When Zarathustra was thirty years old, he left his home and the lake of his home, and went into the mountains. There he enjoyed his spirit and solitude, and for ten years did not weary of it. At last his heart changed - and rising one morning with the rosy dawn, he went before the sun, and spoke thus unto it:
"Thou great star! What would be thy happiness if thou hadst not those for whom thou shinest!"
Symphonic Dances
So the book Also sprach Zarathustra: Ein Buch für Alle und Keinen (Thus Spoke Zarathustra: A Book for All and None) by Friedrich Nietzsche begins. It is a book of philosophy set as a novel that has as its main character a mythical prophet named Zarathustra that is based on the ancient Persian prophet Zoroaster, the founder of one of the first monotheistic religions in the world, Zoroastrianism. But Nietzsche's Zarathustra is purely mythical and surface of the similarity of name has nothing to do with the actual prophet. Nietzsche's prophet is a instructor of changing morals, enchanting mankind to overcome itself and come to be the 'superman'. The book delves into many philosophical issues and challenges, and as the above example shows, it is a lot to wade through, not only for the subject matter but the style in which it is written. Nietzsche wrote it in the style of scripture, perhaps partly to mock former scripture. In the book is also the first time Nietzsche used the phrase 'God Is Dead', which has lead to a lot of misuse and meanings that have minute to do with the context in which it is used in the book.
Strauss himself said the following concerning the work:
"I did not intend to write philosophical music or to portray in music Nietzsche's great work. I meant to transport by means of music an idea of the development of the human race from its origin, through the assorted phases of its development, religious and scientific, up to Nietzsche's idea of the Superman. The whole symphonic poem is intended as a homage to Nietzsche's genius, which found its many expression in his book Thus Spake Zarathustra."
The book is divided into about eighty separate lesson headings, with each lesson ending with the words 'Thus spoke Zarathustra, which explains the title of Strauss' work. He uses nine of the lesson headings in the score.
Einleitung, oder Sonnenaufgang (Introduction, or Sunrise) - perhaps the most recognizable opportunity of any piece of classical music, it as been used in movies and by rock stars, which is quite a tribute to its power and attraction. Strauss' sunrise brings the new philosophy of Zarathustra with a low rumbling and then the first appearance of the 'World Riddle' motif of C-G-C, somewhat of a tonal ambiguity that is resolved but briefly when the third for the chord is heard shortly after, but then it is immediately flattened. The mystery has already begun. The sections ends in a grand splash of sound from the orchestra, and the three-note World Riddle motif is heard in assorted guises throughout the rest of the work.
Von den Hinterweltlern (Of those in Backwaters) - assorted translations of this include 'Of those in the hinterlands'. Strauss divides the string section into ten groups that play a rich progression of harmonies that climaxes into a soaring motif for the violins. The starting of this section quotes the Credo in unum Deum (I believe in one God) from the Catholic Mass. So are the ones in the backwaters, or hinterlands, the ones who are the traditionally religious?
Von der großen Sehnsucht (Of the Great Longing) - The great longing continues with the former religious theme as the organ quotes the Magnificat. Is the Great Longing the desire of the traditionally religious to be near to God and to use religion to try and solve the World Riddle?
Von den Freuden und Leidenschaften (Of Joys and Passions) - The joys and passions of Zarathustra's youth are pondered upon. What were they, how could they have been used more for the advantage of mankind that no satisfy a desire?
Das Grablied (The Song of the Grave) - With the arrival of the dawn and a new philosophy, Zarathustra knows there is no longer any way or calculate to go back to the way things were. Hence, they are buried in the grave.
Von der Wissenschaft (Of Science and Learning) - Strauss uses the learned fugue to report science. His fugue subject is made up of all twelves notes of the scale and represents science's attempt to encompass, include and illustrate the World Riddle. Indeed, the three note motif is the first three notes of the subject.
Der Genesende (The Convalescent) - Science in interrupted by of all things, a dance tune. But science comes back aggressively, makes its case with a shout. After a brief pause the orchestra wanders until it finds the kernel of the dance tune already heard.
Das Tanzlied (The Dance Song) - The dance tune progresses into a full-fledged, romantic-era Viennese waltz.
Nachtwandlerlied (Song of the Night Wanderer) - Midnight is heard tolling, the work ends in the World Riddle being plucked out by the string basses, and the woodwinds in turn play a separate motif. The work ends in a more sever tonal ambiguity than which it began, the ambiguity of the World Riddle in neither major or minor key, and the other motif in B Major. Is there any answer? Are there any answers? Or is true wisdom attained with the realization that there are no concrete answers to the World Riddle, and that the sass is in fact is no sass at all, but the acceptance of things that can't be changed and the striving to convert the things that can be changed.
One of the most enchanting interpretations of the work comes from an report written by Marin Alsop titled Alsop Sprach Zarathustra. A snippet from the article, I could not state it great myself
"Strauss takes Nietzsche's work and distills it into eight musical sections, with an introduction and epilogue. through these sections, he wants to transport the essence of Nietzsche's philosophical arrival to the world. Nietzsche wanted us, as human beings, to reconsider our value theory and, rather than blindly believe in a monotheistic god or in the advancing scientific field, start to hold ourselves accountable for our own actions.
Whether you ascribe to that philosophy or not has no bearing on the fact that this music, composed so painstakingly by Strauss, holds the power to profoundly move us."
Strauss - Also Sprach Zarathustra
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