I am very sorry to hear that Darren, I hope that you have a speedy recovery, keep in touch.bombasticDarren wrote:Regrettably and unexpectedly I spent last night in hospital. I hope to be able to get the thread moving along again at the weekend, but for now I need a bit of rest...
Apologies
May: R. Strauss - Don Quixote
Re: May: R. Strauss - Don Quixote
"To appreciate the greatness of the Masters is to keep faith in the greatness of humanity." - Wilhelm Furtwängler
Re: May: R. Strauss - Don Quixote
Gosh, I'm really sorry to hear that Darren. Getting yourself fit and healthy has to be the main priority here... all of our thoughts are with you.bombasticDarren wrote:Regrettably and unexpectedly I spent last night in hospital. I hope to be able to get the thread moving along again at the weekend, but for now I need a bit of rest...
Apologies
Re: May: R. Strauss - Don Quixote
I also hope that everything is OK with you Darren. I think that your health is more important (even if it is Strauss LOL!!). Get well soon.bombasticDarren wrote:Regrettably and unexpectedly I spent last night in hospital. I hope to be able to get the thread moving along again at the weekend, but for now I need a bit of rest...
Apologies
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: May: R. Strauss - Don Quixote
Richard Strauss apparently took a conscious decision to write in the Tone Poem form instead of the Symphonic form. His only symphony is in reality also a Tone Poem. He was a true master of this form. It was obviously a very conscious choice on his part in choosing this form because it played to one of his major strengths i.e. being a wonderful orchestrator. R Strauss inherited Wagner's love of large orchestras with their rich tones. I believe that the Tone Poem enabled Strauss to give vent to his ability to use the orchestra to create a wonderfully diverse, creative and evocative world of sound pictures.
For those who may not be familiar with the concept of the Tone Poem the following extract from Wiki may be of benefit....
“A symphonic poem or tone poem is a piece of orchestral music in a single continuous section (a movement) in which the content of a poem, a story or novel, a painting, a landscape or another (non-musical) source is illustrated or evoked. The term was first applied by Hungarian composer Franz Liszt to his 13 works in this vein. In its aesthetic objectives, the symphonic poem is in some ways related to opera; whilst it does not use a sung text, it seeks, like opera, a union of music and drama.
While many symphonic poems may compare in size and scale to symphonic movements (or even reach the length of an entire symphony), they are unlike traditional classical symphonic movements, in that their music is intended to inspire listeners to imagine or consider scenes, images, specific ideas or moods, and not to focus on following traditional patterns of musical form (e.g. sonata form). This intention to inspire listeners was a direct consequence of Romanticism, which encouraged literary, pictorial and dramatic associations in music. Musical works that attempt to inspire listeners in this way are often referred to as program music, while music that has no such associations may be called absolute music.”
Strauss refused to follow the footsteps of his modernist contemporaries and he rejected what he then saw as the twentieth century's decay into disorder. His music is the natural progression of the Romantic Movement, big, powerful, expressive, emotional, and complex. And so it is that Don Quixote fits into this picture. The tale of Don Quixote represents the Epic and the Romantic; it is operatic in essence and a great choice for a Tone Poem.
For those who may not be familiar with the concept of the Tone Poem the following extract from Wiki may be of benefit....
“A symphonic poem or tone poem is a piece of orchestral music in a single continuous section (a movement) in which the content of a poem, a story or novel, a painting, a landscape or another (non-musical) source is illustrated or evoked. The term was first applied by Hungarian composer Franz Liszt to his 13 works in this vein. In its aesthetic objectives, the symphonic poem is in some ways related to opera; whilst it does not use a sung text, it seeks, like opera, a union of music and drama.
While many symphonic poems may compare in size and scale to symphonic movements (or even reach the length of an entire symphony), they are unlike traditional classical symphonic movements, in that their music is intended to inspire listeners to imagine or consider scenes, images, specific ideas or moods, and not to focus on following traditional patterns of musical form (e.g. sonata form). This intention to inspire listeners was a direct consequence of Romanticism, which encouraged literary, pictorial and dramatic associations in music. Musical works that attempt to inspire listeners in this way are often referred to as program music, while music that has no such associations may be called absolute music.”
Strauss refused to follow the footsteps of his modernist contemporaries and he rejected what he then saw as the twentieth century's decay into disorder. His music is the natural progression of the Romantic Movement, big, powerful, expressive, emotional, and complex. And so it is that Don Quixote fits into this picture. The tale of Don Quixote represents the Epic and the Romantic; it is operatic in essence and a great choice for a Tone Poem.
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
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bombasticDarren
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Re: May: R. Strauss - Don Quixote
^^ Fergus, that makes perfect sense to me. I read a book about the romantic movement (focussing on LvBs role) but never considered it in terms of tone poetry by the likes of Strauss. Certainly the theme of both DQ the novel and the piece of music in question are closely linked with that ideology.
Also, thanks for all your kind comments above :-)
Also, thanks for all your kind comments above :-)
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bombasticDarren
- Posts: 1370
- Joined: Sun Jul 11, 2010 3:04 pm
Re: May: R. Strauss - Don Quixote
Variation II: The Battle with the Sheep
Don, assuming a nearby dustcloud is caused by a mighty army, rides off into battle once. Only this time he has confused a mighty army with a herd of sheep. Don charges and leaves several sheep dead much to the disapproval of the accompanying shepherds.
Don's theme begins with great vigour and purpose on the cello, and trembling strings indicate his interpretation of the dustcloud. The brass cannily summon up the sound of sheeps bleating - with the urgency increasing as Don begins his triumphant, but misguided, charge (full orchestra). I am impressed here by the brass imitation of sheep - I hadn't (at least for a long time) accompanied my listening with a reading of the notes.
I am currently playing the piece through movement by movement. When I get through them all I will begin playing the whole piece through. I think it will make a lot more sense - even at this early stage.
Don, assuming a nearby dustcloud is caused by a mighty army, rides off into battle once. Only this time he has confused a mighty army with a herd of sheep. Don charges and leaves several sheep dead much to the disapproval of the accompanying shepherds.
Don's theme begins with great vigour and purpose on the cello, and trembling strings indicate his interpretation of the dustcloud. The brass cannily summon up the sound of sheeps bleating - with the urgency increasing as Don begins his triumphant, but misguided, charge (full orchestra). I am impressed here by the brass imitation of sheep - I hadn't (at least for a long time) accompanied my listening with a reading of the notes.
I am currently playing the piece through movement by movement. When I get through them all I will begin playing the whole piece through. I think it will make a lot more sense - even at this early stage.
Re: May: R. Strauss - Don Quixote
Both Beethoven and Strauss are part of the same "Movement"; they are just at opposite ends of it and therefore speak a somewhat different (musical) language.bombasticDarren wrote:^^ Fergus, that makes perfect sense to me. I read a book about the romantic movement (focussing on LvBs role) but never considered it in terms of tone poetry by the likes of Strauss. Certainly the theme of both DQ the novel and the piece of music in question are closely linked with that ideology.
Also, thanks for all your kind comments above :-)
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: May: R. Strauss - Don Quixote
That makes sense Darren. Just recall the definition of the Tone Poem above; each section or adventure will be illustrated seperately but they are all presented as a whole by the clever use here of the "variation".bombasticDarren wrote:I am currently playing the piece through movement by movement. When I get through them all I will begin playing the whole piece through. I think it will make a lot more sense - even at this early stage.
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: May: R. Strauss - Don Quixote
bombasticDarren wrote:Variation II: The Battle with the Sheep
....I am impressed here by the brass imitation of sheep....
I agree that is a very evocative passage Darren. In the von Karajan version the notes say that the bleating of the sheep is created by woodwind and muted brass playing minor seconds. Perhaps Simon could explain that one to me please? I understand that it is a discord but is it a note and the subsequent note in the scale flattened played together?
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: May: R. Strauss - Don Quixote
It is....just checked Wiki. DOH!!! Idiot!!!
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra