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Don Juan, Op. 20, is a tone poem in E major for large orchestra written by the German composer Richard Strauss in 1888. The work is based on Don Juans Ende, a play derived from an unfinished 1844 retelling of the tale by poet Nikolaus Lenau after the Don Juan legend which originated in Renaissance-era Spain.
Strauss in 1894, aged 30 Till Eulenspiegel's Merry Pranks (German: Till Eulenspiegels lustige Streiche , pronounced [tɪl ˈoʏ̯lənʃpiːɡl̩s ˈlʊstɪɡə ˈʃtraɪçə] ), Op. 28, is a tone poem written in 1894–95 by Richard Strauss .
The German folk hero Till Eulenspiegel is a rogue and ne’er-do-well whose escapades Strauss captures almost cinematically in this brilliantly entertaining piece. Quick Facts. Composer’s life: Born June 11, 1864, in Munich, Germany; died September 8, 1949, in Garmisch-Partenkirchen, Bavaria, Germany. Year completed: 1895.
Richard Strauss Conducts (1999) Beethoven: Symphonies Nos. 5 & 7 (2000) Strauss Conducts An Alpine Symphony (2001) Strauss Conducts Ein Heldenleben (2003) Richard Strauss conducts Don Quixote (2004) Strauss conducts Der Rosenkavalier (2008) Richard Strauss: The Last Concerts (2009) Richard Strauss: Composer, Conductor, Pianist and Piano… (2010)
17 de may. de 2022 · Till Eulenspiegel was an actual historical character of the 14th century. His reputation for practical jokes and roguish adventures defying all authority were documented in German literature of the early 16th century. Richard Strauss originally became interested in Till as the subject of an opera.
Generally agreed to be autobiographical in nature despite contradictory statements on the matter by the composer, the work contains more than thirty quotations from Strauss's earlier works, including Also sprach Zarathustra, Till Eulenspiegel, Don Quixote, Don Juan, and Death and Transfiguration .
Don Juan to Till Eulenspiegel was interpreted by Werbeck as an evil that Strauss tolerated because it improved the tone poems' public reception; when problems cropped up with Don Quixote, Strauss changed his strategy. While I fully agree that concern for reception shaped Strauss's decisions about how to inform the public about
