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035 (OCoLC)956369108
037 1324|bMedici.tv
040 FRMTV|beng|erda|epn|cFRMTV|dOCLCO|dFRMTV|dOCLCF|dFRMTV
|dOCLCQ|dOCLCO
049 OCLC
245 00 Michael Tilson Thomas conducts R. Strauss, Till
Eulenspiegel :|bintroduction, rehearsal, and performance /
|cBBC, under licence to International Classical Artists
Ltd. ; Humphrey Burton, director.
246 30 R. Strauss, Till Eulenspiegel
264 1 [Place of publication not identified] :|bBBC :
|bInternational Classical Artists Ltd,|c[2011]
264 4 |c©2011
300 1 online resource (1 video file (1 hr., 11 min., 11 sec.))
:|bsound, color
306 011111
336 two-dimensional moving image|btdi|2rdacontent
337 computer|bc|2rdamedia
338 online resource|bcr|2rdacarrier
340 |gpolychrome|2rdacc
344 digital|2rda
347 video file|2rda
511 0 London Symphony Orchestra ; Michael Tilson Thomas,
conductor.
518 |oRecorded|d1986 December 4-5.
520 It was in 1970 that Mickael TilsonThomas made his debut
with the London Symphony Orchestra, the same year ad his
appointment as associate conductor of the Boston Symphony,
after he had found himself making an unexpected New York
debut with the previous October, stepping in mid-concert
to replace William Steinberg. At the age of only twenty-
five, and having already embarked on his prolific
recording career with, characteristically, an album of
Ives and Ruggles, Tilson Thomas personified the musical
wunderkind. Regular television appearances soon followed,
starting with the CBS Young People's Concerts in the early
1970s, and they have gone on to form an important part of
his musical work. Comparisons with Bernstein are tempting,
not only in terms of the two conductors' meteoric rise to
fame, but also in their urge to communicate on music,
intelligently and excitingly, to the widest possible
audience. Today, Tilson Thomas's Keeping Score programmes
with his San Francisco Symphony orchestra continue in the
same spirit as the films he made for the BBC during his
tenue as Principal Conductor of the LSO in the 1980s and
'90s. Two years before he took up his London appointment
in 1988, he scripted and presented the fascinating,
detailed television essay on Strauss's Till Eulenspiegel
that is crowned by the performance preserved here. This
studio performance was followed up by a more ambitious
programme on Ein Heldenleben, filmed live in front of an
audience in the orchestra's home at London's Barbican
Centre in 1994, featuring the conductor's own engaging and
illuminating introduction. Tilson Thomas's BBC music
programmes with the LSO did not form part of a regular
broadcast series, and the subjects they covered ranged
widely, from Gershwin to Rimsky-Korsakov, and Beethoven to
Sibelius. When it came to the Heldenleben programme,
whatever equivocal noises the composer may have made about
the content of the music, it was the autobiographical
element that was picked up on. Similarly, Tilson Thomas's
Till Eulenspiegelhad elided the 'rogue' of the work
subtitle with the composer himself, and placed Strauss at
the heart of his own music -- the film was called Richard
Strauss's Many Pranks. The director of the later film,
Barrie Gavin, had a clear vision for the piece: 'I had
considered different ways of doing Heldenleben, and I
thought that instead of using musty old photos, why not
insert the visual part into the music, and make it mean
something. It is a kind of secret autobiography, not
without a certain humour and irony, and it needed a
designed component that would really work.' Graphic artist
Pat Gavin (no relation to the director), best known for
his title sequence for the long-running South Bank Show,
came up with the images of the Strausses, in their youth,
and in the autumnal glow of old age (their house in
Garmisch is clearly shown), adding animations to accompany
the most apocalyptic sounds the composer and his massive
orchestra can conjure up, and throwing in a kitchen
sinkfor good measure. In both works, it is striking that
Strauss was at first reluctant to pin down his intentions
in words. He left it to friends to specify the six
sections of Ein Heldenleben that Pat Gavin's illustrations
mark out in the film, and the detailed descriptions of the
narrative that drives Till Eulenspiegel and that appear in
the film here were a later concession. The piece itself
emerged from the failure of Strauss's opera Guntram, first
in Weimar in 1894, and then resoundingly in Munich the
following year, and both orchestral works portray a
central figure faced by philistines and carping critics.
Strauss originally intended Till Eulenspiegel, the mocking
joker of medieval German legend, to be the protagonist of
a one-act opera, but this plan was abandoned in the summer
of 1894, in favour of story-telling in the form with which
Strauss had so spectacularly made his name, the orchestral
tone poem. The piece may claim to be a 'rondo', with the
musical motifs for the roguish Till himself the principal
theme, but there is an element of orchestral variations as
well -- the form that would later serve for the portrayal
of Don Quixote- that prompts all sorts of instrumental
wizardry from Strauss to tell the story. On the question
of narrative, Tilson Thomas relates a revealing anecdote
told by the cellist Gregor Piatigorsky, who, when
rehearsing Don Quixote under Strauss's baton, had asked
the composer for some pointers. Strauss's reply was that
the cellist 'sang' the music, when it should be 'spoken',
a comment that hints at the opera-composer who was soon to
emerge, able to create the spontaneous, smooth-flowing
musical dialogue that defines his stage works.
546 Commentary in English.
588 0 Vendor-supplied metadata.
600 10 Strauss, Richard,|d1864-1949.|tTill Eulenspiegels lustige
Streiche|0https://id.loc.gov/authorities/names/n81007066
|xCriticism and interpretation.|0https://id.loc.gov/
authorities/subjects/sh99005576
630 07 Till Eulenspiegels lustige Streiche (Strauss, Richard)
|2fast|0https://id.worldcat.org/fast/1363769
650 0 Symphonic poems.|0https://id.loc.gov/authorities/subjects/
sh85131460
650 0 Music rehearsals.|0https://id.loc.gov/authorities/subjects
/sh85112414
650 7 Symphonic poems.|2fast|0https://id.worldcat.org/fast/
1140849
650 7 Music rehearsals.|2fast|0https://id.worldcat.org/fast/
1030598
655 7 Criticism, interpretation, etc.|2fast|0https://
id.worldcat.org/fast/1411635
655 7 Internet videos.|2fast|0https://id.worldcat.org/fast/
1750214
655 7 Internet videos.|2lcgft|0https://id.loc.gov/authorities/
genreForms/gf2011026337
655 7 Video recordings.|2lcgft|0https://id.loc.gov/authorities/
genreForms/gf2011026723
655 7 Video recordings.|2fast|0https://id.worldcat.org/fast/
1692913
700 1 Burton, Humphrey,|d1931-|0https://id.loc.gov/authorities/
names/n85376675|efilm director.
700 1 Tilson Thomas, Michael,|d1944-|0https://id.loc.gov/
authorities/names/n81114224|econductor,|espeaker.
700 12 |iContainer of (work):|aStrauss, Richard,|d1864-1949.
|tTill Eulenspiegels lustige Streiche.|0https://id.loc.gov
/authorities/names/n81007066
710 2 British Broadcasting Corporation,|0https://id.loc.gov/
authorities/names/n79074359|eproduction company.
710 2 International Classical Artists, Ltd.,|0https://id.loc.gov
/authorities/names/no2011056815|eproduction company.
710 2 London Symphony Orchestra,|0https://id.loc.gov/authorities
/names/n81014472|einstrumentalist.
856 40 |3Medici.tv|uhttps://rider.idm.oclc.org/login?url=http://
edu.medici.tv/movies/michael-tilson-thomas-richard-strauss
-till-eulenspiegel|zAccess restricted to current Rider
University students, faculty, and staff.
901 MARCIVE 20231220
948 |d20170313|cRDT original load
948 |d20170922|clti|tlti-aex
994 C0|bOCL
