Richard Strauss: Salome - Op. 54 (Full Score)

[@lyricsronen]

Simply the best music ever written. Unimaginable creativity and overwhelming mastery of harmony, orchestration, character and pacing.

[@mrtchaikovsky]

And an absolutely perfect libretto to match.

[@lyricsronen]

⁠@@mrtchaikovsky Indeed a remarkably expressive translation by Lachmann. And how generous of history to gift us with an over the bar collaboration between Richard Strauss and Oscar Wilde!

[@isaiahtricemusic]

It is real good, but let’s not kid ourselves, the German operas were always pretty blocky compared to the Italians! Just my opinion though.

[@celloguy]

@@isaiahtricemusicblocky? Famously the Italians composed in ‘numbers’ or self contained ‘blocks’ all the way up to Verdi, but there are huge hangovers into Verismo…

[@FueganTV]

The ending is beyond perfect.

[@INTERpEST]

Oh yes

[@samuelcabellogonzalez7590]

01:34:35 - Ich habe deinen Mund (My favourite aria of the opera) 01:37:32 01:38:17 01:38:23 - Fucking incredible disonant chord!

[@LordNev4]

45:06 One of the worst things Strauss has ever done. Writing one of the most gorgeous melodies, and never elaborating further on it ever again

[@lyricsronen]

Reminds me of Food, Glorious Food from Oliver!

[@DanielVodenitcharov]

@@lyricsronen extremely similar idea - almost taken and made grand!

[@imoo6008]

Drama queen...

[@legendschant1194]

Notes for myself: 0:04 LT salome 045 doves 3:59 saint man a 66 a67 6:27 trama 6:30 arco up 8:47 profecy Land Palestina 9:24 basilisk 10:00 idea grotta o sott'acqua 10:15 trombone chordb 10:20 bass clarinet 13:24 all deep bassi combination 13:50 tremolo 14:00 bello! 14:25 the introductin on John with the suspence moment until his entrance here is the same format used in Der Rklver act II. 16:04 horns marcato 16:20 mighty powers, uso timpano prima come basso 17:11 low horns + low strings 18:55 (elektra) 19:13 19:25 bisbigliando arpe 33:20 Him 38:00 doublebassoon solo 39:58 eb clarinet effect, hostile femininity 12:55 17:02 bisbigliando 1:06:31 Isolde 01:09:20 silver plate 9:27 sibilo 1:12:20 trama something grim 1:20:16 error 1:21:11 Joachaan theme out of tonality Finale bars reminds death of Fasolt

[@MayaGurwitch]

22:02 Salome introducing herself to Jochanaan ... so regal. She sounds so proud when she calls herself the "Prinzessin von Judäa"!

[@AllrounderMaximus]

Georg Solti: Vienna Philharmonic Orchestra Birgit Nilsson: Salome Gerhard Stolze: Herod Grace Hoffman: Herodias Eberhard Wächter: Jokanaan Waldemar Kmentt: Narraboth Josephine Veasey: Page to Herodias

[@Jack-l5f6e]

Damn that rhythm at the start of the dance…Absolutely insane

[@LordNev4]

Hey I saw your comment on the Elektra score, if possible could you give some insight into the motifs in Salome too?

[@simonkawasaki4229]

I definitely will. Give me some time; that Elektra comment was no easy task!

[@johannesbowman5327]

39:04 contrabassoon 1:19:52 basses, pulling of well of Jochanan's head 1:21:58 the head of the Baptism

[@HDTurnerJr]

Thank you for your work on this, I really enjoyed it. I believe that Strauss was using the idea of Wagner's Immolation Scene (from Götterdämmerung) as the inspiration for Salome's long aria at the end. That is, he was basically giving a loving yet satirical wink at Wagner, whom he adored. It's almost as if the Immolation Scene was put into a box by Strauss and shaken up. In any, case I think that listeners at that time would have probably noticed this as a likely reference.There is even what I feel is a quote of the Walküre Theme at 1:31:01.

[@Quotenwagnerianer]

The libretto is just a 1x1 german translation of Oscar Wilde's french play. So that Salome has a long monologue at the end was not Strauss winking at Wagner, he just composed along what Wilde wrote.

[@ETMargraf]

59:52 Salome dance

[@Dylonely42]

Post-romantic masterpiece of music.

[@cufflink44]

Simon, thank you for this labor of love. i can't imagine the effort it took, but please know that it's greatly appreciated. And a question for those who know more music theory than I do: Why did Strauss notate the end of Salome's great closing monolog in the weird key of C-sharp Major rather than the much more familiar one of D-flat? It would have sounded the same, and 5 flats is easier to read than 7 sharps.

[@simonkawasaki4229]

Strauss almost suggests a minor plagal cadence from going from an f# minor chord (at 1:37:30, not exactly a plagal cadence because it is f#m7, which complicates things) to C# major. It would be theoretically incorrect for Strauss to try and notate the f#m7 chord going to a D-flat major chord; a common tone of C-sharp provides a link within these two chords. Strauss COULD have written the f#m7 chord as a *G FLAT* m7 to provide for a smooth transition to D-flat major, but this would be even more awkward thing that would involve plenty of double flats.

[@cufflink44]

@@simonkawasaki4229 Thanks very much for your explanation. My surprise at the choice of notation stemmed from the fact that while I have of course seen plenty of music in D flat major, I didn't think I had ever before seen anything in C sharp major . . . until I remembered that Bach wrote two preludes and fugues in that key in the WTC! Oh well . . . Thanks again.

[@omnipotentdancinglordling]

36:20 YEEESH

[@rimaskayemkhalil2717]

Beautiful!! But I want to know how you do to have a score for exemple like that ? Thank you and congratulation again!!!!

[@JohnnyWagner-Music]

1:38:16 The "Salome Chord"

[@Quotenwagnerianer]

Actually you don't have to go that far. All the notes of that chord are in the very first clarinet line that opens the opera.

[@ddee534]

12:12 13:24 15:14 34:23 36:16 59:52 1:21:55

[@aingeru4407]

Is 36:11 a citation of Isolde's act 2?

[@Jack-l5f6e]

How? How do you write such incredible music?

[@Jack-l5f6e]

Opera rly peaked with this

[@Eva11092]

36:20 - Интермедия между 3 и 4 сценой

[@johnphillips5993]

1:38:24 here it is folks

[@Albrecht-to9lm]

47:42 1:08:32 44:50 1:21:55 1:28:42 58:12 1:17:50 35:30 1:33:37 1:38:35 1:15:42

[@oskarchodora1941]

1:05:44 bassoon audition excerpt

[@alexandrkolesnikov9062]

Интересно, кто-нибудь хоть раз разобрал хоть пару слов за этим наслоением гармонии и оркестровки, пусть и такой красивой. Нет окон для того, чтобы разобрать текст и услышать голос

[@joshM__]

1:22:48 tpt excerpt before 316

[@LoveYah9]

gloken 72- 18:05 119- 30:43 cast 158- 41:20 glock 269- 1:13:00

[@LoveYah9]

glok. 285- 1:15:53 357- 1:36:14

[@LoveYah9]

Salome tanz 59:30 cast. L(-3) 1:02:45 P 1:05:00

[@amys_luidor9255]

1:05:43 bassoon excerpt

[@lukaslawrence8863]

38:56 epic solo B)

[@ValzainLumivix]

Nice

[@Dylonely42]

Indeed

[@natalijadrazovic5104]

1:21:55

[@trippylydia7574]

1:04:41 harp excerpt

[@kevinherbert9708]

58:12 herodes starts raging!!!

[@kevinherbert9708]

I know that, in the opera he’s actually begging Salome to dance for him before the dance of the seven veils.

[@isaiasramosgarcia9771]

k musica tan densa!

[@wiktoria2842]

1:04:35, 1:21:57

[@radiofreeurope]

1:22:02 vln 1 ext

[@Dylonely42]

59:52

[@charlesasch]

36:23 excerpt

[@JacquesLuu]

29:48

[@conuquin]

1:07:35

[@radiofreeurope]

29:49 vln 1 ext

[@linmu1176]

29:48 1:04:37

[@上田実那]

40:00

[@Musicforever60]

4:06 harry potter

[@rimaskayemkhalil2717]

OMG Yes !!!!!!!

[@jamesbond4830]

36:20 38:00

[@dalmacietis]

1:28:41 Nichts in der Welt...

[@eisengriffin5638]

36:28

[@plain7472]

12437

[@Sandro-lj3tu]

1:22:02 314 1:36:32 359

[@radiofreeurope]

1:04:37 vln 1 ext

[@EvanBeachy]

36:28 38:00

[@Dylonely42]

1:34:36

[@mtvc1993]

36:28

[@flutist_sunjukim8112]

1:00:43

[@user-yg1kw4mq7v]

51:26

[@delight041]

59:50

[@user-xn8lq8sp3m]

59:52