The German philosopher Friedrich Nietzsche was not only regarded as an amoralist and a great rule-breaker and hunter of disguised neuroses, he was also a master stylist and demanded nothing less than stylistic perfection of himself.

In his work 'The Birth of Tragedy', even at the beginning of his career as a writer, it is clear what was important to him: to fuse the form-creating Apollonian artistic instincts with the artistic-free, interpretative Dionysian, form-breaking instincts in order to find a higher aesthetic level.

With his work Zarathustra, which catapulted him into the Olympus of philosophy, he must have succeeded in this galvanic art, because the German composer Richard Strauss set this magnificent work to music in 1896 and thus realized what Nietzsche did not dare to dream in his boldest pianist dreams: to transfigure his words into the symbolism of classical music through the magical hand of a master and thus make them resound.

The premiere, on November 27, 1896, in Frankfurt, was not just an event but a declaration. Strauss, wielding his baton, conducted not just an orchestra but the very zeitgeist of his era. This piece, a tone poem, captures the evolution from the primal to the sublime, from the Dionysian to the Apollonian, all while the world teetered on the brink of the 20th century's cataclysms.

With Nietzsche's prophetic words echoing in the background, Strauss didn't just compose; he transcended, giving sound to the Übermensch's ascent. This wasn't a mere translation of philosophy into music but a bold stroke in the canvas of human existence.