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Richard Strauss’ tone poem Till Eulenspiegels lustige Streiche, written in the last years of the 19th century (1894/95), is emblematic of the artistic possibilities of virtuosity in orchestration. The extraordinary colors, which develop upon the inventions of Liszt and Wagner, are an integral part of the musical discourse. Édouard Risler’s decision to make a concert transcription was therefore openly ambitious.
