no je reći da se jedna od nosećih ideja, koja ga je držala još od početne zami- sli, odnosila na prevazilaženje religije u korist obožavanja prirode. Štrausovo nadahnuće izraslo je u kompoziciju širokih razmera koju prate narativni sadržaj i naslovi ko- ji služe kao vodič za slušanje. Iz mi- sterioznog početka i zvukova tamne noći rađa se Planinska tema , a dola- zak dana obeležen je svetlim tonalite- tom. Nemojte misliti da se muzikom ne može jasno opisati uspon na pla- ninu, a svi znamo da on nije lak. Zato se u tom poduhvatu Štraus opredelio za marš i fanfare opisujuću opasnosti na takvom putovanju, u čijoj se daljini čuju zvuci lovačkog veselja. Ulazak u šumu pruža opuštanje, a zvuci vode pojavljuju se u Lutanju pored potoka , što zatim postaje bujica sa Na vodo- padu . Utvara se odnosi na legendar- nu alpsku vilu ili šumskog duha i vodi do Na cvetnim livadama . Alpski paš- njak počinje, verovali ili ne, kravljim zvonima i efektima jodlovanja. Plani- nari se zatim gube u Kroz šikaru i gr- mlje na pogrešnoj stazi pre nego što se pojave u veličanstvenom Na gle- čeru . Naredni Opasni trenuci opisuju opasnosti dok se penju sve više i mu- zički jezik se, logično, zaoštrava, dok konačno ne stignu Na vrh . Cilj je po- stignut i tu su sada Prikaza , Izmagli- ca koja se diže , Postepeno naoblače- nje , Elegija i Zatišje pred oluju . Odjednom nastane Oluja i to je je- dan je od najupečatljivijih i najstraš- nijih muzičkih prikaza bujice ikada komponovanih, toliko da se čak po- javljuju i mašine za vetar i grmljavi- nu. Planinari započinju svoj silazak, a teme koje smo slušali prilikom us- pona sada prolaze u prilično brzom osvrtu na njihovom putu prema do- le. Poslednja tri odeljka su nostalgič- nija: Zalazak sunca , Smiraj i Noć , ko- ji nas vraćaju muzici kojom je čitava simfonijska poema i počela. Najuzbudljiviji način da sluša- te ovo delo je, svakako, uživo u kon- certnoj dvorani. Baš kao što je to bilo prilikom otvaranja jedne od prošlih sezona Beogradske filharmonije i ne- zaboravnog izvođenja pod upravom šefa dirigenta Gabrijela Felca. Malo koji snimak se, koliko god bio vrhun- skog kvaliteta, može meriti sa živim izvođenjem jer se kod ove simfonije ima šta i videti! Sa gotovo 130 instru- menata, tu je više od 120 muzičara ko- ji čine ogroman orkestar, impozantan u svom sastavu, baš kao što su i veli- čanstveni Alpi.
Rihard Štraus rođen je u Minhenu, a živeo je i umro u Garmiš- Partenkirhenu, u kojem je napisao simfoniju o svojoj alpskoj avanturi Richard Strauss was born in Munich and lived and died in Garmisch-Partenkirchen, where he wrote this symphony about his Alpine adventure.
spirit and leads to the “Flowering Mead- ows”. “On the Alpine Pasture” begins, be- lieve it or not, with cow bells and yodelling e ects. The mountaineers then get lost in “Through Thickets and Undergrowth on the Wrong Path”, before turning up in the magni cent “On the Glacier”. The follow- ing“Dangerous Moments”section depicts the threats as they climb ever higher and the musical language, logically, sharpens, until they nally reach the peak “On the Summit”. The goal has been achieved, and now there is“Vision”,“Mists Rise”,“The Sun Gradually Becomes Obscured”,“Elegy”and the “Calm Before the Storm”. Suddenly comes the storm, in“Thun- der and Tempest, Descent”, and it is one of the scariest and most striking musical de- pictions of a tempest ever composed, so much so that even devices for generating wind and thunder appear. The mountain- eers start their descent, and the themes we heard during the ascent now pass in a fairly swift review during their return jour- ney back down. The nal three sections are more nostalgic: “Sunset”, “Quiet Set- tles” and “Night”, which return us to the music with which this whole symphon- ic poem began. The most exciting way to listen to this work is certainly live in a concert hall. And that was precisely the case during the opening of one of the previous seasons of the Belgrade Philharmonic Orchestra, in an unforgettable performance under the direction of Chief Conductor Gabriel Feltz. Few recordings, regardless of quali- ty, can be compared to a live performance, because with this symphony there’s also something to see! With almost 130 instru- ments, there are over 120 musicians com- prising a huge orchestra, as impressive in its composition as the Alps are in their mag- ni cence.
Most of An Alpine Symphony was composed in his cabin in the mountain ambience of Garmisch. He completed the outline in 1914 and prepared it for orchestration during the following year, only for the work to be completed in Feb- ruary 1915. It is important to note that one of the fundamental ideas, which had driv- en him from the initial idea, related to the overcoming of religion in favour of the ad- oration of nature. Strauss’s inspiration expressed itself in a composition of broad dimensions that’s accompanied by narrative content and titles that serve as a guide for the listener. From the mysterious start with the sounds of darkest night, a “mountain theme”emerges, and the arrival of the day is marked by a light tone. There should be no doubt that music can clearly describe a mountain climb, and we all know that is not easy. That’s why Strauss opted in that endeavour for a march and fanfare, describing the dangers of such a journey with the sounds of hunting cheer audible in the distance.“Entry into the Forest”pro- vides relaxation, while the sounds of wa- ter appear in “Wandering by the Brook”, which then becomes a torrent with the section “At the Waterfall”. “Apparition” re- lates to the legendary Alpine fairy or forest
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