Separation Of Pauline De Ahna By Richard Strauss

Richard Strauss (1864-1949) was one of the most famous and prolific composers of the late nineteenth/early twentieth centuries. Although many consider his operas and his tone poems for orchestra to be his greatest contributions to the musical canon, Strauss produced over 100 lieder in his long career. He also gained recognition for producing songs with orchestra as well as orchestrating some of his songs for voice and piano, which had a huge influence on later composers, particularly Gustav Mahler. Strauss’ greatest inspiration in his lieder composition was his wife, soprano Pauline de Ahna. In 1894, Strauss conducted de Ahna in a performance of Elizabeth in Wagner’s Tannhäuser. Within a month, they were married. From that point on

10 (1885), and op. 27 (1894).
This song is from op. 27, which Strauss intended as a wedding gift for Pauline de Ahna. The poetry is by John Henry McKay, who, though born in Scotland, moved with his mother to Germany at age two in the wake of his father’s death. Strauss uses the piano accompaniment to represent the exhilaration and excitement of a lavish party during which two lovers plan their clandestine meeting. The vocal line is expansive and lyrical, but also possesses moments of great intimacy, leading to the climactic anticipation of the lovers being united.
“Morgen” also comes from op. 27, and is also a poem by McKay. Although McKay was part of a movement to move away from sentimental romantic poetry, Strauss managed to select two of his most romantic poems for his wedding gift to de Ahna. “Morgen” is perhaps most well known for its lengthy piano interlude. Almost half the length of the song, the piano deftly sets the scene of two lovers hoping to be reunited when tomorrow comes. The voice enters seamlessly, and the texture remains ethereal and intimate throughout. “Morgen” was later orchestrated by

10, Strauss’ first published set of lieder, which he wrote when he was just eighteen. Strauss has written that he composed op. 10 with the tenor voice in mind, although the songs are now sung by all voice types. “Nichts” is delightful and playful, as the piano sets up in the opening prelude. Strauss’ setting of the text is at times frank and conversational, and at other times lyrical, particularly in the registers of the tenor voice for which it was intended. The final “Nichts, nichts” provide a definitive response to the question at hand, echoed triumphantly by the piano.
Also from op. 10, “Allerseelen” refers to All Soul’s Day (November 2nd), a day to honor the dead. In eighteenth-century Germany, people would decorate the gravestones of loved ones with laurels of flowers and candles. It was believed to be the day that the dead were free. Hermann von Gilm’s poem tells a love story set against this eerie yet hopeful backdrop. The singer hopes to revive a relationship that has also died on this All Soul’s Day, and sings this lyrical and impassioned