By Prof. Robert Greenberg
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Additional resources for Concert Masterworks lecture outline
These proliferated as the Romantics’ insistence on following their own inner lights pushed the limits of self-expression. Like so many others, Strauss acknowledged the influence of Beethoven. ©1998 The Teaching Company Limited Partnership 3 For Richard Strauss, his musical revolution was intensely personal; not only did Romanticism exalt the individual generally, but, in Strauss’ case, it also clashed with his own father’s decided preference for Classicism. The younger Strauss followed in the footsteps of Beethoven, Liszt, and Berlioz.
Cadence—English for the Italian word cadenza. A cadence is a series of final notes or chords that indicate that a passage or the entire piece of music is about to resolve into a conclusion. It is distinguished from the Italian word cadenza, which has a specialized use in English, as noted below. Cadenza—A florid, improvised passage to be performed by singers before the final bars (cadence−see above) of an aria or movement. In a concerto, the solo instrument assumes this function for the purposes of a similarly virtuosic display.
This movement is almost entirely devoid of development, relying instead on two principal themes, A and B. Structurally, this is a very simple movement related to Movement One, in four parts. 1. It revolves around the harmonic juxtaposition and confrontation between darkness, represented by e minor, and the brilliance and affirmation represented by E Major. 2. Given the end of the first movement, this movement opens somewhat ambiguously in E Major. Providing a sense of tension and drama. The introduction, in the form of a chorale, provides a quiet, mysterious and profound opening.