R. Strauss: Don Juan, Op. 20, Death and Transfiguration, Op. 24 & Till Eulenspiegel's Merry Pranks, Op. 28

Featuring

Manfred Honeck
Pittsburgh Symphony Orchestra
Richard Strauss

Did you know?

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Composer's Artistic Vision

Richard Strauss had an impressive ability to depict a story and existential moments in instrumental music through his Tondichtungen, or 'tone poems'.

Historical Context

The Pittsburgh Symphony Orchestra was the first American orchestra to perform at the Vatican in January 2004 for Pope John Paul II, as part of his Silver Jubilee celebration.

Interpretation

Manfred Honeck, the conductor, interprets the flute interjection at the opening of Tod und Verklärung as the sober, unemotional ticking of a clock, inspired by his childhood home.

Interpretation

In Till Eulenspiegel's trial scene, Manfred Honeck has the D-clarinet play a 'distorted' note an octave higher than written to make it audible over the fortissimo orchestra, believing Strauss's original scoring was a mistake.

Performer Biography

Manfred Honeck, the Music Director, has led the Pittsburgh Symphony Orchestra since the 2008-2009 season and has won an ICMA 2012 Award for his recording of Mahler's Symphony No. 4.

Interpretation

For the end of Don Juan, conductor Manfred Honeck altered the usual sound by asking the strings to gradually transform their tone into a 'shuddering ponticello' to represent the hero's dying convulsions.

Recording & Production

This recording was made and post-produced in 64fs DSD on a Pyramix workstation, using five omnidirectional DPA 4006 microphones as the main array, supplemented by spot mics.