Alpine Symphony

Eine Alpensinfonie (An Alpine Symphony), Op. 64, is a tone poem written by German composer Richard Strauss in 1915. Though labeled as a symphony by the composer, this piece forgoes the conventions of the traditional multi-movement symphony and consists of twenty-two continuous sections of music.^[1] The story of An Alpine Symphony depicts the experiences of eleven hours (from eventide just before dawn to the following nightfall) spent climbing an Alpine mountain. An Alpine Symphony is one of Strauss’s largest non-operatic works in terms of performing forces: the score calls for about 125 players in total.^[2] A typical performance usually lasts around 50 minutes.

This piece was the last symphonic poem written by Strauss, a genre which gained the composer popularity in the late 1880’s and 1890’s with works such as Don Juan (1888), Till Eulenspiegels lustige Streiche (1895), Also Sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1897-1898).^[3] By the time of An Alpine Symphony’s composition, however, Strauss had turned his attention away from the genre of tone poems and had become well-established as one of the period’s greatest operatic composers.

Though considered to be one of Strauss’s lesser-performed works (for a number of reasons, including the great number of musicians required),^[4] the piece is popular enough that in 1983 a recording of An Alpine Symphony made with Herbert von Karajan conducting the Berlin Philharmonic became the first compact disc ever to be pressed.^[5]

Contents 1 History 1.1 Composition 1.2 Premiere and reception 2 Instrumentation 3 Program 4 Themes, Form, and Analysis 5 Suggested Discography 6 Comprehensive Discography 7 See also 8 Notes 9 References 10 External links

History

Composition

Strauss’s An Alpine Symphony was completed in 1915, eleven years after the completion of its immediate predecessor in the genre of the tone poem, Sinfonia Domestica.^[6] In 1911 Strauss wrote that he was “torturing [himself] with a symphony – a job that, when all’s said and done, amuses me even less than chasing cockroaches.”^[7]

One point of influence comes from Strauss’s love of nature. As a boy, Strauss experienced an Alpine adventure similar to the one described in his An Alpine Symphony: he and a group of climbers lost their way heading up a mountain and were caught in a storm and soaked on the way down.^[8] Strauss loved the mountains so much that in 1908 he built a home in Garmisch-Partenkirchen, Bavaria that boasted stunning views of the Alps.^[9] This interest in nature can also point to Strauss’s followings of the philosopher Friedrich Nietzsche.^[10]

The original drafts of An Alpine Symphony began in 1899. It was to be written in memory of the Swiss painter, Karl Stauffer, and the work was originally titled Künstlertragödie (Tragedy of an Artist). This fell by the wayside, but Strauss began a new four-movement work called Die Alpen (The Alps) in which he used parts of the original 1899 draft. The first movement of Die Alpen evolved into the core of An Alpine Symphony. Sketches were made, but Strauss eventually left the work unfinished.^[11]

Years later, upon the death of his good friend Gustav Mahler in 1911, Strauss decided to revisit the work. In his journal the day after he learned of Mahler’s death, Strauss wrote:

The death of this aspiring, idealistic, energetic artist [is] a grave loss ... Mahler, the Jew, could achieve elevation in Christianity. As an old man the hero Wagner returned to it under the influence of Schopenhauer. It is clear to me that the German nation will achieve new creative energy only by liberating itself from Christianity ... I shall call my alpine symphony: Der Antichrist, since it represents: moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.^[12]

The resulting draft of the work was to be a two-part work titled Der Antichrist: Eine Alpensinfonie; however, Strauss never finished the second part. Instead, he dropped the first half of the title (named after an essay by Nietzsche written in 1888) and called his single-movement work simply An Alpine Symphony.^[13] After so many years of intermittent composition, once Strauss began work on the piece in earnest the progress was quick. Strauss even went so far as to remark that he composed An Alpine Symphony “just as a cow gives milk.”^[14] Orchestration for the work began on November 1, 1914 and was completed by the composer only three months later.^[15] In reference to this, his final purely symphonic work, Strauss famously commented at the dress rehearsal for An Alpine Symphony’s premiere that at last he had learned to orchestrate.^[16] The entire work was finished on February 8, 1915.^[17] The score was dedicated “in profound gratitude” to Count Nicolaus Seebach, director of the Royal Opera in Dresden, where four of the Strauss’s six operas had been premiered (at this point in his life Strauss had only composed six, though many more would follow).^[18]

Premiere and reception

An Alpine Symphony was premiered on October 25th, 1915, with Strauss conducting the orchestra of the Dresden Hofkapelle in Berlin.^[19] The performance had mixed reactions. Some even called it “cinema music”.^[20] Strauss himself was happy with how this piece turned out, however, and wrote a friend in 1915 that “you must hear the Alpine Symphony on December 5th; it really is quite a good piece!”^[21]

Though somewhat controversial, it is generally believed that the American premiere of An Alpine Symphony was performed by Ernst Kunwald leading the Cincinnati Symphony Orchestra on April 25th, 1916.^[22] Kunwald and certain “influential Cincinnatians”^[23] had taken great pains to get the piece from wartime Germany and to be the first orchestra to perform Strauss’s new work in America. As a result, An Alpine Symphony had originally been scheduled to be premiered in Cincinnati on May 4th of that year. However, when Leopold Stokowski suddenly announced that he would premiere the work with the Philadelphia Orchestra on April 28th, Kunwald and the Cincinnati Orchestra immediately began preparation of the piece. On April 25th , the orchestra was finally able to rehearse An Alpine Symphony all the way through at a rehearsal in Cincinnati and two days later, sent word to local papers inviting patrons to a performance of the piece that very day at noon. Ultimately, two thousand people attended this somewhat unofficial American premiere of the work. Due to their swiftness in organizing the concert, this premiere took place just over twenty four hours before the Philadelphia performance.^[24]

Instrumentation

Strauss scored An Alpine Symphony for the following large orchestra:

• Woodwinds: 4 flutes (flutes 3 and 4 double piccolos), 3 oboes (oboe 3 doubles English horn), heckelphone, clarinet in E-flat, 2 clarinets in B-flat, bass clarinet (doubles clarinet in C), 4 bassoons (bassoon 4 doubles contrabassoon)

• Brass: 8 horns (horns 5-8 double Wagner tubas), 4 trumpets, 4 trombones, 2 tubas, 12 offstage horns, 2 offstage trumpets, 2 offstage trombones

• Percussion: timpani (2 players), snare drum, bass drum, cymbals, triangle, tam-tam, cowbells, wind machine, thunder machine, glockenspiel

• Keyboards: celesta, organ

• Strings: 2 harps, 18 violins I, 16 violins II, 12 violas, 10 violoncellos, 8 double basses.

Strauss further suggested that the harps and some woodwind instruments should be doubled if possible, and indicated that the stated number of string players should be regarded as a minimum.

The use of Samuel's Aerophon is prescribed in the instrumentation listing. This long-extinct device, invented by Belgian flautist Bernhard Samuel in 1912 to assist wind players in sustaining long notes without interruption, was a foot-pump with an air-hose stretching to the player's mouth.^[25]

Program

Although performed as one continuous movement, An Alpine Symphony has a distinct program which describes each phase of the Alpine journey in chronological order. The score includes the following section titles (without numbers):

Nacht (Night)

Sonnenaufgang (Sunrise)

Der Anstieg (The Ascent)

Eintritt in den Wald (Entry into the Wood)

Wanderung neben dem Bache (Wandering by the Brook)

Am Wasserfall (At the Waterfall)

Erscheinung (Apparition)

Auf blumigen Wiesen (On Flowering Meadows)

Auf der Alm (On the Alpine Pasture)

Durch Dickicht und Gestrüpp auf Irrwegen (Wrong Path Through the Thicket and Undergrowth)

Auf dem Gletscher (On the Glacier)

Gefahrvolle Augenblicke (Dangerous Moments)

Auf dem Gipfel (On the Summit)

Vision (Vision)

Nebel steigen auf (Mists Rise)

Die Sonne verdüstert sich allmählich (The Sun Gradually Becomes Obscured)

Elegie (Elegy)

Stille vor dem Sturm (Calm Before the Storm)

Gewitter und Sturm, Abstieg (Thunder and Tempest, Descent)

Sonnenuntergang (Sunset)

Ausklang (Waning Tones/Dying Away of Sound)^[26]

Nacht (Night)

In terms of formal analysis, attempts have been made to group these sections together to form a “gigantic Lisztian symphonic form, with elements of an introduction, opening allegro, scherzo, slow movement, finale, and epilogue.”^[27] In general, however, it is believed that comparisons to any kind of traditional symphonic form are secondary to the strong sense of structure created by the piece’s musical pictorialism and detailed narrative.^[28]

Themes, Form, and Analysis

Strauss’s An Alpine Symphony opens on a unison B-flat in the strings, horns, and lower woodwinds. From this note a dark B-flat minor scale slowly descends. Each new note is sustained until, eventually, every degree of the scale is heard simultaneously, creating an “opaque mass” of tone representing the deep, mysterious night on the mountain.^[29] Trombones and tuba emerge from this wash of sound to solemnly declaim the mountain theme, a majestic motive which recurs often in later sections of the piece. This passage is a rare instance of Strauss’s use of polytonality, as the shifting harmony in the middle part of the mountain theme (which includes a D minor triad) clashes intensely with the sustained notes of the B-flat minor scale.^[30] As night gives way to daylight in “Sunrise,” the theme of the sun is heard—a glorious descending A Major scale which is thematically related to the opening scale depicting nighttime.^[31]

In terms of form, the section labeled “The Ascent” can be seen as the end of An Alpine Symphony’s slow introduction and beginning of the work’s allegro proper.^[32] Harmonically, this passage moves away from the dark B-flat minor of the opening and firmly establishes the key of E-flat major. It is in “The Ascent” Strauss presents two more main musical motives which will prominently return throughout the entire piece. The first is a marching theme full of dotted rhythms which is presented in the lower strings and harp, the shape of which actually suggests the physical act of climbing through the use of large upwards leaps. The second theme is a pointed, triumphant fanfare played by the brass which comes to represent the more rugged, dangerous aspects of the climb.^[33] It is just after the appearance of this second climbing motive that we hear the distant sounds of a hunting party, deftly represented by Strauss through the use of an offstage band of twelve horns, two trumpets, and two trombones. As Norman Del Mar points out, “the fanfares are wholly non-motivic and neither the hunting horns nor their phrases are heard again throughout the work.”^[34] The use of unique musical motives and instrumentation in this passage reinforces the idea of distance created by the offstage placement—these sounds belong to a party of people on an entirely different journey.

Upon entering the wood there is an abrupt change of texture and mood—the “instrumental tones deepen as thick foliage obscures the sunlight.”^[35] A new meandering theme is presented by the horns and trombones followed by a more relaxed version of the marching theme. Birdcalls are heard in the upper woodwinds and a solo string quartet leads the transition into the next musical section.

The following portion of the piece can be interpreted as a large development-like section which encompasses several different phases of the climb.^[36] In “Wandering by the Brook” there is an increasing sense of energy—rushing passage-work gives way to cascading scale figures in the winds and strings and marks the beginning of the section which takes place “At the Waterfall.”^[37] The brilliant, glittering instrumental writing in this passage makes it one of the most “vividly specific” moments of tone painting within An Alpine Symphony.^[38] The later section “On Flowering Meadows” also makes extensive use of orchestral pictorialism—the meadow is suggested by a gentle backdrop of high string chords, the marching theme is heard softly in the cellos, and isolated points of color (short notes in the winds, harp, and pizzicato in the violas) dot the landscape.^[39] In the following section, which takes place “On the Alpine Pasture,” the use of cowbells, bird calls, a yodeling motive, and even the bleating of sheep (depicted through flutter tonguing in the oboe and E-flat clarinet) creates both a strong visual and aural image. As the climbers move along the going gets a bit rougher, however, and in “Dangerous Moments” the idea of insecurity and peril is cleverly suggested by the fragmentary nature of the texture and the use of the pointed second climbing theme.

Suddenly we are “On the Summit” as four trombones present a theme known as “the peak motive,” the shape of which (with its powerful upward leaps of fourths and fifths) is reminiscent of Strauss’s famous opening to Also Sprach Zarathustra.^[40] This passage is the centerpiece of the score, and after a solo oboe stammers out a hesitant melody the section gradually builds up using a succession of themes heard previously in the piece, finally culminating in what Del Mar calls the “long-awaited emotional climax of the symphony”: a recapitulation of the sun theme, now gloriously proclaimed in C Major.^[41]

With a sudden switch of tonality to F# Major, however, the piece is propelled into the next section, entitled “Vision.” This is a somewhat developmental passage which gradually incorporates several of the main musical subjects of the symphony together and which is comprised of unstable, shifting harmonies. It is during this portion of the piece that the organ first enters, adding even more depth to Strauss’s already enormous performing forces. With the declamation of the mountain motive in the original key of B-flat minor by the full brass section at the end of this passage, Del Mar believes “the sense of fulfillment is complete, the recapitulation has begun, and the structure of the symphony has, in Bruckner-like manner, found its logical climax.”^[42]

Just after this musical climax, however, there is an abrupt shift of mood and character as the section titled “Mists Rise” begins. This atmosphere of tension and anxiety continues to grow through the next two sections (“The Sun Gradually Becomes Obscured” and “Elegy”). By the time the piece reaches the “Calm Before the Storm” an ominous drum roll, failed attempts to recreate the stammering oboe motive heard previously at the peak, isolated raindrops (short notes in the upper woodwinds and pizzicato in the violins), flashes of lightning (in the piccolo), the use of a wind machine, and suggestions of darkness (through the use of a descending scale motive reminiscent of the opening “Night” theme) lead the piece into the full fury of the storm.

“Thunder and Tempest, Descent” marks the start of the last phase of the journey described in An Alpine Symphony. It is in this passage that Strauss calls for the largest instrumentation in the entire piece, including the use of a thunder machine (Donnermaschine) and heavy use of organ. In modern performances these storm sounds can be supplemented with synthesized sound effects to create an even more tremendous effect.^[43] As the sodden climbers quickly retrace their steps down the mountain and pass through one familiar scene after another, many of the musical ideas introduced earlier in the piece are heard once again, though this time in reverse order, at a very quick pace, and in combination with the raging fury of the tempest.^[44] Eventually, however, the musical storm begins to subside. The heavy, driving rain is replaced once again by isolated drops in the woodwinds and pizzicato strings, the mountain theme is proclaimed by the brass in the original key of B-flat minor, and the piece is gradually ushered into a beautiful “Sunset.” It is here that some believe the symphony’s “coda” begins—rather than present any new musical material, these last three sections are full of “wistful nostalgia” for the beautiful moments earlier in the piece.^[45]

In “Sunset” the established sun theme is given a slow, spacious treatment, eventually reaching a radiant climax which dies away into “Ausklang (Waning Tones).” This section, marked to be played “in gentle ecstasy,” parallels the earlier “Vision” section, but with a much softer, more peaceful character. Eventually the harmony moves from the E-flat major established in “Ausklang” (a key which parallels that of “The Ascent,” the start of An Alpine Symphony’s “exposition”) back to the darkness and mystery of B-flat minor. In these shadowy final moments of the piece the sustained descending scale from the opening “Night” is heard once more, reaching a depth of six full octaves. As the brass emerge from the sound to deeply proclaim the mountain theme one final time, it is almost as if “the giant outlines of the noble mass can just be discerned in the gloom.”^[46] In the final few measures the violins play a slow, haunting variation of the marching theme, ending with a final, dying glissando to the last note.

Suggested Discography

Conductor	Orchestra	Year Recorded	Label	Catalog Number[47]
Richard Strauss	Bavarian State Orchestra	1941	Preiser Records	90205
Karl Böhm	Staatskapelle Dresden	1957	Deutsche Grammophon	463190
Rudolf Kempe	Staatskapelle Dresden	1971	EMI Classics	64350
Zubin Mehta	Los Angeles Philharmonic Orchestra	1975	Decca	470954
Georg Solti	Bavarian Radio Symphony Orchestra	1979	London/Decca	440618
Herbert von Karajan	Berliner Philharmoniker	1981	Deutsche Grammophon	439017
Bernard Haitink	Royal Concertgebouw Orchestra	1985	Philips	416156
Herbert Blomstedt	San Francisco Symphony	1988	Decca	421815
Edo de Waart	Minnesota Orchestra	1989	Virgin Classics	61460
Zubin Mehta	Berlin Philharmonic	1989	Sony	45800
André Previn	Vienna Philharmonic Orchestra	1990	Telarc	80211
Lorin Maazel	Bavarian Radio Symphony Orchestra	1998	RCA	63265
Antoni Wit	Staatskapelle Weimar	2006	Naxos	8.557811
Mariss Jansons	Royal Concertgebouw Orchestra	2007	RCO Live	8006

Comprehensive Discography

Conductor	Orchestra	Recorded
Richard Strauss	Munich Radio Symphony Orchestra	1936
Karl Böhm	Berlin Radio Symphony Orchestra	1939
Richard Strauss	Bavarian State Orchestra	1941
Franz Konwitschny	Orchestra of the Munich State Opera	1952
Karl Böhm	Staatskapelle Dresden	1957
Yevgeny Mravinsky	Leningrad Philharmonic Orchestra	1964
Zubin Mehta	Los Angeles Philharmonic Orchestra	1975
Rudolf Kempe	Royal Philharmonic Orchestra	1966
Rudolf Kempe	Staatskapelle Dresden	1971
Georg Solti	Bavarian Radio Symphony Orchestra	1979
Herbert von Karajan	Berliner Philharmoniker	1980
Andrew Davis	London Philharmonic Orchestra	1981
André Previn	Philadelphia Orchestra	1983
Pierre Bartholomée	Orchestre philharmonique de Liège	1983
Kurt Masur	Gewandhausorchester Leipzig	1983
Bernard Haitink	Concertgebouw Orchestra	1985
Neeme Järvi	Scottish National Symphony	1986
Vladimir Ashkenazy	Cleveland Orchestra	1988
Herbert Blomstedt	San Francisco Symphony	1988
Horst Stein	Bamberg Symphony Orchestra	1988
Edo de Waart	Minnesota Orchestra	1989
André Previn	Vienna Philharmonic Orchestra	1989
Zubin Mehta	Berliner Philharmoniker	1989
Takashi Asahina	NDR Symphony Orchestra	1990
Rafael Frühbeck de Burgos	London Symphony Orchestra	1990
Daniel Barenboim	Chicago Symphony Orchestra	1992
Giuseppe Sinopoli	Staatskapelle Dresden	1993
Zdenek Kosler	Czech Philharmonic Orchestra	1994
Choo Hoey	Singapore Symphony Orchestra	1994
Seiji Ozawa	Vienna Philharmonic Orchestra	1996
Takashi Asahina	Osaka Philharmonic Orchestra	1997
Kazimierz Kord	Warsaw Philharmonic	1998
Lorin Maazel	Bavarian Radio Symphony Orchestra	1998
Vladimir Ashkenazy	Czech Philharmonic Orchestra	1999
Hartmut Haenchen	Netherlands Philharmonic Orchestra	1999
Giuseppe Sinopoli	Staatskapelle Dresden	1999
Christian Thielemann	Vienna Philharmonic Orchestra	2000
David Zinman	Zurich Tonhalle Orchestra	2002
Gerard Schwarz	Royal Liverpool Philharmonic Orchestra	2003
Andrew Litton	National Youth Orchestra of Great Britain	2004
Franz Welser-Möst	Gustav Mahler Jugendorchester	2005
Antoni Wit	Staatskapelle Weimar	2005
Fabio Luisi	Staatskapelle Dresden	2007
Marin Alsop	Baltimore Symphony Orchestra	2007

See also

• Richard Strauss
• Symphonic Poem

Notes

References

• Alsop, Marin. “Mountain Music: Alsop Leads the ‘Alpine Symphony’.” NPR: National Public Radio. Available from http://www.npr.org/templates/story/story.php?storyId=15937551; Internet. Accessed 7 March 2009.
• Del Mar, Norman. Richard Strauss: A critical commentary on his life and works, Vol. 2. Ithaca, New York: Cornell University Press, 1969.
• Gilliam, Bryan. “Strauss, Richard.” Grove Music Online. Database online. Available from http://www.oxfordmusiconline.com/subscriber/article/grove/music/40117pg7?q=eine+alpensinfonie&search=quick&pos=3&_start=1#firsthit; Internet. Accessed 21 February, 2009.
• “How the CD was developed.” BBC News. Database online. Available from http://news.bbc.co.uk/2/hi/technology/6950933.stm; Internet. Accessed 3 March 2009.
• Mandel, Marc. “Richard Strauss: ‘An Alpine Symphony,’ Op. 64.” Boston Symphony Orchestra. Available from http://www.bso.org/images/program_notes/2008110.pdf; Internet. Accessed 2 March 2009.
• Mason, Daniel Gregory. “A Study of Strauss.” The Musical Quarterly 2, no. 2 (April 1916): 171-190.
• Osborne, William. Music in Ohio. Kent, Ohio: Kent State University Press, 2004.
• Painter, Kren. Symphonic Aspirations: German Music and Politics, 1900-1945. Cambridge: Harvard University Press, 2007.
• Puffett, Derrick. Review of Richard Strauss, An Alpine Symphony, Op. 64, Bavarian Radio Symphony Orchestra conducted by Sir Georg Solti, Decca SXL 6959. The Musical Times 122, no. 1660 (June 1981): 392.
• Schmid, Mark-Daniel, ed. The Richard Strauss Companion. Westport: Praeger Publishers, 2003.
• Strauss, Richard. Eine Alpensinfonie and Symphonia Domestica. Dover 0-486-27725-9. New York: Dover Publications, 1993.
• Williams, Gordon Kalton. “Richard Strauss: ‘An Alpine Symphony,’ Op. 64.” Sydney Symphony Online. Available from http://www.syndeysymphony.com/sysfiles/attachements/PROG17_080530_Jupiter-Alpine_SSO_REV.pdf; Internet. Accessed 4 March 2009.
• Youmans, Charles. “The Role of Nietzsche in Richard Strauss’ Artistic Development.” The Journal of Musicology 21, No. 3 (Summer 2004): 309-342.

External links

• Richard Strauss online
• Timeline Biography of Richard Strauss
• Richard Strauss Institute in Garmisch-Partenkirchen