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com/2010/02/1 9/richard-strauss-1864-1949/ RICHARD STRAUSS (1864-1949)


by redmayorin Alemania, S, Strauss, Richard

Cuatro ltimas canciones

Al momento de escribir la pera Die Liebe der Danae (El amor de Danae), Richard Strauss plane retirarse de su actividad como compositor. Aunque en esa poca, ya comenzada la Segunda Guerra Mundial, el autor se senta un tanto intil y prefiri ponerse a trabajar en su pera Capriccio, estrenada el 28 de octubre de 1942 con la pera Estatal de Baviera. Strauss nunca cumpli cabalmente su decisin del retiro -afortunadamente- pues en los aos siguientes su creatividad tuvo un fuerte impulso que lo llev a producir obras geniales como su Concierto para oboe (que le fue sugerido por el entonces joven obosta estadounidense John De Lancie cuando era soldado al servicio de su patria) y sus Metamorfosis, obra cruda y tremenda que refleja la desolacin del compositor al ver a su adorada Alemania prcticamente destruida como consecuencia de la guerra y en especial al encontrar el Teatro de la pera de Munich en ruinas (dicen por ah, que ese fue el momento cuando Strauss se retract de sus preferencias pro-nazi).

Pero el final todava no llegaba para este hombre, quien le coment a su amigo y colega el director de orquesta Clemens Krauss que la prxima vez que escriba msica ser para arpas, como queriendo dejar su ltima chispa de genialidad para ser interpretada por alguna orquesta de ngeles en el cielo. De hecho, a eso lo denomin como su testamento musical, su ltimo deseo artstico. Al terminar la Segunda Guerra Mundial, Strauss y su esposa Pauline De Ahna, soprano retirada que estuvo casada con Strauss hasta el final de su vida, pasaron una buena temporada en Suiza donde -a finales de 1946- el compositor ley un poema de Josef von Eichendorff (Al crepsculo), que apelaba a sus sentimientos en aquel momento, por lo que comenz a ponerle msica pensando nuevamente en la voz de soprano. No nos sorprende que Strauss haya escogido esta tesitura, pues en muchas de sus obras la llev a un plano genial, como homenaje a la compaera de su vida.

Al crepsculo es, curiosamente, la primera de sus Cuatro ltimas canciones que


compuso Strauss y fue terminada en Montreux el 6 de mayo de 1948, aunque al fallecer el autor Ernst Roth (editor londinense) acept que por su carcter deba ser considerada como la ltima del ciclo (y qu razn tena). Al momento de terminar Al crepsculo, Strauss tena como lectura los poemas completos de Hermann Hesse, escogiendo algunos para ponerles msica. Comenz con

Primavera, fechada el 18 de julio de 1948 en Pontresina; luego termin Hora de

dormir el 4 de agosto; y la ltima de todas, Septiembre, la concluy el 20 de


septiembre; despus de esa cancin Strauss nunca volvi a escribir una nota musical en este mundo. Lo que hay que decir es que en estas canciones prevalece un ambiente sombro, nostlgico, muy cercano a lo que podra ser una despedida musical. Este es el adis de un hombre que vivi entre triunfos artsticos y tragedias personales, y que estaba seguro que dejara pronto este mundo sin decepciones ni reproches; al contrario, lo hara con la tranquilidad de que alcanzara la vida eterna. As, en la ltima cancin del ciclo, al exponer la frase ist dies etwa der Tod? (Acaso es sta la muerte?) Strauss contesta musicalmente con una llamada de corno francs, el tema de la transfiguracin que utiliz en su poema sinfnico Muerte y transfiguracin sesenta aos antes, como una transformacin del alma mortal accediendo a un plano de pensamiento distinto y elevado; pero aqu se convirti en el ltimo vistazo que el hombre de edad avanzada echa a su juventud y reflexiona en el presente al tiempo que eleva su mirada al cielo nocturno cuajado de estrellas, donde probablemente descansar eternamente. Slo pasaron unos meses despus de concluir estas canciones para que Richard Strauss cerrara sus ojos para siempre; nunca tuvo la oportunidad de escuchar estas canciones en vida. La soprano Kirsten Flagstad y la Filarmona de Londres dirigida por Wilhelm Furtwngler ofrecieron la primera presentacin de las Cuatro ltimas canciones el 22 de mayo de 1950, como homenaje pstumo a tan clebre y controvertido msico. Para nosotros, escuchar estas canciones debe significar el sorprendernos y nunca dejar de alabar el ltimo aliento musical de Strauss, como tambin debe ocurrirnos con la audicin de obras como El arte de la fuga de Johann Sebastian Bach, la Novena

sinfona de Bruckner, la Novena sinfona y el Adagio de la Dcima sinfona de Mahler y la Novena sinfona de Vaughan Williams, por nombrar las ms
conmovedoras. Y al entrar en contacto tan directo con estas msicas llenas de esa visin ante lo inevitable, aquello para lo que nos preparamos diariamente, tambin debemos pensar que todos los ciclos en la vida concluyen, que hay que disfrutar el momento en que se desarrollen, pues -buenos o malos- los tiempos pasan y nunca regresan. As es la vida, as es tambin la msica: como una aurora boreal, como el hermoso cometa que pasa, como el primer aliento de un beb y la sonrisa de nuestros padres, como la fuerza del mar y los aromas del viento. Como todo eso y ms, as es la msica y nunca debemos dejarla pasar por nuestra existencia como un evento irrelevante. As debera ser, tambin, la vida

JOS MARA LVAREZ

PRIMAVERA (texto de Hermann Hesse)


En oscuras cavernas so largo tiempo con tus rboles y tus azules brisas, con tu fragancia y el canto de las aves. Y ahora te presentas esplndida y adornada inundada de luz, como un milagro ante mi. Me reconoces, delicadamente me atraes. Tu exquisita presencia hace vibrar todo mi ser.

SEPTIEMBRE (texto de Hermann Hesse)


El jardn est de luto, la lluvia cae en gotas fras sobre las flores. Acercndose a su fin, el verano se estremece en silencio. De lo alto de la acacia, escurre oro, hoja a hoja, el verano sonre sorprendido y exhausto en el sueo moribundo de su jardn.

An, las rosas buscan el reposo. Cierra lentamente sus grandes ojos.

HORA DE DORMIR (texto de Hermann Hesse)


Ahora que el da me ha rendido, mi ferviente deseo es acoger la noche estrellada, como un nio cansado. Manos, dejen lo que estn haciendo; frente, olvida tus pensamientos. Ahora todos mis sentidos se hundirn en el sueo profundo. Y el alma, alzar su vuelo libre, mientras en el crculo mgico de la noche vive profundamente.

AL CREPSCULO (texto de Josef von Eichendorff)


En nuestra pena y alegra caminamos mano a mano; ambos descansamos ahora de nuestro peregrinar, en la campia silenciosa. A nuestro alrededor los valles se inclinan; casi el aire se vuelve oscuro.

Dos alondras se elevan solitarias, casi soando en la brisa perfumada. Acrcate, y permite que extiendan sus alas; pronto ser hora de dormir. Ven, que no nos perderemos en esta soledad. Oh, paz, inmensa y serena, tan profunda en el ocaso. Qu cansados estamos de errar!! Acaso es sta la muerte?

Renee Fleming - Strauss' 4 Last Songs Im abendrot


http://www.youtube.com/watch?v=ppoqUVlKkBU&feature=player_embedded

RICHARD STRAUSS (1864-1949)


by redmayorin Alemania, S, Strauss, Richard

Don Juan. Poema sinfnico Op. 20

Richard Strauss (1904)

Resulta sorprendente cmo los grandes artistas de todas las pocas han sido convocados a crear una o varias obras artsticas a partir de un sentimiento bsico, necesario, irrepetible e insustituible como lo es el amor. Y ms sorprendente an es la fulgurante pasin que encontramos en aquellas obras, fruto de la enorme ilusin que llev a sus autores a reaccionar ante ese cosquilleo interno que nos indica que estamos enamorados de alguien. En el arte de los sonidos han habido grandes demostraciones de afecto de los ms diversos compositores. La Sinfona fantstica de Berlioz, la

Quinta sinfona de Mahler, el Concierto para violn de Elgar, el Idilio de Sigfrido


de Wagner, entre infinidad de partituras con ese mensaje amoroso secreto que resplandece ante los odos de cualquiera. En el caso de Richard Strauss, Cupido flech a este alemn en el verano de 1887, poca en la que conoci a Gustav Mahler y tambin a una joven soprano llamada Pauline de Ahna, descendiente de un hombre adorador de la msica de Wagner. Strauss estaba obsesionado con la cantante, lo cual los llev a colaborar en varias producciones opersticas en tiempos en que el compositor se desempeaba como director asistente de la pera de Weimar. As, la insistencia tuvo sus frutos y la feliz pareja contrajo nupcias en el ao 1894. Como consecuencia del primer impacto que de Ahna provoc, Strauss recurri a un poema fragmentario de Nicolaus Lenau que resulta ser un estudio del carcter del ms insaciable de todos los amantes de la historia: Don Juan. As, Strauss puso manos en la partitura que vendra a ser uno de sus primeros xitos ante el pblico europeo; para describir cada uno de los pasajes y sentimientos que expone Lenau en su texto, Strauss se decidi por la forma del poema sinfnico, que aos antes acu con genialidad el hngaro Franz Liszt. El estreno de Don Juan tuvo lugar, bajo la batuta de Strauss, el 11 de noviembre de 1889 en Weimar, y que segn comentan por ah requiri de una buena cantidad de ensayos dadas las dificultades orquestales que planteaba la partitura. Aunque este poema sinfnico resulta ser msica altamente descriptiva y que se antoja para diseccionar casi comps por comps, Richard Strauss siempre se neg a que se analizara su obra en los programas de mano, y como no deseo bailar sobre la tumba de uno de mis autores predilectos, prefiero seguir sus rdenes a pie juntillas y reproducir el poema de Lenau como gua para el oyente, esperando siga el ejercicio de ir leyendo poco a poco el texto mientras la orquesta la interpreta, sin temor a perderse, pues las letras lo llevarn directamente a los sonidos y viceversa:

La familia Strauss: Richard, Pauline y su hijo Franz (1910) Ese crculo mgico, inconmensurablemente amplio, de la bella femineidad con sus mltiples atractivos, deseo atravesarlo en una tempestad de placer, y morir de un beso en los labios de la ltima mujer. Amigo mo, deseo volar a todo lugar donde florezca una hermosa mujer, arrodillarme ante cada una de ellas y conquistarlas, aunque sea por un breve instante esquivo la saciedad y el aburrimiento del placer y me conservo fresco al servicio de las bellas; al herir a la mujer individual, adoro a toda la especie. El aliento de una mujer es para m la fragancia de la primavera hoy, que oprime maana como el aire de un calabozo. Cuando vago con mis mudables afectos por el amplio crculo de las mujeres hermosas, mi amor por cada una es diferente; no deseo construir templos con ruinas. S! La pasin debe ser nueva cada vez; no puede ser transferida de una mujer a la siguiente, slo puede morir en un lugar y surgir nuevamente en otro; y si se reconoce a s misma, no sabe el arrepentimiento. As como cada bella es nica en el mundo, as es el amor al que da placer. Fuera, pues, y a la bsqueda de siempre nuevas victorias mientras que los fieros ardores de la juventud se remonten todava! Era una bella tormenta la que me llevaba; ahora ha amainado y ha dejado la calma. Todos mis deseos y esperanzas estn en estado catalptico; tal vez un rayo, desde las alturas que

he menospreciado, golpe mortalmente mis facultades amorosas, y sbitamente mi mundo qued desierto y rodeado de tinieblas. Y con todo, o tal vez no -el combustible se ha consumido y el corazn se ha vuelto fro y oscuro. [Nicolaus Lenau]
JOS MARA LVAREZ

viernes 11 de junio de 2010


ANIVERSARIO DEL NACIMIENTO DE RICHARD STRAUSS (18641949)
Richard Strauss fue un compositor alemn. Naci tal da como hoy hace 146 aos, y la mejor manera de celebrarlo es escuchando una de sus obras. Espero que la disfrutis!!

(CONCIERTO PARA VIOLN EN RE OP.8)

http://eldespertardelmusico.blogspot.com/2010/06/aniversario-del-nacimiento-derichard.html LINKS DE DESCARGA: 1 - Allegro 2 - Lento ma non troppo 3 - Rondo presto

P U B LIC A D O P O R Q U IN T O E N 09 : 56 ET I Q U ET A S : C O N C IER TO S P AR A VI OLI N

Richard Strauss

http://www.classictic.com/es/OBC-El-Caballero-de-la-Rosa/16489

OBC: El Caballero de la Rosa

Sobre el espectculo 'OBC: El Caballero de la Rosa'


La Orquesta Sinfnica de Barcelona y Nacional de Catalunya, dirigida por Frank Strobel, interpretar El Caballero de La Rosa de Richard Strauss en el maravilloso Auditori de Barcelona. A mediados de los aos veinte Richard Strauss y su libretista Hugo von Hofmannsthal se lanzaron a la aventura de colaborar en una pelcula basada en su pera El caballero de la rosa, estrenada en 1911. Para ello contaron con el director cinematogrfico Robert Wiene y con un reparto internacional. El propio Strauss dirigi la orquesta el da del estreno de la pelcula en Dresde y tambin cuando se proyect por primera vez en Londres, hecho este que nos da una idea de la importancia de este trabajo para el compositor. Su recuperacin para la OBC es una gran noticia y se convierte en un concierto con imgenes de gran inters.

http://www.lrmusic.es/productos/mostrar/4474richard-strauss-compositor-director-pianista-ypianista-acompanante RICHARD STRAUSS, Compositor, Director, Pianista y Pianista acompaante


Sello: MEMBRAN Referencia: 232597 Compositor: Strauss, Richard, Beethoven, Mozart, Wagner, Gluck, Weber, Cornelius Interprete(s): Maria Reining, Anton Dermota, Hilda Konetzni, Heinrich Schlusnus, Lea Piltti Director: Richard Strauss y otros Formato: BOX SET 10 CD DE LUXE Unidades: 10 Cod. Barras:

Descripcin:
Un homenaje con las mejores selecciones de su obra, como director de sus poemas sinfonicos y obras orquestales incluyendo `Till Eulenspiegel`, `Also sprach Zarathustra` , y selecciones de operas: `Salome`, `El Caballero de la Rosa`, `Intermezzo`. Como pianista en sus primeras composiciones y no menos significativo como acompaante al piano de sus ms famosos Lieder, asi mismo como director es destacable, el estuche contiene Sinfonias de Beethoven y obras Mozart entre otros.

http://www.richard-strausssociety.co.uk/Links.html

http://www.richardstrauss.at/html/index.html

Richard Strauss (1864 1949)

One of the most important composers of the 19th and 20th centuries, he was considered ahead of his time, only then (around the middle of his long life) to fall behind the times. Strauss was unquestionably a great force in the musical Modern as well as a glorious summation of late-romanticism.

From prodigy to mature master

He was a musicians son and a prodigy who surpassed all expectations. As a conductor in Munich, Meiningen andWeimar he perfected his craft (he was regarded as one of the leading conductors of his time) and honed the skills which would prepare him for later positions as the artistic director at the Berlin Court Opera (1898 1918) and the Vienna State Opera (1919 1924). His works

These include the symphonic poems Tod und Verklrung, Till Eulenspiegel and Also sprach Zarathustra, which brought him lasting fame before the turn of the century. From the first childlike attempts (Weihnachtslied, 1870) into old age (Four Last Songs, 1948), Strauss devoted himself to song composition. He was to become the unsurpassed master of the genre.

Opera and politics

Following the revolutionary drama Salome (text by Oscar Wilde), the collaboration with Hugo von Hofmannsthal put his operatic output on a new footing. Today collaborative stage works such as Elektra, Der Rosenkavalier, Ariadne auf Naxos or Die Frau ohne Schatten are essential features of the operatic repertoire. In 1933 the Nazi regime appointed Strauss, Germanys leading musician, as President of the Reichsmusikkammer (Reich Chamber of Musicians). Politically naive, Strauss accepted, but by 1935 he had fallen out of favour and resigned. Family reasons (his son Franz had been married to a Jew since 1924) and the financial necessity of having his works performed in Germany prevented him from breaking with the Nazi regime. Life in art This musical giant left behind some 300 sketches along with completed works in all genres, 86 of them with opus numbers. But he left hardly any theoretical or autobiographical writings. Richard Strauss expressed his life and thoughts through art: his grand ambitions and adversaries in the tone poem Ein Heldenleben, an occasionally turbulent family life with his beloved wife Pauline (a celebrated singer in her time) in the Symphonia Domestica and the opera Intermezzo, or his love for the mountainous near his hoSalome (text by

Oscar Wilde), the collaboration with Hugo von Hofmannsthal put his operatic output on a new footing. Today collaborative stage works such as Elektra, Der Rosenkavalier, Ariadne auf Naxos or Die Frau ohne Schatten are essential features of the operatic repertoire.

In 1933 the Nazi regime appointed Strauss, Germanys leading musician, as President of the Reichsmusikkammer (Reich Chamber of Musicians). Politically naive, Strauss accepted, but by 1935 he had fallen out of favour and resigned. Family reasons (his son Franz had been married to a Jew since 1924) and the financial necessity of having his works performed in Germany prevented him from breaking with the Nazi regime.

Life in art

This musical giant left behind some 300 sketches along with completed works in all genres, 86 of them with opus numbers. But he left hardly any theoretical or autobiographical writings. Richard Strauss expressed his life and thoughts through art: his grand ambitions and adversaries in the tone poem Ein Heldenleben, an occasionally turbulent family life with his beloved wife Pauline (a celebrated singer in her time) in the Symphonia Domestica and the opera Intermezzo, or his love for the mountainous near his home in Garmisch in his last tone poem Alpensymphonie.

Music was the central focus of his life. But how did the private Richard Strauss live? How did the artist cope with daily routine, how did he relax and where did he get his energy from? How did he live from day to day? What

importance did he give to reading, education, social contact? The answers to these questions and more can be found on this page.

Casual adjustment at the rostrum. The parental Home

The horn player Franz Joseph Strauss (1822 1905) was already 42 years old when his second wife (the first had been carried off by cholera) bore him a son, Richard. "He was a so-called character. So begins the "Memories of my Father by Richard Strauss. The sons gratitude for the education and encouragement his father offered him is mixed with gentle criticism of the fathers authoritarian manner. "A difficult childhood had made my father bitter. [] At home he was violent, irascible and tyrannical. It needed my sweet mothers entire gentleness and goodness to maintain a harmonious relationship between my parents even though their marriage was always born by genuine love and respect. The later nervous disorder of Josepha (ne Pschorr, 1838 1910), Richards sensitive mother, was, at least, nourished by the patriarchal family situation: "To what extent, however, my mothers very sensitive nerves really suffered, I can no longer decide. Both parents bequeathed the boy positive qualities: thrift and level headedness from his father, sensibility and a "poetic bent from his mother.

Richards mother helped write down the text of the first compositional attempts while his father involved him in chamber music and performed the early works of the thirteen-year old with the orchestral society Wilde Gungl. Thanks to his father and from a certain point against his father Richard Strauss very quickly developed into an outstanding, independent musician. And although Franz did not appreciate his sons interest in Wagner and Liszt, he remained an untiring source of advice. Countless letters to and from Richards parents testify to the closeness of their relationship and the correspondence covers almost everything: the young mans travel impressions, health concerns, his initially sweeping conducting style against which his father advised and the bold talent of the emerging composer that Strauss senior always sought to control in the spirit of the Viennese classics. Franz Joseph Strauss died seven months before the first performance of his sons opera Salome and never witnessed the "opera revolution the work sparked.

Father Strauss also recommended friendly diplomacy toward Pauline de Ahna: Miss de Ahna seems a somewhat exalted lady but an educated man can sometimes turn a blind eye without conceding anything. Richards mother was also optimistic when Richard and Pauline exchanged their vows, because her lighthearted, clever nature will always cheer you up and she knows how to look after you so lovingly.

Pauline and Franz

As an artist the thirty-year old Richard Strauss was viewed as an enfant terrible but in his private life he longed for a bourgeois existence. The wife he chose to realise this existence guaranteed a regulated but far from peaceful daily routine. Pauline de Ahna, born in Ingolstadt on 4 February 1863 (for reasons of professional advancement she passed herself off as eleven years younger), was the daughter of a general. She was not only a promising singer but also of fiery temperament. As Strauss proposed to her in the middle of the turbulent rehearsals for Guntram in 1894, the young woman was aware of what she would have to give up for the emerging conductor and warned him: "You, yourself know best how many weaknesses I have, your parents and Hanna also know my moods; oh well, and now I am supposed to suddenly become the model housewife. She did become the perfect housewife but Pauline never gave up her moods in the slightest. The couple were married on 10 September 1894 and they spent their honeymoon in Venice.

A son was born on 12 April 1897. The birth put Pauline in mortal danger. Richard Strauss, in Stuttgart on a concert tour, learned of the happy outcome by telegram. A "huge baby, he was named Franz (after his grandfather) Alexander (after the late friend Ritter), but throughout his life was called Bubi. In 1906 Pauline ended her professional artistic career as a worldwide renowned lieder singer. It had united her with her husband and it is with a touch of bitter irony that Richard Strauss writes: It is a pity that she turned prematurely to the beautiful calling of an exemplary housewife and mother. From now on the family, Bauxerl and Bubi, was to be an indispensable support in the busy working life of the conductor and composer.

The anecdotes about Paulines forked tongue, her temperamental outbreaks and extravagances are legendary. Alma Mahler recalled (not entirely credibly) in her memoirs the "rage of the other composers wife and Strauss comments about it, "My wife is often extremely harsh, but, you know, I need that. Yet, the works Strauss devoted to his family life deserve as much attention as the gossip of contemporaries. Ein Heldenleben contains a glowing tribute to his "companion, the Symphonia domestica portrays daily worries, a domestic argument and a sensual reconciliation in the Strauss household while the opera Intermezzo was inspired by an episode of unfounded jealousy on the part of Pauline. The numerous songs Strauss conceived for the voice of his wife should also be mentioned as must the role of the Frberin in Die Frau ohne Schatten which Hofmannsthal modelled on the moody wife of the composer. Pauline was deeply devoted to her Richard and his art. She accompanied him to his final resting place in the Munich East Cemetery on 12 September 1949. The Rosenkavalier trio was sung and, "at the climax her arms reached out

ecstatically, her hands locked and grasping wildly in the air, as if with her summoned power she wanted to hold something back that was disappearing (Alois Melichar). Pauline died only a few months later on 13 May 1950. Son and Grandson

As an only child, Franz Strauss (born in 1897) was especially attached to his parents. This was heightened by his sickliness during his first years. The Strauss biographer Kurt Wilhelm, who knew Franz personally, described him as, a peaceful, calm, good-natured person, sensitive and vulnerable, with an intuitive feel for people, who would certainly have made more of his life had the dominating love of his parents not been stronger than his will.

Bubi accompanied his father on his travels, helped with contracts and, with a heavy heart, abstained from studying medicine. Instead, he studied law and wrote his dissertation on the Association of German Composers, an organisation always close to his fathers heart. At the age of eighteen he volunteered for military service in 1915, but was rejected to his parents great relief on health grounds.

In 1923 Franz Strauss became engaged to Alice von Grab-Hermannswrth. The two families had met in 1907 at a performance of Salome in Prague, where the Jewish industrialist Emanuel von Grab owned textile factories. The wedding took place in Vienna in January 1924. Richard Strauss composed the Hochzeitsprludium for two harmony instruments, for which he used motives from Domestica, Guntram and Rosenkavalier. With Alice, his modest but highly intelligent daughter-in-law the "family business was enriched not only by a beloved person but also by a valuable staff member. In no time at all she made herself indispensable as secretary to Richard Strauss. Her father-in-law once said to her, "You know, Alice, we two are the only ones in the house who do any work. She was particularly useful during the difficult war years rescuing the archive and numerous items of value from the threat of confiscation or destruction, and moved them from Vienna to Garmisch. She looked after the priceless estate after the masters passing until her own death in 1991.

In 1927 Franz and Alices first son Richard (Max Emanuel Hermann) was born in Vienna, where they lived in a villa in Jaquingasse. And in 1932 the second grandson of the composer, (Franz Adolf) Christian was born.

During the Nazi era Richard Strauss protected his sons Jewish relatives as best as he could and enabled his grandchildren to attend school in Vienna. His grandchildrens education was one of his main concerns. Close to the end of the war he wrote copies of some of his scores for the boys as "Christmas presents of value.

While Christian, his younger grandson, became a doctor, Richard, an opera director, devoted himself to the preservation and management of his grandfathers work. His second wife was Hans Hotters daughter, Gabriele. She not only brought a "genetic love and knowledge of Richard Strauss work, but, as a librarian, made a valuable contribution to the recording and publication of the archives as well. From Richard I to Richard III

Lohengrin is a sweetish inanity the horn parts in DieMeistersinger are actually parts for the clarinet Franz Joseph Strauss, Richards father and first hornist of the Munich Court Orchestra, scarcely missed an opportunity to inveigh against Richard Wagners music. His artistic creed centred on the trinity of Mozart (above all), Haydn and Beethoven. On the day after Wagners death he was the only member of the orchestra who refused to rise in commemoration of the deceased.

It is all the more surprising how soon Richard Strauss shook off the hatred of Wagner he had inherited from his father. Statements like the following one, after a performance of Siegfried, were rapidly to become a thing of the past: The introductory passage is a long-drawn-out drum-roll with the bass tuba and bassoons roaring out deep notes so stupidly that I couldnt help laughing not a trace of coherent melody and again the initial roar utter chaos, I would say.

Strauss eagerly imbibed the poison, as his father used to call it, clandestinely at first in order to avoid scandal in the family, then quite openly, particularly when voicing his enthusiasm about Tristan, the most splendorous belcanto opera (Strauss in 1886 after a rehearsal in Bologna). As early as 1882, his father most reluctantly decided to reward Richard for having successfully completed grammar school by taking him along to Bayreuth for a performance of Parsifal. When he encountered Maestro Wagner in person, however, Richard simply dared not address him a missed opportunity. Strauss early compositions clearly show how much he was already under Wagners spell. His actual involvement with Bayreuth, however, only came about at a later date: Hans von Blow, a disciple of Liszts and

Cosima Wagners first husband, mediated Strauss appointment as musical director at Meiningen. Blows later dictum, Wagner is Richard I, there is no Richard II, so Strauss is Richard III, was soon to become legend.

Strauss began to study Wagner even more intensely when he met Alexander Ritter in Meiningen in 1885. Ritter, first violinist at Meiningen and married to one of Wagners nieces, was a member of the Neudeutsche Schule around Wagner and Liszt. He acquainted Strauss with the writings of Wagner and Schopenhauer and dispelled the last misgivings that Strauss still had about Liszt: New ideas have to find new forms of expression this basic principle underlying Liszts symphonic works, in which the poetic idea was in actual fact the formative element, then became the guiding principle I followed in my symphonic endeavours.

It was his friendship with Ritter that also spurred Strauss much to the gratification of opera lovers to devote himself to musical theatre: Guntram, a mediaeval story of chivalry, set to music to Strauss own libretto. The Conquest of Bayreuth

On the recommendation of Wagner enthusiasts amongst his friends Alexander Ritter, Hans von Blow - Strauss was appointed Music Assistant in Bayreuth in 1889, even before he got his position in Weimar. He acted as rptiteur for the production of Parsifal, played a certain role in society and began to appreciate the Bayreuth atmosphere: I should like to present a hectolitre of beer to the spa orchestra, how much do you think will that cost? Could you perhaps see to it, Dad? Actually Uncle George might easily treat them to a barrel, or at least let us have it at half the price.

Shortly thereafter Strauss, then Second Kapellmeister at Weimar, conducted his first Wagner opera, and his promise to Wagners widow, Cosima, to promote Wagner and Liszt, resulted in an intensive exchange of letters between them: Cosima wrote, I do appreciate your taking your promise so seriously - at a time when the big theatres deplore the disgraceful state of our art, it is moving and gratifying to see that the spirit that has made us Germans great is still cherished by the smaller stages. Their acquaintance soon turned into genuine friendship: in 1890, Strauss was invited by the Wagner family for Christmas, and Cosima jokingly announced that she would love her daughter Eva to become Strauss wife. She might well have liked the idea of having both a son and a son-in-law devoted to Bayreuth, but Strauss had already fallen in love with the soprano Pauline de Ahna, who was also

highly esteemed in Bayreuth. Cosima took the slight disappointment in her stride, and both Eva and Cosimas eldest daughter from her marriage with Blow, Daniela von Blow-Thode, became Strauss life-long friends. Cosima's son, the composer Siegfried Wagner, benefited from his contacts with the older colleague. Firmly and safely settled in our art like none beside him, is how Cosima described her Strusschen, the form of endearment she was wont to use when speaking of Richard. Reconcilement with his father followed in due course, and by 1891 the two were seen going for walks arm in arm.

Numerous letters were exchanged and finally, in 1894, Richard was entrusted with conducting the Bayreuth performances of Tannhuser, as he had keenly wished for a long time. Pauline de Ahna, who became Richards wife in September, was again cast in the part of Elisabeth. However, when Strauss felt that no heed was paid to his wishes concerning performances and cast, the tone of his correspondence with Cosima began to change. It was in particular the disparagement of his Salome by the Wagner family (whose antiSemitism was clearly betrayed by references to that Jewish girl) that resulted in a rift between Strauss and Cosima. Strauss was to return to Bayreuth only after a long interval one of 39 years. Wagner: A life-long love

Was it merely a coincidence that Strauss had a splendid villa built at Garmisch, somewhat on the lines of "Wahnfried", and that he became the cofounder of his own festival in Salzburg in 1920? Even though Strauss turned his back on Bayreuth in 1895, Wagner continued to play a central role in his life witness, among other things, the pictures in Strauss composing studio his son Franz was so keenly interested in at the tender age of not even two years and a half: Bubi (...) watches me writing and time and again explains to me the pictures on the studio wall: Wagner, Beek-hoffen, Liszt, Bilo.

When Strauss was director of the Vienna State Opera, Verdi's and particularly Wagner's operas held pride of place in the repertoire. Later, in 1927, Strauss wrote to his librettist, Hugo von Hofmannsthal: I recently heard Wagners Meistersinger, a magnificent work, and ever since Ive wished I could follow in his footsteps unfortunately only at some distance but still write a genuinely German work, a good dramatic piece and at the same time one that truly reflects German culture.

It came as a surprise some six years later, when he was nearly 70, that Strauss resumed his cooperation with Bayreuth in 1933, a decision that was greatly resented by the general public abroad and gave rise to polemics in

the foreign press. Toscanini had announced his withdrawal from Bayreuth in order to demonstrate his protest against anti-Semitism and dictatorship - and also because he was hurt by the unfriendly reviews his Parsifal had received on account of his broad tempi. As the spectre of cancellation hung over the festival, Strauss spontaneously volunteered to step in without a fee and save the day for the new manager, Winifred Wagner. Strauss had never before conducted Parsifal and knew it only from his Bayreuth days as rptiteur. In his interpretation he tried, in line with Wagners intentions, to free the work from insincere pathos and to achieve solemnity by other means than excessively slow tempi. When Ivar Andresen gave an epically broad rendering of the Tale of Gurnemanz (Titurel, der fromme Held...), Strauss stopped him and asked(in broad dialect) Why are you singing this in such a pious manner? Youve got to tell the story like a Bavarian game keeper whos just shot a buck. It is said that his Parsifal was a full 45 minutes shorter than that of his predecessors - and met with the whole-hearted approval of the Wagner family. In fact, Winifred Wagner and her artistic director, Heinz Tietjen, congratulated Strauss on his 70th birthday on June 4, 1934: On the day which honours the seventieth recurrence of his birth we should like, in faithful friendship and deep thankfulness, to shake most warmly the hand of the man to whom Bayreuth owes a great debt of gratitude for putting his unique personality and artistic mastery at the disposal of Bayreuth during the critical days it experienced in 1933 and 1934. They added, Please accept the expression of our most heartfelt loyalty which we offer you proudly for so faithfully supporting us in our endeavours to continue the work of the other Richard on the Green Hill.

Opera

Arabella, lyric comedy in three acts, Year of composition: 1932, op. 79 (Trenner 263) Ariadne auf Naxos, opera in one act and a prelude, Year of composition:1916, op. 60 (II) (Trenner 228a) Ariadne auf Naxos, opera in one act to be performed after the play Le Bourgeois Gentilhomme by Molire, Year of composition: 1912, op. 60 (I) (Trenner 228)

Capriccio, a conversation piece for music in one act, Year of composition: 1941, op. 85 (Trenner 279)

Daphne, bucolic tragedy in one act, Year of composition: 1937, op. 82 (Trenner 272) Der Rosenkavalier, comedy in three acts, Year of composition: 1909, op. 59 (Trenner 227) Die gyptische Helena, opera in two acts, Year of composition: 1926, op. 75 (Trenner 255) Die Frau ohne Schatten, opera in three acts, Year of composition: 1915, op. 65 (Trenner 234) Die Liebe der Danae, comic mythology in three acts, Year of composition: 1939, op. 83 (Trenner 278) Die Schweigsame Frau, comic opera in three acts, Year of composition: 1934, op. 80 (Trenner 265) Elektra, tragedy in one act, Year of composition: 1908, op. 58 (Trenner 223) Feuersnot, poem for singing in one act, Year of composition: 1901, op. 50 (Trenner 203) Friedenstag, opera in one act, Year of composition: 1936, op. 81 (Trenner 271) Guntram, drama in three acts, Year of composition: 1892, op. 25 (Trenner 168) Intermezzo, bourgeois comedy with songs and interludes in two acts, Year of composition: 1921, op. 72 (Trenner 246) Salome, music drama in one act, Year of composition: 1904, op. 54 (Trenner 215)

Other Stage Works

Bhnenmusik zu Romeo und Julia fr Singstimmen und Instrumente (Incidental music for Romeo and Juliet for voices and instruments),

Year of composition: 1887, o.op. 86 (Trenner 150)

Der Brger als Edelmann, comedy with dancing by Molire, Year of composition: 1917, op. 60 (III) (Trenner 228b) Divertimento after keyboard pieces by Francois Couperin for small orchestra, Year of composition: 1940, op. 86 (Trenner 245b) Fanfare to the play Die Jger by August Wilhelm Iffland for orchestra, Year of composition: 1891, o.op. 88 A (Trenner 165) Josephs Legende, Handlung in einem Aufzug (Ballett), Year of composition: 1914, op. 63 (Trenner 231) Kythere, ballet sketch in three acts, Year of composition: 1900, AV 230 (Trenner 201) Musik zu Lebende Bilder for orchestra, Year of composition: 1892, o.op. 89 (Trenner 167) Schlagobers, humorous Viennese ballet in two acts, Year of composition: 1922, op. 70 (Trenner 243) Tanzsuite nach Klavierstcken von Francois Couperin fr kleines Orchester (Dance Suite after keyboard pieces by Francois Couperin for small orchestra), Year of composition: 1923, o.op. 107 (Trenner 245) Verklungene Feste, dance visions from two centuries after Francois Couperin for small orchestra, Year of composition: 1940, o.op. 128 (Trenner 245a) Two Songs from the Der Richter von Zalamea, Year of composition: 1904, o.op. 96 (Trenner 211)

Symphonic Poems

Also sprach Zarathustra, tone poem freely after Friedrich Nietzsche for large orchestra, Year of composition: 1896, op. 30 (Trenner 176)

Die Donau, symphonic poem for large orchestra, choir and organ (fragment), Year of composition: 1941, AV 291 (Trenner 284) Don Juan, tone poem after N. Lenaus dramatic poem, Year of composition: 1888, op. 20 (Trenner 156) Don Quixote, fantastic variations on a theme of knightly character for large orchestra, Year of composition: 1897, op. 35 (Trenner 184) Ein Heldenleben, tone poem for large orchestra, Year of composition: 1898, op. 40 (Trenner 190) Eine Alpensinfonie, for large orchestra, Year of composition: 1915, op. 64 (Trenner 233) Macbeth, tone poem after Shakespeares drama for large orchestra, Year of composition: 1888, op. 23 (Trenner 163) Sinfonia Domestica, for large orchestra, Year of composition: 1903, op. 53 (Trenner 209) Till Eulenspiegels lustige Streiche, Till Eulenspiegels lustige Streiche, after an old picaresque legend in rondo form for large orchestra, Year of composition: 1895, op. 28 (Trenner 171) Tod und Verklrung, tone poem for large orchestra, Year of composition: 1889, op. 24 (Trenner 158)

Orchestral Works

Andante cantabile in D major for orchestra, Year of composition: 1877, AV 209 (Trenner 55) Andante in B-flat major for orchestra, Year of composition: 1877, AV 210 (Trenner 56) Aus Italien, symphonic fantasy in G major for large orchestra, Year of composition: 1886, op. 16 (Trenner 147) Incidental music to the film Der Rosenkavalier for orchestra, Military March in F major,

Year of composition: 1925, o.op. 112 (Trenner 227b) Concert Overture in C minor for large orchestra, , Year of composition: 1883, o.op. 80 (Trenner 125) Concert Overture in B minor for orchestra, Year of composition: 1876, o.op. 30 (Trenner 41) Der Rosenkavalier, second waltz series, Year of composition: 1910, op. 59 (Trenner 227a) Die Liebe der Danae, symphonic fragment (arranged by Clemens Krauss), Year of composition: 1952, (Trenner 278a) Introduction and Waltz from Der Rosenkavalier, Acts I and II, Year of composition: 1944, o.op. 139 (Trenner 227c) Symphony No. 1 in D minor for large orchestra, Year of composition: 1880, o.op. 69 (Trenner 94) Festmarsch in C major for large Orchestra, Year of composition: 1888, o.op. 87 (Trenner 157) Festmarsch in in D major for orchestra, Year of composition: 1884, o.op. 84 (Trenner 135) Festmarsch E-flat major for orchestra, Year of composition: 1876, op. 1 (Trenner 43) Festmusikfor large orchestra on the occasion of the 2600th jubilee of the Kingdom of Japan (Japanese Festival Music)Year of composition: 1940, op. 84 (Trenner 277) Gavotte IV in D major, Year of composition: 1879, o.op. 59 (Trenner 82) Lied ohne Worte in E-flat major for orchestra, Year of composition: 1883, o.op. 79 (Trenner 124) Mnchen, memorial waltz for large orchestra (2nd version), Year of composition: 1945, o.op. 140 (Trenner 274a) Mnchen, occasional waltz for large orchestra (1st version) Year of composition: 1939, o.op. 125 (Trenner 274)

Orchestersuite from the ballet Schlagobers, Year of composition: 1932, op. 70 (Trenner 243a) Orchestersuite from the music for Le Bourgeois Gentilhomme by Molire, Year of composition: 1912, op. 60 (IIIa) (Trenner 228c) Ouverture in A minor, Year of composition: 1879, o.op. 62 (Trenner 83) Ouverture in E major, Year of composition: 1878, o.op. 51 (Trenner 69) Overture in E minor for the planned opera Ein Studentenstreich for orchestra, Year of composition: 1876, AV 207 (Trenner 45) Overture in E-flat major for the planned opera Dom Sebastian, Year of composition: 1876, AV 208 (Trenner 46) Overture to the singspiel Hochlands Treue, Year of composition: 1873, o.op. 15 (Trenner 17) Serenade in G major for orchestra, Year of composition: 1877, o.op. 32 (Trenner 52) Symphony on three themes in E-flat major, Year of composition: 1925, AV 260 (Trenner 253) Suite from the opera Der Rosenkavalier, Year of composition: 1945, o.op. 145 (Trenner 227d) Symphonic Fantasy from Die Frau ohne Schatten, Year of composition: 1946, o.op. 146 (Trenner 234a) Symphonic fragment from Josephs Legende, Year of composition: 1947, o.op. 148 (Trenner 231a) Four Symphonic Interludes from Intermezzo, Year of composition: 1921, (Trenner 246a) Two Military Marches for large orchestra: War March in C minor, Year of composition: 1906, op. 57 (Trenner 221) Two Military Marches for large orchestra: Military March in E-flat major, Year of composition: 1906, op. 57 (Trenner 221)

Symphony No. 2 in F minor for large orchestra, Year of composition: 1883, op. 12 (Trenner 126)

Other Instrumental Works

Burleske in D minor for piano and orchestra, Year of composition: 1886, o.op. 85 (Trenner 145) Concerto in D minor for violin and orchestra, Year of composition: 1882, op. 8 (Trenner 110) Daphne-Etde in G major after a theme from Daphne for violin solo, Year of composition: 1945, o.op. 141 (Trenner 272b) Der Zweikampf, polonaise in B-flat major for flute and bassoon with orchestra, Year of composition: 1884, o.op. 82 (Trenner 133) Duet Concertino in F major for clarinet and bassoon with string orchestra and harp, Year of composition: 1947, o.op. 147 (Trenner 293) Sonatina No. 1 in F major for sixteen wind instruments: Aus der Werkstatt eines Invaliden, Year of composition: 1943, o.op. 135 (Trenner 288) Concerto No. 1 in E-flat major for horn Year of composition: 1882, op. 11 (Trenner 117) Fanfare for brass and timpani for the opening of the City of Vienna Music Week Year of composition: 1924, o.op. 110 (Trenner 250) Feierlicher Einzug der Ritter des Johanniter-Ordens, investiture march for brass and timpani, Year of composition: 1909, o.op. 103 (Trenner 224) Festliches Prludium for large orchestra and organ, , Year of composition: 1913, op. 61 (Trenner 229) Festmusik for brass and timpani Year of composition: 1943, o.op. 133 (Trenner 286)

Hochzeitsprludium for two harmoniums, Year of composition: 1924, o.op. 108 (Trenner 247) Concerto in D major for oboe and small orchestra, Year of composition: 1945, o.op. 144 (Trenner 292) Metamorphosen, study for 23 solo strings, Year of composition: 1945, o.op. 142 (Trenner 290) Panathenenzug, symphonic studies in the form of a passacaglia for piano (left hand) and orchestra, Year of composition: 1927, op. 74 (Trenner 254) Parergon zur Sinfonia Domestica for piano (left hand) and orchestra, Year of composition: 1925, op. 73 (Trenner 209a) Rhapsodie in C-sharp minor for piano and orchestra, Year of composition: 1886, AV 213 (Trenner 146) Romanze in in E-flat major for clarinet and orchestra, Year of composition: 1879, o.op. 61 (Trenner 80) Romanze in F major for violoncello with orchestra or piano accompaniment, Year of composition: 1883, o.op. 75 (Trenner 118) Serenade in E-flat major for 13 wind instruments, Year of composition: 1881, op. 7 (Trenner 106) Suite from Capriccio with a concert finish for harpsichord, Year of composition: 1944, (Trenner 279c) Suite in B-Dur in B-flat major for 13 wind instruments, Year of composition: 1884, op. 4 (Trenner 132) Vienna Fanfare for brass and timpani, Year of composition: 1943, o.op. 134 (Trenner 287) Vienna Philharmonic Fanfare for brass and timpani, Year of composition: 1924, o.op. 109 (Trenner 248) Two Studies for horn, Year of composition: 1873, o.op. 12 (Trenner 15) Sonatina No. 2 in E-flat major for sixteen wind instruments: Frhliche Werkstatt, Year of composition: 1944, o.op. 143 (Trenner 291) Concerto No. 2 in E-flat major for horn and orchestra, Year of composition: 1942, o.op. 132 (Trenner 283)

Chamber Music

Allegretto in E major for violin and piano, Year of composition: 1948, o.op. 149 (Trenner 295)

Andante in C major for horn and piano, Year of composition: 1888, o.op. 86 A (Trenner 155) Concertante for two violins, violoncello and piano, Year of composition: 1875, AV 157 (Trenner 33) Sketch for a string quartet, Year of composition: 1901, AV 232 A (Trenner 205) Fantasy for bassoon, flute and guitar on themes by Giovanni Paisiello Year of composition: 1883, (Trenner 116) Festmarsch in D major for violin, viola, violoncello and piano, Year of composition: 1886, AV 178 (Trenner 136) Hochzeitsmusic for piano and children s instruments, Year of composition: 1879, AV 163 (Trenner 84) Introduction, Theme and Variation for flute and piano, Year of composition: 1879, o.op. 56 (Trenner 76) Introduction, Theme and Variation for horn and piano, Year of composition: 1878, o.op. 52 (Trenner 70) Quartet in A major for two violins, viola and violoncello, Year of composition: 1880, op. 2 (Trenner 95) Quartet in C minor for piano, violin, viola and violoncello, Year of composition: 1885, op. 13 (Trenner 137) Quartet Movement in C minor for two violins, viola and violoncello, Year of composition: 1875, AV 204 (Trenner 35) Quartet Movement in E-flat major allegro moderato for two violins, viola and violoncello,

Year of composition: 1879, AV 211 (Trenner 85) Sextet from Capriccio for two violins, two violas and two violoncellos, Year of composition: 1941, (Trenner 279a) Sonata in E-flat major for violin and piano, Year of composition: 1887, op. 18 (Trenner 151) Sonata in F major for violoncello and piano, Year of composition: 1881, op. 6 (Trenner 115) Dances from Capriccio for violin, violoncello and harpsichord (piano), Year of composition: 1882, AV 168 (Trenner 114) Dances from Capriccio for violin, violoncello and harpsichord (piano), Year of composition: 1941, (Trenner 279b) Trio No. 1 in A major for violin, violoncello and piano, Year of composition: 1877, o.op. 37 (Trenner 53) Trio No. 2 in D major for violin, violoncello and piano, Year of composition: 1878, o.op. 53 (Trenner 71) Variations on Das Dirndl is harb auf mi for violin, viola and violoncello, Year of composition: 1882, (Trenner 109) Variations on an a dance song by Cesare Negri (1604) in Milan for two violins, viola and violoncello, Year of composition: 1883, AV 174 (Trenner 123) Two Small Pieces for violin and piano, Year of composition: 1873, AV 194 (Trenner 21) Two Pieces for violin, viola, violoncello and piano: Arabian Dance in D minor, Year of composition: 1893, AV 182 (Trenner 169) Two Pieces for violin, viola, violoncello and piano: Liebesliedchen G major, Year of composition: 1893, AV 182 (Trenner 169)

Piano Music

14 Improvisations and Fugue on an original theme for piano two hands, Year of composition: 1884, o.op. 81 / AV 177 (Trenner 130)

Albumblatt for piano, Year of composition: 1882, AV 171 (Trenner 111) Allegro assai in B-flat major for piano, Year of composition: 1875, AV 203 (Trenner 34) Andante in C minor for piano, Year of composition: 1879, o.op. 58 (Trenner 73) Aus alter Zeit, a small gavotte for piano, Year of composition: 1879, o.op. 57 (Trenner 72) De Brandenburgsche Mars, Prsentiermarsch (arranged) for piano, Year of composition: 1905, o.op. 99 (Trenner 214) Fantasy in C major for piano, Year of composition: 1874, o.op. 21 (Trenner 29) Fragment for Sonatinas for piano, Year of composition: 1873, AV 197 - AV 202 (Trenner 28) Fugue on four themes for piano, Year of composition: 1880, o.op. 71 (Trenner 99) Five Piano Pieces, Year of composition: 1881, op. 3 (Trenner 105) Five Small Pieces for piano, Year of composition: 1873, o.op. 16 (Trenner 18) Grand Sonata No. II in C minor for piano, Year of composition: 1879, o.op. 60 (Trenner 79) Intermezzo in F major for piano four hands, Year of composition: 1885, (Trenner 138) Slow Movement for piano, Year of composition: 1872, o.op. 11 (Trenner 12) Largo in A minor for piano, Year of composition: 1883, o.op. 77 (Trenner 120)

Melody in G-flat major for piano, Year of composition: 1883, (Trenner 122) Militrischer Festmarsch in E-flat major, Year of composition: 1905, o.op. 100 (Trenner 217) Moderato in C major for piano, Year of composition: 1871, o.op. 9 (Trenner 9) Panzenburg - polka for piano, Year of composition: 1872, o.op. 10 (Trenner 11) Parade Marsch fr Cavalerie No. 2, Year of composition: 1907, o.op. 98 (Trenner 222) Parade-Marsch des Regiments Knigs-Jger zu Pferde No.1 for piano, Year of composition: 1905, o.op. 97 (Trenner 213) Polka, waltzes and other small compositions for piano, Year of composition: 1872, AV 152 (Trenner 14) Scherzando in G major for piano, Year of composition: 1880, o.op. 70 (Trenner 96) Scherzo in B minor for piano, Year of composition: 1879, o.op. 63 (Trenner 86) Schneiderpolka for piano, Year of composition: 1870, o.op. 1 (Trenner 1) Sketches, five small piano pieces: Allegro in E major for piano, Year of composition: 1879, o.op. 59 (Trenner 82) Sketches, five small piano pieces: Andante in G major for piano, Year of composition: 1879, o.op. 59 (Trenner 82) Sketches, five small piano pieces: Gavotte II in D major for piano, Year of composition: 1879, o.op. 59 (Trenner 82) Sketches, five small piano pieces: Gavotte III in G major for piano, Year of composition: 1879, o.op. 59 (Trenner 82)

Sketches, five small piano pieces: Gavotte IV in D major for piano, Year of composition: 1879, o.op. 59 (Trenner 82) Sonata in B minor for piano two hands, Year of composition: 1881, op. 5 (Trenner 103) Sonata No. 1 in E major for piano, Year of composition: 1877, o.op. 38 (Trenner 47) Sonatina I in C major for piano, Year of composition: 1874, o.op. 17 (Trenner 22) Sonatina II in F major for piano, Year of composition: 1874, o.op. 18 (Trenner 23) Sonatina III in B major for piano, Year of composition: 1874, o.op. 19 (Trenner 24) Sonatina No. I in C major for piano Year of composition: 1873, AV 153 (Trenner 19) Sonatina No. II in E major for piano, Year of composition: 1873, AV 154 (Trenner 20) Sonatina No. IV in E major for piano, Year of composition: 1874, AV 195 (Trenner 25) Sonatina No. V in E-flat major for piano, Year of composition: 1874, AV 155 (Trenner 26) Sonatina No. VI in D major for piano, Year of composition: 1874, AV 156 (Trenner 27) Stiller Waldespfad for piano, Year of composition: 1883, o.op. 78 (Trenner 121) Stimmungsbilder for piano two hands (Auf stillem Waldespfad, An einsamer Quelle, Intermezzo, Trumerei), Year of composition: 1884, op. 9 (Trenner 127) Waltz in G-flat major, Kupelwieserwalzer by Franz Schubert for piano notated by Richard Strauss, Year of composition: 1943, AV 192 (Trenner 285) Two Small Pieces for piano,

Year of composition: 1875, o.op. 22 (Trenner 30) Two Small Pieces for piano, Year of composition: 1879, o.op. 68 (Trenner 93) Twelve Variations in D major for piano, Year of composition: 1878, o.op. 50 (Trenner 68)

Songs

Abend- und Morgenrot, Year of composition: 1878, o.op. 42 (Trenner 60) Eight Poems: Allerseelen, Year of composition: 1885, op. 10 (Trenner 141) Eight Poems: Die Georgine, Year of composition: 1885, op. 10 (Trenner 141) Eight Poems: Die Nacht, Year of composition: 1885, op. 10 (Trenner 141) Eight Poems: Die Verschwiegenen, Year of composition: 1885, op. 10 (Trenner 141) Eight Poems: Die Zeitlose, Year of composition: 1885, op. 10 (Trenner 141) Eight Poems: Geduld, Year of composition: 1885, op. 10 (Trenner 141) Eight Poems: Nichts, Year of composition: 1885, op. 10 (Trenner 141) Eight Poems: Zueignung, Year of composition: 1885, op. 10 (Trenner 141) Eight Songs: Ach was Kummer, Qual und Schmerzen, Year of composition: 1901, op. 49 (Trenner 204) Eight Songs: Das Lied des Steinklopfers,

Year of composition: 1901, op. 49 (Trenner 204) Eight Songs: In goldener Flle, Year of composition: 1901, op. 49 (Trenner 204) Eight Songs: Junggesellenschwur, Year of composition: 1901, op. 49 (Trenner 204) Eight Songs: Sie wissen's nicht, Year of composition: 1901, op. 49 (Trenner 204) Eight Songs: Waldseeligkeit, Year of composition: 1900, op. 49 (Trenner 204) Eight Songs: Wer lieben will, mu leiden, Year of composition: 1901, op. 49 (Trenner 204) Eight Songs: Wiegenliedchen, Year of composition: 1901, op. 49 (Trenner 204) Alphorn for solo voice with piano and horn accompaniment, Year of composition: 1878, o.op. 29 (Trenner 64) Ballade, Year of composition: 1882, AV 173 (Trenner 113) Begegnung, Year of composition: 1880, o.op. 72 (Trenner 98) Alphorn for solo voice with piano and horn accompaniment, Year of composition: 1942, o.op. 130 (Trenner 281) Das Bchlein, Year of composition: 1933, o.op. 118 (Trenner 264) Das rote Laub, Year of composition: 1879, AV 161 (Trenner 78) Der bhmische Musikant, Year of composition: 1871, o.op. 7 (Trenner 7) Der Dorn ist Zeichen der Ver0ung, Year of composition: 1884, AV 176 (Trenner 129)

Der Fischer, Year of composition: 1877, o.op. 33 (Trenner 48) Der Graf von Rom, Year of composition: 1906, o.op. 102 (Trenner 218) Der Morgen, Year of composition: 1880, AV 165 (Trenner 89) Der mde Wanderer, Year of composition: 1873, o.op. 13 (Trenner 16) Des Alpenhirten Abschied, Year of composition: 1872, AV 151 (Trenner 13) Die drei Lieder, Year of composition: 1879, AV 164 (Trenner 87) Die Drossel, Year of composition: 1877, o.op. 34 (Trenner 49) Die erwachte Rose, Year of composition: 1880, o.op. 66 (Trenner 90) Alphorn for solo voice with piano and horn accompaniment: An sie, Year of composition: 1899, op. 43 (Trenner 196) Alphorn for solo voice with piano and horn accompaniment: Die Ulme zu Hirsau, Year of composition: 1899, op. 43 (Trenner 196) Alphorn for solo voice with piano and horn accompaniment: Muttertndelei, Year of composition: 1899, op. 43 (Trenner 196) Three Hymns for high voice and large orchestra: Hymne an die Liebe, Year of composition: 1921, op. 71 (Trenner 240) Three Hymns for high voice and large orchestra: Liebe, Year of composition: 1921, op. 71 (Trenner 240) Three Hymns for high voice and large orchestra: Rckkehr in die Heimat, Year of composition: 1921, op. 71 (Trenner 240) Three Songs for high voice and piano: Nachgang,

Year of composition: 1895, op. 29 (Trenner 172) Three Songs for high voice and piano: Schlagende Herzen, Year of composition: 1895, op. 29 (Trenner 172) Three Songs for high voice and piano: Traum durch die Dmmerung, Year of composition: 1895, op. 29 (Trenner 172) Three Songs: Die Lilien glhn in Dften, Year of composition: 1879, AV 160 (Trenner 75) Three Songs: O schneller mein Ro, Year of composition: 1879, AV 159 (Trenner 75) Three Songs: Waldgesang, Year of composition: 1879, o.op. 55 (Trenner 75) Durch allen Schall und Klang, Year of composition: 1925, o.op. 111 (Trenner 251) Ein Rslein zog ich mir im Garten, Year of composition: 1878, o.op. 49 (Trenner 67) Ein Spielmann und sein Kind, Ballad for soprano and orchestra, Year of composition: 1878, o.op. 46 (Trenner 63) Einkehr, Year of composition: 1871, o.op. 3 (Trenner 3) Erschaffen und Beleben, for bass and piano, Year of composition: 1922, o.op. 106 (Trenner 244) Frhlingsanfang, Year of composition: 1879, AV 162 (Trenner 77) Five Poems: Die sieben Siegel, Year of composition: 1900, op. 46 (Trenner 199) Five Poems: Ein Obdach gegen Sturm und Regen, Year of composition: 1900, op. 46 (Trenner 199) Five Poems: Gestern war ich Atlas, Year of composition: 1900, op. 46 (Trenner 199)

Five Poems: Ich sehe wie in einem Spiegel, Year of composition: 1900, op. 46 (Trenner 199) Five Poems: Morgenrot, Year of composition: 1900, op. 46 (Trenner 199) Five Little Songs: Der Pokal, Year of composition: 1918, op. 69 (Trenner 237) Five Little Songs: Der Stern, Year of composition: 1918, op. 69 (Trenner 237) Five Little Songs: Einerlei, Year of composition: 1918, op. 69 (Trenner 237) Five Little Songs: Schlechtes Wetter, Year of composition: 1918, op. 69 (Trenner 237) Five Little Songs: Waldesfahrt, Year of composition: 1918, op. 69 (Trenner 237) Five Songs for middle voice and piano: Aus den Liedern der Trauer, Year of composition: 1886, op. 15 (Trenner 148) Five Songs for middle voice and piano: Heimkehr, Year of composition: 1886, op. 15 (Trenner 148) Five Songs for middle voice and piano: Lob des Leidens, Year of composition: 1886, op. 15 (Trenner 148) Five Songs for middle voice and piano: Madrigal, Year of composition: 1886, op. 15 (Trenner 148) Five Songs for middle voice and piano: Winternacht, Year of composition: 1886, op. 15 (Trenner 148) Five Songs: Am Ufer, Year of composition: 1899, op. 41 (Trenner 195) Five Songs Auf ein Kind, Year of composition: 1900, op. 47 (Trenner 200) Five Songs: Befreit,

Year of composition: 1898, op. 39 (Trenner 189) Five Songs: Bruder Liederlich, Year of composition: 1899, op. 41 (Trenner 195) Five Songs: Der Arbeitsmann, Year of composition: 1898, op. 39 (Trenner 189) Five Songs: Des Dichters Abendgang, Year of composition: 1900, op. 47 (Trenner 200) Five Songs: Einkehr, Year of composition: 1900, op. 47 (Trenner 200) Five Songs: Freundliche Vision, Year of composition: 1900, op. 48 (Trenner 202) Five Songs: Himmelsboten zu Liebchens Himmelbett, Year of composition: 1896, op. 32 (Trenner 174) Five Songs: Ich schwebe, Year of composition: 1900, op. 48 (Trenner 202) Five Songs: Ich trage meine Minne, Year of composition: 1896, op. 32 (Trenner 174) Five Songs: In der Campagna, Year of composition: 1899, op. 41 (Trenner 195) Five Songs: Junghexenlied, Year of composition: 1898, op. 39 (Trenner 189) Five Songs: Kling! Meine Seele gibt reinen Ton!, Year of composition: 1900, op. 48 (Trenner 202) Five Songs: Leise Lieder, Year of composition: 1899, op. 41 (Trenner 195) Five Songs: Leises Lied, Year of composition: 1898, op. 39 (Trenner 189) Five Songs: Liebeshymnus, Year of composition: 1896, op. 32 (Trenner 174)

Five Songs: Lied an meinen Sohn, Year of composition: 1898, op. 39 (Trenner 189) Five Songs: O ser Mai, Year of composition: 1896, op. 32 (Trenner 174) Five Songs: Rckleben, Year of composition: 1900, op. 47 (Trenner 200) Five Songs: Sehnsucht, Year of composition: 1896, op. 32 (Trenner 174) Five Songs: Von den sieben Zechbrdern, Year of composition: 1900, op. 47 (Trenner 200) Five Songs: Wiegenlied, Year of composition: 1899, op. 41 (Trenner 195) Five Songs: Winterliebe, Year of composition: 1900, op. 48 (Trenner 202) Five Songs: Winterweihe, Year of composition: 1900, op. 48 (Trenner 202) Fr Musik, Year of composition: 1879, AV 158 (Trenner 74) Geheiligte Sttte, Year of composition: 1881, AV 170 (Trenner 107) Songs of the Orient: Die Allmchtige, Year of composition: 1928, op. 77 (Trenner 257) Songs of the Orient: Huldigung, Year of composition: 1928, op. 77 (Trenner 257) Songs of the Orient: Ihre Augen, Year of composition: 1928, op. 77 (Trenner 257) Songs of the Orient: Liebesgeschenke, Year of composition: 1928, op. 77 (Trenner 257)

Songs of the Orient: Schwung, Year of composition: 1928, op. 77 (Trenner 257) Gute Nacht, Year of composition: 1871, AV 193 (Trenner 10) Herbstabend (Fragment), Year of composition: unbekannt, AV 244 (Trenner 226 ) Herz, mein Herz, Year of composition: 1871, o.op. 8 (Trenner 8) Husarenlied, Year of composition: 1876, o.op. 14 (Trenner 42) Im Sonnenschein, for bass and piano, Year of composition: 1935, o.op. 121 (Trenner 268) Im Walde, Year of composition: 1878, o.op. 43 (Trenner 62) Immer leiser wird mein Schlummer, Year of composition: 1880, AV 166 (Trenner 97) In Vaters Garten heimlich steht ein Blmlein, Year of composition: 1879, o.op. 64 (Trenner 88) John Anderson, Year of composition: 1880, o.op. 73 (Trenner 101) Krmerspiegel: Die Hndler und die Macher, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: Die Knstler sind die Schpfer, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: Drei Masken sah ich am Himmel stehn, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: Einst kam der Bock als Bote, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: Es liebte einst ein Hase, Year of composition: 1918, op. 66 (Trenner 236)

Krmerspiegel: Es war einmal ein Bock, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: Es war mal eine Wanze, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: Hast du ein Tongedicht vollbracht, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: O lieber Knstler sei ermahnt, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: O Schrpferschwarm, o Hndlerkreis, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: Unser Feind ist, groer Gott, Year of composition: 1918, op. 66 (Trenner 236) Krmerspiegel: Von Hndlern wird die Kunst bedroht, Year of composition: 1918, op. 66 (Trenner 236) La ruhn die Toten, Year of composition: 1877, o.op. 35 (Trenner 50) Lust und Qual, Year of composition: 1877, o.op. 36 (Trenner 51) Mdchenblumen: Efeu, Year of composition: 1888, op. 22 (Trenner 153) Mdchenblumen: Kornblumen, Year of composition: 1888, op. 22 (Trenner 153) Mdchenblumen: Mohnblumen, Year of composition: 1888, op. 22 (Trenner 153) Mdchenblumen: Wasserrose, Year of composition: 1888, op. 22 (Trenner 153) Malven, Year of composition: 1948, AV 304 (Trenner 297) Mein Geist ist trb, Year of composition: 1884, AV 175 (Trenner 128)

Mutter, o sing mich zur Ruh, Year of composition: 1880, AV 167 (Trenner 100) Nebel, Year of composition: 1878, o.op. 47 (Trenner 65) Rote Rosen, Year of composition: 1883, o.op. 76 (Trenner 119) Sankt Michael,for bass and piano, Year of composition: 1942, o.op. 129 (Trenner 280) Schlichte Weisen: Ach Lieb, ich mu nun scheiden, Year of composition: 1889, op. 21 (Trenner 160) Schlichte Weisen: Ach weh mir unglckhaftem Mann, Year of composition: 1889, op. 21 (Trenner 160) Schlichte Weisen: All' mein Gedanken, Year of composition: 1889, op. 21 (Trenner 160) Schlichte Weisen: Die Frauen sind oft fromm und still, Year of composition: 1890, op. 21 (Trenner 160) Schlichte Weisen: Du meines Herzens Krnelein, Year of composition: 1889, op. 21 (Trenner 160) Six Songs from Lotusbltter by A. F. Graf von Schack: Breit' ber mein Haupt, Year of composition: 1888, op. 19 (Trenner 152) Six Songs from Lotusbltter by A. F. Graf von Schack: Hoffen und wieder verzagen, Year of composition: 1888, op. 19 (Trenner 152) Six Songs from Lotusbltter by A. F. Graf von Schack: Mein Herz ist stumm, Year of composition: 1888, op. 19 (Trenner 152) Six Songs from Lotusbltter by A. F. Graf von Schack: Schn sind, doch kalt die Himmelssterne, Year of composition: 1888, op. 19 (Trenner 152) Six Songs from Lotusbltter by A. F. Graf von Schack: Wie sollten wir geheim sie halten, Year of composition: 1888, op. 19 (Trenner 152)

Six Songs from Lotusbltter by A. F. Graf von Schack: Wozu noch, Mdchen, soll es frommen, Year of composition: 1888, op. 19 (Trenner 152) Six Songs for a high voice and piano: Three songs from the Bchern des Unmuts des Rendsch Nameh: Hab' ich euch denn je geraten, Year of composition: 1918, op. 67 (Trenner 238) Six Songs for a high voice and piano: Three songs from the Bchern des Unmuts des Rendsch Nameh: Wanderers Gemtsruhe, Year of composition: 1918, op. 67 (Trenner 238) Six Songs for a high voice and piano: Three songs from the Bchern des Unmuts des Rendsch Nameh: Wer wird von der Welt verlangen, Year of composition: 1918, op. 67 (Trenner 238) Six Songs for a high voice and piano: Three songs of Ophelia from Hamlet: Guten Morgen, 's ist Sankt Valentinstag, Year of composition: 1918, op. 67 (Trenner 238) Six Songs for a high voice and piano: Three songs of Ophelia from Hamlet: Sie trugen ihn auf der Bahre blo, Year of composition: 1918, op. 67 (Trenner 238) Six Songs for a high voice and piano: Three songs of Ophelia from Hamlet: Wie erkenn' ich mein Treulieb', Year of composition: 1918, op. 67 (Trenner 238) Six Songs for high voice and piano: Glckes genug, Year of composition: 1898, op. 37 (Trenner 187) Six Songs for high voice and piano: Herr Lenz, Year of composition: 1898, op. 37 (Trenner 187) Six Songs for high voice and piano: Hochzeitlich Lied, Year of composition: 1898, op. 37 (Trenner 187) Six Songs for high voice and piano: Ich liebe dich, Year of composition: 1898, op. 37 (Trenner 187) Six Songs for high voice and piano: Mein Auge, Year of composition: 1897, op. 37 (Trenner 187) Six Songs for high voice and piano: Meinem Kinde,

Year of composition: 1898, op. 37 (Trenner 187) Six Songs by A. F. von Schack for high voice and piano: Aus den Liedern der Trauer, Year of composition: 1887, op. 17 (Trenner 149) Six Songs by A. F. von Schack for high voice and piano: Barcarole, Year of composition: 1887, op. 17 (Trenner 149) Six Songs by A. F. von Schack for high voice and piano: Das Geheimnis, Year of composition: 1886, op. 17 (Trenner 149) Six Songs by A. F. von Schack for high voice and piano: Nur Mut, Year of composition: 1887, op. 17 (Trenner 149) Six Songs by A. F. von Schack for high voice and piano: Seitdem dein Aug' in meines schaute, Year of composition: 1886, op. 17 (Trenner 149) Six Songs by A. F. von Schack for high voice and piano: Stndchen, Year of composition: 1886, op. 17 (Trenner 149) Six Songs: Als mir dein Lied erklang, Year of composition: 1918, op. 68 (Trenner 235) Six Songs: Amor, Year of composition: 1918, op. 68 (Trenner 235) Six Songs: An die Nacht, Year of composition: 1918, op. 68 (Trenner 235) Six Songs: Blindenklage, Year of composition: 1906, op. 56 (Trenner 220) Six Songs: Die heiligen drei Knige aus Morgenland, Year of composition: 1906, op. 56 (Trenner 220) Six Songs: Frhlingsfeier, Year of composition: 1905, op. 56 (Trenner 220) Six Songs: Gefunden, Year of composition: 1903, op. 56 (Trenner 220) Six Songs: Ich wollt ein Strulein binden, Year of composition: 1918, op. 68 (Trenner 235) Six Songs: Im Sptboot,

Year of composition: 1906, op. 56 (Trenner 220) Six Songs: Lied der Frauen, Year of composition: 1918, op. 68 (Trenner 235) Six Songs: Mit deinen blauen Augen, Year of composition: 1906, op. 56 (Trenner 220) Six Songs: Susle, liebe Myrthe!, Year of composition: 1918, op. 68 (Trenner 235) Sinnspruch, Year of composition: 1919, o.op. 105 (Trenner 239) Skatkanon for four male voices, Year of composition: 1903, o.op. 95 A (Trenner 210) Soldatenlied for low voice and piano, Year of composition: 1878, o.op. 48 (Trenner 66) Spielmann und Zither, Year of composition: 1878, o.op. 40 (Trenner 58) Spruch, Year of composition: 1930, o.op. 116 (Trenner 261) Und dann nicht mehr, for bass and piano, Year of composition: 1929, o.op. 114 (Trenner 258) Four Songs for voice with orchestral accompaniment: Gesang der Apollopriesterin, Year of composition: 1896, op. 33 (Trenner 180) Four Songs for voice with orchestral accompaniment: Hymnus, Year of composition: 1897, op. 33 (Trenner 180) Four Songs for voice with orchestral accompaniment: Pilgers Morgenlied, Year of composition: 1897, op. 33 (Trenner 180) Four Songs for voice with orchestral accompaniment: Verfhrung, Year of composition: 1896, op. 33 (Trenner 180) Four Last Songs for soprano and orchestra: Beim Schlafengehen,

Year of composition: 1948, o.op. 150 (Trenner 296) Four Last Songs for soprano and orchestra: Frhling, Year of composition: 1948, o.op. 150 (Trenner 296) Four Last Songs for soprano and orchestra: Im Abendrot, Year of composition: 1948, o.op. 150 (Trenner 296) Four Last Songs for soprano and orchestra: September, Year of composition: 1948, o.op. 150 (Trenner 296) Four Songs for (high) voice and piano: Blauer Sommer, Year of composition: 1896, op. 31 (Trenner 173) Four Songs for (high) voice and piano: Stiller Gang, Year of composition: 1895, op. 31 (Trenner 173) Four Songs for (high) voice and piano: Weier Jasmin, Year of composition: 1895, op. 31 (Trenner 173) Four Songs for (high) voice and piano: Wenn, Year of composition: 1895, op. 31 (Trenner 173) Four Songs for (high) voice and piano: Anbetung, Year of composition: 1898, op. 36 (Trenner 186) Four Songs for (high) voice and piano: Das Rosenband, Year of composition: 1897, op. 36 (Trenner 186) Four Songs for (high) voice and piano: Fr fnfzehn Pfennige, Year of composition: 1897, op. 36 (Trenner 186) Four Songs for (high) voice and piano: Hat gesagt - bleibt's nicht dabei, Year of composition: 1898, op. 36 (Trenner 186) Four Songs: Ccilie, Year of composition: 1894, op. 27 (Trenner 170) Four Songs: Heimlich Aufforderung, Year of composition: 1894, op. 27 (Trenner 170) Four Songs : Morgen, Year of composition: 1894, op. 27 (Trenner 170) Four Songs : Ruhe, meine Seele,

Year of composition: 1894, op. 27 (Trenner 170) Vom knftigen Alter, for bass and piano, , Year of composition: 1929, o.op. 115 (Trenner 260) Vorber ist der Graus der Nacht (unfinished pencil sketch), Year of composition: 1896, AV 221 A (Trenner 178) Waldconcert, Year of composition: 1871, o.op. 5 (Trenner 5) Waldesgesang, Year of composition: 1882, AV 172 (Trenner 112) Weihnachtsgefhl, Year of composition: 1899, o.op. 94 (Trenner 198) Weihnachtslied, Year of composition: 1870, o.op. 2 (Trenner 2) Wer hat's getan?, Year of composition: 1885, o.op. 84 A (Trenner 142) Wiegenlied, Year of composition: 1878, o.op. 41 (Trenner 59) Winterreise, Year of composition: 1871, o.op. 4 (Trenner 4) Wir beide wollen springen, Year of composition: 1896, o.op. 90 (Trenner 175) Xenion, Year of composition: 1942, o.op. 131 (Trenner 282) Zugemessne Rhythmen reizen freilich, Year of composition: 1935, o.op. 122 (Trenner 269) Two Songs for law bass voice with orchestral accompaniment: : Das Tal, Year of composition: 1902, op. 51 (Trenner 206) Two Songs for law bass voice with orchestral accompaniment: : Der Einsame,

Year of composition: 1906, op. 51 (Trenner 206) Two Longer Songs for low voice with orchestral accompaniment: Nchtlicher Gang, Year of composition: 1899, op. 44 (Trenner 197) Two Longer Songs for low voice with orchestral accompaniment: Notturno, Year of composition: 1899, op. 44 (Trenner 197) Two Songs: Frhlingsgedrnge, Year of composition: 1891, op. 26 (Trenner 166) Two Songs: O wrst du mein, Year of composition: 1891, op. 26 (Trenner 166)

Melodramas

Das Schlo am Meer, melodrama after the poem by Ludwig Uhland, Year of composition: 1899, o.op. 92 (Trenner 191) Enoch Arden, melodrama for piano, Year of composition: 1897, op. 38 (Trenner 181)

Choral Works

An den Baum Daphne, epilogue from Daphne for a cappella nine-voice mixed choir, Year of composition: 1943, o.op. 137 (Trenner 272a)

Austria, for large orchestra and male choir, Year of composition: 1929, op. 78 (Trenner 259) Bardengesang for male choir and orchestra, Year of composition: 1906, op. 55 (Trenner 219) Bardengesang from Die Hermanns-Schlacht for male choir and instruments, Year of composition: 1886, AV 181 (Trenner 144) Besinnung for mixed choir and orchestra, fragment,

Year of composition: 1949 , AV 306 (Trenner 298 ) Cantata for a cappella four-voice male choir, Year of composition: 1914, o.op. 104 (Trenner 232) Chorus from Elektra by Sophocles for male voices and orchestra, Year of composition: 1881, o.op. 74 (Trenner 104) German Motets, for four solo voices and a cappella 16-voice mixed choir, Year of composition: 1913, op. 62 (Trenner 230) Die Gttin im Putzzimmer for a cappella eight-voice mixed choir, Year of composition: 1935, o.op. 120 (Trenner 267) Die Tageszeiten, song cycle for male choir and orchestra: Der Abend, Year of composition: 1927, op. 76 (Trenner 256) Die Tageszeiten, song cycle for male choir and orchestra: Der Morgen, Year of composition: 1927, op. 76 (Trenner 256) Die Tageszeiten, song cycle for male choir and orchestra: Die Nacht, Year of composition: 1927, op. 76 (Trenner 256) Die Tageszeiten, song cycle for male choir and orchestra: Mittagsruh, Year of composition: 1927, op. 76 (Trenner 256) Three Male Choruses: Der Brauttanz, Year of composition: 1899, op. 45 (Trenner 193) Three Male Choruses: Lied der Freundschaft, Year of composition: 1899, op. 45 (Trenner 193) Three Male Choruses: Schlachtgesang, Year of composition: 1899, op. 45 (Trenner 193) Three Male Choruses: Traumlicht, Year of composition: 1935, o.op. 123 (Trenner 270) Three Male Choruses: Vor den Tren, Year of composition: 1935, o.op. 123 (Trenner 270) Three Male Choruses:Frhlich im Maien, Year of composition: 1935, o.op. 123 (Trenner 270)

Durch Einsamkeiten, for a cappella four-voice male choir, Year of composition: 1938, o.op. 124 (Trenner 273) Festchor with piano accompaniment, Year of composition: 1880, AV 169 (Trenner 102) Hymn for wind choir, large orchestra and female choir, Year of composition: 1897, o.op. 91 (Trenner 183) Kaiserhymne for mixed choir, Year of composition: 1915, (Trenner 218b) Olympische Hymne for mixed choir and orchestra, Year of composition: 1934, o.op. 119 (Trenner 266) Schwbische Erbschaft for mixed choir and orchestra, Year of composition: 1884, o.op. 83 (Trenner 134) Six folk song arrangements for a cappella four-part male chorus: Geistlicher Maien, Year of composition: 1905, o.op. 101 (Trenner 216) Six folk song arrangements for a cappella four-part male chorus: Ht du dich!, Year of composition: 1905, o.op. 101 (Trenner 216) Six folk song arrangements for a cappella four-part male chorus: Kuckuck, Year of composition: 1905, o.op. 101 (Trenner 216) Six folk song arrangements for a cappella four-part male chorus: Milungene Liebesjagd, Year of composition: 1905, o.op. 101 (Trenner 216) Six folk song arrangements for a cappella four-part male chorus: Tummler, Year of composition: 1905, o.op. 101 (Trenner 216) Six folk song arrangements for a cappella four-part male chorus: Wchterlied, Year of composition: 1905, o.op. 101 (Trenner 216) Soldatenlied for a cappella male choir, Year of composition: 1899, o.op. 93 (Trenner 192) Sturmliedfor six-voice choir and large orchestra, Year of composition: 1885, op. 14 (Trenner 131) Taillefer, ballad for mixed choir, soloists and orchestra accompaniment,

Year of composition: 1903, op. 52 (Trenner 207) Four Movements of a Mass in D major for a cappella mixed choir, Year of composition: 1877, o.op. 31 (Trenner 54) Volkshymne for mixed choir, Year of composition: 1906, (Trenner 218a) Two Songs: Der Abend, for a cappella sixteen-voice mixed choir, Year of composition: 1897, op. 34 (Trenner 182) Two Songs: Hymne, for a cappella sixteen-voice mixed choir, Year of composition: 1897, op. 34 (Trenner 182) Two Songs for a cappella four-voice mixed choir: Frhlingsnacht, Year of composition: 1876, o.op. 25 (Trenner 37) Two Songs for a cappella four-voice mixed choir: Morgengesang, Year of composition: 1876, o.op. 25 (Trenner 37) Two Male Choruses: Altdeutsches Schlachtlied, Year of composition: 1899, op. 42 (Trenner 194) Two Male Choruses: Liebe, Year of composition: 1899, op. 42 (Trenner 194)

Other Vocal Music

Der weie Hirsch, for alto, tenor, bass and piano, Year of composition: 1871, o.op. 6 (Trenner 6) Hab Dank du gt'ger Weisheitsspender, four-line text for bass, Year of composition: 1939, o.op. 126 (Trenner 275) Hymne auf das Haus Kohorn for two tenors and two basses, Year of composition: 1925, o.op. 113 (Trenner 252) Canon, Year of composition: 1903, o.op. 95 (Trenner 208) Notschrei aus den Gefilden Lapplands, four-line text for one voice,

Year of composition: 1940, o.op. 127 (Trenner 276) Richard Till Khnopff, Year of composition: 1898, (Trenner 188) Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Kferlied, Year of composition: 1880, o.op. 67 (Trenner 92) Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Pfingsten, Year of composition: 1880, o.op. 67 (Trenner 92) Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Schneeglcklein, Year of composition: 1880, o.op. 67 (Trenner 92) Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Spielmannsweise, Year of composition: 1880, o.op. 67 (Trenner 92) Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Trb blinken nur die Sterne, Year of composition: 1880, o.op. 67 (Trenner 92) Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Waldessang, Year of composition: 1880, o.op. 67 (Trenner 92) Seven Four-Voice Songs for vocal quartet or a cappella mixed choir: Winterlied, Year of composition: 1880, o.op. 67 (Trenner 92) Utan svafvel och fosfor, Swedish matchbox text for four male voices, Year of composition: 1889, o.op. 88 (Trenner 159) Wer tritt herein, six-line text for solo voice, Year of composition: 1943, o.op. 136 (Trenner 289)

Arrangements

Die Feen by Richard Wagner, insertion to Act II, Year of composition: 1888, AV 185 (Trenner 154) Die Ruinen von Athen, a festive piece with dances and choral pieces after Die Geschpfe des Prometheus by Ludwig van Beethoven,

Year of composition: 1924, AV 190 (Trenner 249) Ganymed (instrumentation after Franz Schubert), Year of composition: 1897, (Trenner 179) Idomeneo, opera seria in three acts by Wolfgang Amadeus Mozart, Year of composition: 1930, o.op. 117 / AV 191 (Trenner 262) Instrumentallehre von Hector Berlioz, Year of composition: 1903 , AV 316 / 317 (Trenner 212) Iphigenie auf Tauris, opera in three acts by Christoph Willibald von Gluck, arranged for the German stage, Year of composition: 1890, AV 186 (Trenner 161) Johann von Paris by Francois-Adrien Boieldieu, aria of the princess, Year of composition: 1922 , (Trenner 242 ) Cadenzas for the Piano Concerto in C minor (KV 491) by Wolfgang Amadeus Mozart, Year of composition: 1885, AV 179 (Trenner 139) Nonett in F major (composition by Franz Lachner, arrangement for four hands), Year of composition: 1881, AV 183 (Trenner 108) Nun hlt Frau Minne Liebeswacht, from Liebesnchte by Alexander Ritter, Year of composition: 1891, AV 188 (Trenner 164) Overture to Der faule Hans by Alexander Ritter (piano excerpt), Year of composition: 1885, AV 184 A (Trenner 140) Rienzi by Richard Wagner, Year of composition: 1890, (Trenner 162) Walzerlied in F major from an operetta by Maximiliano Niederberger, Year of composition: 1921, AV 258 (Trenner 241) Two Songs by Ludwig von Beethoven (op. 83/1) (instrumentation): Wonne der Wehmut, Year of composition: 1898, AV 189 (Trenner 185) Two Songs by Ludwig von Beethoven (WoO 123) (instrumentation): Ich liebe dich,

Year of composition: 1898, AV 189 (Trenner 185) Two Marches for Bernhard von Weimar, Trauerspiel by Joachim Raff, piano excerpt, Year of composition: 1885, AV 184 (Trenner 143)

Studies for Unspecified Instruments

Contrapuntal Studies I, Year of composition: 1877, o.op. 39 (Trenner 57)

Contrapuntal Studies II, Year of composition: 1879, o.op. 54 (Trenner 81) Contrapuntal Studies III, Year of composition: 1879, o.op. 65 (Trenner 91) Four-voice Choral Movement in B-flat major, Year of composition: 1875, o.op. 24 (Trenner 32) Four-voice movement in A-flat major, Year of composition: 1876, o.op. 27 (Trenner 39) Four-voice movement in B-flat major, Year of composition: 1875, o.op. 23 (Trenner 31) Four-voice movement in D minor, Year of composition: 1876, o.op. 26 (Trenner 38) Vorstudien zu Harmonielehre und Kontrapunkt, Year of composition: 1875, AV 196 (Trenner 36)

Sketches/Operas

Der Kampf mit dem Drachen, singspiel in one act, Year of composition: 1876, AV 206 (Trenner 44)

Des Esels Schatten, comedy in six scenes, Year of composition: 1947, AV 300 (Trenner 294) Lila, singspiel by Johann Wolfgang von Goethe, Year of composition: 1878, AV 206 / o.op. 44 / o.op. 45 (Trenner 61) Lila, singspiel by Johann Wolfgang von Goethe, Year of composition: 1895, AV 221 (Trenner 177) Scenes for a singspiel for voices and piano, Year of composition: 1876, o.op. 28 / AV 205 (Trenner 40)

Other

Posthumous works for horn by Franz Strauss, AV 323 (Trenner 225)