Overture Magazine: 2017-2018 Season September-October 2017 | Page 35

SYMPHONIC STORIES
meet the plump and garrulous squire
Sancho Panza, first represented by
the woodwinds and tuba, but then by
his principal instrument, the viola. At
least three thematic ideas represent his
talkative nature and his fondness for
spouting platitudes.
Variation 1: Inspired by Dulcinea’s
theme, Quixote gallops off on his old
nag, Rocinante, followed by his squire.
His addled brain mistakes a group
of windmills for giants menacing his
lady. He charges into battle, but is
flung violently from his saddle by the
windmill arms. A little bruised, he
muses ruefully on Dulcinea.
Variation 2: Unfazed by his first
defeat, Quixote charges off to challenge
the approaching “Army of Alfanfarón.”
Strauss’ ingenious scoring for bleating
woodwinds and brass reveals that they
are really a flock of sheep.
Variation 3: Strauss calls this longest
section, “Sancho’s conversations,
questions, demands and proverbs; Don
Quixote’s instructing, appeasings and
promises.” During the variation’s first
half, the solo viola as Panza dominates
the conversation, allowing Don Quixote
hardly a word in response. Eventually,
Quixote explodes in exasperation, and
the trumpet proclaims his heroic vigor.
Now the orchestra soars into a glorious
vision of Quixote’s chivalric dreams and
ideals in which Dulcinea’s lovely theme
is very prominent.
Variation 4: Next, Don Quixote
spies a group of penitents on the road
(muted brass intone an ecclesiastical
chant). They are carrying an image of
the Virgin Mary, but his crazed mind
turns them into a band of brigands
abducting a maiden. He attacks, and
they promptly knock him senseless.
Thinking him dead, Sancho mourns his
master, but Quixote revives and Sancho
drops off to sleep with a little snore.
Variation 5: This lyrical interlude
provides magnificent opportunities
for the cellist, eloquently describing
Quixote’s nocturnal vigil as he guards
his armor and dreams wistfully of
Dulcinea. The orchestra conjures the
night winds.
Variation 6: In a rustic comic episode,
Sancho tries to convince Don Quixote
that a coarse, garlic-breathed village
girl is his Dulcinea. The bewildered
Quixote thinks she must have been
deformed by some evil power.
Variation 7: One of Strauss’ great
orchestral tour-de-forces describes the
pair’s blindfolded ride through the
air on a magical steed. Despite the
orchestra’s exhilarating whirl, enhanced
by a wind machine, a constant, low
pedal note reveals the truth: the steed is
only a wooden horse and Quixote has
never actually left the ground.
Variation 8: Finding a boat left at a
riverbank, Quixote and Sancho set off
across the water. The boat travels into
a millstream and capsizes. The cello’s
plucked notes illustrate their wet-footed
arrival on land. Woodwinds and horns
voice their prayer of thanksgiving for
their narrow escape.
Variation 9: Now Don Quixote
encounteers two monks: a pair of bassoons
in pious conversation. But Quixote thinks
they are evil wizards and attacks, sending
them hustling away.
Variation 10 follows immediately.
One of Quixote’s neighbors has decided
to rescue him from his mad quest and
bring him home to La Mancha. Posing
as another knight, he challenges Don
Quixote to combat and defeats him
(listen for the cello’s high cry of pain),
then demands his return home. Over
pounding timpani, Quixote and Sancho
wearily march the long journey back.
Finale: The quest is over, and Don
Quixote lies dying in his bed in La
Mancha. The cello’s last great soliloquy
muses on his themes with heartbreaking
beauty. His life fades away on a
downward slide. Luminous chords now
close the tale in harmonic serenity.
Instrumentation: Two flutes, piccolo, two
oboes, English horn, two clarinets including
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Notes by Janet E. Bedell, © 2017
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S E P – O C T 2017 / OV E R T U R E
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