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"Till Eulenspiegel's Merry Pranks" op. 28 by Richard Strauss, performed by the WDR Symphony Orchestra conducted by Cristian Măcelaru on Nov. 05, 2021 at the Cologne Philharmonic Hall.
Richard Strauss - Till Eulenspiegel's Merry Pranks op. 28 (Till Eulenspiegels lustige Streiche)
00:00 Es war einmal ein Schalknarr (Prolog)
00:20 Namens „Till Eulenspiegel“
01:07 Das war ein arger Kobold
01:47 Auf zu neuen Streichen
02:24 Wartet nur, ihr Duckmäuser
02:52 Hop! Zu Pferde mitten durch die Marktweiber [1. Streich]
03:16 Mit Siebenmeilenstiefeln kneift er aus
03:24 In einem Mauseloch versteckt
03:43 Als Pastor verkleidet trieft er von Salbung und Moral [2. Streich]
04:15 Doch aus der großen Zehe guckt der Schelm hervor
04:26 Faßt ihn ob des Spottes mit der Religion doch ein heimliches Grauen vor dem Ende
05:02 Till als Kavalier zarte Höflichkeit mit schönen Mädchen tauschend [3. Streich]
05:15 Er wirbt um sie
05:44 Ein feiner Korb ist auch ein Korb
06:06 Schwört Rache zu nehmen an der ganzen Menschheit
06:37 Philistermotiv [4. Streich]
07:00 Nachdem er den Philistern ein paar ungeheuerliche Thesen aufgestellt hat, überlässt er die Verblüfften ihrem Schicksal.
07:44 Grimasse von weitem [letzter Streich]
08:10 Tills Gassenhauer
11:52 Das Gericht
12:04 Er pfeift noch gleichgültig vor sich hin!
12:39 Hinauf auf die Leiter! Da baumelt er, die Luft geht ihm aus, eine letzte Zuckung - Tills Sterbliches hat geendet
13:27 Epilog
WDR Symphony Orchestra
Cristian Măcelaru, conductor
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○ Work introduction
"Madnesses" is what Richard Strauss's conservative father Franz called the "New German" musical movement around Richard Wagner and Franz Liszt. As solo horn player in the Munich Court Orchestra and professor at the Royal Bavarian School of Music, he had a great influence on the initial development of his gifted filius. Richard Strauss' contact with the conductor Hans von Bülow and a charismatic member of the Meininger Hofkapelle, which Strauss conducted from 1885, brought a decisive turn: Alexander Ritter, second concertmaster, husband of a Wagner niece and composer himself. These personalities introduced Strauss to music that went beyond the abstract "tonally moving form" (the ideal of the famous Wagner critic Eduard Hanslick). Strauss became a composer who carried on the art of the titan of Bayreuth in his operas, and Liszt's legacy in his tone poems - with a clear reflection on the illustrative power of music, combined with the leitmotif technique that ultimately goes back to Berlioz. In 1886, it started with "Aus Italien", followed by "Macbeth", "Don Juan" and "Tod und Verklärung", until the Cologne audience was able to experience the premiere of "Till Eulenspiegel" in 1895 in the Gürzenich. Strauss had originally planned an opera based on the subject of the legendary jester from a folk book of 1515, but then discarded it.
Although a clear sequence of five Eulenspiegel pranks is recognizable in the tone poem, Strauss remained vague in his description. Thus he wrote to the conductor Franz Wüllner: "It is impossible for me to give a program of the 'Eulenspiegel': what I have thought of in the individual parts would often seem strange enough when clothed in words, perhaps even cause offense." Concise, however, is the musical characterization of the jester himself: the perverse "Till" fanfare in the horn, followed by the jaunty clarinet figure - musical realization of a cheeky "Nasedreh".
(Text: Oliver Buslau)