Tír Na HiFi

bombasticDarren wrote: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.

I read recently that in his lifetime Strauss commended his music being conducted by two people, Kajanus and von Karajan....

Variation V: The Knight's Vigil

Following his ill-fated combat with the pilgrims Don does not sleep, but rather thinks about the lady of his dreams, Dulcinea.



This variation makes full use of the cello as a solo intrument. Don's infatuation with Dulicinea is presented in rhapsodic form here and, for the most part, showcases the cello with only minor orchestra support. When the orchestra does force itself onto proceedings (at the height of Don's passion) it is not overpowering and effectively demostrates our hero's ardour.

Variation VI: The False Dulcinea

Swiftly we move onto a comic variation within which we hear Sancho playing a trick on his master - convincing that a mere peasant wench is his beloved Dulcinea (represented below by Adolph Schroedter).



This variation begins with rambunctious woodwind demostrating the farcical mood effectively. This gives was to a melancholy episode for solo cello intimating Don's torment at being deprived the true form of Dulcinea. The piece picks up the jollity again, leaving on a lighter note as Sancho takes satisfaction in his ruse.

I've just had a quick look at my collection and the Don Quixote recordings I own are:-

Herbert von Karajan, Berliner Philharmoniker, DG
Herbert von Karajan, Berliner Philharmoniker, EMI
Thomas Beecham, Royal Philharmonic Orchestra, EMI
Andre Previn, Wiener Philharmoniker, Telarc
Daniel Barenboim, Chicago Symphony Orchestra, Warner Elatus
Rudolf Kempe, Staatskapelle Dresden, Brilliant Classics
David Zinman, Tonhalle Zurich, Arte Nova
Fritz Reiner, Chicago Symphony Orchestra, RCA
Kurt Masur, Leipzig Gewandhausorchester, Philips

I guess there's quite a lot there considering I'm ambivalent towards DQ - but remember it is usually coupled with other Strauss pieces, and I do like Strauss by and large.

bombasticDarren wrote:Variation V: The Knight's Vigil

Following his ill-fated combat with the pilgrims Don does not sleep, but rather thinks about the lady of his dreams, Dulcinea.

This variation makes full use of the cello as a solo intrument. Don's infatuation with Dulicinea is presented in rhapsodic form here and, for the most part, showcases the cello with only minor orchestra support. When the orchestra does force itself onto proceedings (at the height of Don's passion) it is not overpowering and effectively demostrates our hero's ardour.

This section is one where the cellist can really get his teeth into an individual display through this cadenza/concertante like movement. The tone and phrasing of the soloist would be critical to success in this section. I think that the orchestration is wonderful by it’s near absence and yet it firmly anchors and fixes the mood. Note the very effective harp glissando which adds to the dreamlike atmosphere of this flashback scene.

bombasticDarren wrote:I've just had a quick look at my collection and the Don Quixote recordings I own are:-

Herbert von Karajan, Berliner Philharmoniker, DG
Herbert von Karajan, Berliner Philharmoniker, EMI
Thomas Beecham, Royal Philharmonic Orchestra, EMI
Andre Previn, Wiener Philharmoniker, Telarc
Daniel Barenboim, Chicago Symphony Orchestra, Warner Elatus
Rudolf Kempe, Staatskapelle Dresden, Brilliant Classics
David Zinman, Tonhalle Zurich, Arte Nova
Fritz Reiner, Chicago Symphony Orchestra, RCA
Kurt Masur, Leipzig Gewandhausorchester, Philips

I guess there's quite a lot there considering I'm ambivalent towards DQ - but remember it is usually coupled with other Strauss pieces, and I do like Strauss by and large.

Wow, that is quite an amount of versions to have for any work let alone one that you are ambivalent about. I understand that you would not have gone out to specifically buy them but it is impressive nonetheless. When you are finished this thread and by then absolutely loving the work you will have lots of choice from which to pick one at random!

bombasticDarren wrote: Variation VI: The False Dulcinea

Swiftly we move onto a comic variation within which we hear Sancho playing a trick on his master - convincing that a mere peasant wench is his beloved Dulcinea.

This variation begins with rambunctious woodwind demostrating the farcical mood effectively. This gives was to a melancholy episode for solo cello intimating Don's torment at being deprived the true form of Dulcinea. The piece picks up the jollity again, leaving on a lighter note as Sancho takes satisfaction in his ruse.

There is a great sense of fun and a great element of the whimsical in this section. The woodwinds almost laugh as they play a variant on the Dulcinea theme to illustrate the sense of the joke that is being played. One can actually hear the cell asking the question at the beginning as much as to say “What is going on here?”

I would be curious to know how you are getting on with the musical story telling Darren. Are you getting more of a grip on it yourself? Are you enjoying it despite all of the hard work that you are putting in?

I finally got to sit down for a listen last night. I really enjoyed it after the brilliant posts to this thread. I will give it another spin hopefully tonight or next week when the pressure of work should have died down a bit... Thanks for another great ear-opnener! :D

fergus wrote:I would be curious to know how you are getting on with the musical story telling Darren. Are you getting more of a grip on it yourself? Are you enjoying it despite all of the hard work that you are putting in?

I still think it will never be a strong suit for me as a CM fan. But I can say, on purely musical terms, I am enjoying DQ more so far - I can't wait to hear it all the way through again and see what my final verdict might be!

Variation VII: The Ride through the Air

This variation describes Don and Sancho blindfolded astride a wooden horse which they imagine to be flying through the air. Witnesses to this follow encourage the delusion by bellowing air onto Don and Sancho; this deception is implemented by a character called the Countess (since Strauss is understandably none too literal with his storytelling I won't summarise how our heroes got in this predicament - all we need to know is that Don and Sancho believe they are flying on a wooden horse. That's all)



The much trumpeted wind machine makes it's appearence here - stunning concertgoers at the premiere no doubt - and a fine illusion it creates. Musically, Strauss is in full heroic mode here with mighty brass chorales evoking the heroic act our heroes perceive themselves to be experiencing. The bassoon note that completes this variation serves to tell us that Don and Sancho have returned to reality.

Variation VIII: The Adventure with the Enchanted Boat
Here we are confronted with the image of Don and Sancho aboard a boat which Don believes was sent to him so he can rescue a distress knight. Drifting downstream, Don imagines a watermill to be the fortress holding the beleagured fellow knight and he also sees fit to brandish his sword at the nearby millers. The boat capsizes, and Don's misguided adventures continue...



I find this one hard to fathom as tone poetry. Granted, I can hear the Don's theme restated heroically and the cellos/basses offer a musical undercurrent (pun unintended) of flowing water. The brass blared out rudely suggested our heroes' downfall and the pizzicato notes toward the end could indicate their humilition. But I'm speculating. The mellown woodwind conclusion suggests serenity is restored and Don and Sancho are safe.