An old anecdote recounts that when Strauss's wife Adele asked Brahms to autograph her fan, he wrote the first few notes of the " Blue Danube " waltz, and then wrote the words " Unfortunately not by Johannes Brahms!

A story is told in biographies of both men that Strauss's wife Adele approached Brahms with a customary request that he autograph her fan.

The son died aged 10 months in 1852, and in 1854, Strauss's wife and daughter died of cholera.

The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto.

* Translation of Strauss's Vie de Jésus ( 1839 – 1840 )

Tuned cowbells or Almglocken, sometimes known as Alpine Bells ( Alpenglocken: de: Alpenglocken in German ), typically refer to bulbous brass bells that are used to play music, sometimes as a novelty act or tourist attraction in the northern Alps, and sometimes in classical music, as in Richard Strauss's Alpine Symphony.

The TFC has also collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, including Mahler's Second, Third, and Eighth symphonies, Strauss's Elektra, Schoenberg's Gurre-Lieder, and Bartók's The Miraculous Mandarin, on Philips ; Mendelssohn's complete incidental music to A Midsummer Night's Dream, on Deutsche Grammophon ; and Berlioz's Requiem and La damnation de Faust, Fauré's Requiem, and Tchaikovsky's The Queen of Spades, on RCA Victor Red Seal.

Amongst the most celebrated works of the joint authors were La belle Hélène ( 1864 ), Barbe Bleue ( 1866 ), La Grande-Duchesse de Gérolstein ( 1867 ), La Périchole ( 1868 ), and Le Réveillon, which became one of the sources of Johann Strauss's operetta Die Fledermaus.

New York City Opera's 2010 – 2011 season included a new production of Leonard Bernstein's A Quiet Place directed by Christopher Alden ; Richard Strauss's Intermezzo directed by Leon Major ; and a new production titled Monodramas which consisted of three solo one-act works: John Zorn's La Machine de l ’ être, Arnold Schoenberg's Erwartung, and Morton Feldman's Neither.

* Richard Strauss's Die Frau ohne Schatten, Opéra National de Paris ( Opéra Bastille ), 2002

Her recent performances include roles of La Cieca in La Gioconda, Bertarido in Handel's Rodelinda, the title role in Rossini's Tancredi, the title role in Handel's Giulio Cesare, Isabella in Rossini's L ' italiana in Algeri, Erda in Wagner's Ring Cycle ( at the Seattle Opera ), Klytämnestra in Richard Strauss's Elektra ( with the Canadian Opera Company ), Madame de la Haltière in Massenet's Cendrillon ( at London's Royal Opera House ), and the title role in Rossini's Ciro in Babilonia ( in the work's US premiere at the Caramoor International Music Festival in July 2012 and at the Rossini Opera Festival in Pesaro, Italy, in August 2012, where she scored a triumph ).

The first A is an expansive threnody on solo cello ( Schmidt's own instrument ) whose seamless lyricism predates Strauss's Metamorphosen by more than a decade ( its theme is later adjusted to form the scherzo of the symphony ); the B section is an equally expansive funeral march ( deliberately referencing Beethoven's Eroica in its texture ) whose dramatic climax is marked by an orchestral crescendo culminating in a gong and cymbal crash ( again, a clear allusion to similar climaxes in the later symphonies of Bruckner, and followed by what Harold Truscott has brilliantly described as a " reverse climax ", leading back to a repeat of the A section ).

Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.

Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was " stupendous ", and Mahler described it as " a live volcano, a subterranean fire ".

One of the more interesting of Strauss's recordings is perhaps the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, because Strauss used the full complement of percussion instruments required in this spectacular symphony.

His paternal great-grandfather was Jewish-a fact which the Nazis, who lionised Strauss's music, later tried to conceal.

Schmitt, who would later become, for a short time, the chief jurist of Nazi Germany, was one of the first important German academics to review Strauss's early work positively.

This is a delayed revelation along the lines of Richard Strauss's later use of the Eroica Symphony in his Metamorphosen.

Cardus later said, " to be paid to watch cricket at Lord's in the afternoon and hear Lotte Lehmann as Strauss's Marschallin in the evening, was nothing less than an act of Providence ".

In Wagner, she sang many Tannhäuser Elisabeths and Lohengrin Elsas, a few Ortruds in her later career-she virtually owned the role of Senta in Der fliegende Holländer for two decades, but the role in which she was most revered, in addition to Strauss's Kaiserin and Chrysothemis, was Sieglinde in Die Walküre.

In her later years, and like many " big " soprano voices, Rysanek reverted to dramatic mezzo-soprano roles like Ortrud in Wagner's Lohengrin, Herodias in Strauss's Salome and Klytemnestra in his Elektra.

At least one critic has suggested that, in its heroic but perfectly judged dimensions, Manfred resembles Richard Strauss's later tone poem A Hero's Life.

Beiträge zur Beantwortung der gegenwärtigen Lebensfrage der Theologie ( 1838 ; 2nd ed., 1866 ) was a reply to Strauss's Life of Jesus, and his criticism resulted in Strauss making numerous concessions in later works.

He made his first appearance at the Salzburg Festival as Ochs in Richard Strauss's Der Rosenkavalier in 1969, returning there three years later to sing the title role in Alban Berg's Wozzeck.

Rains made several audio recordings, narrating a few Bible stories for children on Capitol Records, and reciting Richard Strauss's setting for narrator and piano of Tennyson's poem Enoch Arden, with the piano solos played by Glenn Gould.

The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it.

Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn.

Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Arturo Toscanini, who in 1933 had said, " To Strauss the composer I take off my hat ; to Strauss the man I put it back on again ," when Strauss had accepted the presidency of the Reichsmusikkammer.

And Strauss's late works, modelled on " the divine Mozart at the end of a life full of thankfulness ," are perhaps the most remarkable works by any octogenarian composer.

Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes.

Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment.

* Richard Strauss's standard repertory opera Ariadne auf Naxos was preceded by a L ' Arianna each by Claudio Monteverdi and Carlo Agostino Badia, by an opera Ariadne ( 1691 ) by German composer Johann Georg Conradi, and by non-operatic Ariadne auf Naxos works including a cantata based on the Heinrich Wilhelm von Gerstenberg poem and Jiri Antonin Benda's melodrama Ariadne auf Naxos ( Benda ), and by Joseph Haydn's cantata Arianna a Naxos.

Richard Strauss's 1905 opera Salomé, based on the play by Oscar Wilde, uses a subject frequently depicted by symbolist artists.

Although the work was based on the same Nietzsche work as Richard Strauss's Also sprach Zarathustra, Delius distanced himself from the Strauss work, which he considered a complete failure.

After his commentaries ( on Romans, the Gospel of John, the Sermon on the Mount and the Epistle to the Hebrews ) and several volumes of sermons, his best-known books are Stunden christlicher Andacht ( 1839 ; 8th ed., 1870 ), intended to take the place of J H D Zschokke's standard rationalistic work with the same title, and his reply to David Strauss's Life of Jesus ( Glaubwürdigkeit der evangelischen Geschichte, 1837 ).

Tom Morello, the band's guitarist, wrote on August 5, 1999 in Neil Strauss's Times column:

Schmitt's positive reference for, and approval of, Strauss's work on Hobbes was instrumental in winning Strauss the scholarship funding that allowed him to leave Germany.

In his 2009 book, Straussophobia, Peter Minowitz provides a detailed critique of Drury, Xenos, and other critics of Strauss whom he accuses of “ bigotry and buffoonery .” In his 2006 book review of Reading Leo Strauss, by Steven B. Smith, Robert Alter writes that Smith " persuasively sets the record straight on Strauss's political views and on what his writing is really about.

of Strauss's 1932 German essay on Carl Schmitt.

He commented negatively on a radio broadcast of December 30, 1934, but then heard Strauss's Der Fledermaus in a live broadcast from the Vienna State Opera and declared it a " most brilliant performance.

The film also features the famous Habanera from the opera Carmen and the opening from Richard Strauss's Also sprach Zarathustra, the latter of which plays over the deathbed of Earl Partridge and introduces his son Frank Mackey on stage.

Rudolf Augstein, owner and editor-in-chief of the influential Der Spiegel magazine, had been arrested on Strauss's request and was held for 103 days.