The Unanswered Question is probably Charles Ives‘ most famous composition. It’s equally a philosophical statement as it is a work of art. While that may sound simple, I think it’s actually quite a compositional feat. Ives has written a remarkably transparent composition that clearly conveys his philosophical idea. Compare this piece to Strauss‘ Also Sprach Zarathustra, written only a decade before, which merely paints the mood of Nietzsche‘s book, and fails to put forth a logical argument or statement of any kind. Meanwhile, Ives’ work is perfectly clear.***

[SPOILER ALERT – skip this paragraph and listen to the piece if you want to hear it for yourself. If you want some hints, read on.] Three instrumental voices create the musical landscape. The strings, representing eternity, play slow, beautiful music. The lone trumpet asks its question: “what is the meaning of existence?” Dissonant winds provide the answer, which does not satisfy. The question is asked again and again, and the answer becomes more complicated, but never satisfactory. In the end, two things remain: the question, and eternity.

*** That is to say, I believe the meaning of the music is clear as long as the audience knows the title of the piece. If a person heard this work without knowing the title, there is a chance s/he might understand the deeper meaning, but it’s certainly less likely.

For some people, today is a major shopping day. For others, it’s a day when post-Thanksgiving diets are begun (only to be abandoned by December 1st, when the “holiday diet” of cookies and candies begins.) For me, it is a day of repose. The only thing on my agenda is to eat leftovers.

Whether today is a “go get ’em” or a “no way am I taking off my pajamas” day for you, today’s piece will hit home. Like yesterday‘s Carmina Burana, you’ve heard the beginning part of today’s piece, but probably not the whole thing. The Stanley Kubrick film 2001 – A Space Odyssey made this piece so popular that most people identify it with the film rather than the philosophical novel which provided the piece’s original name – Thus Spoke Zarathustra.

If you’re heading out shopping, listen to the beginning. You’ll know when to stop. But when you come back, with arms full of packages and wallet empty of cash, and you realize there’s something big missing from your life – you can fill that empty hole by listening to the rest of Also sprach Zarathustra, by Richard Strauss.

Personal opinion about all of Strauss’ works: the horn is his father, he is the violin, and the waltzes are the Viennese audiences he had to write for (all three were love-hate relationships).

My favorite parts:

• the organ at 1:43 – the übermensch of instruments
• the über romantic string section, from 2:44-4:33
• the famous, creepy weird fugue that begins at 10:52
• the waltz at 21:04 – you can take Strauss out of Bavaria, but you can’t take the Bavaria out of Strauss
• so, pretty much, the whole piece