Royal Concertgebouw Orchestra, Mariss Jansons - Strauss: Also sprach Zarathustra & Metamorphosen (2024) [Hi-Res]

Tracklist

01. Also sprach Zarathustra, Op. 30, TrV 176: I. Sonnenaufgang
02. Also sprach Zarathustra, Op. 30, TrV 176: II. Von den Hinterweltlern
03. Also sprach Zarathustra, Op. 30, TrV 176: III. Von der großen Sehnsucht
04. Also sprach Zarathustra, Op. 30, TrV 176: IV. Von den Freuden und Leidenschaften
05. Also sprach Zarathustra, Op. 30, TrV 176: V. Das Grablied
06. Also sprach Zarathustra, Op. 30, TrV 176: VI. Von der Wissenschaft
07. Also sprach Zarathustra, Op. 30, TrV 176: VII. Der Genesende
08. Also sprach Zarathustra, Op. 30, TrV 176: VIII. Das Tanzlied
09. Also sprach Zarathustra, Op. 30, TrV 176: IX. Nachtwandlerlied
10. Metamorphosen, TrV 290

Andris Nelsons leads the Concertgebouworkest in Also sprach Zarathustra by Richard Strauss. Inspired by Nietzsche, Strauss translated topics like desire, joy, passion and death in music.

Strauss’s Also sprach Zarathustra: Almost everyone has heard Richard Strauss’s Also sprach Zarathustra – or at least its opening section, entitled Sonnenaufgang (Dawn); the work’s impressive opening bars have been used in diverse ways ranging from television commercials to Stanley Kubrick’s film 2001: A Space Odyssey and to Deep Purple and Elvis Presley. A sinuous succession of eight movements then follows, all named after various chapters of Nietzsche’s book Also sprach Zarathustra. Inspired by Nietzsche, Richard Strauss translated topics like desire, joy, passion and death in music.

"The great performances came after the interval. There was no conductor for Metamorphosen – a tour de force for an ensemble drawn from the orchestra's strings, and a performance in which beauty, intelligence and lacerating grief were wonderfully fused. Jansons returned to the podium for a suite from Der Rosenkavalier – not one of Strauss's own arrangements of extracts from the opera, but the anonymous 1945 cut-and-paste-job that Jansons has championed before. There are some odd gear changes between sections, and a tacked-on concert ending that seems curiously abrupt. But it was tremendously done, and everything Rosenkavalier should be – sumptuous, erotic, funny and, above all, deeply and wonderfully humane." (The Guardian)

Royal Concertgebouw Orchestra
Mariss Jansons, conductor

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