Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85) Cover Image

Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85): Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano Full Orchestra, Solo Keyboard with Ensemble, Score

$40.00 USD
$40.00 USD
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Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85) Cover Image
Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85): Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano Full Orchestra, Solo Keyboard with Ensemble, Score

Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85): Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano Full Orchestra, Solo Keyboard with Ensemble, Score

By Richard Strauss

Item: 36-A212601
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Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85): Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano Full Orchestra, Solo Keyboard with Ensemble, Score & Parts

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Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85): Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano Piano, Solo with Piano, Book

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Description
Richard Strauss (1864-1949) originally wrote this work for solo piano and orchestra under the title Scherzo in D minor in 1886 for conductor and pianist Hans von Bülow, a large influence on Strauss' career. Von Bülow, however, consider the work a "complicated piece of nonsense" and wanted nothing to do it. Discouraged, Strauss set the work aside until 1889, when he met Scottish pianist Eugen d'Albert, who liked it while also suggesting some changes. With a new title, Burleske, and a dedication to d'Albert, the work was premiered on June 21st, 1890 in Eisenach at the Tonkünstlerfest with d'Albert at the piano and Strauss conducting. Despite this, Strauss remained convinced that the work lacked merit and refused to have the work published until 1894, although it eventually became one of his favorite works. Strauss never gave the work an opus number, but many consider it to be Op. 11, which is actually assigned to his Horn Concerto No. 1 in E-flat. Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.

Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85): Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano Full Orchestra, Solo Keyboard with Ensemble, Score isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852098-8
ISBN13: 979-8-88-852098-7
UPC: 676737611651
SKU: 36-A212601
Instrumentation: Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano

More about this title

About the Composer: Richard Strauss

Richard Strauss (1864-1949) shaped the orchestral landscape of the late 19th and early 20th centuries through his revolutionary tone poems and operas. A conductor of formidable skill, he understood the orchestra's capabilities intimately and wrote for it with unprecedented virtuosity and color, leaving a legacy that spans from radical modernism to lyrical romanticism.

Strauss's career was marked by bold artistic choices and a keen sense of what performers could achieve. His relationship with the works he composed was complex; he often doubted his early efforts before recognizing their worth, and he mentored younger artists whose advocacy helped establish pieces he initially dismissed. This pattern shaped the Burleske's unusual journey from rejection to eventual embrace.

Why we love this

The Burleske presents a rare opportunity to conduct a substantial Strauss work that sits comfortably within the reach of strong university and regional orchestras while demanding nothing less than complete technical and musical commitment. The solo piano part is genuinely virtuosic, which opens doors to exciting collaborations with accomplished pianists in your community, and the orchestration itself rewards careful rehearsal with moments of orchestral brilliance that feel earned rather than gratuitous.

What to expect

The Burleske darts between sharp wit and genuine pathos, never settling into predictability. The solo piano dances through rapid figurations while the orchestra responds with commentary, interruption, and support, creating an energy that feels simultaneously playful and searching. Beneath the scherzo surface runs a current of Romantic earnestness that prevents the work from becoming merely clever.

Who it's for

Orchestras seeking a compelling showpiece that combines solo keyboard virtuosity with full orchestral engagement will find in the Burleske a work of substance that challenges both ensemble and soloist. Conductors interested in exploring Strauss's orchestrational imagination and earlier compositional voice will discover a piece that reveals his technique and personality with unusual transparency.

How to get the most out of it

  • Establish the conductor and pianist as collaborative partners in rehearsal from the start; the piece lives in the space between soloist and orchestra, and neither can dominate without losing the work's essential character.
  • Pay particular attention to the timpani and lower strings during the opening sections; these provide harmonic foundation and forward momentum that easily gets obscured if the piano part draws all attention.
  • Bring the woodwinds to the foreground during their contrapuntal lines against the piano's cascading figures; balance here determines whether passages feel busy or architecturally clear.

How to use it

Position the Burleske as a centerpiece in a concert exploring Strauss's range; it pairs naturally with one of the tone poems on one side and perhaps a choral work or aria on the other, giving audiences a fuller sense of his voice. The work's considerable length and emotional weight make it suitable for a second-half program placement, where it can command full attention without competing with lighter opening fare.

Skills your students will build

  • Balancing a virtuosic solo line against complex orchestral accompanimental figures
  • Coordinating conductor and soloist through sections with independent rhythmic profiles
  • Sustaining harmonic coherence across rapid key areas and extended passages
  • Executing Straussian orchestration that layers woodwinds, brass, and strings for color and clarity
  • Managing the transition between scherzo-like energy and more introspective, lyrical sections

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