In May, 2009, I conducted the first-ever Chicago-area performance with my orchestra (north of the city) and pianist Thomas Pandolfi. The program (entitled "Festiva" was: Holst-Chaconne from 1st Suite [my orchestration], Grieg- Wedding Day at Troldhaugen, Rimsky-K- Cappricio Espagnole///Intermission - Strauss-Panathenaenzug). It was a huge success; we encored the final Processional. I love the work...one of Strauss' most immediately appealing. Glad you posted it, and that some people have been introduced to it. LR
Other than that immediately delightful ground, I've been finding this work quite difficult to grasp/appreciate. However after watching this video numerous times I can feel an addiction growing for it! Thank you very much for the upload!
Yes, I feel the same. I think what really grounds the piece is that mesmerizing middle section, that just takes you on this never ending voyage and really helps balance the rest of it, which is overall quite moody. It's a fascinating work indeed
This upload is a wonderful and stunning discovery! Strauss wrote so much more than the high profile tone poems and operas. Amazing stuff! Thanks! BTW, I am looking forward to info. :-)
This work needs to be so much more well-known. Thanks for posting. By the way, the first bar of the piano solo is wrong, it must be in Bass Clef. Then treble clef in bar 4.
Richard Strauss:Panathenaenzug-szimfonikus tanulmányok Passacaglia formájában zongora bal kézre és zenekarra Op.74 1.Maestoso 00:05 2.Moderamente commosoo 00:56 3.Maestoso - Supportato 05:24 4.Vivace 07:22 5.Allegro delicamente 12:29 6.Un poco piú allegro 15:21 7.Vivace - Molto piú vivace - Un poco piú largo 17:47 8.Adagio 19:13 9.A poco a poco un poco piú agaitato 22:17 10.Sempre in movimento 22:59 11.Maestoso - Ancora piú vivace - Molto vivace 23:45 Peter Rösel-zongora Drezdai Állami Zenekar Vezényel:Rudolf Kempe
As Dávid Rehák stated, and as I just verified with Google, it's Peter Rösel on piano, with the Staatskapelle Dresden orchestra, Rudof Kempe conducting. Don't forget about that Google music search feature. It's very handy.
beautiful... so gershwin, and more.... one could think that Strauss experimented here... this could have been an interesting direction for "classical" orchestral music... instead of dying out
Apparently Strauss wrote this piece because Wittgenstein was dissatisfied with the Parergon. The pianist deemed the orchestration too heavy and the piano writing not brilliant enough. This attention seeking behavior was going to cause a rift between Ravel and Wittgenstein, after Wittgenstein made alterations to the piano part of Ravel's concerto, since he considered it to be not brilliant enough either. The title may be translated as "Panathenaic procession". The Panathenaea was a religious festival held by the citizens of Athens to celebrate the namesake of their city. It consisted of athletic and music contests, which culminated in a grand procession through Athens, ending at the Acropolis. Here 100 cattle were sacrificed, the meat of which was then feasted on. Strauss revered the culture of ancient Greece. He read the classics in ancient Greek and several of his operas are influenced by Greek culture (Elektra, Ariadne auf Naxos, Die ägyptische Helena, Daphne, Die Liebe der Danae). He even considered himself to be a "Greek Teuton" ("griechischer Germane"). In the early 20's, Strauss and his frequent collaborator von Hofmannsthal planned to write a ballet based on August von Kotzebue's play "Die Ruinen von Athen", and it was von Hofmannsthal's idea to have it end with a Panathenaic procession. Nothing ever came of the ballet, but the idea of the procession seemed to have stuck with Strauss. A possible interpretation of the movements might be: 0:00 Kopfsatz: the solemn opening ceremony (in the manuscript, the opening fanfare is titled "Pallas Athena") 7:22 Scherzo: the athletic contest 12:28 Slow Movement: the music contest 23:45 Finale: the final procession
Wittgenstein seems to have been a bit difficult to work with and write for. These stories of him being dissatisfied in some way abound throughout the many left-handed piano works he commissioned from various composers.
Can a German native speaker offer an English translation of the title? My best guess is "Athenian Procession/Parade" or "Procession [in honor of the goddess] Athena". And then, as extra credit after you've offered a translation, can you explain why he chose this title for this music??
Exactly! This work is from 1927 and Strauss visited Argentina in 1923 (He premiered Elektra then). Could Strauss hear the Argentinian National Anthem during his visit there and used the first notes of that piece to build this work? Something deserving a musicological investigation. Furthermore, very little is known about Richard Strauss's visit to Argentina.
@@JorgeMorales-fv5cl all I know about him in Argentina is the same that you, that he was touring South America, came to Argentina and conducted his operas, tone poems and Beethoven symphonies, that's all.
@@kaleidoscopio5 I know little about Strauss in Argentina and I would like to unearth all its details. In a biography by Marek, the author mentioned very briefly Strauss' tour to Argentina. Marek only said that upon leaving Buenos Aries on a ship, Strauss sent a telegram to his librettist, Hofmannsthal, encouraging the latter to work on their next opera: The Egyptian Helen (in other part of his book, Marek said that after WW I, the only available food in Germany and Austria was low-grade canned beef from Argentina). In an Spanish encyclopedia, I read that Strauss premiered a tone poem by an Uruguayan composer called Fubini (?) in Montevideo on his way to Buenos Aires. The president of Argentina in 1923, Marcelo Torcuato de Alver, was an opera fan and was even married to a former opera singer, Regina Pacini; it is likely that Alvear paid attention to and, perhaps, met Strauss. It seems that Strauss was in Brazil at least twice (once on route to Argentina).
Puh, was für ein leeres, substanzloses Stück Musik, an dem man sieht, dass Strauss mitunter einfach virtuos komponieren konnte, selbst wenn er dazu gar keine Lust hatte. Selten, dass mich Dur so hohl angegähnt hat wie hier.
@Pedro Jorge Lieber Pedro, Paul Wittgenstein hat einige Komponisten gebeten, für ihn Werke zu schreiben, und da sind wirklich bedeutende Werke darunter (allen voran natürlich das Konzert von Ravel, aber auch die Diversions von Benjamin Britten z.B.). Soll ich jetzt aus Mitleid mit Wittgenstein kein Recht haben, bei dem Stück von Richard Strauss zu sagen, dass es nicht zu seinen besten Werken gehört? Ich liebe Richard Strauss sehr, seine Elektra, Salome, den Till Eulenspiegel, Don Juan, Zarathustra, Ariadne auf Naxos, und und und.... Aber Strauss hatte eine virtuose Kompositionstechnik, die manchmal tatsächlich einfach nur Technik ist, mit wenig Gehalt dahinter. Das ist immer dann zu beobachten, wenn Strauss offenbar nicht mit vollem Herzen bei einem Kompositionsauftrag war. Da gibt es zum Beispiel eine fürchterlich hohle Ouvertüre in C-Dur, die völlig inhaltsleer in einem peinlichen Dauerjubelpathos vor sich hin lärmt, ohne dass man je wüsste, was dahinter stehen sollte. Und einen ähnlichen Eindruck habe ich auch von diesem Werk. Ich habe nicht das Gefühl, dass Strauss dabei sehr inspiriert war, sondern dass er sich mithilfe seines verlässlichen Handwerks eher eines nicht sehr genehmen Auftrages entledigte. Irgendwas kommt dabei schon raus. Man tut Strauss damit kein Unrecht, das mal festzustellen. Es tut der Größe seines Genies keinen Abbruch. Und wenn es ein bedeutendes Werk von Strauss wäre, dann wäre es zweifelsohne bekannter.
For vapid virtuosity, check out Strauss's Parergon, also for piano left hand and orchestra, and, interestingly, commissioned by and dedicated to Paul Wittgenstein.
I have to admit, this is a terrible piece of music. I can't believe Strauss wrote something this dreadful :O But his middle operas are also sadly awful. Kind of shocking.
An unknown work by my favourite composer thanks to you!
In May, 2009, I conducted the first-ever Chicago-area performance with my orchestra (north of the city) and pianist Thomas Pandolfi. The program (entitled "Festiva" was: Holst-Chaconne from 1st Suite [my orchestration], Grieg- Wedding Day at Troldhaugen, Rimsky-K- Cappricio Espagnole///Intermission - Strauss-Panathenaenzug). It was a huge success; we encored the final Processional. I love the work...one of Strauss' most immediately appealing. Glad you posted it, and that some people have been introduced to it. LR
Repeated listening recommended, very rewarding ... ...
michel godbout I agree, this piece gets better and better. It's very impressive, yet catchy. Astounding.
The first movement is so terrible, I love it
Other than that immediately delightful ground, I've been finding this work quite difficult to grasp/appreciate. However after watching this video numerous times I can feel an addiction growing for it! Thank you very much for the upload!
Yes, I feel the same. I think what really grounds the piece is that mesmerizing middle section, that just takes you on this never ending voyage and really helps balance the rest of it, which is overall quite moody. It's a fascinating work indeed
12:30-17:49 is musical bliss. Magical!
00:00-27:56 is musical bliss.
Wonderful and (as I say so many times) Who knew? YOU knew! Thanks for posting this rarity.
This upload is a wonderful and stunning discovery! Strauss wrote so much more than the high profile tone poems and operas. Amazing stuff! Thanks! BTW, I am looking forward to info. :-)
In the rarely-heard unpublished version the orchestra plays one-handed too. They get to pick, left or right.
What do you mean by 'the orchestra plays one-handed'? the strings and the wind cerntainly can't play one-handed, right?
r/woooosh
^That was the sound of the joke flying over your head, in case you didn't know.
@@Quotenwagnerianer Well, I don't get the joke either. Care to explain it for a stupid idiot like me?
@@captainhaddock6435 How would you play violins, flutes, oboes, trombones, etc. with one hand? That's the joke.
This work needs to be so much more well-known. Thanks for posting. By the way, the first bar of the piano solo is wrong, it must be in Bass Clef. Then treble clef in bar 4.
Richard Strauss:Panathenaenzug-szimfonikus tanulmányok Passacaglia formájában zongora bal kézre és zenekarra Op.74
1.Maestoso 00:05
2.Moderamente commosoo 00:56
3.Maestoso - Supportato 05:24
4.Vivace 07:22
5.Allegro delicamente 12:29
6.Un poco piú allegro 15:21
7.Vivace - Molto piú vivace - Un poco piú largo 17:47
8.Adagio 19:13
9.A poco a poco un poco piú agaitato 22:17
10.Sempre in movimento 22:59
11.Maestoso - Ancora piú vivace - Molto vivace 23:45
Peter Rösel-zongora
Drezdai Állami Zenekar
Vezényel:Rudolf Kempe
Thanks 😊
The pianist, the orchestra, the conductor, they all deserve no mention at all ?
They do, but this is a video from my earlier terminated Bartje11 channel and all the info got lost. I am glad I saved the video.
As Dávid Rehák stated, and as I just verified with Google, it's Peter Rösel on piano, with the Staatskapelle Dresden orchestra, Rudof Kempe conducting. Don't forget about that Google music search feature. It's very handy.
I like how it starts similarly to Mozarts wind serenade.
5:47 - 7:22 beautiful and relaxing...
Omg.. i feel like I am in the disney fantasy. i can hear little burdy sound.
eccellente.
beautiful... so gershwin, and more.... one could think that Strauss experimented here... this could have been an interesting direction for "classical" orchestral music... instead of dying out
Oh look, que comma-addict posmodernist😅😅😅
0:06 - Maestoso
0:56 - 1
1:11 - 2
1:25 - 3
1:39 - 4
1:52 - 5
2:05 - 6
2:18 - 7
2:32 - 8
2:45 - 9
Apparently Strauss wrote this piece because Wittgenstein was dissatisfied with the Parergon. The pianist deemed the orchestration too heavy and the piano writing not brilliant enough. This attention seeking behavior was going to cause a rift between Ravel and Wittgenstein, after Wittgenstein made alterations to the piano part of Ravel's concerto, since he considered it to be not brilliant enough either.
The title may be translated as "Panathenaic procession". The Panathenaea was a religious festival held by the citizens of Athens to celebrate the namesake of their city. It consisted of athletic and music contests, which culminated in a grand procession through Athens, ending at the Acropolis. Here 100 cattle were sacrificed, the meat of which was then feasted on.
Strauss revered the culture of ancient Greece. He read the classics in ancient Greek and several of his operas are influenced by Greek culture (Elektra, Ariadne auf Naxos, Die ägyptische Helena, Daphne, Die Liebe der Danae). He even considered himself to be a "Greek Teuton" ("griechischer Germane").
In the early 20's, Strauss and his frequent collaborator von Hofmannsthal planned to write a ballet based on August von Kotzebue's play "Die Ruinen von Athen", and it was von Hofmannsthal's idea to have it end with a Panathenaic procession. Nothing ever came of the ballet, but the idea of the procession seemed to have stuck with Strauss.
A possible interpretation of the movements might be:
0:00 Kopfsatz: the solemn opening ceremony (in the manuscript, the opening fanfare is titled "Pallas Athena")
7:22 Scherzo: the athletic contest
12:28 Slow Movement: the music contest
23:45 Finale: the final procession
Wittgenstein seems to have been a bit difficult to work with and write for. These stories of him being dissatisfied in some way abound throughout the many left-handed piano works he commissioned from various composers.
It starts with uruguayan anthem !!
The first movemernt sounds like a blend of Strauss' own style and Elgar's
Who is the pianist? Anh which is the orchestra?
* and which orchestra is it?
Can a German native speaker offer an English translation of the title? My best guess is "Athenian Procession/Parade" or "Procession [in honor of the goddess] Athena". And then, as extra credit after you've offered a translation, can you explain why he chose this title for this music??
戦争で左手を失ったピアニストがラヴェル、シュトラウス、ブリテンに協奏曲を委嘱した
最も有名な左手のピアノ協奏曲はラヴェルの作品
私はＣＤを探した
ＣＤが無かった
I think commisioned by Paul Wittgenstein not 'dedicated'.
It says "Paul Wittgenstein gewidmet" on the title page, see 00:00
Both.
What the hell? The first four notes are the notes from Argentina National Anthem..............
Exactly! This work is from 1927 and Strauss visited Argentina in 1923 (He premiered Elektra then). Could Strauss hear the Argentinian National Anthem during his visit there and used the first notes of that piece to build this work? Something deserving a musicological investigation. Furthermore, very little is known about Richard Strauss's visit to Argentina.
@@JorgeMorales-fv5cl all I know about him in Argentina is the same that you, that he was touring South America, came to Argentina and conducted his operas, tone poems and Beethoven symphonies, that's all.
@@kaleidoscopio5 I know little about Strauss in Argentina and I would like to unearth all its details. In a biography by Marek, the author mentioned very briefly Strauss' tour to Argentina. Marek only said that upon leaving Buenos Aries on a ship, Strauss sent a telegram to his librettist, Hofmannsthal, encouraging the latter to work on their next opera: The Egyptian Helen (in other part of his book, Marek said that after WW I, the only available food in Germany and Austria was low-grade canned beef from Argentina). In an Spanish encyclopedia, I read that Strauss premiered a tone poem by an Uruguayan composer called Fubini (?) in Montevideo on his way to Buenos Aires. The president of Argentina in 1923, Marcelo Torcuato de Alver, was an opera fan and was even married to a former opera singer, Regina Pacini; it is likely that Alvear paid attention to and, perhaps, met Strauss. It seems that Strauss was in Brazil at least twice (once on route to Argentina).
Puh, was für ein leeres, substanzloses Stück Musik, an dem man sieht, dass Strauss mitunter einfach virtuos komponieren konnte, selbst wenn er dazu gar keine Lust hatte. Selten, dass mich Dur so hohl angegähnt hat wie hier.
@Pedro Jorge Lieber Pedro, Paul Wittgenstein hat einige Komponisten gebeten, für ihn Werke zu schreiben, und da sind wirklich bedeutende Werke darunter (allen voran natürlich das Konzert von Ravel, aber auch die Diversions von Benjamin Britten z.B.). Soll ich jetzt aus Mitleid mit Wittgenstein kein Recht haben, bei dem Stück von Richard Strauss zu sagen, dass es nicht zu seinen besten Werken gehört? Ich liebe Richard Strauss sehr, seine Elektra, Salome, den Till Eulenspiegel, Don Juan, Zarathustra, Ariadne auf Naxos, und und und.... Aber Strauss hatte eine virtuose Kompositionstechnik, die manchmal tatsächlich einfach nur Technik ist, mit wenig Gehalt dahinter. Das ist immer dann zu beobachten, wenn Strauss offenbar nicht mit vollem Herzen bei einem Kompositionsauftrag war. Da gibt es zum Beispiel eine fürchterlich hohle Ouvertüre in C-Dur, die völlig inhaltsleer in einem peinlichen Dauerjubelpathos vor sich hin lärmt, ohne dass man je wüsste, was dahinter stehen sollte. Und einen ähnlichen Eindruck habe ich auch von diesem Werk. Ich habe nicht das Gefühl, dass Strauss dabei sehr inspiriert war, sondern dass er sich mithilfe seines verlässlichen Handwerks eher eines nicht sehr genehmen Auftrages entledigte. Irgendwas kommt dabei schon raus. Man tut Strauss damit kein Unrecht, das mal festzustellen. Es tut der Größe seines Genies keinen Abbruch. Und wenn es ein bedeutendes Werk von Strauss wäre, dann wäre es zweifelsohne bekannter.
For vapid virtuosity, check out Strauss's Parergon, also for piano left hand and orchestra, and, interestingly, commissioned by and dedicated to Paul Wittgenstein.
I have to admit, this is a terrible piece of music. I can't believe Strauss wrote something this dreadful :O But his middle operas are also sadly awful. Kind of shocking.
Maybe the worst piece I've ever heard.
Nice!
@@bartjebartmans not sure how nice, but honest. Thanks for posting it nonetheless.
Ha!