Word: eulenspiegels
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Since many of the faithful had come at 11 p.m. to hear chamber music, by 1:30 in the morning it was clear that an intermission was more a curse than a blessing. Professor Yannatos eliminated it, conducting the well-known Strauss Till Eulenspiegel right after the Prokofiev. It was a perfectly light-hearted conclusion to an unusual evening. The Harvard-Radcliffe Orchestra has demonstrated an exciting and impressive level of skill in their second concert of the season...
...this was no ordinary thief. Eight days after the robbery, the phone rang in the office of Walter Schwilden. an editor at Brussels' Le Soir. The caller identified himself as Till Eulenspiegel, the legendary German counterpart of Robin Hood. Till declared that he wanted nothing for himself. He demanded a ransom of $4,000,000, paid to a relief organization for East Pakistan refugees...
...first became visible last October when William Steinberg, music director of the Boston Symphony, fell ill midway through a visiting concert, also at Philharmonic Hall. Thomas, the orchestra's new assistant conductor and Steinberg's understudy, took over after intermission and handled Strauss's familiar Till Eulenspiegel and Robert Starer's new Concerto for Violin, Cello and Orchestra with ease, poise and cool. Said the New York Times next day: "Mr. Thomas knows his business, and we shall be hearing from him again...
...Juan: an image for the dark, liquid eyes, flaring nostrils and smoldering visage that prompted one of his many female admirers to compare him to "an untamed animal-sensual and earthy." Then Don Quixote: a reflection of his penchant for tilting in public at sacred cultural institutions. Then Till Eulenspiegel's Merry Pranks: the insouciant wink-and-nudge of a joker who likes to imitate other people over the telephone, and who once threw an entire hotel into chaos during a concert tour by sneaking around the corridors early in the morning and changing all the breakfast orders...
...popular, overplayed works which most often reveal the real character of a conductor. Leinsdorf's accounts of the Meistersinger Prelude, the Prelude to an Afternoon of a Faun, and Till Eulenspiegel, all preceding the Brahms, only further confirmed the painful facelessness of his style. Behind his strange podium histrionics and overliterate interpretations lies a dominant inability (or worse, an unwillingness) to truly communicate with his musicians. Amid this pedestrianism, most of Till's grotesque humor was lost, along with the overt charm of the Debussy Prelude. Season after season of such readings serve only to dull the sensibilities of entire...