Remembering David Nadien

David Nadien
David Nadien

American violinist David Nadien passed away last week at the age of 88. A student of Ivan Galamian, Adolfo Betti and Adolf Busch, Nadien first soloed with the New York Philharmonic at the age of 14. Between 1966 and 1970 he served as concertmaster of the New York Philharmonic under Leonard Bernstein. You can hear him play the “Pas de deux” violin solo from Tchaikovsky`s Swan Lake here

For years Nadien taught at the Mannes College of Music and performed as a top freelance studio musician in New York. His immaculately clean, Romantic style of playing, suggestive of violinists from Elman to Milstein, was an inspiration to a younger generation of musicians. The Suzuki violin repertoire, books 1-10, are among his diverse recording credits. Notable recordings include the Franck Sonata and Tchaikovsky Concerto as well as showpieces such as Sarasate’s Habañera, Weiniawski’s Scherzo Tarentelle and Massenet’s Meditation from Thais

Here is his recording of Sarasate’s Introduction and Tarantella:

Find on iTunes

Appalachian Spring at UMD

Unknown-41A recent University of Maryland School of Music student performance of Aaron Copland’s Appalachian Spring is gaining well deserved attention. The performance was unique because it defied almost all of the conventions of the typical concert experience. There were no chairs or music stands onstage and there was no conductor. Instead, the 25-minute-long work was performed by memory and the musicians not only played, but incorporated elements of dance and motion created by Baltimore choreographer Liz Lerman. The Washington Post critic called it, “one of the standout performances of my many years in Washington.”

In 2012 the school offered a similar performance with Debussy’s sensuous Prelude to the Afternoon of a Faun. The concept is similar to recent Broadway theater productions of shows such as Stephen Sondheim’s Sweeney Todd, in which actors on stage also played instruments.

In this piece, the Washington Post’s Anne Midgette suggests that visual elements are an important ingredient to building new audiences:

What part does movement have in musical performance? Musicians seem uncertain — or unaware. On the one hand, it’s a new truism that classical music concerts “need” a visual element to captivate new audiences (“Classical music must, in order to survive, introduce visual elements into its presentation,” wrote Patricia Handy in her program notes for Augustin Hadelich’s ostensibly theatrical “Tango, Song and Dance” program at the Terrace Theater last week).

But how much truth is there in Midgette’s “new truism?” Statements such as these, part of a constant and often assumption-based media drumbeat that “classical music is dying”, seem dubious. Copland’s Appalachian Spring and other great music, when performed well, will always have an audience. The expressive power of music lies in the fact that it’s fundamentally about listening, not watching. Audience members who lack the attention span to really listen will miss the true experience. It’s the challenge of music education to teach audiences how to listen. Exposure to music at an early age is an important part of this education.

The University of Maryland’s exciting and heartfelt performance is interesting for what it is: a creative way to blend dance and music into a new kind of performance art. In this case, it may be especially successful because Appalachian Spring was written as a ballet. For the students, who gained a deeper understanding of the way the piece fits together and experienced it as chamber music, there is also value.

Here is the complete performance:

Ballet for Martha

Premiering in 1944, Aaron Copland’s Appalachian Spring was written for choreographer Martha Graham, who danced the leading role. It was originally scored for a chamber orchestra of 13 instruments. Listen to the original version here. Copland gave the piece the simple working title, Ballet for Martha. Later, after the music had been written, Graham suggested Appalachian Spring, a reference to Hart Crane’s poem, The Bridge:

O Appalachian Spring! I gained the ledge;
Steep, inaccessible smile that eastward bends
And northward reaches in that violet wedge
Of Adirondacks!

From its opening pandiatonic chords, Appalachian Spring embodies a distinctly “American” sound. Rob Kapilow offers fascinating insights about the way the piece develops out of these chords and why they evoke the wide open spaces of the American frontier. The incorporation of variations on the Shaker melody, Simple Gifts, suggests a nationalism similar to the use of Russian folk songs in Stravinsky’s ballet music.

In this rare recording of Copland rehearsing Appalachian Spring with an unknown orchestra, we hear the composer urge musicians to play passages with less sentimentality, finding a more honest, “American” sound. The clip offers valuable insights into what Copland had in mind in terms of tone color, articulation and balance.

If you’re looking for a great recording of this piece, I recommend Leonard Bernstein’s 1983 recording with the Los Angeles Philharmonic.

Glenn Dicterow’s Long Goodbye

Glenn Dicterow
Glenn Dicterow

After 34 years as concertmaster of the New York Philharmonic, Glenn Dicterow will be stepping down at the end of this season. A native of Southern California, Dicterow has accepted a position as professor of violin at the University of Southern California’s Thornton School of Music. The New York Philharmonic has been honoring his service throughout the season. 

As Dicterow explains, the concertmaster’s varied role goes beyond playing occasional orchestral violin solos. Within the violin section, the concertmaster determines bowings and helps to establish a uniform style of playing, based on the conductor’s musical vision. For section players, the peripheral sightline to the concertmaster is an essential part of playing cohesively. Additionally, concertmasters serve as an important link between the conductor and the orchestra. Under the best circumstances, a mysterious and instantaneous transfer of energy occurs between the conductor and the orchestra and between sections of the orchestra, resulting in chamber music on a large scale.

From my experience, the most successful concertmasters leave their egos at the door, are professional in demeanor, lead with a clear and unifying sense of rhythm, and foster an atmosphere of teamwork, mutual respect and cooperation.

Tradition and Renewal

Glenn Dicterow’s retirement comes during a period of unusually high turnover for the New York Philharmonic. A much needed renovation of Avery Fisher Hall also promises to bring significant change in the next few years. The lifeblood of any successful organization seems to be a healthy balance between tradition and renewal. Great conductors from Bernstein and Toscanini to Gustav Mahler have left their imprint on the sound of the New York Philharmonic over time. It will be exciting to see where the organization goes from here.

Dicterow Plays Brahms

While serving as concertmaster, Glenn Dicterow has remained active as a soloist and chamber musician. Through the years he has performed violin solos on movie soundtracks such as Beauty and the Beast (listen around the 0:45 second mark). Here is a live performance of Brahms’ Trio No. 1 in B Major, Op. 8. Dicterow is joined by cellist James Kreger and pianist Craig Sheppard:

Here are the secondthird and fourth movements.

Teaching Bernstein

Leonard Bernstein
Leonard Bernstein

In addition to composing and conducting, Leonard Bernstein (1918-1990) was one of the greatest music educators of all time. Starting in the late 1950’s, Bernstein educated and inspired a national television audience with his New York Philharmonic Young People’s Concerts. Later, in 1976 came The Unanswered Question: Six Talks at HarvardHis message was consistent: classical music isn’t stuffy or hard to understand. It’s fun and it’s something everyone can enjoy.

In Teachers and Teaching, Bernstein talks about his own education from Serge Koussevitzky, Dimitri Mitropoulos and Fritz Reiner to Aaron Copland. The documentary, made in the final years of Bernstein’s life, is filled with interesting and thought-provoking anecdotes. Bernstein discusses the contrast between the warmth of Koussevitzky’s approach to conducting and the more cerebral Reiner. As a student, he was able to combine the best of both worlds.

For Bernstein, teaching and learning were closely linked:

https://www.youtube.com/watch?v=5m7Ky4VtNIU

[quote]Music…can name the unnameable and communicate the unknowable.[/quote]

-Leonard Bernstein

Love Songs Through Time

love songRomantic love, with its often irrational sea of complex emotions, has long been a rich source of inspiration in music. With Valentines Day just around the corner, let’s listen to a selection of love songs from the Renaissance to the present day. Most of these songs would have been considered popular music when they were first written. Sampling this list, I was struck by how many great love songs are tinged with melancholy. These songs serve as a reminder of the ability of music to communicate powerful and contradictory emotions which cannot be expressed in words.

[typography font=”Cantarell” size=”28″ size_format=”px”]”Come Again” by John Dowland [/typography]

John Dowland (1563-1626) was an English Renaissance composer, singer and lutenist. Sting’s 2006 recording of Dowland songs (Songs from the Labyrinth) demonstrates the timelessness of this music. Listen to the way the melody expresses the text, especially in the breathlessly euphoric “To see, to hear, to touch, to kiss, to die…” You can read the entire text here.

Here is tenor Paul Agnew and lutenist Christopher Wilson:

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[typography font=”Cantarell” size=”28″ size_format=”px”]Des Fischers Liebesglück, D.933[/typography]

Now let’s listen to Des Fischers Liebesglück, D.933 (The Fisherman’s Luck in Love) by Franz Schubert (1797-1828). Listen carefully to the harmony and consider the feelings evoked by certain chords. Notice how the music alternates restlessly between minor and major. The first turn to major comes with the first reference to the “beloved.” Here is the text by Karl Gottfried von Leitner.

This recording features tenor Christoph Genz accompanied by pianist Wolfram Rieger:

[button link=”http://www.naxos.com/catalogue/item.asp?item_code=8.554796″]Find at Naxos[/button] [button link=”http://www.amazon.com/Schubert-Lied-Edition-Austrian-Contemporaries/dp/B000QQOUWM”]Find on Amazon[/button]

[typography font=”Cantarell” size=”28″ size_format=”px”]Liebeslieder Walzer[/typography]

Next let’s hear Johannes Brahms’s (1833-1897) Liebeslieder Walzer, Op. 52. Musicologists speculate that Brahms’s infatuation with Clara Schumann’s daughter was the inspiration behind these waltzes.

The singers on this 1968 recording are Heather Harper, Soprano, Janet Baker, Mezzo-soprano, Peter Pears, Tenor and Thomas Hensley, Baritone. Benjamin Britten & Claudio Arrau play the piano part, which requires four hands.

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[quote]My soul trembles with love, desire and grief, when it thinks of you.[/quote]

-conclusion of Liebeslieder Walzer text

[typography font=”Cantarell” size=”28″ size_format=”px”]Songs of a Wayfarer[/typography]

Gustav Mahler’s (1860-1911) Lieder eines fahrenden Gesellen (‘Songs of a Wayfarer’) deals directly with the pain of love lost. It’s an autobiographical work, springing from Mahler’s unsuccessful relationship with the soprano, Johanna Richter. The text, based on Des Knaben Wunderhorn was written by Mahler. In a letter he explained:

[quote]I have written a cycle of songs which are all dedicated to her. She has not seen them. What could they tell her that she does not know already?[/quote]

-“Mahler” by Kurt Blaukopf

In Songs of a Wayfarer, the orchestra is not merely accompaniment but an equal dramatic partner to the singer. What moods and colors are evoked by the orchestration? Consider the emotional impact of the dream-like conclusion of the fourth song, a funeral march. Notice the way the music alternates between melancholy despair and transcendent moments of joy. Mahler’s first song cycle, Songs of a Wayfarer provided the seeds for his Symphony No. 1. Get more historical background here.

This recording is by Leonard Bernstein and the Vienna Philharmonic:

[ordered_list style=”decimal”]

  1.  “Wenn mein Schatz Hochzeit macht” (“When My Sweetheart is Married”) (0:00)
  2. “Ging heut Morgen übers Feld” (“I Went This Morning over the Field”) (4:20)
  3. “Ich hab’ein glühend Messer” (“I Have a Gleaming Knife”) (8:27)
  4. “Die zwei blauen Augen von meinem Schatz” (“The Two Blue Eyes of my Beloved”) (11:47)

[/ordered_list]

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[typography font=”Cantarell” size=”28″ size_format=”px”]A Boy and A Girl[/typography]

American composer Eric Whitacre’s (b. 1970) A Boy and a Girl is a choral setting of a poem by Octavio Paz1914-1998. The poem paints three scenes, ultimately drifting into infinity:

https://soundcloud.com/ericwhitacre/a-boy-and-a-girl

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Liszt’s Faust Symphony

Eugene Delacroix's painting, "Faust and Mephistopheles"
“Faust and Mephistopheles” by Eugene Delacroix

Forget Elvis. Franz Liszt (1811-1886) was the world’s first rock star. As a virtuoso pianist, Liszt toured Europe performing flashy and dazzling compositions such as the famous Hungarian Rhapsody No. 2. Following in the footsteps of Niccolò Paganini, Liszt helped to usher in the age of the romantic superstar concert artist. An atmosphere of almost supernatural ecstasy surrounded Liszt’s concerts. The hysteria of his fans, which included reports of women fainting and collecting locks of his hair, was known as Lisztomania. In 2008 the Alternative rock band Phoenix released this song and music video with references to Liszt’s rock star magnetism.

Even more significant and enduring was Franz Liszt’s contribution as one of the most innovative composers of the nineteenth century. His influence can be heard in Wagner, Mahler and beyond. He stretched tonality, creating atmospheric music which still sounds shocking and new.

Franz Liszt
Franz Liszt in 1858

Inspired by Goethe’s Faust drama, Franz Liszt wrote A Faust Symphony in Three Character Sketches in 1854. Hector Berlioz had just composed La Damnation de Faust which he dedicated to Liszt. Liszt returned the favor by dedicating his symphony to Berlioz. While Berlioz offered an operatic re-telling of the drama, Liszt’s music is a psychological exploration of the characters of Faust, Gretchen and Mephistopheles. Liszt developed a compositional technique known as thematic transformation in which a musical idea develops throughout the composition by undergoing various changes. Wagner used this technique in his operas, assigning each character a leitmotif. Thematic transformation also occurs throughout John Williams’s Star Wars film scores.

[typography font=”Cantarell” size=”28″ size_format=”px”]Faust[/typography]

Let’s start off by listening to the first movement of the Faust Symphony. Consider how the music evokes the character of Faust, from his gloomy daydreams, to his insatiable thirst for knowledge, to his immense appetite for the pleasures of life. At times, the music may seem schizophrenic, alternating between intense excitement and quiet melancholy. Pay attention to the haunting opening motive which uses all twelve notes of the chromatic scale. What atmosphere does this opening music create? Notice how this motive returns in various guises throughout the movement (6:13, 10:40, 15:59 and 25:58 for example).

Here is a really exciting 1960 studio recording by Leonard Bernstein and the New York Philharmonic:

[ordered_list style=”decimal”]

  1. Faust 0:00
  2. Gretchen 27:29
  3. Mephistopheles 48:19
  4. Final Chorus 1:04:12

[/ordered_list]

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Did the opening motive make you feel lost, as if you were wandering through a slightly unsettling dream? The symphony is in C minor, but this motive’s chromaticism makes it impossible to get a sense of any key. It anticipates the twentieth century twelve tone music of Schoenberg, Berg and others. Maybe you also heard echoes of Wagner’s Tristan and Isolde (0:30-0:37) or Mahler’s symphonies (the stopped horns at 13:22), or a Bernard Herrmann film score (17:06).

In the first analysis of the Faust Symphony (from 1862), Richard Pohl suggests that the motives of first movement relate to “Passion, Pride, Longing, Triumph and Love.” (See the Introduction to the Dover score).

For me there are many aspects of this seldom heard piece which I find exciting: the ferocious string passages, the sudden and transformative modulation to C major at 20:13, Liszt’s use of relatively new additions to the orchestra such as harp, trombones and tuba. There are soaring, heroic moments like 11:44 (and 24:38 in the recapitulation) where trombones add a completely new dimension to the sound. At 25:06 the prominent use of trombones also evokes the instrument’s supernatural connotations. In the final bars of the movement there is something ominous about the descending and ascending chromatic line (25:58).

[typography font=”Cantarell” size=”28″ size_format=”px”]Gretchen[/typography]

The second movement, in A-flat major, captures the innocence of Gretchen. Gradually Faust’s themes from the first movement creep in (beginning at 36:07) and eventually merge into a love duet.  In the introduction of the Dover edition of the score, Dr. Alan Walker writes:

[quote]The gentle simplicity of both Gretchen themes belies the fact that they will later become transformed into the “Redemption” motifs in the choral setting of the “Chorus Mysticus” [the final movement].[/quote]

[typography font=”Cantarell” size=”28″ size_format=”px”] Mephistopheles[/typography]

Mephistopheles, or Satan, represents “the spirit of negation”, destruction rather than creation. In the third movement Liszt does not give Mephistopheles his own motives. Instead we hear Faust’s motives from the first movement mocked, caricatured and ultimately torn apart. Only the innocent Gretchen can withstand Mephistopheles’s power. Her themes remain intact (56:38), as we heard them in the second movement.

At the end of the third movement, notice the stunning falling chromatic harmonic sequence (beginning after 1:02:07). In the final measures Liszt again uses the solemn supernatural color of the trombones (1:03:25).

[typography font=”Cantarell” size=”28″ size_format=”px”]Final Chorus[/typography]

Three years after completing the first three movements, Liszt added the climactic Final Chorus for male chorus. In the final measures, the entrance of the organ creates a new, expanded and transcendent sound world. This anticipates Mahler’s use of organ in the Second and Eighth Symphonies. The text is taken from Goethe’s Faust:

[quote]Everything transitory
is only an allegory;
what could not be achieved
here comes to pass;
what no one could describe,
is here accomplished;
the Eternal Feminine
draws us aloft.[/quote]

Ravel Writes the Blues

1920's ParisFrench impressionist composer Maurice Ravel (1875-1937) found inspiration in the American jazz, which was sweeping Paris in the 1920s. At a time of prohibition and racial discrimination in the United States, many African-American jazz musicians settled in Paris, enjoying its liberating cosmopolitan energy. Additionally, Aaron Copland, George Gershwin and other young American composers came to study with eminent composition teacher Nadia Boulanger.

Here is what Ravel said about the potential of the new musical language of jazz:

[quote]The most captivating part of jazz is its rich and diverting rhythm…Jazz is a very rich and vital source of inspiration for modern composers and I am astonished that so few Americans are influenced by it.[/quote]

Let’s listen to two of Ravel’s jazz and blues influenced pieces from the 1920s:

[typography font=”Cantarell” size=”28″ size_format=”px”]Piano Concerto in G major[/typography]

Here is the Piano Concerto in G major performed by Krystian Zimerman and the Cleveland Orchestra, conducted by Pierre Boulez. The piece opens with splashes of bright color. Pay attention to the way Ravel combines the instruments of the orchestra and the colors created throughout the piece. Around 0:45, you’ll hear blues chords which might remind you of Gershwin. In the opening of the whirlwind final movement, listen for the jazzy conversation between the screeching clarinet and the trombone. Do you hear comic elements in this movement?

[ordered_list style=”decimal”]

  1. Allegramente (0:00)
  2. Adagio assai (8:38)
  3. Presto (18:09)

[/ordered_list]

Now that you’ve heard the whole piece, go back and listen again to the second movement. (8:38). In character, this Adagio assai seems far removed from the exuberant outer movements. The long, dream-like solo piano opening almost makes us forget we’re in the middle of a piano concerto. Consider how the music is flowing. The three simple beats in the left hand of the piano suggest Erik Satie’s static, almost expressionless GymnopediesBut while Satie’s music remains a numb, out of body experience, Ravel’s long melody restlessly searches and builds expectation, offering up one surprise after another.

Can you feel a sense of tension and anxiety slowly build as the movement develops? Maybe something ominous and unsettling was lurking slightly below the surface from the beginning? Listen to the frightening chord at 14:53. It’s a glimpse of terror which forms the climax of the movement and then quickly evaporates.

At 16:54, think about where you expect to hear the music resolve and then listen to the resolution Ravel gives us. For a moment we enter a new world. What new musical colors do you hear and what instruments does Ravel use to create them? Does the music remind you of the hazy dreamscape of a Monet painting?

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[typography font=”Cantarell” size=”28″ size_format=”px”]Sonata for No. 2 for Violin and Piano[/typography]

The second movement of Ravel’s Violin Sonata No. 2 also is influenced by the blues. In the opening, it’s easy to imagine a sultry day in Louisiana. Here is a performance by violinist Janine Jansen and pianist Itamar Golan:

[ordered_list style=”decimal”]

  1. Allegretto (0:00)
  2. Blues. Moderato (8:00)
  3. Perpetuum mobile. Allegro (13:20)

[/ordered_list]

https://www.youtube.com/watch?v=Bfvb_ZavXWw

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[typography font=”Cantarell” size=”28″ size_format=”px”]La création du monde[/typography]

Ravel wasn’t the only French composer to be influenced by jazz. Darius Milhaud’s La création du monde (The Creation of the World), written between 1922 and 1923 is a ballet depicting the creation in African mythology. Here is a performance by Leonard Bernstein and the National Orchestra of France:

[ordered_list style=”decimal”]

  1. Overture 0:00
  2. The Chaos before Creation 3:55
  3.  The slowly lifting darkness, the creation of trees, plants, insects, birds and beasts 5:32
  4. Man and woman created 8:48
  5. The desire of man and woman 10:48
  6. The man and woman kiss (Coda) 14:54

[/ordered_list]

https://www.youtube.com/watch?v=h3GPtgY9hSQ

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Tilting at Windmills

tilting at windmillsThis week my orchestra, the Richmond Symphony, returns to work after a holiday hiatus with Richard Strauss’s tone poem, Don Quixote, Op. 35. Strauss wrote some of the most virtuosic and technically demanding orchestra repertoire and this program is a great way to get back into the swing of the season.

Richard Strauss was a master of programatic tone poems, music inspired by a story. In Don Quixote, a series of variations depict scenes from Miguel de Cervantes’s Don Quixote de la ManchaA solo cello represents the delusional Don Quixote who inhabits a world of knights and chivalry, hundreds of years after their existence, and fights noble but imaginary battles against giants and windmills. In his visions, Don Quixote defends the honor and earns the love of the beautiful Dulcinea. The solo viola, tenor tuba and bass clarinet depict Don Quixote’s comic sidekick, Sancho Panza.

Don Quixote is a powerful and fascinating character partly because of his mixture of delusion and nobility. He would seem pathetic if it were not for his earnestness and transcendent idealism. Strauss’s music captures these paradoxes.

Let’s listen to a great recording by David Zinman and the Tonhalle Orchestra of Zurich. Can you hear Don Quixote’s good-natured insanity in the opening? Musically, a sense of mental instability is reflected in phrases which suddenly and happily end in new and distant keys (0:27). Trumpet fanfares (around 1:58, and later in the fatal duel in Variation X) suggest medieval exploits. Notice sound effects, such as brass flutter tonguing (11:12), suggesting a flock of sheep which Don Quixote sees as an advancing army. The dissonances we hear in moments like this anticipate the sound world of twentieth century music. In the third variation, the dialogue between the cello (Don Quixote) and the viola (Sancho) is almost like an opera without words. At 15:43 Don Quixote angrily interrupts Sancho’s mindless chatter and changes the subject to the glories of knighthood (16:10).

Throughout the piece, listen to Strauss’s dense and complex layers of counterpoint (melodic material occurring simultaneously). At times, such as Variation VII, layers of background sound, including a wind machine in the percussion, combine to create strange new and unexpected sonorities.

[ordered_list style=”decimal”]

  1. Introduction: “Don Quixote loses his sanity after reading novels about knights, and decides to become a knight-errant” (0:00)
  2. Theme: “Don Quixote, knight of the sorrowful countenance.” (6:06)
  3. “Sancho Panza” (7:11)
  4. Variation I: “Adventure at the Windmills” (8:11)
  5. Variation II: “The victorious struggle against the army of the great emperor Alifanfaron”) [actually a flock of sheep] (10:51)
  6. Variation III: “Dialogue between Knight and Squire” (12:29)
  7. Variation IV: “Unhappy adventure with a procession of pilgrims” (20:14)
  8. Variation V: “The knight’s vigil” (22:00)
  9. Variation VI: “The Meeting with Dulcinea” (26:05)
  10. Variation VII: “The Ride through the Air” (27:11)
  11. Variation VIII: “The unhappy voyage in the enchanted boat” (28:26)
  12.  Variation IX: “Battle with the magicians” (30:11)
  13. Variation X: “Duel with the knight of the bright moon” (31:18)
  14. Finale: “Coming to his senses again” – Death of Don Quixote (35:30)

[/ordered_list]

As an orchestral showpiece, Don Quixote demonstrates the wide ranging color palate of a full orchestra. The emotional impact of Strauss’s programatic music comes not as much from the literal representation of the plot as from metaphor and a range of feelings which cannot be put into words. Leonard Bernstein makes this point, discussing Don Quixote in his New York Philharmonic Young People’s Concert, What Does Music Mean? 

For me, one of the most extraordinary moments comes at the end of the piece when Don Quixote draws his last breath (the downward cello glissando at 40:35). The final two chords which follow are dominated by the bright, sparkly sounds of the upper woodwinds. The eternal spirit of Don Quixote, perfectly summed up in these two chords, has the final word.

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