Examination Of The Motifs In Till Eulenspiegel Music Essay

Examination Of The Motifs In process Eulenspiegel Music EssayAfter an unsuccessful premiere of the opera house Guntram in 1894, Strauss was consistently looking for new material for an opera. It appears he became more concrete ab bug out plans for an opera after finding the Eulenspiegel material from the chapbook Ein kurtzweilig lesen von Dyl Ulenspiegel an amusing reading of Dyl Ulenspiegel from 1515. The opera libretto for till Eulenspiegel remained completely a sketch, but the symphonic poem became a triumph. Franz Wllner conducted the premiere in November 1895. He asked Strauss for a few programmatic explanations, but the composer restrict himself to enunciating the devil Eulenspiegel themes at the beginning. Further, he said that it would be impossible to produce a programme for Eulenspiegel. So this time we will leave the audience to snarl the nuts themselves the rogue hands out to them.615. Up that ladder. See him hang, he is running out of breath, unity last convulsion . trough, the mortal, is no longerIn my civilise I have decided to focus on bowl Eulenspiegels melodic motifs and their interpretations presented by Mathias Hansen, doubting Thomas Armstrong and Michael Kennedy (see bibliographical references at the end). I have compared and examined them in reference to points on which they agree or disagree and I have integrated my own ideas by implying text to the score.In the first few proscribe we can find disagreement mingled with the different observations. Mathias Hansen writes that the six introductory forefends do not play a role until the epilogue in eject 633. It is true that this introduction does not take over the function of a ritornello in the sense of a Rondeau, but I disagree with the remove that this once upon a time theme has a separate status in the story. The opening phrase is in a folk-lore spirit taking as back to the times when Till was a historical figure.The first half of Tills theme, starting in bar six, is hesi tant, however the second, identical entry is confident and self-assured, as if Till was checking the scene before appearing.Das war ein arger Kobolt wrote Strauss himself under this phrase (He was a criminal Goblin) and the above musical example portrays Till according to Strauss description.Thomas Armstrong notices that prologue is based on the second Till theme in bar 46/47By writing this theme in its simplest do, we can comfortably detect that the prologue is a conclusion of itHansen also notices the Till-chord, which is the dominant chord in bar 47/48 (related to C and leading to the F home key) push on, he yields the relationship between this chord and the Tristan-chord written in some other t whiz or interval position, the harmony of the Till-chord corresponds with the one from the Tristan-chord.Strauss Till EulenspiegeWagner Tristan und IsoldeThe section between bars 51 -111 Strauss uses for exposition of the Till themes. One interesting thing is noticed by Armstrong, w ho shows the appearance of the wicked goblin theme in bar 53, starting with the clarinet and continuing with the first violins, further developments takes place in bassoon and lower strings part. Hansen also refers to these theme in his observation on bar 63 (et sqq) where a compressing finished a massive overlapping of the first part of the wicked goblin theme takes place.Hansen writes that the passage from bar 46 et sqq. is dominated by one motif Regardless of its meaning, it material compression tries to integrate approximately every note in the context relating to motifs. Such complexity, that tries to dissolve the contrast of primary and alternate material, of foreground and background of a piece, is emerging emphasisedally in Strausss expressive style of composing Till1.Hansens dissolving of foreground and background material might be suitable for the passage he is describing however, if we think of Strausss Don Quixote, which was written two years after Till, we can f ind a quite clear separation of primary and secondary material. Strauss raze assigned the characters of the piece to instruments there is Don Quixote, who is represented by the unaccompanied cello and his squire Sancho Panza, who is described by the solo viola and the bass clarinet. In Till Eulenspiegel the whole passage from bar 46 to bar 134 includes figures that imply use of verbal text this musical narration finds the nomenclature and their meaning in the actual notation of the music e.g.Bar. 71 et sqq. Till is ready for his first prankBar. 81-85But when? But where?Bar. 98 et sqq. Tills spice for actionBar. 105-109 Till is thinking of a crude prankBar. 111 133 Just you wait you bootlickerWar ten mal (just you wait)This is when the first true episode takes place. Clarinets move upwards, cymbal clashes and Till mounts a horse andjumps (137et sqq.) Riding roughshod through the market square as the beginning is presented in the string sectionStrauss noted pig in the score Away in seven-league-boots for bar 151 and 152 notes that depict that theme are assigned to the flutes, the oboes and the clarinets and refer these two bars to the first part of the wicked goblin theme. in that respect is a pause in bar 154 when Till hides himself in a mouse-hole and carefully puts out his head. Armstrong explains the pause in bar 154 with the words Till seems to be lost. I would rather say that the break has the character of Phew that was a near thingStarting from bar 157 until 169 Till is again in the heart of a new adventure. Strausss note on that passage He emerges in disguise as a priest, oozing unction and morality lets us expect a musical caricature. On the contrary, whatever the clarinet, the bassoon and the violas play in a folksong-way of simplicity it has nothing to do with open mockery or cautious irony. The repeated inclusion of the first part of the wicked goblin theme does not radiate the effect of a caricature. With his note The knave peeps out of his disguise at the big toe, Strauss must have meant the figure in bar 191It is when D clarinet presents Tills second theme revealing who is under preacher disguiseThe chromatic runs of the trumpet, huntsmans horns and violins (bars 196 198) show how dangerous Tills practice of mocking religion is at that moment. 9 bars later a glissando in solo violin opens another adventureBar. 209 et sqq. Till the cavalier, exchanging sweet courtesies with beautiful girlsTills horn theme is presented in a romantic way Till felt in love with one of the girls and the music is coated with harmonically richer material. When Till is mistreated by the girl, his themes stomp through the orchestra until the four horns seem to be shaking their fist at the introduction and this is when inbar. 287 288 He Till vows he will take revenge on all mankindThe most promoted part of the tone poem starts here (bar 293 et sqq.). Strauss brings the jazzy energy of the motifs into play. Till is amongst the Ph ilistines whose motif is played by bass clarinet and four bassoons (bar 293 299). Tills horn motif is now played by strings as if Till was asking the pedagogues his questions this is how Strauss puts it After he has posed a couple of atrocious theses to the philistines, he leaves them to their fate dumbfounded. The music of this section portrays pointlessness of pedagogues calculations They have been cornered by Till and left puzzled. Concerning the Philistines, a series of strains develops, in which the formative force is in the rhythmical richness of creation, some of them are composed as basic variationsIn the following passage Strauss tries to create a deceptive silence after the council of the Philistines decided to end Tills days. Till is waiting cautiously for revenge, he takes proceeds of this situation and does more and more mischief, rather than trying to become an ordinary citizen. The first Till theme sounds again, Till reappears first in first horn in F in bar 429, and so in bar 436 horn in D presents Tills theme enriching the tonality. Starting in bar 429 (et sqq) Till appears again for new pranks and these know no bounds anymore. Consumed by disappointments, he does not appear as a harmless humorist, but as a revengeful human being in a fools costume. It gives a feeling of wildness and in this broadening atmosphere Strauss develops an intensity and complexity of motives combinatory that is fractious to beat. Armstrongs description is also in this direction The music is keyed up to a higher pitch of excitement than ever. Tills last stretch of development, some one hundred forty bars in length, shows Strausss music in full and unhesitating flight.2Trying to describe this long passage, I would put the following wordsBar 410 to 429 There is a deceptive silenceFrom bar 486 Till is very successfulFrom bar 546 Till gets up to more and more mischief, he becomes more high-spirited, livelierand even daredevil (bar 555 et sqq.)He feels like the lord of the world, even a god (Bar 567 et sqq.) Fanfares in trumpets and hornsStraus puts an extra emphasis on this passage by expanding the brass instrument section by three trumpets and an optional second quartet of horns.The boldness and arrogance of Tills behaviour is growing. He gets arrested and faces judges accusations (bars 573 581) accompanied by flushed side-drum roll that lasts for fifteen bars.Till wants to keep his nonchalant attitude but starts to realize he has gone too far. The biggest penalty is given pictured in music by second Tills theme instrument D clarinet playing upward notes falling into major seventh chord (bars 615 616), when Till is going up the ladder to be hanged. This is when D clarinet reaches its highest A flat, holding it awhile and starts to move down, accompanied by the flute-trill (bars 619- 620) that describes Till running out of breath. This passage does not only sound like a sharp cry, though, it also portrays the breathlessness of Till.None of the authors specifies the epilogue. Kennedy refers the epilogue to Till himself A gentle epilogue recalls the works fairy fib opening, as if to remind us, before he scampers away, that Till was not such a bad fellow.3 Armstrong writes similarly It is Tills characteristic tune with the devil taken out of it, so that it seems almost tender. This epilogue shows the composers insight at its keenest4.The epilogue recalls and extends Once upon a time version of Tills second theme (bar 632 et sqq). The atmosphere is similar to the one from the opening of the piece with it folk-lore narration and charm. In my opinion, Strauss composed the following content Once upon a time, there was a foolhe diedbut through this story, he is still alive. Hansen and Werbeck have differing opinions about the form of Till Eulenspiegel. Hansen describes the form as follows Basically, there are only two central events, and they are rattling a combination of theme and motif those two of the hero, of whic h Strauss informs Wllner in his letter5. Walter Werbeck tries to explain the form more accurately Strauss composes neither an authentic sonata rondel nor a traditionalistic rondo chain6. The element of a rondo that is missing is ritornello, but if we see rondo as representation of two themes then we might be dealing with a variant of rondo in Till Eulenspiegel. Walter Werbeck continues One could easily describe the first part of Till as a free variation form, or, preferably, as a form in which rondo and variation are combined as follows A (Exposition) A (market scene, variation 1) B (sermon scene, episode 1) A (love scene, variation 2) and C (Philistines, episode 2). Strauss also drew on principles of sonata form. As evidence we might cite especially the emphatic recapitulation of the initial horn theme in bar 429 that opens the second part of the piece.7Both Hansen and Werbeck divide the piece in the same way into two main parts. Whereas Hansen only tells us approximately where his second part starts, Werbeck gives us the exact bar number (429) of his division. Hansen is content with the division into two central events Werbeck, however, tries to show that Till is undoubtedly much more than a sonata rondo. The composer combines sonata form, variations and rondo. These forms cannot be seen separately they overlap and penetrate each other to varying degrees. At some points the form of a set of variations dominates, sometimes as sonata or as rondo. Warbecks quotation As Till Eulenspiegel, the protagonist of the tone poem, resists societal norms by mocking them with perpetual pranks, so does the composer thwart the expectations of those who want to pin him down to the norms of a rondo8 seems to be especially appropriate here. Trying to fit Till into a rondo form, the following division makes sense1. Prologue and Exposition bar 1-111, the fool is introduced2. Variation I bar 112-178, the upsetting of the market place3. Episode I bar 179-206, the mockery of t he sermon4. Variation II bar 207-288, Till in love5. Episode II bar 289-409, the confusing of the professors6. Recapitulation (Variation III) bar 410-594, Till goes on his way7. Coda (Episode III) bar 595-632, Till is arrested and hung8. Epilogue bar 633-658At this point I would like to summarise the themes of Till EulenspiegelThe wicked goblin theme and its modificationsBASIC FORMNARRATIVEAS A CAPERHE LIES IN WAITINGAT A GALLOPRELIEVED, AT A SAFE PLACEIN LOVEAS AN OATH OF REVENGEIN A CONFIDENT WAYUP THE LADDERFURTHER THEMESTill Eu len spie gel, till Eu-len-spie gel, Till Eu-len spie-gelNAMING OF TILLNEW PRANKSIN LOVECOURTINGAGAINST THE PHILISTINESDECEPTIVE SAFETYMISCHIEVOUSRichard Strausss Till Eulenspiegel appears as a masterpiece in composers career. In this piece Strauss used yet the biggest orchestra with massive woodwind section and optional second horn quartet. It is in some way symbolical that after serious labour on Guntram Strauss composes such a spectacular work insp ired only by a folk legend.Richard Strauss himself leads us well and truly to believe in something with his title Nach alter Schelmenweise in Rondeauform after an old rascal manner in rondo form. Whoever thinks that Strauss came to a compromise with the traditional form will notice quickly that any pattern is avoided. It is not the form of the rondo with the methodical umpteen times reprise of the theme, the unity is reached by the consistent development of the melodical-thematical elements. These elements, which come in the most varying forms, in the bravest disguises and the rhythmical and harmonical transformations, are the two main themes. Strauss uses the specific sound character of an instrument in the score very carefully. This is what gives the whole tone poem the humorous colour. When the notes become alive, everything sounds so simple, natural and unconstrained. Strauss makes high demands on the musical wisdom of the musicians playing his works.