72 | no je reći da se jednaodnosećih ideja, koja ga je držala još od početne zamisli, odnosilanaprevazilaženje religije u korist obožavanja prirode. Štrausovo nadahnuće izraslo je u kompoziciju širokih razmera koju prate narativni sadržaj i naslovi koji služe kao vodič za slušanje. Iz misterioznog početka i zvukova tamne noći rađa se Planinska tema, a dolazakdanaobeležen je svetlimtonalitetom. Nemojte misliti da se muzikom ne može jasno opisati uspon na planinu, a svi znamo da on nije lak. Zato se u tompoduhvatu Štraus opredelio zamarš i fanfare opisujućuopasnosti na takvomputovanju, učijoj sedaljini čuju zvuci lovačkog veselja. Ulazak u šumu pruža opuštanje, a zvuci vode pojavljuju se u Lutanju pored potoka, što zatim postaje bujica sa Na vodopadu. Utvara se odnosi na legendarnualpskuvilu ili šumskogduha i vodi do Na cvetnim livadama. Alpski pašnjak počinje, verovali ili ne, kravljim zvonima i efektima jodlovanja. Planinari se zatimgube u Kroz šikaru i grmlje na pogrešnoj stazi pre nego što se pojave u veličanstvenom Na glečeru.Naredni Opasni trenuci opisuju opasnosti dok se penju sve više i muzički jezik se, logično, zaoštrava, dok konačno ne stignu Na vrh. Cilj je postignut i tu su sada Prikaza, Izmaglica koja se diže, Postepeno naoblačenje, Elegija i Zatišje pred oluju. Odjednomnastane Oluja i to je jedan je od najupečatljivijih i najstrašnijih muzičkih prikaza bujice ikada komponovanih, toliko da se čak pojavljuju i mašine za vetar i grmljavinu. Planinari započinju svoj silazak, a teme koje smo slušali prilikom uspona sada prolaze u prilično brzom osvrtu na njihovom putu prema dole. Poslednja tri odeljka su nostalgičnija: Zalazak sunca, Smiraj i Noć, koji nas vraćaju muzici kojom je čitava simfonijska poema i počela. Najuzbudljiviji način da slušate ovo delo je, svakako, uživo u koncertnoj dvorani. Baš kao što je to bilo prilikom otvaranja jedne od prošlih sezona Beogradske filharmonije i nezaboravnog izvođenja pod upravom šefa dirigenta Gabrijela Felca. Malo koji snimak se, koliko god bio vrhunskog kvaliteta, može meriti sa živim izvođenjem jer se kod ove simfonije ima šta i videti! Sa gotovo 130 instrumenata, tu jevišeod120muzičarakoji čineogromanorkestar, impozantan u svom sastavu, baš kao što su i veličanstveni Alpi. 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 February 1915. It is important tonote that one of the fundamental ideas, which had driven him from the initial idea, related to the overcomingof religion in favour of the adoration 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 theday ismarked 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”provides relaxation, while the sounds of water appear in “Wandering by the Brook”, which then becomes a torrent with the section “At the Waterfall”. “Apparition” relates to the legendaryAlpine fairyor forest spirit and leads to the “Flowering Meadows”. “On the Alpine Pasture” begins, believe it or not, with cowbells andyodelling e ects. Themountaineers then get lost in “Through Thickets and Undergrowth on theWrong Path”, before turning up in the magni cent “On the Glacier”. The following“DangerousMoments”sectiondepicts the threats as they climb ever higher and themusical 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 GraduallyBecomesObscured”,“Elegy”and the “Calm Before the Storm”. Suddenly comes the storm, in“Thunder andTempest, Descent”, and it is one of the scariest andmost strikingmusical depictions of a tempest ever composed, so much so that even devices for generating wind and thunder appear. Themountaineers start their descent, and the themes we heard during the ascent nowpass in a fairly swift reviewduring their return journey back down. The nal three sections are more nostalgic: “Sunset”, “Quiet Settles” and “Night”, which return us to the music with which this whole symphonic poem began. The most exciting way to listen to this work is certainly live in a concert hall. And thatwas precisely the caseduring 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 quality, canbe compared toa liveperformance, because with this symphony there’s also something to see!With almost 130 instruments, there are over 120musicians comprising a huge orchestra, as impressive in its compositionas theAlpsare intheirmagni cence. Rihard Štraus rođen je u Minhenu, a živeo je i umro u GarmišPartenkirhenu, 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. iStock / Rocky89
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