Program Notes

Richard Strauss (1864-1949)

Till Eulenspiegel’s Merry Pranks, Op. 28

Scored for four flutes and piccolo, four oboes and English horn, four clarinets, alto clarinet and bass clarinet, four bassoons and contra bassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings  

To satisfy that curiosity once and for all, yes, there really was a Till Eulenspiegel. He lived in the 14 th century, and as the musical escapades of Strauss’ tone poem suggest, he was a rogue whose dislike of class distinctions and special privilege inspired him to perform elaborate and sometimes cruel practical jokes on the objects of his scorn. His legend lived on long after his death, and stories of his escapades became the inspiration for Till Eulenspiegel’s Merry Pranks. First performed in November, 1895, the work established once and for all Richard Strauss’ supreme mastery of the tone poem and gave him his rightful place among the greatest orchestrators who ever lived.

Strauss creates an elaborate fairy tale piece by skillful use of the leitmotif, one of his greatest and most effective musical tools. The two themes that represent the main character are transformed throughout the work, and, just as Till does, constantly change guises to suit the widely varied situations. Soloists and instrumental groups are called upon to play various roles and create atmosphere and mood. Strauss’ musical pictures are uncanny and his musical instincts unerring. The result of his remarkable gifts for color and texture is a story that comes vividly to life before us. Strauss was keenly aware of this, and it created a dilemma for him.

Like Mahler before him, Strauss was reluctant to provide a detailed program as he believed that this could lessen the musical impact of a work. He said, “What I had in mind when writing the various sections, if put into words, would often seem peculiar.” But later, Strauss broke down and gave a detailed program for the work which only adds to an appreciation of this masterpiece.

“Once upon a time there was a rogue.” A whimsical introduction on violins ushers in the main theme played on horn, which is Till himself. The theme intensifies as it is repeated then taken up by the oboes, and soon builds to a climax. “That was a rascally scamp!” The D clarinet introduces the second theme, more mischievous than the first. The orchestral expansion of the music which alternates between strings and solo winds suggests the unpredictability of Till’s actions. “Just wait, you hypocrites!” Till spies a marketplace and immediately sees opportunity to create havoc. “Hop on horseback straight through the market women.” Rushing winds and clacking percussion is the upsetting of the market and the damage left in Till’s wake, “Off and away in seven-league boots.” A brief respite as Till hides in a mousehole, but when he emerges it is dressed as a priest, “oozing unction and morality. Yet the rogue peeks out of his big toe.” The main theme is transformed into a stately processional. “He is seized with a horrid premonition as to the outcome of his mockery of religion.” A sliding violin figure and his disguise is off. Next Till pretends to be a cavalier and “exchanges courtesies with beautiful girls.” The theme now becomes insincerely sugary. “Glowing with love, Till woos a girl.” The declarations of love now become more sincere until he is harshly rebuffed. The music becomes angrily defiant and Till storms off, swearing revenge on all mankind. Next he comes upon haughty academics in their robes and wigs. Their theme is played on bassoons and bass clarinet. “After he has propounded to the philistines a few absurd theses, Till leaves them in astonishment to their fate.” The music is seemingly majestic and proud, but suddenly becomes fleeting with final trills representing “Till’s great grimaces.” He then walks nonchalantly away until he is seized by a sudden fear in frightening chords in the winds. But ignoring his reservations once again he is off to create more mayhem. Till’s theme in its original form is heard on the horns and an orchestral pastiche suggests a medley of mischief. Till now becomes more brazen as he once again dons his priest disguise and is openly hostile toward religion. In this he has gone too far. A drum roll and harsh brass chords suggest that the law has caught up with him and he is now answering for his behavior. He tries to whistle it away nonchalantly. The interrogation in the brass becomes even sterner. His whistling becomes less enthusiastic, and, not satisfied with Till’s answers, sentence is pronounced: death by hanging. Till is carted away and ascends the gallows. The ascending notes suddenly descend and an unpleasant waggle as “There he dangles. The breath leaves his body. Till’s mortal self is finished.” But after a solemn funereal pronouncement, the “Once upon a time” theme returns, suggesting that Till’s tales live on.