Richard Strauss: Divertimento, op.86 1941

[@peterarthur3380]

Just beautiful - I have always loved RS - listening to him during the continuing global lockdown feels at times just so surreal, but that is the point - great music transcends all seasons and times - it represents, as with all works of art, the best of humanity, and the triumph of the human spirit; its profound intermingling with the ethereal and numinous (and indeed divine aspects of life, for those of a religious/spiritual disposition).

[@andrewbaranek1935]

I'll drink to that!

[@josephanoom]

incredibly beautiful the master of orchestration!

[@amadigidigaula771]

Richard Strauss is my second or third favorite and I never heard this before! How curious.

[@nomorenames5568]

I was reading a book that mentioned a Divertimento playing in the background. Had no idea what that was so I decided to search and put one on. This is nice.

[@isadoreladuca1112]

Always enjoy Late Romantics/Modernists revisiting neoclassicism like Respighi's Ancient Airs or Stravinsky's Pulcinella.

[@andrewbaranek1935]

Yes!

[@barbaracoutinho2254]

Wonderful 🙌🙌🙌

[@czerashni]

Masterful transcription!

[@뚜두뚜두팬보이]

I love Strauss, know most of his operas and other compositions but I had never heard of this, nevertheless I don't think I have missed much. Hard to believe it was written so late in his life...

[@stefanba2029]

Well, this is definitely up in the top 5 of his works.

[@carl44acq]

@@stefanba2029 The top 5? I hardly think so.

[@akumaki88]

No fue escrito por Strauss, es composición de François Couperin (compositor barroco, son piezas para teclado), orquestado por Strauss

[@alger3041]

Note to the poster: Movements VI, VII, and VIII comprise one composite movement, and should not be separated on your listing to provide separate access for the various parts, exactly as the case with Movements II, III, and V which are properly given as one.

[@williamwaynflete6336]

alger3041 That's a bit didactic, dogmatic and dictatorial, isn't it? :-(

[@alger3041]

It's a matter of the musical impression - nothing more. In many instances, in a multi-movement work, we find, with the initial movement, a slow introduction which ultimately falls forward into the main faster portion. I feel that to designate what is clearly an introduction as a separate movement is totally wrong, especially as it does not properly conclude of itself, yet this is often done, nevertheless. In this work we have several sections that are merely that, and not really separate movements, despite how they are designated. Incidentally, take a look at Beethoven's String Quartet No. 14 in C Sharp Minor, Op. 131. I would say that at least two of those so-called "movements" are merely transitional and are really not separate movements unto themselves. This sort of thing is often encountered in the performing repertoire. I am sorry if this dissertation on my part displeases you.

[@frog546]

Wellesz Modern still hasn't done anything about it. But you can. You can upload your own recording, and list the movements correctly.

[@MorganHayes_Composer.Pianist]

There haven't been any new videos on Wellesz channel since the pandemic broke out last year.

[@fulviopolce9785]

Classico esempio dell' "ottimismo" di Strauss in pieno periodo bellico.....

[@RawBert-e8x]

❤

[@amichiganblackman3200]

23:11

[@martinplojhar]

I love this type of works - taking a classic/baroque music and combice the old best art with new best art to get entirely new level of perfection without compromises ... Why today's composers almost never do that ? Lack of classical composition skills? Or too much self-centeredness - at any cost to draw attention to something completely different - mostly ugly?

[@christophalthoff70]

Ist es selbstverständlich dass ein führender Komponist im 3. Reich mitten im 2. Weltkrieg eine Bearbeitung französischer Barockmusik komponiert?

[@gerhardrohne2261]

ja, er hatte schon 70 jahre lang vor dem dritten gelebt, gelernt und musiziert ...

[@aarondezibenseisz1712]

Charmant mais long doncques ennuyieulx, sans l'entregeant (le pep) des musiciens du XVIIIe siècle venitien.qui auraient vivement critiqué cette marmelade. Anguerrand de La Coulouvrenière 2015

[@michelebettini5870]

Questa non è musica, ma accozzaglia di note . Se l'accozzaglia non piace non vale niente.

[@riccardobonomelli541]

Sono assai dispiaciuto che codesta accozzaglia non sia stata di suo gradimento, signor Bach

[@michelebettini5870]

@@riccardobonomelli541 e sti ca....?