Richard Strauss (1864–1949) wrote four chamber music works for mixed wind ensemble: Serenade in E flat for thirteen winds, Op. 7; Suite in B flat for thirteen winds, Op. 4; Sonatina No. 1 in F for sixteen winds, and Sonatina No. 2 in E flat for sixteen winds. These works mark the beginning and end of Strauss's compositional career: the first two pieces were written in 1881 and 1884 respectively, and the last two were written in 1943–1944. By identifying similarities and differences in Strauss's compositional techniques in his four chamber works for winds, and in the tone poems Don Juan and Ein Heldenleben, this treatise gives readers an historical and stylistic perspective to help make informed performance choices. Comparisons of the wind chamber works to the selected tone poems gives the reader perspective on Strauss's wind writing in an orchestral setting that chronologically bridges the gap between both groups of chamber works.
The characteristics of Strauss's compositional style will be discussed. Specifically, the elements of orchestration, dynamics, character, range, instrumentation, and use of color will be the basis of an examination of the evolution of his writing. These elements become more complex, bold, and expansive as the composer matures. His earlier works are more traditional than later ones, with scalar melodies, and conventional instrumentation, range, dynamics, and use of color. As Strauss matures, his wind writing features wider intervals, a higher level of technical difficulty, and greater diversity of tone colors. These stylistic changes will be identified, and evidence of their evolution will be highlighted by comparisons to similar passages in other works.
|Advisor:||Ohlsson, Eric P.|
|Commitee:||Bish, Deborah, Clary, Richard, Keesecker, Jeffrey|
|School:||The Florida State University|
|School Location:||United States -- Florida|
|Source:||DAI-A 73/12(E), Dissertation Abstracts International|
|Keywords:||Chamber music, Strauss, Richard, Tone poems, Woodwind|
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