Happy Spring Games

by Petar PLAMENOV

Sofia Philharmonic Orchestra
Conductor: Yong Lee Chill, Korea
Soloist: Alexander Knyazev, Russia [cello]
• In the program: Claude Debussy - The Sea, Schumann - Concerto for Cello and Orchestra, Richard Strauss - Symphonic poem Til Eulenspiegel

Bulgaria Hall
Grand Hall, 19:30
Address:
Sofia, 1 Aksakov Str.
Working time: mon-sun 09:00–18:30
Phone: 02 987 76 56

One of Strauss' most popular symphonic poems is Till Eulenspiegel, a single-movement work for orchestra. It was composed between 1894 and 1895, shortly after the premiere and critical debacle of his first opera Guntram. In choosing the popular tale of Till Eulenspiegel as the basis for the tone poem, Strauss found an effective vehicle for responding to his critics, who treated his first opera unfavorably.



The legend of Till Eulenspiegel is familiar to most German speakers and derives from about 1500, if not earlier. That was when a book was published, telling the story in 95 scenes, together with an introduction, by an anonymous author under the pen-name “N”. Quite probably, the stories go back further than that, and may simply have been collected by N, taking advantage of Gutenberg’s new process. Indeed, Till may even have been a real person, a peasant clown of the fourteenth century. Incidentally, his name deserves some explanation: Till is his given name, after his godfather. Eule is an owl in German, and Spiegel is a mirror so that his name can be translated as Owlglass. Owls apparently didn’t have the connotation of wisdom in medieval Germany – they were more associated with fools or the devil.


Richard Strauss (1864-1949)

Richard Strauss was familiar with the stories and had planned an opera based on them, although that particular project was abandoned in favor of the tone poem. Although many 19th and 20th century composers have written tone poems (or symphonic poems), including Liszt, Dvorak and Sibelius, Strauss is the composer most associated with the form. Not only did he write some of the very best tone poems but, along with opera, they form the major part of Strauss’ most performed output. An example of a Strauss tone poem which has become part of the world’s consciousness, and for which no doubt most listeners could not name the composer, is the “sunrise” introduction to Also Sprach Zarathustra immortalized in Kubrick’s 2001 – A Space Odyssey and subsequently the coverage of the Apollo space program.

The music begins with a gracious “once upon a time” in strings and woodwinds, which is rather peremptorily interrupted by Till’s theme in the horn. Till then rampages through the market overturning the wares, then returns to a rather stately 4/4 theme as a monk preaching morals. Soon after, he professes his love to a beautiful woman, this to a deliciously decadent variation on the Till theme in the violins – a glimpse of the kind of music Strauss would write for his most popular opera Der Rosenkavalier. Till’s suit is rejected and he swears revenge. A body of learned gentlemen arrive to the sound of bassoons and bass clarinet and an argument ensues with Till finally grimacing at them (long woodwind trill) then runs away to a mocking peasant motif in the clarinets and violins. Eventually Till is brought to the judge and pleads for mercy, but the harsh death sentence is intoned in a monotone by lower brass and bassoons. His death is then depicted by the woodwinds, followed by a reprise of the opening in memory of the rascal. But, surprise! – he is back to close the music out – apparently his execution was just another of his pranks!

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