Raphaela Gromes can understand how a treasure hunter feels.
She lifted one herself.
The Munich resident discovered neither gold nor precious stones, but something far more precious to her: the first version of Richard Strauss' cello sonata.
Raphaela Gromes grew up listening to Richard Strauss' cello sonata, albeit with the well-known second version.
The cellist and her pianist give a house concert in front of Garmisch-Partenkirchen: "So that it fits."
In his adopted home and in nature, the 30-year-old feels even more connected to the composer.
Garmisch-Partenkirchen
- In 2017, when Brigitte Fassbaender said goodbye as artistic director of the Richard Strauss Festival in Garmisch-Partenkirchen, Raphaela Gromes found out about the first version of Strauss' Cello Sonata.
“That immediately piqued my curiosity,” recalls the 30-year-old.
Also because she practically “heard the cello sonata in the womb” - albeit in the familiar second version.
To this day this is one of the composer's most frequently played youth works.
It's logical that Gromes' parents, both cellists, often grappled with it.
And just as logical that they passed on their love for Strauss and their instrument to their daughter.
During the Strauss Days she will play the sonata for the first time in front of a large audience
It is understandable that Wilhelm Gromes and Astrid Hedler-Gromes were also extremely excited to see what their daughter had unearthed. This happened in close cooperation with the musicologists at the Ludwig Maximilian University in Munich. As a result, Gromes and the pianist Julian Riem meticulously studied the sonata. They spoke to previous teachers and mentors about their interpretation of the work - "we still had a few question marks" - and were inspired by their views. Last year, the premiere took place in the auditorium of Munich University. “In a small circle,” says Gromes. She and Riem are now presenting the work to a large audience for the first time in Garmisch-Partenkirchen. At the start of the Richard Strauss Days, they organize the chamber music evening on Thursday, April 24th.June (7 p.m. in the Richard Strauss concert hall). The program also includes - in keeping with the new cultural partnership of the market town - “Une Larme - Thème et variations” by Gioachino Rossini. “It's like meeting old friends,” says Gromes, who also appreciates the Italian very much. “He and Strauss are the only great opera composers who have also written for cello.” She and her piano accompanist initially prepare separately for the performance in Garmisch-Partenkirchen. Rehearsals begin two or three weeks in advance. "We're going to try it out with a little house concert so that it sits here."says Gromes, who also appreciates the Italian very much. “He and Strauss are the only great opera composers who have also written for cello.” She and her piano accompanist initially prepare separately for the performance in Garmisch-Partenkirchen. Rehearsals begin two or three weeks in advance. "We're going to try it out with a little house concert so that it sits here."says Gromes, who also appreciates the Italian very much. “He and Strauss are the only great opera composers who have also written for cello.” She and her piano accompanist initially prepare separately for the performance in Garmisch-Partenkirchen. Rehearsals begin two or three weeks in advance. "We're going to try it out with a little house concert so that it sits here."
Finding unknown works is a concern of Raphaela Gromes
The cellist calls the works of the composer in his adopted home, which inspired him so strongly, “something very special”. In 2012 she experienced this feeling for the first time as the winner of the Strauss competition, then again at the Fassbaender farewell, at concerts at the Strauss Institute and now when she can present her treasure. Finding unknown works and sheet music is a concern for Gromes. She has already unearthed something of Jacques Offenbach and Julius Klengel. Tracking down an unknown Strauss, "I would never have dreamed it, that makes me proud". His music has aroused great enthusiasm and joie de vivre in her since childhood. “I feel connected to him,” emphasizes the musician. The youthful exuberance, the great temperament have it in the first version of the cello sonata,which has little to do with the well-known second version, especially impressed. "It's great fun to experience the rousing freshness."
Her parents were also very interested in how this work sounds. Her father Wilhelm Gromes in particular, who suffered from leukemia and died in 2019, took an active part in the development. “A precious time” were the hours she spent at his hospital bed talking about the discovery. “That distracted him.” And strengthened the connection between father and daughter, who both love Strauss and his music so much. She dedicated the CD to him, for which she and Riem recorded both sonatas, among other things. Because of him, she is also committed to the José Carreras Leukemia Foundation. Gromes doesn't just want to play, but to make a difference. That's why she hopes for more musical treasures that she can still unearth.