Symphony in D minor
Strauss him- self conducted the first performance of his Bläsersuite in Munich and thus stood for the first time in public on the conductor’s rostrum.
première of his symphonic poem Tod und Verklärung (opus 24) in Eisenach and in Weimar the première of Macbeth (opus 23)
With a "travel fund” of 5,500 marks (almost dou- ble his salary as conductor in Weimar), provided for him by his uncle Georg Pschorr, his mother’s brot- her, Strauss travelled to Greece and Egypt to conva- lesce.
The first opera was premièred in Weimar under the baton of the composer and achieved only token recognition. The work overtaxed the cast, who then complained to the opera management.
His preferred sphere was now the symphonic poem: Till Eulenspiegels lustige Streiche (opus 28) was premièred in Cologne in 1895, and Also sprach Zarathustra (opus 30) Frankfurt the following year. Strauss’ interpretation of "old roguish tunes” and his the reworking of Nietzsche’s poem is still one of his most popular compositions.
Two further symphonic poems were premièred: Don Quixote (opus 35) in Cologne, based on themes from Miguel de Cervantes’ famous novel, and the partly autobiographical Heldenleben (opus 40) in Frankfurt.
Feuersnot (opus 50) con-
tain several sarcastic remarks
against the conservative art world in Munich, but also much splendid music, including the first opera waltz theme by Richard Strauss.