The winds of musical change blowing over Europe in the second half of the nineteenth century were set into motion by three pivotal composers: Berlioz, Liszt and Wagner. While some withstood the violent currents, others were swept up into the dramatic, enticing currents. In his youth, the Munich-born, conservatively trained Richard Strauss (1864-1949) had been carefully shielded from the radical influences of the three pacesetters. Thus his earliest compositions gave indication that this was a composer who could trace the Classic/Romantic footsteps of Brahms with conviction, flair, and, importantly, originality. When at twenty-one he was taken under the wing of Brahms champion Hans von Bülow as that conductor’s assistant, his stylistic direction seemed certain.
Fate, however, in the person of violinist Alexander Ritter, was dramatically to alter his course. Ritter introduced to Strauss the “new” music of Wagner, Liszt and Berlioz, music in which Classical restraints had been drastically stretched, or shattered completely, and he urged the young composer to adopt the credo upheld by these composer, namely the uniting of music to literature and philosophy.
The discovery of this vast, dazzling array of music had a profound effect on Strauss. A multiple-movement symphonic fantasy, Aus Italien, written in 1886, was a first step into a new world – in the composer’s words, “the connecting link between the old and new method,” the new being the single movement tone poem built on a literary idea and revolving in an orbit of bold dissonance, orchestral virtuosity, sensuality, and structural flexibility. In the dozen tone poem years following the introduction of Don Juan in 1889, Strauss turned out ten works based on varying literary sources, culminating in two musical autobiographies: Ein Heldenleben in 1889, and Symphonia Domestica in 1903.
Don Quixote, chapter eight in Strauss’s series of tone poems and the last to be devoted to subject matter not overtly autobiographical, was written at the end of 1897 and first performed in March of 1898. Strauss’s musicalization of the intriguing hero of Cervantes took the form of a set of free variations wherein are depicted the woolly adventures of the pretender to the saddle of knight errantry. Represented throughout the score by a solo cello, his faithful squire, Sancho Panza, by a solo viola, Quixote is pictured with kaleidoscopic fidelity as he follows the fabulous road directed by his feverish brain. In the orchestral score, the composer provided no programmatic clues as to the going-s on of the man of La Mancha, but the two-piano arrangement is abundantly annotated. As pure music, Don Quixote is a stunning compendium of late-Romantic grandiloquence and need nothing more than an ear that can be lured by lush orchestration, soaring themes and ripe emotionalism. As program music, the aural pictures may require some English subtitles; they are herein supplied.
Introduction. Don Quixote Goes Mad.
The opening motif in winds is the Knight Quixote’s main theme; the wistfully tender string theme that follows shows his ardent, chivalrous nature; the next idea on clarinet and the strangely unrelated chords following indicated his mental confusion as he reads voraciously of “battles, amours, challenges…” A vision of Dulcinea, the Ideal Woman, comes by way of a haunting oboe solo. His poor brain, in an agitated state, snaps with telling orchestral realism – dissonant chords, each prefaced by trumpet and trombone fearsomeness.
Theme. Don Quixote and Sancho Panza.
After a pause, Quixote’s grandiose theme is hard in the cello; after being introduced by bass clarinet and tenor tuba, Panza’s theme emerges in the viola.
Variation 1. The Adventure with the Windmills.
Knight and squire start their adventures. Dulcinea’s theme in soaring violins seems to lead them on. Quixote sights “monstrous giants” and goes to do them battle. But his giants are windmills, and by them he is ignominously defeated.
Variation 2. The Battle with the Sheep.
Quixote this time mistakes flocks of seep for battling armies; their pitiful (muted brass) bleating does not discourage his resolute participation, for which he is rewarded by a stoning from the shepherds.
Variation 3. Collloquies of Knight and Squire.
Sancho argues for life’s simple realities; while the orchestra develops the Knight’s theme and that of Dulcinea, Quixote stands firm for the glory of the chivalrous life. The squire poses many questions and is finally rebuffed by an angry master.
Variation 4. The Adventure with the Pilgrims.
Quixote imagines a band of pilgrims (bassoons and muted brass) to be villains; he attacks and is again bested.
Variation 5. The Knight’s Vigil.
After the knightly custom, Quixote keeps a vigil beside his arms throughout the night. He dreams of Dulcinea in glorious visions. This is mostly a cello rhapsody embellished with harp glissandos and a gorgeous cadenza for muted violins.
Variation 6. The False Dulcinea.
Sancho assures Quixote that a simple country wench is really his adored Dulcinea del Toboso. The Don is horrified, believing that his grand lady has been transformed by a wicked enchanter; Sancho insists on her authenticity.
Variation 7. The Ride Through the Air.
Strauss’s wind machine sends Quixote and Sancho riding (on their respective themes) through the air, though they are actually just sitting blindfolded on a wooden horse fanned by huge bellows.
Variation 8. The Voyage in the Enchanted Boat.
To the strains of a graceful barcarolle, the two embark on a voyage in a small boat; Quixote is certain the craft is enchanted and will lead them to Dulcinea. They capsize, but reach the shore safely, giving thanks (in religioso winds and horns) for their escape.
Variation 9. The Combat with the Two Magicians.
Quixote sees two monks, and, thinking them magicians, puts them to flight. The encounter is painted with militant string passages and a sanctimonious bassoon duo.
Variation 10. The Defeat of Don Quixote.
One of Quixote’s friends, disguised as the Knight of the White Moon, determines to make the Don end his foolish escapades. Challenging Quixote to battle and defeating him, the friend spares his life on the condition that he agree to return home. Quixote, humiliated, is led home by Sancho; he resolves to become a shepherd and, little by little, his senses return.
Finale. Don Quixote’s Death.
Once again sane, Quixote is a tire, resigned man. His dreams, on which he has lived so valiantly, gone, he muses elegiacally; the music is lucid, serene, and filled with pathos until, with a descending cello glissando, Quixote breathes his last.
- Orrin Howard
DETAILS:
Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 3 trumpets, 3 trombones, 2 tubas, timpani, bass drum, side drum, tambourine, cymbals, triangle, small bell, wind machine, harp, and strings.
