On October 10, 1896, in Florence, Richard Strauss first recorded an idea for an orchestral work in his diary: "Don Quixote, Mad Variations on a Chivalric Theme." He subsequently conducted various operas in Munich, prepared for the premiere of "Also sprach Zarathustra," gave concerts of his own compositions in several countries, and worked on the melodrama "Enoch Arden." In April 1897, Strauss reported on the genesis of the "Symphonic Poem Hero and World" and the satyr play "Don Quixote." He repeatedly emphasized the complementary nature of "Ein Heldenleben" and "Don Quixote," as both works illuminate the theme of heroism in different, ironic, and imaginative ways.
Strauss first completed the ending of "Don Quixote" before working out the remaining variations. The work presented him with some difficulties, as he confided to his wife. He completed the composition on December 29, 1897, at precisely 11:42 a.m. The premiere took place in Cologne on March 8, 1898, under the direction of Franz Wüllner. Strauss deliberately chose the variation form to narrate the adventures of Don Quixote and Sancho Panza within a unified symphonic whole. With the theme "The Struggle of a Theme Against Nothingness," he pushed the variation form to its limits, imbuing it with a tragicomic irony.
For the large orchestra, Strauss created numerous variations that musically depict the experiences of the knight and his companion. The variation on the adventure with the windmills is particularly well-known. He conceived this symphonic poem as a kind of sinfonia concertante for cello, viola, and orchestra. Other episodes, such as the "Victory over the Army of Emperor Alifanfaron" or dialogues between the knight and his squire, also find musical expression. The work concludes with a poignant death scene in which Don Quixote is surrounded by memories and thoughts.
The creation of "Till Eulenspiegel," another significant orchestral piece by Strauss, also testifies to his mastery. This rondo humorously and cleverly depicts the pranks of the famous jester. The music recounts Till Eulenspiegel's adventures in an innovative classical form and illuminates his mischief with sophisticated orchestration. The virtuosic use of the woodwinds, in particular, underscores Strauss's status as a pioneer of orchestral music.