68:. However, von BĂĽlow considered it a "complicated piece of nonsense" and refused to learn it. He said the piano part was "Lisztian" and "unplayable", particularly for a pianist with a small handspan (Strauss says that von BĂĽlow could barely reach an octave). Strauss rehearsed the work with the Meiningen Orchestra, conducting and playing the solo part himself, but then set it aside. He wrote to von BĂĽlow: "iven an outstanding (!) pianist, and a first-rate (!) conductor, perhaps the whole thing will not turn out to be the unalloyed nonsense I took it for after the first rehearsal. After the first run-through, I was totally discouraged."
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Strauss was offered a handsome sum by a publisher for the rights to the work, but he was still not convinced of its merits, so he declined. He was likely influenced in his own opinion of the work by BĂĽlow's opinion of it. A quarter of a century later he wrote about BĂĽlow: "For anyone who ever heard
122:, who attended one of his piano lessons or observed him in orchestra rehearsal, he inevitably became the model of all the shining virtues of a performing artist, and his touching sympathy for me, his influence on the development of my artistic abilities, were the decisive factors in my career."
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decidedly has some genius in it, but in other respects it is horrifying." Despite this, he conducted the work that month in Berlin, with Eugen d'Albert as soloist.
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to the work, but the opus number 11 has often come to be associated with it, although
Strauss gave that number to his Horn Concerto No. 1 in E
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165:. It appears as number 85 in the catalogue by Erich Herrmann Mueller von Asow, and number 145 in that by Franz Trenner (see
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and answered by the orchestra. The piano then enters in a state of high excitement. A second, more lyrical
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Martha
Argerich and the Berlin Philharmonic Orchestra conducted by Claudio Abbado, Sony CD and Kultur DVD
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London, 19 October 1947, with Alfred Blumen on the piano (this was the last concert he ever conducted).
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theme emerges, followed by waltz-like measures not unlike the waltzes from
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Divertimento for chamber orchestra after keyboard pieces by
Couperin
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on 21 June 1890, in the same concert as the premiere of
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Performed by Neal O'Doan with the
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Liner notes from the Rudolf Serkin/Eugene
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425:(2021). There is a recording of Strauss himself conducting
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193:, in April 1903. The first performance in Australia was by
94:. The word "Burleske" translates as "farce" or "mockery".
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Dance suite from keyboard pieces by François
Couperin
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is a composition for piano and orchestra written by
321:Notable performers who have played or recorded the
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List of compositions by
Richard Strauss#Other works
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608:"Burleske, D-moll, fĂĽr Pianoforte und Orchester"
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102:BĂĽlow was still not impressed. In a letter to
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228:The piece is scored for
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1183:Cello Sonata in F major
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841:Die ägyptische Helena
568:Morgan, Ivor (2006).
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209:Structure and scoring
146:and the waltzes from
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864:Die schweigsame Frau
722:List of compositions
641:New York City Ballet
522:on 26 September 2011
442:New York City Ballet
256:(2 in F, 2 in D), 2
1151:Symphonia Domestica
1043:Horn Concerto No. 2
975:Horn Concerto No. 1
892:Die Liebe der Danae
419:Jean-Yves Thibaudet
415:Sara Davis Buechner
143:Symphonia Domestica
28:Burleske in D minor
16:For the style, see
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1386:Freundliche Vision
1280:Ruhe, meine Seele!
1159:An Alpine Symphony
411:Jascha Spivakovsky
399:Sviatoslav Richter
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197:in 1937, with the
58:Scherzo in D minor
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1662:1886 compositions
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1417:Der Krämerspiegel
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803:Ariadne auf Naxos
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203:Georg Schnéevoigt
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107:
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89:
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1495:(1926 film)
1258:Winternacht
1247:Allerseelen
1202:Enoch Arden
1191:(1884–1885)
1133:Don Quixote
1083:Aus Italien
936:Schlagobers
874:Friedenstag
452:Discography
383:Byron Janis
367:Glenn Gould
157:opus number
126:Publication
118:or conduct
1646:Categories
1074:Tone poems
956:Orchestral
832:Intermezzo
807:(1912/16)
464:References
335:Emanuel Ax
314:media help
47:Background
1571:Modernism
1466:Taillefer
1335:Sehnsucht
1269:Ständchen
1236:Die Nacht
1225:Zueignung
1162:(1911–15)
1003:(1911–17)
993:(1885–86)
983:(1883–84)
977:(1882–83)
971:(1881–82)
901:Capriccio
750:Feuersnot
629:Testament
594:144827094
246:clarinets
219:Brahmsian
185:with the
116:Beethoven
114:him play
18:burlesque
1599:Category
1513:(father)
1401:" (1906)
1390:" (1900)
1379:" (1900)
1368:" (1899)
1366:Notturno
1361:" (1898)
1350:" (1898)
1339:" (1896)
1328:" (1895)
1317:" (1894)
1306:" (1894)
1295:" (1894)
1284:" (1894)
1273:" (1886)
1262:" (1886)
1251:" (1885)
1240:" (1885)
1229:" (1885)
1099:Don Juan
989:Burleske
853:(1933)
850:Arabella
822:(1919)
792:(1911)
777:(1909)
762:(1905)
666:Burleske
487:Archived
438:Burleske
397:(1932),
395:Elly Ney
325:include
323:Burleske
290:Burleske
258:trumpets
250:bassoons
189:, under
179:Burleske
162:♭
137:Don Juan
132:Burleske
108:Burleske
98:Reaction
86:Eisenach
82:Burleske
1429:(1948)
1357:Befreit
1313:Morgen!
1291:Cäcilie
1091:Macbeth
917:Ballets
904:(1942)
773:Elektra
740:Guntram
650:Sources
526:10 June
429:at the
266:strings
262:timpani
234:piccolo
215:timpani
1622:Portal
1519:(wife)
1477:(1928)
1469:(1903)
1461:(1889)
1453:(1884)
1442:Choral
1421:(1918)
1411:(1918)
1214:Lieder
1205:(1897)
1197:(1888)
1185:(1883)
1179:(1881)
1154:(1903)
1146:(1898)
1136:(1897)
1128:(1896)
1118:(1895)
1110:(1889)
1102:(1888)
1094:(1888)
1086:(1886)
1065:(1947)
1059:(1945)
1053:(1945)
1045:(1942)
1039:(1941)
1033:(1940)
1025:(1936)
1015:(1924)
1009:(1923)
965:(1880)
948:(1940)
940:(1924)
930:(1914)
896:(1940)
886:(1938)
883:Daphne
878:(1938)
868:(1935)
845:(1928)
835:(1924)
759:Salome
754:(1901)
744:(1894)
731:Operas
592:
264:, and
238:flutes
140:, the
120:Wagner
1609:Audio
611:(PDF)
590:S2CID
546:Naxos
254:horns
242:oboes
230:piano
528:2009
421:and
252:, 4
244:, 2
240:, 2
236:, 2
25:The
582:doi
444:by
169:).
1648::
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536:^
497:^
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448:.
417:,
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393:,
389:,
385:,
381:,
377:,
373:,
369:,
365:,
361:,
357:,
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337:,
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698:e
691:t
684:v
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578:3
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