“An old scoundrel's tale – in rondo form”: this is the subtitle of Strauss' (1864-1949) symphonic poem. Strauss was justifiably irritated by arguments between proponents of “programme music” and “absolute music.” The subtitle is a piece of delicious provocation, while pointing to its literary antecedents and traditional musical form employed (later, Strauss gave a similar label to Don Quixote: Fantastic variations on a knightly theme.) Otherwise, Strauss did not originally supply a detailed programme. He wrote in a letter to the conductor of the work's premiere in Cologne, Franz Wüllner: “It is impossible to give a programme for Eulenspiegel; when I think of individual sections, putting them into words feels odd … Let the Cologne people decide for themselves …” The independent adventures, building into a picaresque novel, are modelled in the rondo form episodes, while the continuity of the hero derives from the refrain section.

The literary figure of Till Eulenspiegel was presumably constructed from a real person. The tomb of the “true” Till, who died in 1350, can be found in Mölln bei Lübeck. Around 1500, various versions of his story appeared all around Europe. Strauss seems to have encountered the story in the form of an 1880s reprint from an original 1515 “folk book.” Till's most famous literary incarnation is the novel of Charles de Coster (Thyl Ulenspiegel, 1867), which turned him into a national symbol for the Flemish.)

Strauss later detailed his programme. The work begins with the string introduction (once upon a time …) – then we hear the unforgettable horn motif that is Till's calling card. The ensuing grotesque woodwind passage adds: “he was a terrible scoundrel.” After this, the adventures (rondo episodes) begin. Till leaps between the merchants tents and scatters their goods; dressed as a priest, he mocks the sanctimoniousness of the clergy; he courts a girl but without success; he makes a respected philistine ridiculous. Finally, the loveable rogue is hauled before a judge and sentenced to death. The music gives a graphic description of his execution, including his body's final convulsions. The introductory strings then make their reappearance, in narrative fashion, and then with a final, triumphant quotation of the Till motif, the symphonic poem is finally over.