Symphonic Poem lt; Till's Mischief gt; Let me correct your typos first. This is a work by the German composer Strauss. As one of the most important post-romantic orchestral masters, Richard ·Strauss created a series of symphonic poem masterpieces. For example, the tunes have a wide range and are full of vitality, passion and tension; polyphony mostly flows naturally with the development of music, pursuing the independence of each part without taking too much into account of each other. The harmony between them creates a complex overall sound; the musical form structure is relatively free, both connected and divergent with traditional musical forms, often showing overall unity and occasional chaotic coexistence; basically using a Wagner-style orchestra However, he has developed orchestration skills, prefers to use the extreme range of various instruments, increases tension in grand sounds, realistically imitates natural sounds and expresses certain symbolic rational concepts, and at the same time improves the performance of the orchestra and instruments. force. Therefore, these colorful and magnificent symphonic poems are included in the repertoire of almost every symphony orchestra today.

The full name of "The Prank of Till" is "The Prank of Till Ellenspiegel". It was written between 1894 and 1895. It is Strauss's ancient novel based on the medieval legend. Written in rondo form. Richard Strauss himself had a slightly rebellious and mischievous personality (he once jokingly equated himself with Thiel) and would not have been attracted to Thiel. In 1893, the popular version of "The Legend of Till Ehrenspeigel and Ramey Godchuck" by Belgian writer Charles de Coster was published. In June of the same year, Richard Strauss began to write an opera based on Tiel's legendary story. However, in May 1894, the performance of the composer's first opera "Guntram" failed miserably. This may have caused him to lose confidence in writing "Tier" as an opera. But as we know, the composer ultimately composed a masterpiece of symphonic poetry for Till, which was completed on May 6, 1895.

Although Richard Strauss said that it was not necessary to provide a complete storyline for music, "leaving the pleasant townsfolk to guess for themselves the musical pranks a tramp played on them", The connection between his music and some scenes or plots in Till's adventures is obvious: Till's mischief begins against the shimmering background of broken violin bows. We don't need to worry about the ancient rondo written in the title, because this is a free, Richard Strauss-style rondo, which has only one connection with the traditional form. Two Till themes (horn and clarinet) constantly appear in the music in various extremely clever transformations. We seem to hear the chaos he causes as he rides into the bustling city; after each prank, he taunts his pursuers, and when he escapes out of reach, he scratches his nose with his thumb to show contempt... He kept making mischievous jokes, was constantly chased, and was eventually caught and sentenced to death in a ridiculous and cruel way. In Coster's story, Till's last intolerable prank on his enemies was that he refused to lie quietly in his grave even after being buried. Strauss's music ends with a brash, noisy, nose-scratching variation of the first Till theme, suggesting Till's defiance of his own death and his spiritual Continue to exist.

I listened to Till’s prank and got inspiration from a Japanese drama, Symphony. I think the scope of fantasy is very broad. After you understand the creative background of a work and the life of the author , you can imagine as much as you want without affecting the two. I think this is the charm of the symphony. Each instrument in the symphony is like one of the characters. When they work together, this character will become huge and full. It loses the sense of weight. When you listen to symphony, you will feel that pop music cannot be heard. This is my moral character.