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(5th Period.) The most radical exposition of modern orchestration is discovered in the fifth period of symphonic creations beginning with "Till Eulenspiegel's lustige Streiche"—nach alter Schelmenweise in Rondo-Form (op. 28, 1895)[68] and culminating thus far in "Ein Heldenleben." Of the following two themes from "Till Eulenspiegel," [No. 16], representing the titular character, is a brilliant specimen of horn-writing, as embodied in the Rondo.
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Flowing cantilena, perverted rhythmic effects and still another illustration of virile horn-writing are presented in the following examples from the musical exposition of Zarathustra's philosophy under the title of "Also sprach Zarathustra"—Tondichtung frei nach Nietzsche (op. 30, 1896).[69]
