Tone Poems (Strauss) - Characteristics

Characteristics

Strauss wrote on a wide range of subjects, some of which had been previously considered unsuitable to be set to music, including literature, legend, philosophy and autobiography. In doing so, he elevated orchestral technique to a new level of complexity, taking realism in orchestral depiction to unprecedented lengths, widening the expressive functions of program music as well as extending its boundaries. Because of his virtuoso use of orchestration, the descriptive power and vividness of these works is extremely marked. He usually employs a large orchestra, often with extra instruments, and he often uses instrumental effects for sharp characterization, such as portraying the bleating of sheep with cuivré brass as well as fluttertongued reeds in Don Quixote.

Strauss's handling of form is also worth noting, both in his use of thematic transformation and his handling of multiple themes in intricate counterpoint. His use of variation form in Don Quixote is handled exceptionally well, as is his use of rondo form in Till Eulenspiegel. As Hugh MacDonald points out in the New Grove (1980), "Strauss liked to use a simple but descriptive theme—for instance the three-note motif at the opening of Also sprach Zarathustra, or striding, vigorous arpeggios to represent the manly qualities of his heroes. His love themes are honeyed and chromatic and generally richly scored, and he is often fond of the warmth and serenity of diatonic harmony as balm after torrential chromatic textures, notably at the end of Don Quixote, where the solo cello has a surpassingly beautiful D major transformation of the main theme."