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bombasticDarren wrote: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.

This is the special effects movement which endeavours to illustrate certain phantasmagorical images of flying through the air to rescue a bearded woman! Yes the wind machine is powerfully effective in creating the illusion but listen out also for those wonderful flutes which are also very evocative.

bombasticDarren wrote: 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.

The opening Knight theme sets the scene for another adventure which also helps to create the river scene. Note the increased tension in the orchestral playing as the danger approaches. This achieved by various cadences, underlying string pizzicato and an increase in the volume beyond forte. I read the brass as alerting to the imminent danger and the subsequent capsizing of the boat is clearly heard as the two splash into the water and sink below its surface. The two eventually scramble to safety and the noisy pizzicato indicates the two shaking the water from themselves in an effort to dry themselves and to restore some semblance of dignity. A reverential prayer of thanksgiving is finally offered for their deliverance!

Variation IX: The Combat with the Two Magicians

This variation depicts Don, once again, getting the wrong end of the stick and confusing two monks travelling by coach with magicians. To makes matters worse Don thinks the 'magicians' are in the process of adbucting a princess. Don Charges, they flee...

It starts off with a rousing flurry of strings and settles into a plaintive and quizzica theme for bassoon (correct me if I'm wrong). The furious strings return and suggest and charge and the subsequent fleeing. Not the strongest of the variations - it makes you hanker for the out of left field imagination that brought us the wind machine...

Variation X: The Defeat of Don Quixote by the Knight of the White Moon

Here, Don encounters Samson Carrasco, a university professor and fellow-townsman. Samson rescues Don from his increasingly wayward excursions, takes him home and bring him back to his senses. Samson is disguised as the 'Knight of the White Moon'. As part of his therapy Samson unmounts Don during battle ensuring that he will return to his home to begin his rehabilitation.



This is one of the longer variations and I am finding it harder and harder to make sense of them as storytelling devices - as music they are just fine. That said, it begins nobly with full orchestra in effect and a rousing fanfare for trumpets may introduce the 'Knight of the White Moon' (I'm not sure). His theme is less whimsical than Don's as suggests the noble threat that he poses. Whimsy returns halfway through with some shapeless orchestral noodling and then the drum beats a steady and strong pulse perhaps indicating Don's forced dismount. The placid final bars suggest that serenity has returned following Don's capitulation.

bombasticDarren wrote:Variation IX: The Combat with the Two Magicians

This variation depicts Don, once again, getting the wrong end of the stick and confusing two monks travelling by coach with magicians. To makes matters worse Don thinks the 'magicians' are in the process of adbucting a princess. Don Charges, they flee...

It starts off with a rousing flurry of strings and settles into a plaintive and quizzica theme for bassoon (correct me if I'm wrong). The furious strings return and suggest and charge and the subsequent fleeing. Not the strongest of the variations - it makes you hanker for the out of left field imagination that brought us the wind machine...

This short section is broken up into three distinct sections; the misperception and charge of the Knight, the conversation between the two monks and the flight of the terrified party and their pursuit by the Knight. I really like the bassoon duet (just confirming that Darren) representing the solemn and pious conversation of the monks and it is in great contrast to their hasty retreat!

bombasticDarren wrote: Variation X: The Defeat of Don Quixote by the Knight of the White Moon

Here, Don encounters Samson Carrasco, a university professor and fellow-townsman. Samson rescues Don from his increasingly wayward excursions, takes him home and bring him back to his senses. Samson is disguised as the 'Knight of the White Moon'. As part of his therapy Samson unmounts Don during battle ensuring that he will return to his home to begin his rehabilitation.

This is one of the longer variations and I am finding it harder and harder to make sense of them as storytelling devices - as music they are just fine. That said, it begins nobly with full orchestra in effect and a rousing fanfare for trumpets may introduce the 'Knight of the White Moon' (I'm not sure). His theme is less whimsical than Don's as suggests the noble threat that he poses. Whimsy returns halfway through with some shapeless orchestral noodling and then the drum beats a steady and strong pulse perhaps indicating Don's forced dismount. The placid final bars suggest that serenity has returned following Don's capitulation.

To my nind the fanfare announces the joust and battle between the two men followed by the Knight’s defeat. The Knight’s abjection, dejection and despondence at the end of his adventures are, I think, all ably portrayed and are then followed by the long and mournful journey home. I think that there is some really beautiful, sorrowful music in this passage which really captures the mood of the Knight; I am also thinking of the lovely pastoral scene where the Knight longingly envisages himself and the Squire as simple shepherds. I think that one really feels for the poor old Knight as a consequence of the beautifully melancholy eulogy at the end.

Our good friend Darren has contacted me to inform me that he is indisposed at present and will in all likelihood be absent from the forum for a period of a few weeks. As you know he was briefly hospitalised recently and has obviously not fully recovered so he needs time out to look after himself properly and to get himself right. I am sure that you will all wish him a speedy recovery and a swift return to full health. His presence and activity will be missed until his return.

As a consequence of his not being able to do so himself at the moment Darren has asked me to complete his Don Quixote thread rather than just leave it hanging there. I will of course do so out of great respect for a job already well done and almost complete. Given where he started from, I think that Darren did a great job with this thread. I know that it has not been particularly easy for him but he persevered and, I think, prevailed. I would personally like to say well done Darren on your efforts and indeed on the final product!

Once again I wish you a speedy recovery to full health Darren and I hope that it is not too long before we see you back around these parts.

The Finale:

The final scene is that of a man lying on his deathbed having come to his senses following his delusions. He is contemplating the heroic deeds of his past and the beautifully serene yet poignant music reflects the sense of melancholy and maybe regret that perhaps he now feels along with his final sense of resignation. We finally watch (or listen) as the Knight gently slips away quite serenely.







Strauss’ ability to write beautiful music is amply illustrated here with gorgeous melodies and wonderfully textured harmonies. The beautifully melodious song for the cello gives great scope for an infusion of real expression for the soloist.

I think that there is some really gorgeous music throughout this work and there is also some beautiful passages for the solo cello. Given these wonderful concertante pieces it is not surprising that the big name cellists would want to play this piece. There is great scope for expression and interpretation for the soloist.

This is a well recorded version given the circumstances; the engineer apparently just turned on the machine during a single run through! The strings sound beautiful, full and warm, the brass section rasps when required and du Pré’s cello has a magnificent, rich tone.

Boult’s interpretation is a richly lyrical one and I feel that he gets to the essence of the work. All of the sound pictures are hugely plausible. Du Pré plays with wonderful intensity throughout whether she is being totally quirky or deadly serious. She obviously gave it her all. I would like to have seen her perform this one because of the way that she threw herself about during performances; this one was made for her!

The two major concertante pieces, The Knight’s Vigil and Don Quixote’s Death, are ravishingly played. The emotional intensity just flows from the speakers. Do not forget that this was essentially a rehearsal! Boult’s “Bravo” and the orchestra’s spontaneous applause at the very end are both very apt recognition for a wonderful performance.

This is my favourite performance and the one with which I have followed this thread. The sound produced by the Berlin Philharmonic and von Karajan on DG requires nothing to be said. I have also long felt that von Karajan had a special affinity for the music of Richard Strauss. I think that this is a gorgeous performance that radiates the quirky nature of the plot very well. The tension in the drama is also very well portrayed. It is a story very well told and the wonderful orchestral playing richly portrays all aspects of the tale.

Pierre Fournier was known as the Aristocrat of the Cello. His demeanour would have been the antithesis of du Pré’s. His style would have been reserved but those notes certainly did flow wonderfully from his instrument. His tone and phrasing are gorgeous and his performances are no less intense than those of du Pré. His is a highly polished and refined performance that is still warm and very sympathetic to the role and is far from sterile.

The Knight’s Vigil and Don Quixote’s Death are richly coloured, intense contemplations that warmly portray a high level of intense but somewhat controlled emotion that is a hallmark of this performance.