An original never gets old ...

Something philosophical Richard Strauss did not have in mind when he composed one of his most popular orchestral works. Nevertheless, the suspicion can not be invalidated without further that "Also sprach Zarathustra" op. 30 only music for its own sake has. After all, Strauss chose for his setting programmatically several scenes from Nietzsche s most important work from which he transposed musically excellent and exciting.
Reduce the "Zarathustra" exclusively to the bombastic, well-known introduction, would certainly be inadequate, given the abundance of warm melodies and overwhelming drama. Strauss makes targeted several highlights: Just listen to only his portrayal of longing, the joys and sorrows of! Then the music sinks into the "grave song" to finally rear up again in the next two scenes. In the beautiful "dance song" leaves the German composer occur delicate a solo violin in the foreground. According to another, almost dream dance climax the music dried up slowly to a Vaughan Williams like "Niente Ending".

Is designed to be similar overwhelming the orchestral suite "The Planets", Op. 32 by the British composer Gustav Holst (1874-1934). Parts of his suite were incumbent numerous arrangements that were mainly used as film music and, although Holst life objected to such a banal use of his compositions - unsuccessfully. Accordingly, it is the "Planets" does not do justice, to associate it solely with "Star Wars".
Fits may be the "Planets" Yes, already revealed the first movement. Holst is in this its really only known composition, the eight planets of our solar system - other than Earth - and adds them mystical and mythical properties. And so the Mars the first planet whose aggressiveness and rebellion is almost shocking. Gentle is the British composer represents Venus and comes to a lively, delicate realization of his ideas about Mercury. The highlight is, of course, "Jupiter, the Bringer of jollity". The majestic main theme of this movement may be confidently counted among the most popular melodies of classical music. In captivating images the listener can then enjoy Saturn and Uranus, before the final sentence, "Neptune, the Mystic," finally attracts with its almost hallucinogenic mood and the use of a wordless singing choir under the spell of this magnificent composition.

This recording of the Boston Symphony Orchestra under the baton of German conductor William Steinberg with the New England Conservatory Chorus comes from the years 1970 and 1971 and enjoys excellent recording quality. An accusation with which Steinberg's interpretation sees repeatedly confronted, is to be invalidated immediately: No, Steinberg does not play too fast, he merely obeyed exactly the score that sets the virtuoso character of the works and puts tight accents that - coupled with the brilliant orchestral performance - the internal stress of the pieces to a compelling and thrilling maximum screwed. In addition, Steinberg classifies his conducting from colored and multi-faceted, the game flows finely nuanced, yet rich in contrast. Always the performance is transparent and differentiated.
Rare example I have experienced Holst representation of Venus convincing, however, this part of the cycle, commonly referred as the least successful. The "Sunrise" in "Zarathustra" is the brightest I've ever heard, anyway likely Steinberg's interpretation of Strauss' mighty orchestral work to be the best and most homogenous at all.

Conclusion: Another great moment of DGG, which was quite rightly included in the meritorious series "Originals".