| Throughout Richard Strauss’ s life,his seven symphonic poems written at the turn of the 19 th and 20 th centuries not only advanced the new development of the programme music at the end of the century,but also established him as the most influential musician in Germany at the turn of the century.How Strauss incorporated key imagery and central ideas from the philosophical work into the writing of the symphonic poem.The first chapter is structured around the historical context.The first section examines the influence of the city of Munich at the end of the century and the lack of will to live in an era of ‘decadence’ on the composer’s composition of the symphonic poem Also Sprach Zarathustra.The second section focuses on the structure,linguistic style and core concepts of Nietzsche’s work.The third section focuses on the way in which Also Sprach Zarathustra as an “opportunity” relates to the philosopher Nietzsche and the musician Richard Strauss.The third Chapter reflects on the composition of the symphonic poem and the symphonic grand narrative up to the late Romantic period.The first section focuses on Zarathustra as the “personal will”,reflecting on both the philosophical and musical texts,and is presented in a “narrative-discursive” narrative style.The second section examines the relationship between symphonic poetry and music.The second section explores the “dual narrative”of the symphonic poem’s composition,which completes a composer’s voice based on the original work,and examines the symphonic poem in terms of the symbolisation of theme-motif,the transformation of plot in the structural narrative,and the rendering of imagery in the underlying narrative by orchestration and sound weaving.The third section focuses on the narrative archetypes in the symphonies of Mahler,another great composer of the Late Romantics,to break through the German-Austrian aesthetic of Beethoven and complete the symphonic grand narrative of the Late Romantics in a kind of “The Novel-Symphony”. |
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