions of other saints. Having been sent to Magdeburg, these relics were received with great honour by a gathering of the entire populace of the city and of their fellow countrymen. They are still venerated there, to the salvation of the homeland. ^[6]

Maurice is traditionally depicted in full armor, in Italy emblasoned with a red cross. In folk culture he has become connected with the legend of the Spear of Destiny, which he is supposed to have carried into battle; his name is engraved on the Holy Lance of Vienna, one of several relics claimed as the spear that pierced Jesus' side on the cross. Saint Maurice gives his name to the town St. Moritz as well as to numerous places called Saint-Maurice in French speaking countries. The Indian Ocean island state of Mauritius was named after Maurice of Nassau, a member of the House of Orange, and not directly after St. Mauritius himself.

Over 650 religious foundations dedicated to Saint Maurice can be found in France and other European countries. In Switzerland alone, seven churches or altars in Aargau, six in the Canton of Lucerne, four in the Canton of Solothurn, and one in Appenzell Innerrhoden can be found (in fact, his feast day is a cantonal holiday in Appenzell Innerrhoden).^[2] Particularly notable among these are the Church and Abbey of Saint-Maurice-en-Valais, the Church of Saint Moritz in the Engadin, and the Monastery Chapel of Einsiedeln Abbey, where his name continues to be greatly revered. Several chivalric orders were established in his honor as well, including the Order of the Golden Fleece, Order of Saints Maurice and Lazarus and the Order of Saint Maurice.^[2] Additionally, fifty-two towns and villages in France have been named in his honor.^[7]

Maurice is also the patron saint of a Roman Catholic parish and church in the Ninth Ward of New Orleans, and including part of the town of Arabi in St. Bernard parish. The church was constructed in 1856, making it one of the oldest currently used churches in the area. The church was devastated by the winds and flood waters of Hurricane Katrina on August 29, 2005; the copper-plated steeple was blown off the building. Masses resumed at the building in 2006. It is currently again an active church.

On July 19, 1941 Pope Pius XII declared Saint Maurice to be patron Saint of the Italian Army's Alpini Mountain Infantry Corps^[8] The Alpini Corps has celebrated Saints Maurice's feast every year since then.

Patronage[link]

St Maurice is the patron saint of soldiers, swordsmiths, armies, and infantrymen. He is also inexplicably the patron saint of weavers and dyers, and is invoked against menstrual cramps. Manresa (Spain), Piedmont (Italy), Montalbano Jonico (Italy), Schiavi di Abruzzo (Italy), and Stadtsulza (Germany) have chosen St. Maurice as their patron saint as well.^[9] St Maurice is also the patron saint of the Brotherhood of Blackheads, a historical military order of unmarried merchants in present-day Estonia and Latvia.^[10]

In September 2008, certain relics of St. Maurice were transferred to a new reliquary and rededicated in Schiavi di Abruzzo (Italy).^[11][12]

Egyptian Maurice[link]

St. Maurice was an Egyptian from Thebes in Upper Egypt. His Egyptian origin is stressed by the Coptic Greek name "Maurikios", which appears in the papyri, and is identical with the later Roman name "Mauritius", according to G. Heuser in his Personennamen der Kopten.

In fact, the name is found in epitaphs of the Ptolemaic Egypt and Egyptian Christian periods, and is still used as a personal name in Egypt's Coptic community.^[2]

"The oldest surviving" ^[13] image that depicts Saint Maurice as a Black African ^[13] was carved in the 1240s for the Cathedral of Magdeburg, a strikingly accurate depiction of a contemporary armed knight; there it is displayed next to the grave of Otto I, Holy Roman Emperor. Jean Devisse, The Image of the Black in Western Art, laid out the documentary sources for the saint's popularity and documented it with illustrative examples.^[14][15] The Cathedral of Magdeburg is the first and oldest standing temple honoring the life of St. Maurice. When the new cathedral was built under Archbishop Albert II of Käfernberg (served 1205-32), the relic said to be the head of Maurice was procured from the Holy Land.

The image of Saint Maurice has been examined in detail by Gude Suckale-Redlefsen,^[16] who demonstrated that this image of Maurice has existed since Maurice's first depiction in Germany between the Weser and the Elbe, and spread to Bohemia, where it became associated with the imperial ambitions of the House of Luxembourg. According to Suckale-Redlefsen, the image of Maurice reached its apogee during the years 1490 to 1530. Images of the saint died out in the mid-sixteenth century, undermined, Suckale-Redlefsen suggests, by the developing African slave trade. "Once again, as in the early Middle Ages, the color black had become associated with spiritual darkness and cultural 'otherness'".^[17]

Gallery[link]

• 

  13th Century Statue of Saint Maurice from the Magdeburg Cathedral that bears his name.

• 

  18th century Baroque sculpture of Saint Maurice on the Holy Trinity Column in Olomouc, which was a part of the Austrian Empire in that time, now the Czech Republic.

• 

  "The Martyrdom of Saint Maurice" by El Greco. 1580-82

• StMauriceSoultz.JPG

  A statue of Saint Maurice, located in Soultz-Haut-Rhin, France.

• 

  "The Martyrdom of Saint Maurice" by Romulo Cincinato. 1583. Oil on canvas, 540 x 288 cm, Monasterio de San Lorenzo, El Escorial, Spain. Cincinnato placed stronger emphasis on the execution scene, which has been brought into the foreground.

• 

  Jean Hey. "Portrait of Francis de Chateaubriand Presented by St. Maurice. c. 1500". Tempera on wood. Glasgow Museums and Art Galleries, Glasgow, UK.

• 

  St. Maurice as depicted on the City of Coburg's Coat of Arms.

• 

  Saint Maurice Stained glass window, Officer Cadet’s Mess, Royal Military College Saint-Jean, St-Jean sur Richelieu, Quebec, Canada

See also[link]

• Order of Saint Maurice
• St. Moritz

Notes[link]

External links[link]

Wikimedia Commons has media related to: Saint Maurice

• Coptic Orthodox Church Network: "Saint Maurice of Theba"
• On the image of the Blackamoor in European Heraldry - St. Maurice
• David Wood, "The Origin of the Cult of St. Maurice"
• Saint Maurice from the Golden Legend
• A Translation of Grimm's Saga No. 439 about Saint Mauritius and King Dagobert

1918 portrait of Strauss by Max Liebermann.

Signature of Dr. Richard Strauss

Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier and Salome; his Lieder, especially his Four Last Songs; and his tone poems and other orchestral works, such as Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, An Alpine Symphony, and Metamorphosen. Strauss was also a prominent conductor throughout Germany and Austria.

Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.

Life and works[link]

Early life and family[link]

Strauss age 24

Strauss was born on 11 June 1864, in Munich, the son of Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death.

During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra, and he also received private instruction in music theory and orchestration from an assistant conductor there. In 1874 Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Richard Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works.^[1] Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn.

In 1882 he entered Munich University, where he studied Philosophy and Art History, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man and decided that Strauss should be his successor as conductor of the Meiningen orchestra when Bülow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His remarkably mature Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of modern horn repertoire.

Richard Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but the marriage, to all appearances, was essentially happy and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles.

The Strausses had one son, Franz, in 1897. Franz married Alice von Grab, a Jewish woman, in a Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian.

Works[link]

Solo and chamber works[link]

Some of Strauss's first compositions were solo and chamber works. These pieces include: early compositions for piano solo in a conservative harmonic style, many of which are lost; a string quartet (opus 2); a cello sonata; a piano quartet; Violin Sonata in E flat (1888); as well as a handful of late pieces.

After 1890 Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin, and the string Sextet which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E for violin and piano, dates from 1940.

Tone poems and other orchestral works[link]

Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth, and begin writing tone poems. He also introduced Strauss to the essays of Richard Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.

The new influences from Ritter resulted in what is widely regarded^[2] as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), A Hero's Life (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."^[3]

Solo instrument with orchestra[link]

Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists; a Violin Concerto in D minor; the Burleske for piano and orchestra; the tone poem Don Quixote for cello, viola and orchestra; the well-known late Oboe Concerto in D major; and the Duet-Concertino for bassoon, clarinet and orchestra, which was one of his last works (1947).

Opera[link]

Richard Strauss engraved by Ferdinand Schmutzer (1922)

Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works: Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics.^[4]

In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls.^[5] Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous",^[6] and Mahler described it as "a live volcano, a subterranean fire".^[7] Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera.

Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1918), Die ägyptische Helena (1927), and Arabella (1932). For Intermezzo (1923) Strauss provided his own libretto. Die schweigsame Frau (1934), was composed with Stefan Zweig as librettist; Friedenstag (1935–6) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor.

Lieder[link]

All his life Strauss produced Lieder. The Four Last Songs are among his best known, along with "Zueignung", "Cäcilie", "Morgen!", "Allerseelen", and others. In 1948, Strauss wrote his last work, the masterful and haunting Four Last Songs for soprano and orchestra. He reportedly composed them with Kirsten Flagstad in mind, and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered^{[by whom?]} – along with many of his other compositions – to be masterpieces of the first rank.

Strauss in Nazi Germany[link]

[edit] The Nazi Reich forms the Reichsmusikkammer

In March 1933, when Richard Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler — an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907 — would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Mahler and Debussy.

In 1933, Strauss wrote in his private notebook:

I consider the Streicher-Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence — the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent.^[8]

Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary:

Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic.^[9]

Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the Reichsmusikkammer, the State Music Bureau. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well."^[10] In 1935 he wrote in his journal:

In November of 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers.^[10]

Strauss privately scorned Goebbels and called him "a pipsqueak."^[11] In order to gain Goebbels' cooperation, however, in extending the German music copyright laws from 30 years to 50 years, in 1933 Strauss dedicated an orchestral song, Das Bächlein ("The Little Brook") to him.^[12]

Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich.^[13]

On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated:

Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none.^[14]

This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Arturo Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again," when Strauss had accepted the presidency of the Reichsmusikkammer.^[15] Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother from being sent to concentration camps.^[16]

[edit] Friedenstag

In 1938, when the entire nation was preparing for war, Strauss created Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939.

When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including the Berlin intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of his son Franz's Jewish mother-in-law, Marie von Grab. Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored.^[17]

In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. Strauss was unable, however, to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and his son Franz were abducted by the Gestapo and imprisoned for two nights. Only Strauss's personal intervention at this point was able to save them, and he was able to take the two of them back to Garmisch, where they remained under house arrest until the end of the war.

[edit] Metamorphosen

Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work.^[18] Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses in music Strauss's mourning of, among other things, the destruction of German culture — including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary:

The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom.^[19]

In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who, as it happened, was also a musician, nodded in recognition. An 'Off Limits' sign was subsequently placed on the lawn to protect Strauss.^[20] The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late masterpiece, his Oboe Concerto, before the end of the year.

Final upsurge of genius[link]

The metaphor "Indian Summer" is often used by journalists, biographers, and music critics to describe Strauss's late upsurge of genius from 1942 through the end of his life. The horrifying events of World War II seemed to bring the composer — who had grown old, tired, and a little jaded — into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, have a luminosity which matches anything he had composed earlier in his life, and they surpass most of them in emotional depth.^[21] These pieces include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, and his masterful and haunting Four Last Songs.

The Four Last Songs, composed shortly before Strauss's death, deal poetically with the subject of dying. The last, "At Sunset" (Im Abendrot), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem, Death and Transfiguration — symbolizing the transfiguration and fulfillment of the soul after death.

Death and legacy[link]

Stamp issued in 1954

Richard Strauss died at the age of 85 on 8 September, 1949, in Garmisch-Partenkirchen, Germany. Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial.^[22] During the singing of the famous trio from Rosenkavalier, Solti described how "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together." Strauss's wife, Paulina, died eight months later, on 13 May, 1950, at the age of 88.^[23]

During his lifetime Strauss was considered the greatest composer of the first half of the 20th century, and his music had a profound influence on the development of 20th-century music. There were few 20th-century composers who compared with Strauss in terms of orchestral imagination, and no composer since Wagner made a more significant contribution to the history of opera. And Strauss's late works, modelled on "the divine Mozart at the end of a life full of thankfulness,"^[24] are perhaps the most remarkable works by any octogenarian composer.

Strauss himself declared in 1947 with characteristic self-deprecation, "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century."^[25]

Strauss as a conductor[link]

Richard Strauss during his career.

Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers.

His 1929 performances of Till Eulenspiegel and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings; even the original 78 rpm discs had superior sound for their time, and the performances were top-notch and quite exciting at times, despite a noticeable mistake by the Horn soloist in the famous opening passage of Till Eulenspiegel.

One of the more interesting of Strauss's recordings is perhaps the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, because Strauss used the full complement of percussion instruments required in this spectacular symphony. The intensity of the performance rivaled that of the digital recording Herbert von Karajan made many years later with the Berlin Philharmonic.

Music critic Harold C. Schonberg in The Great Conductors (1967), says that while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning the Beethoven 7th symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" Schonberg also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity."

Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutman wrote:

The Koch CDs represent all of Strauss's recordings of works by other composers. The best of his readings of his own famous tone poems and other music are collected on DGG 429 925-2, 3 CDs. It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels.

Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers.

There were many other recordings, including some taken from radio broadcasts and concerts, during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor.

In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers ("Whipped Cream") ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser and are of remarkable fidelity.

Strauss also made live-recording player piano music rolls for the Hupfeld system, all of which survive today.

Richard Strauss was the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony.

Works[link]

Selected major works[link]

Operas[link]

See List of operas by Richard Strauss

Ballet music[link]

• Josephslegende (The Legend of Joseph), Op. 63 (1914)
• Schlagobers (Whipped Cream), Op. 70 (1921/2)

Tone poems[link]

• Aus Italien (From Italy), Op. 16 (1886)
• Don Juan, Op. 20 (1889)
• Macbeth, Op. 23 (1888/90)
• Tod und Verklärung (Death and Transfiguration), Op. 24 (1888–89)
• Till Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks), Op. 28 (1895)
• Also sprach Zarathustra (Thus Spake Zarathustra), Op. 30 (1896)
• Don Quixote, Op. 35 (1898)
• Ein Heldenleben (A Hero's Life), Op. 40 (1899)
• Symphonia Domestica (Domestic Symphony), Op. 53 (1904)
• Eine Alpensinfonie (An Alpine Symphony), Op. 64 (1915)

Other orchestral works[link]

• Symphony in D minor (1880)
• Symphony No. 2 in F minor, Op. 12 (1883)
• Festive Prelude for orchestra with organ (1913)
• Le Bourgeois gentilhomme, suite for orchestra Op. 60 (1917)
• Film music for Der Rosenkavalier (1925)
• Japanese Festival Music (1940)
• Metamorphosen, for 23 solo strings (1945)

Keyboard[link]

• Fünf Klavierstücke, Op. 3 (1880–81)
• Sonata for piano in B minor, Op. 5 (1880–81)

Concertante[link]

	Burleske noicon Burleske (1885–86), performed by Neal O'Doan with the Seattle Philharmonic Orchestra.
Problems listening to this file? See media help.

• Romance for Clarinet and Orchestra (1879)
• Violin Concerto in D minor, Op. 8 (1882)
• Horn Concerto No. 1 in E flat major, Op. 11 (1882/83)
• Romance for Cello and Orchestra (1883)
• Burleske for piano and orchestra (1886–1890)
• Parergon zur Symphonia Domestica, for piano (left hand) and orchestra, Op. 73 (1925; ded. Paul Wittgenstein)
• Panathenäenzug, for piano (left hand) and orchestra, Op. 74 (1926–1927; ded. Wittgenstein)
• Horn Concerto No. 2 in E flat major (1942)
• Oboe Concerto in D major (1945)
• Duett-Concertino, for clarinet and bassoon with string orchestra (1947)

Vocal/Choral[link]

• Acht Lieder aus Letzte Blätter, Op. 10 (1885)
• Ruhe, meine Seele! ("Rest, My Soul!") Op. 27 No. 1
• Cäcilie, Op. 27 No. 2
• Heimliche Aufforderung ("Secret Invitation"), Op. 27 No. 3
• Morgen! ("Tomorrow!"), Op. 27 No. 4
• Zwei Gesänge, Op. 34 (1896/97) – 1. Der Abend 2. Hymne
• Wiegenlied ("Lullaby"), Op. 41 No. 1
• Deutsche Motette, Op. 62 (1913)
• Olympische Hymne, for chorus and orchestra (1934)
• Die Göttin im Putzzimmer (1935)
• Männerchöre (1935)
• An den Baum Daphne (1943)
• Vier letzte Lieder (Four Last Songs) (1948)

Chamber[link]

• Sonata for Cello and Piano in F, Op. 6 (1883)
• Violin Sonata in E-flat, Op. 18 (1888)

Notes[link]

Sources[link]

Selective bibliography[link]

• Kennedy, Michael (1999). Richard Strauss: Man, Musician, Enigma. Cambridge: Cambridge University Press. ISBN 0-521-58173-7.
• Del Mar, Norman (1962). Richard Strauss. London: Barrie & Jenkins. ISBN 0-214-15735-0.
• Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. ISBN 0-333-30645-7.
• Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. ISBN 0-521-57895-7.
• Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. ISBN 0-306-80459-X.
• Wilhelm, Kurt (1989). Richard Strauss: An Intimate Portrait. London: Thames & Hudson. ISBN 0-500-01459-0.
• Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. ISBN 0-253-34573-1.
• Karpath, Ludwig and Strauss, Richard (1905–1936). The handwritten correspondence between Richard Strauss and Ludwig Karpath, covering 31 years was acquired by the National Library of Austria in 1962 from the daughters of Dr. Alfred Marill who was Mr. Karpath's attorney.^{[citation needed]} It consists of approximately 150 items covering Strauss relationships with the Vienna State Opera and other musical events of the period. It stops at the death of Ludwig Karpath in 1936. Dr. Alfred Marill was Mr. Karpath's executor. The terms of Karpath's will stipulated that the correspondence between Karpath and Strauss not be published until after Richard Strauss's death.^{[citation needed]} In keeping with these terms Dr. Marill transported it to the United States when he emigrated in 1940. After Dr. Marill's death his daughters provided the letters to the library so that Mr. Karpath's wishes could be carried out. There is no evidence that these letters have been published.^{[citation needed]}

External links[link]

Wikimedia Commons has media related to: Richard Strauss

Wikisource has the text of a 1911 Encyclopædia Britannica article about Richard Strauss.

• Richard Strauss online
• Richard Strauss Institute, in English
• Free scores by Richard Strauss at the International Music Score Library Project
• Works by or about Richard Strauss in libraries (WorldCat catalog)
• Free scores by Richard Strauss in the Choral Public Domain Library (ChoralWiki)
• In America with Richard Strauss: Elisabeth Schumann's 1921 diary

v t e Vienna Staatsoper General Directors Franz von Dingelstedt (1867) Johann von Herbeck (1870) Franz von Jauner (1875) Wilhelm Jahn (1881) Gustav Mahler (1897) Felix Weingartner (1908) Hans Gregor (1911) Richard Strauss / Franz Schalk (1919) Franz Schalk (1924) Clemens Krauss (1929) Felix Weingartner (1935) Heinrich Karl Strohm (1940) Lothar Müthel (1941) Karl Böhm (1943) Franz Salmhofer (1945) Karl Böhm (1954) Herbert von Karajan (1956) Egon Hilbert (1964) Heinrich Reif-Gintl (1968) Rudolf Gamsjäger (1972) Egon Seefehlner (1976) Lorin Maazel (1982) Egon Seefehlner (1984) Claus Helmut Drese (1986) Eberhard Wächter / Ioan Holender (1991) Ioan Holender (1992)