Elektra Strauss

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Elektra chord: E B D

The first item on the disc is the world premiere recording of a suite from Strauss’s fourth opera Elektra. The incredible richness of the scoring and the complexity of the composer’s harmonic vocabulary also provide a marvellous showcase for the remarkable virtuosity of the Pittsburgh musicians who unflinchingly rise to the challenge with. Discover releases, reviews, track listings, recommendations, and more about Richard Strauss - Vienna Philharmonic Orchestra. Georg Solti - Elektra at Discogs. Complete your Richard Strauss - Vienna Philharmonic Orchestra. Georg Solti collection. Richard STRAUSS: Elektra: Recordings Introduction and Survey. Opera in 1 Act, 1909 An Introduction by Marc Bridle After the band of the Grenadier Guards had played an Elektra potpourri His Majesty does not know what the Band has just played, but it is never to be played again. King George V, quoted in Reid, Thomas Beecham, 1961. If Richard Strauss' third opera, Salome, established his.


En Electra

Elektra chord as arpeggio then simultaneously
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Elektra chord
Component intervals from root
diminished fourth
minor second
diminished seventh
perfect fifth
Forte no. / Complement
5-32 / 7-32

The Elektra chord is a 'complexly dissonant signature-chord'[1] and motivic elaboration used by composerRichard Strauss to represent the title character of his opera Elektra that is a 'bitonal synthesis of E major and C-sharp major' and may be regarded as a polychord related to conventional chords with added thirds,[2] in this case an eleventh chord. It is enharmonically equivalent to a 7#9 chord : D-F-A-C-E and a 6b9 chord : E-F-G#-B-C#.

Elektra chord implies an E major and C major chord together (C E GElektra strauss score = D F A)
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In Elektra the chord, Elektra's 'harmonic signature' is treated various ways betraying 'both tonal and bitonal leanings...a dominant 4/2 over a nonharmonicbass.' It is associated as well with its seven note complement which may be arranged as a dominantthirteenth[1] while other characters are represented by other motives or chords, such as Klytämnestra's contrasting harmony. The Elektra chord's complement appears at important points and the two chords form a 10-note pitch collection, lacking D and A, which forms one of Elektra's 'distinctive 'voices'[3]

Motivic elaboration of Elektra chord

Elektra Strauss Libretto

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Elektra Opera

The chord is also found in Claude Debussy's Feuilles mortes, where it may be analyzed as an appoggiatura to a minor ninth chord, and Franz Schreker's Der ferne Klang, and Alexander Scriabin's Sixth Piano Sonata.[2]

See also[edit]


Elektra Strauss Plot

  1. ^ abLawrence Kramer. 'Fin-de-siècle Fantasies: Elektra, Degeneration and Sexual Science', Cambridge Opera Journal, Vol. 5, No. 2. (Jul., 1993), pp. 141-165.
  2. ^ abH. H. Stuckenschmidt; Piero Weiss. 'Debussy or Berg? The Mystery of a Chord Progression', The Musical Quarterly, Vol. 51, No. 3. (Jul., 1965), pp. 453-459.
  3. ^Carolyn Abbate, 'Music and Language in Elektra', in Richard Strauss: Elektra, ed. Derrick Puffett, Cambridge Opera Guides (Cambridge, 1989), 107-27. Cited in Kramer (1993), p.156.

External links[edit]

Elektra Opera Libretto English

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