Word: eulenspiegels
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...Eulenspiegel. Never heard of it? Neither did we, but his merry pranks, rendered by Richard Strauss, had people voting with their concert ticket purchases. Huzzah! The Harvard-Radcliffe Orchestra has done it again...
Neither the Fussell nor the concluding work, Richard Strauss's "Till Eulenspiegel's Merry Pranks," matched the excellence of the Rimsky-Korsakov. Still, the imperfections of the orchestra's performance of the symphonic poem were technical, not conceptual. As Brent Auerbach '97 notes in the program, the piece often suggests the 14th-century folk hero Till "thumbing his nose" at the scholastic world and causing general mischief, two activities every Harvard student should have mastered by now. The oftenmuddy winds therefore did no permanent damage to the spirit of the music, and were canceled out (sometimes literally) by especially fine...
...year-old Steinberg but sudden fatigue. Thomas, not yet 25, was standing in the wings when the maestro walked offstage just before the intermission and told his assistant to get out there and finish the concert. Thomas proceeded to take the orchestra through a Starer concerto and Till Eulenspiegel without a slip, and the critics flipped. By 1972 he was the Boston's principal guest conductor and had his own orchestra, the Buffalo Philharmonic...
...Boston Symphony Chamber Players, the twelve main players of the Boston Symphony Orchestra, joined by pianist Gilbert Kalish, begin their three-concert series this Sunday with another romantic-contemporary program. Among the works performed will be Richard Strauss' "Till Eulenspiegel" Op. 28, arranged for chamber ensemble. The piece is a good introduction to the unusual musical world of Strauss, although I don't know how much of the real flavor actually comes through in a chamber transcription. Beethoven's "Kakadu" Variation for Piano Trio, Yehudi Wyner's Serenade (1958) for seven instruments and Brahms' Quintet for clarinet and strings...
...MIDNIGHT CONCERT was conceived three years ago, when someone decided that a program with "Till Eulenspiegel" and Prokofiev's "Romeo and Juliet" would be much more fun played at midnight. It was a pitch to stonies and straights alike, and was so successful that it was followed the next year with a real gimmick--President Bok narrating an impeccably played "Peter and the Wolf"--which drew an even rowdier and more enthusiastic crowd. The next two midnight programs tried to recapture that success by continuing to take the audience back to its childhood with "The Sorcerer's Apprentice...