Musical Instruments in a Piece
“Also Sprach Zarathustra” by Richard Strauss can be acclaimed as an excellent piece of music which occupies its dignified place among the other works of the world’s music classic. Its many parts are known all over the world due to their use in varied shows, TV commercials, movies and so on. The most famous adaptation of this music theme is in the film “2001: A Space Odyssey” by Stanley Kubrick. This piece of music is especially known for its multi-instrumental composition along with incredible vibe of the Universe which is heard in its every single note. Generally, it appears that “Also Sprach Zarathustra” by Richard Strauss has its main peculiarities in its harmonious form, inimitable style, and balanced composition which are beautifully emphasized by magnificent cooperation of multi-instrumental performing.
First of all, speaking about “Also Sprach Zarathustra” by Richard Strauss, it is important to make an emphasis on the abundance of the most varied instruments applied in it. This piece of music is played by the orchestra consisting of woodwinds: piccolo, 3 flutes, 3 oboes, English horn, 3 clarinets in E-flat and B-flat, bass clarinet in B-flat, contrabassoon, 3 bassoons; brass: 4 trumpets in C, 6 horns in F, 3 trombones, 2 tubas; percussion: timpani, cymbals, bass drum, triangle, bell on low E, glockenspiel; keyboard: organ; strings: 16 violins, 2 harps, violas, double basses, and cellos (Kennedy 87). Thus, it is evident that this piece of music is rich in its harmony and the most diversified sounds which put it together. Such abundance of instruments applied for this music piece adds to its inimitable spirit which seems to show the very “breath” of the Universe. The impact of this opus is also explained by harmonious form, inimitable style, and balanced composition (Samson 27).
Style and Form
With regards to the style and form of the composition of “Also Sprach Zarathustra”, it should be stated that it is rather sophisticated and refined. This piece of music consists of three major sections which are played with a few short pauses between them (Also Sprach Zarathustra par.4). Every section has its title which Strauss named after the titles of the book’s parts. These parts are Einleitung, oder Sonnenaufgang (Introduction, or Sunrise), Von den Hinterweltlern (Of those in Backwaters), Von der groĂźen Sehnsucht (Of the Great Longing), Von den Freuden und Leidenschaften (Of Joys and Passions), Das Grablied (The Song of the Grave), Von der Wissenschaft (Of Science and Learning), Der Genesende (The Convalescent), Das Tanzlied (The Dance Song), and, finally, Nachtwandlerlied (Song of the Night Wanderer) (Schmid 35). The following comment seems to be very interesting in terms of its interpretation of the ideas behind the parts of this music piece:
With “The Dance Song,” Nietzsche’s ferocious philosopher, Zarathustra, breaks into a waltz. Some pro-Strauss critics have cited this as the composer’s glorification of the Life Force, while detractors point to it as an example of his wretched taste. In all likelihood, it is at once indicative of Richard Strauss’ affection for another Strauss, the Waltz King himself, and his sense of humor, which included not taking himself nearly as seriously as his listeners did. The climax of the waltz melts into the finale, “The Night Wanderer’s Song,” announced by a bell tolling midnight, and concluding peacefully, with high woodwinds repeating, ever more softly, a B-major chord (Also Sprach Zarathustra par.6).
This comment shows how important is every part of the work’s composition in reveling the depth of the author’s idea.
Discussing the theme of this piece of music, it should be mentioned that it is surrounded around the events of the Universe foundation. “Also Sprach Zarathustra” is said to be an interpretation of the ideas of a famous philosopher Friedrich Nietzsche (McColl 45). In the whole course of this music piece the audience seems to explore the secrets of genesis reveled in the grandeur of this magic sound. Strauss made many interesting comments concerning the ideas which he incorporated into his work. In the following words of his, the idea of the first part of “Also Sprach Zarathustra” is revealed:
First movement: Sunrise. Man feels the power of God. Andante religious. But man still longs. He plunges into passion (second movement) and finds no peace. He turns toward science, and tries in vain to solve life’s problems in a fugue (third movement). The agreeable dance tunes sound and he becomes an individual. His soul soars upward while the world sinks far below him (Also Sprach Zarathustra par.8).
The very first minutes of the music piece under consideration seem to reveal the most intriguing events happening during the process of creation of the Universe. This leaves the listener with an impression of touching something sacred, something divine and holy which inspires so much that the feeling that your teeth are set on the edge develops right in your brain and heart. As the composition continues to sound, the listener goes thorough a row of incredible and miraculous transformations in the “new-born” Universe which are described by Richard Strauss in this astounding music piece. The way the composer applies varied music means in order to signify varied “participants” of his work seems to be very well thought of. In particular, the major compositional theme of this work represents humanity and is played in B major, whereas the other one which is also significant for the development of the story plot is played in C major, and symbolizes the Universe. Another important detail of this phenomenon is in its tonal dissimilarity as B major is played by 5 sharps while C major does not use any of them.
Conclusions
As a final point, it should be stated that the famous piece of music called “Also Sprach Zarathustra” by Richard Strauss can be acclaimed as an inimitable masterpiece with its main peculiarities of harmonious form, inimitable style, and balanced composition which are beautifully emphasized by magnificent cooperation of multi-instrumental performing. Its inimitable sound harmony touches the most varied public to very extremities of their souls, and this is no wonder as this masterpiece seems to reflect the very vibe of the Universe with its grandeur, brilliance and splendor. Definitely, the most extraordinary and the most outstanding thing about this piece of music is in its concept of the Universe and the way it functions being the most astounding fact of reality. In particular, the secrets of genesis along with the events related to the origin of the Universe are reveled in the grandeur of this magic sound. As the composition continues to sound, the listener goes thorough a row of incredible and miraculous transformations in the “new-born” Universe which are described by Richard Strauss in this astounding music piece.
Works Cited
Also sprach Zarathustra n. d. Web.
Kennedy, Michael. Richard Strauss. Oxford, England: Clarendon Press, 1995. Questia. Web.
McColl, Sandra. Music Criticism in Vienna, 1896-1897: Critically Moving Forms. Oxford: Oxford University, 1996. Questia. Web.
Samson, Jim, ed. The Cambridge History of Nineteenth-Century Music. Cambridge, England: Cambridge University Press, 2002. Questia. Web.
Schmid, Mark-Daniel, ed. The Richard Strauss Companion. Westport, CT: Praeger, 2003. Questia. Web.