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bombasticDarren wrote:

Introduction Don Quixote loses his sanity after reading novels about knights, and decides to become a knight-errant

The introduction doesn't settle into any particularly discernable theme but, as inidcated in the subtitle, has plenty of heroic horn calls to represent the knightly delusion, and skittering strings which remind us that Don Quixote may not be of sound mind. As far as I can judge this is a spirited and effective introduction. Initially it bounces along quite merrily, and then serene, until the aforementioned horn and strings interrupt the painstakingly evoked pastorale mood. My initial thinking is I have been too hard on poor old Richard Strauss. We shall see...

I came home this afternoon following a trip to the dentist so I was packed full of drugs and painkillers so what better time to start on the Deranged Knight....


In the introduction we are presented with the knight whose theme is played by the orchestra. We are also introduced to the noble concept of chivalry. These themes are also countered by elements of the whimsical and eccentric sides of the Knight’s character. The oboe introduces the “Ideal Lady” who is to be the patron of this chivalrous Knight.
As the introduction develops one can trace the decline of the Knight’s mind into confusion and delusion through the dissonances in the music. Note also the violins playing in the higher registers along with the discordant brass playing to help in creating a sense of hysteria. The decline in the Knight’s mind continues until he finally cracks!

bombasticDarren wrote: Variation I: The Adventure with the Windmills

The themes are used here in the first variation, one which advances the 'plot' of the piece. Don, upon seeing a field of windmills he perceives as giants, prepares for battle. A battle which will inevitably prove fruitless as the first windmill he attacks destroys his lance and sends him tumbling from his steed. Interlaced with this narrative is a theme for Don's unrequited love, Dulcinea, for full romantic strings. After listening closely to this variation I can hear what Strauss was attempting more - the skirmish is represented clearly withthe DQ theme is used cleverly, and the doleful solo cello encapsulates the Don's failure whilst also rising at the end into gallant hope, ready for the next variation....

One can clearly hear the Knight fighting with the windmill and being unceremoniously dumped to the ground signified by the thump of the timpani about half way through the movement. After his defeat we have his ignominy with his musings as much as to say this chivalry stuff is not nearly as easy as I thought it was going to be!

bombasticDarren wrote: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....

So, following his defeat and ignominy we have success at last when he charges the sheep and kills a number of them. I also think that the sheep are very well represented, particularly the chaotic scene near the end. One can hear the shepherds retaliating and the Knight being knocked to the ground once more.

Variation III: Dialogue of Knight and Squire

In this variation the themes of the two characters come into dialogue explicitly for the first time. The general picture that is painted here by Strauss is one of Don's continued delusions colliding with Sancho's more earthbound manner, him attempting to bring an air of reality back into procedings.



The Sancho viola motif in this variation begins by scurrying around the more measured solo cello - Don being somewhat in a state of revery, whilst Sancho fussily contends with his masters whimsy. Just before the 4 minute mark the orchestra explodes in transition to a typically romantic episode for full orchestra (strings dominant) as the Don's knightly aspirations/delusions increase in intensity. Overall, this longueur serves to bolster our appreciation of the characters inherent to the piece, even if it is not, to my ears, the strongest of the variations.

Variation IV: The Adventure with the Penitents, or 'Unhappy adventure with a procession of pilgrims'

In this relatively brief variation we can hear Don and Sancho encountering a procession of pilgrims. As with the sheep in an earlier variation Don rashly attacks the pilgrims but is subdued and rendered unconscious by one of the party, who move on chanting as they go. Dutifully, Sancho attends to his master and, assured that he is still alive, goes to sleep beside him.



In this variation the pilgrims are portrayed by bassoons and muted brass - the 'pilgrim' theme sounding suitably processional, with the orchestra varying in volume to suggest onward movement (reminding me of the pilgrim's chorus in Tannhauser). The strings are frenzied at times to suggest the drama contained in this variation. As Don lapses into unconsciousness the cello part streches out and the brass suggest mockingly that he has met his comeuppance. This is a variation that I like very much - played beautifully by the CSO.

bombasticDarren wrote:Variation III: Dialogue of Knight and Squire

In this variation the themes of the two characters come into dialogue explicitly for the first time. The general picture that is painted here by Strauss is one of Don's continued delusions colliding with Sancho's more earthbound manner, him attempting to bring an air of reality back into procedings.

The Sancho viola motif in this variation begins by scurrying around the more measured solo cello - Don being somewhat in a state of revery, whilst Sancho fussily contends with his masters whimsy. Just before the 4 minute mark the orchestra explodes in transition to a typically romantic episode for full orchestra (strings dominant) as the Don's knightly aspirations/delusions increase in intensity. Overall, this longueur serves to bolster our appreciation of the characters inherent to the piece, even if it is not, to my ears, the strongest of the variations.

Congratulations on your continued very good analysis of this work Darren!

I think the conversation between the Knight and the Squire is most intriguing and each clearly has his own voice in both tone and sentiment. The Knight ponders all things noble and the high ideals of chivalry while the Squire (here represented on the viola) is very much more down to earth. As the Knights idealism grows so the music expands into full orchestral scoring and we get to hear some of the absolutely gorgeous composing and orchestrating that Strauss was capable of. Right at the end the Squire sheepishly interrupts this very eloquent flow and is unceremoniously chastised by the Knight for his interruption!

bombasticDarren wrote: Variation IV: The Adventure with the Penitents, or 'Unhappy adventure with a procession of pilgrims'

In this relatively brief variation we can hear Don and Sancho encountering a procession of pilgrims. As with the sheep in an earlier variation Don rashly attacks the pilgrims but is subdued and rendered unconscious by one of the party, who move on chanting as they go. Dutifully, Sancho attends to his master and, assured that he is still alive, goes to sleep beside him.

The dramatic music at the beginning of this variation is the Knight charging the penitents and being knocked out for his trouble. He is spending more time on the ground than in the saddle! As the penitents march on we can actually hear them chanting piously which I think is very clever. The Squire thinking that his master is dead wails and is reassured when the Knight finally regains consciousness and duly falls asleep presumably with relief and one can clearly hear him snoring on the tuba right at the end!


It sounds like you are enjoying this Darren?

^^ well, I can't say that I'm particularly comfortable writing about music, but I am enjoying getting to know the piece better. I am looking forward to hearing it all the way through later in the month and seeing if I appreciate it any better as a unified piece now...

I was just surfing round Amazon and spotted this reissue:-



It's a useful compendium of Karajan's essential Strauss recordings. If I didn't have them individually already, I'd snap it up.

this is also a very fine little box-set, for a tenner...

http://www.amazon.co.uk/Richard-Strauss ... 850&sr=1-1

no DQ alas, but Bohm & Strauss were good friends...

bombasticDarren wrote:^^ well, I can't say that I'm particularly comfortable writing about music, but I am enjoying getting to know the piece better. I am looking forward to hearing it all the way through later in the month and seeing if I appreciate it any better as a unified piece now...

You are doing just fine so far Darren and I am sure that you will benefit from your own analysis just as the rest of us have no doubt done!