. Programme. ymbals, triangle, tambourine, wind-machine,harp, sixteen first violins, sixteen second violins, twelve violas, tenvioloncellos, eight double-basses. It is dedicated to Joseph Dupont. Much has been written in explanation of this work, which followedAlso sprach Zarathustra, Op. 30 (1896), and preceded Ein Helden-leben, Op. 40 (1898). As the story goes, at a music festival in Diissel-dorf in 1899 an acquaintance of Strauss complained bitterly beforethe rehearsal that he had no printed guide to Don Quixote, withwhich he was unfamihar. Strauss laughed, and said for his consolation,Get
. Programme. ymbals, triangle, tambourine, wind-machine,harp, sixteen first violins, sixteen second violins, twelve violas, tenvioloncellos, eight double-basses. It is dedicated to Joseph Dupont. Much has been written in explanation of this work, which followedAlso sprach Zarathustra, Op. 30 (1896), and preceded Ein Helden-leben, Op. 40 (1898). As the story goes, at a music festival in Diissel-dorf in 1899 an acquaintance of Strauss complained bitterly beforethe rehearsal that he had no printed guide to Don Quixote, withwhich he was unfamihar. Strauss laughed, and said for his consolation,Get out! you do not need any. Arthur Hahn wrote a pamphletof twenty-seven pages in elucidation. In this pamphlet are manywondrous things. We are told that certain queer harmonies intro-duced in an otherwise simple passage of the Introduction character-ize admirably the well-known tendency of Don Quixote toward falseconclusions. Bonds of the highest grade Harris, Forbes & Co Incorporated 35 Federal St., Boston. There is no programme attached to the score of this work. Thearrangement for pianoforte gives certain information concerning thecomposers purposes. Max Steinitzer declares in his Richard Strauss (Berhn and Leipsic,1911) that with the exception of some details, as the Windmill episode,the music is intelligible and effective as absolute music; that the title issufficiently explanatory. The introduction begins immediately withthe heros motive and pictures with constantly increasing liveliness, byother themes of knightly and gallant character hfe as it is mirroredin writings from the beginning of the 17th century. Don Quixote,busied in reading romances of chivalry, loses his reason—and deter-mines to go through the world as a wandering knight. It is easy torecognize the heros theme in its variations, because the knight is alwaysrepresented by the solo violoncello. The character of Sancho Panza isexpressed by a theme first given to bass clarinet and tenor tuba; butafterward and
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Keywords: ., bookauthorbostonsy, bookcentury1800, bookdecade1880, bookyear1881
