Compositional Processes and Structure of Don Juan by Richard Strauss

Matthew Browne
December 2008

Richard Strauss was an indefatigable man. He remained prolific throughout his career, e en writing a long opera !Guntram" during a period in #8$# when he was seriousl% ill. &ncouraged at the time to ta'e a rest from all mental acti it%, Strauss(s response was telling of his personalit%) *+ou want me to unhitch m% mind, Dear -ncle Ritter, %ou(ll ha e to teach me how to do that when . get bac' to Munich/How can . repress m% thoughts which in the er% first da%s of m% reco er% alread% performed for me b% memor% half an act of Tristan at a time,0# Strauss began composing at age 1, writing his first orchestral score at age #2, and his enthusiasm and industriousness propelled him toward an earl% master% of orchestral writing. Don Juan, op. 20, his first ma2or tone poem to be performed !though Macbeth was actuall% written earlier", was premiered in #88$, with Strauss himself as the conductor. He was onl% 23 %ears old at the time, and with this wor' he had alread% *4e5tended6 the techni7ue of almost e er% instrument0 of the orchestra. 2 8he piece was enormousl% well recei ed, and firml% established his international reputation as one of the leading composers of the da%, widel% regarded as the successor of 9agner and :is;t. Strauss(s stud% of 9agner had a great impact on his musical language, and his admiration of both 9agner and :is;t had inspired him to in ent new musical forms for his orchestral pieces, especiall% his tone poems. Strauss inherited the concept of the s%mphonic poem from :is;t, coining the new term *tone poem,0 and it is arguabl% Strauss(s wor's that are most associated with the genre toda%. Strauss(s first full tone poem was Macbeth, which he described as *a sort of s%mphonic poem, but not after :is;t.0< =s would become increasingl% e ident in his subse7uent wor's, Strauss de eloped the genre in his own wa%, benefiting much from the structural freedom pioneered b% :is;t, but also incorporating into it his 'nowledge of classical forms, as well as the leitmotif of 9agner. :is;t(s s%mphonic poems were e5tremel% important and influential in brea'ing the mold of con entional forms and dethroning the s%mphon% as the
# 2

Henr% 8. >inc', Richard Struass) 8he Man and His 9or's !Boston) :ittle, Brown, and ?ompan%, #$#1" @A. Borman Del Mar, Richard Struass) = ?ritical ?ommentar% Cn His :ife and 9or's !:ondon) Barrie and Roc'liff, #$A2" 2A. < Del Mar, @@.

onl% alid form for a large orchestral concert wor'. Howe er, this freedom led to considerable formal problems, as demonstrated b% Donald >rancis 8o e%(s description of Ce quon entend sur la Montagne)
/an introduction to an introduction to a connecting lin' to another introduction to a rhapsodic interlude, leading to a free de elopment of the third introduction, leading to a solemn slow theme !which, after these twent% minutes, not mortal power will persuade an% listener to regard as a real beginning", and so e entuall% leading bac'wards to the original m%sterious opening b% wa% of conclusion.3

.n contrast, Strauss(s tone poems were er% coherent, usuall% structured as a series of episodes unified b% common themes, which he transformed and combined with tremendous facilit%, creating da;;ling displa%s of pol%phon% that were both praised and critici;ed with great ehemence. &rnest Bewman, who wrote a biograph% on Strauss, remar'ed that Strauss *has done for program music what 9agner did for operaDta'en up the stra% threads that earlier men had been fumbling with more or less ineffecti el%, added a great deal of new stuff of his own and wo en it all into a fabric of undreamt of strength of te5ture and richness of color.0@ Meanwhile, his critics ha e gone so far as to claim that he has added nothing of alue to the genre of the tone poem, e5cept perhaps occasional flashes of ingenuit% in orchestration, and that his onl% real contribution be%ond what :is;t had alread% done was a great pol%phonic comple5it% that ultimatel% baffled his listeners and led to a *cacophon%,0 ser ing onl% to hide his lac' of melodic in enti eness.A +et no one could substanti el% den% the enormous success of Don Juan, which showcases not onl% Strauss(s master% of orchestration and contrapuntal techni7ue, but also contains formal brilliance and cohesi eness, beautiful melodies, and i id depictions of programmatic elements, all the while generating a wonderful sense of anticipation and spontaneit%.

The Program 8he full title of the wor' is Don Juan: Tone Poem after Nicolaus Lenau. 8he stor% of
3 @

Del Mar, @3. >inc', 11. A >inc', Eart ....

Don Fuan, a Spanish legend, has inspired man% different authors through the course of histor%. =ll of them tell the stor% of a notorious philanderer, whose relentless pursuit of sensual pleasure leads to his demise. Man% ersions of the stor% are told from the perspecti e of detached moralism, representing Fuan as a illain who in the end is pulled awa% to Hell b% the ghost of a father he had 'illed in a duel, whom he had impudentl% in ited to dinner. :enau(s ersion !a erse pla%" is much more s%mpathetic to Fuan and e5plores the life philosoph% that dri es his beha ior. 8hough incomplete !the poem was published posthumousl%", :enau(s ersion is nonetheless complete enough to tell an alternate ending to the stor%) Don Fuan, wear% of life, pic's a duel with Don Eedro, the a enging son of the same father whose ghost appears in other ersions of the tale, and literall% allows himself to be run through. Strauss(s attraction to the tale was influenced b% e ents in his own life. 8o the distress of his parents, Strauss as a %oung adult gained somewhat of an unfa orable !though not scandalous" reputation in arious German townships for his numerous lo e affairs. Cne of these was an affair !if it can be called that, since it does not seem that the girl(s father e5pressed man% ob2ections" with a girl who had recentl% finished her studies as a soprano at the Munich ?onser atoire, but who was not ha ing an% success at establishing a career. Strauss became her music instructor !for purel% altruistic reasons no doubt", and under his instruction she was able to become one of the leading sopranos at the 9eimar opera. .t was his passionate feelings for the girl that were the primar% inspiration for Don Juan, 1 which certainl% contains some of the best lo e music he e er wrote. Strauss did not originall% publish the program with the score,8 perhaps because of the contemporar% reputation programmatic music had of not being as *pure0 as absolute music, especiall% if it literall% followed the action of the stor%. :istening to the piece, one can clearl% hear certain parts of the action being represented, but most of the interpretation is ps%chological, as re ealed b% the 7uotations on which it is based !which Strauss later publishedH see appendi5 ?". 8he central theme of the pla%, and the tone poem, is Don Fuan(s idealistic search for the perfect woman. Fuan pursues this ideal with great ;est and abandon until, after seeing the man% terrible side effects and ultimate futilit% of his con7uests, he loses all hope. Analysis of the Form and Themes
1 8

Del Mar, A@. >inc', 8$.

Section . J e5position .. J de elopment ... J recapitulation .L J coda

Cpening bar # #$1 !rehearsal K" 313 !rehearsal 9" @8A

8ime EointI 0)00 @)#0 #2)@0 #@)#2

Don Juan is of course a oneMmo ement, continuous wor', but the di isions between sections are fairl% clear. 8he wor' is organi;ed around the three 7uotations in the program, which are essentiall% snapshots of Fuan(s outloo' on life. 8he first section, 2ust o er the first fi e minutes of the piece, presents the ma2or themes of Don Fuan(s character !it also introduces first *mistress0 theme". =s can be seen in the table abo e, a lot happens in the de elopment, which is b% far the longest section. 8his section co ers the two ma2or lo e affairs that Strauss chose to represent, as well as a *mas'ed ball0 section. .t is important to recall that although the tone poem follows the broad outlines of the plot, Strauss(s emphasis is on Don Fuan(s thoughts and feelings, both his lust at the beginning and his reaction at the end of each affair. So this second section, while it does include themes to represent some of the mistresses, is abo e all focused on the *hero0 of the stor% and his attitude toward these e entsH Don Fuan sa%s in the second e5cerpt, *m% lo e is a different thing for each one.0$ 8he third section is a modified recapitulation of the opening section, with hints of what is to come, though nothing here reall% prepares the listener for the shoc'ing conclusion of the piece. 8he fourth section is technicall% a coda, but is undeniabl% one of the most important) a dramatic shift to b% far the dar'est music in the piece. 8he contrast is stri'ing and ingenious, a prime e5ample of Strauss(s creati it% as well as the power of inspiration that poetic sub2ects enli ened in him. >or the following detailed anal%sis, please refer to =ppendi5 =, which delineates the ma2or themes used in the piece, and =ppendi5 B for a detailed table of the form. The First ection !"#$osition% 8he opening section of the piece introduces a number of themes in the first #A bars. =ll of these themes are used throughout the rest of the piece. =t first appearance !or first hearing", there are onl% two themes being introduced here, !a" and !b", but !a" is in fact a composite theme, and its constituent parts !;, %, 5, and w" will be de eloped independentl% throughout the piece. =s Borman Del Mar elegantl% puts it, these themes figure Don Fuan in *all his passionate glor% and
$

I Based on the Staast'apelle Dresden recording with Rudolf Kempe. 8ranslation from Del Mar, p. A8

lust for life.0#0 Musicall%, both their shape and distincti e rh%thm are significant, which will allow them to be transformed, re ersed, and combined in a multitude of wa%s, while still being recogni;able. Strauss is a er% tonal composer, especiall% as far as his o erall progressions and cadences are concerned. Howe er, the freedom with which he uses transposition, as well as chords with distant relationships to the tonic, is clearl% e ident, showing the influence of 9agner, among others. =lthough the opening is definitel% in the 'e% of & ma2or, Strauss opens with a ? ma2or chord, 7uic'l% mo ing to the dominant, which is immediatel% followed b% a cadence that firml% establishes the 'e% center. =nother element that is e ident right from the beginning is the irtuosit% demanded of the orchestra, especiall% gi en the er% fast tempo. +et, while difficult, the entire piece is e5tremel% well orchestrated, and this achie ement was a source of much pleasure to Strauss, who had been e5perimenting with orchestration for some time, and in this piece especiall% was pushing the pre iousl% accepted limits of the orchestra. =ccording to Strauss, *the orchestra seemed to li'e it in spite of their understandable astonishment.0## ?ontinuing at full speed, these themes continue, and in bar 2< a new theme !c" is introduced primaril% in the cellos and basses, with the upper strings and some of the winds imitating with scaleMli'e phrases. =t this point the theme appears to be merel% accompanimentH its importance will become clearer as it is used strategicall% and repeatedl% through the course of the piece. = set of three accented chords ascending chromaticall% in 7uic' succession lead to a small clima5 at bar <#, followed b% a surprising rest at the end of an upward crescendo in bar <A. >rom this we can alread% see how e5pectation and surprise are operating as important elements. =n incomplete restatement of !a" mar's the end of the first subsection and the beginning of the ne5t. Fust after rehearsal B, we hear the arri al of a new, pla%ful, elusi eMsounding theme in the upper register !d". 8his is the first time that one of Don Fuan(s lo ers has been represented in the music, and as with the other *mistress0 themes, this one alwa%s seems associated with a higher range. 8his sort of literalism emplo%ed b% Strauss !high for female, low for male", which is b% no means limited onl% to Don Juan, has drawn much criticism. But that is 2ust the most surfaceM le el de ice at pla% hereH the real representation is a sort of game of hide and see', with Fuan(s lustNpursuit theme !c" continuing in the strings. 8his brief passage of call and response leads up
#0 ##

Del Mar, A$. = letter from Strauss to his parents, 9eimar, Bo ember 8, #88$.

to a statement of a new theme !e", which shows Fuan(s confident pursuit of the girl and his feelings for her. 8his is interrupted b% a 7uiet restatement of !d" mar'ed *flebile,0 or plainti e, though Fuan hardl% seems to be of real importance to this mistress, nor her to him, as this episode is er% brief and Fuan is soon on to new con7uests. Downward chromatic se7uences in the woodwinds follow the maiden as she plainti el% flits awa% !meant also to represent a *feeling of satiet% in Fuan(s heart0#2", meanwhile Don Fuan also mo es on, mar'ed b% ariations on !c".

8he 9agnerian influence is in e idence here, not so much in the material itself as in the chromaticism, and the churning sensation of ascending and descending melodic figures, which, after another abrupt pause at bar A2, carries the music through to a mar'edl% new transitional section.

The econd ection !De&elo$ment% 8his new subsection !?# in =ppendi5 B", which is in essence a bridge between the first two ma2or sections of the wor' !. and ..", is mar'ed tranquillo and $ianissimo, with a noticeable slowing of the tempo. .ts main theme !e" will be e5pressed in its fullest form in the following subsection, which is wh% this section seems transitional. 8he harp arpeggios add to the atmosphere, and a transformation of !e" appears high in the first iolins, not at all li'e the emphatic first statement of the theme. Rather, it is the stirring effect of a new beaut% on Don Fuan(s heart, his pursuit and %earning again represented b% !c" in the strings. = repeated accompaniment figure of two alternating chords a half step apart adds to this effect, and leads to the true arri al of the lo e scene !the ne5t subsection". 8he whole transition starting at rehearsal D is in effect a er% e5tended dominant harmon%, which finall% cadences with the arri al of the first real lo e music at measure $0, and it is er% clear that we ha e arri ed at a new chapter in Don Fuan(s stor%. 8his cadence firml% establishes the 'e% of B ma2or, which is of course the dominant of the opening 'e%, 2ust as would often be the case in the de elopment section of a traditional
#2

Del Mar, 10.

sonataMallegro form. But of course, it is the e5tended, beautiful melod% that most stri'es the listener here, a lo e song enhanced b% its canonic entrances alternatel% in the strings and woodwinds. Strauss has been critici;ed for his lac' of e5tended melodic ideas, which is a claim that can be substantiated in man% of his pieces, but here we find some of Strauss(s finest melodic writing, in instance where his masterful orchestration s'ills and contrapuntal talents in no wa% detract from the total effect, and in fact greatl% enhance it. !=t other times, Strauss does get perhaps a bit carried awa%, but perhaps that is one reason that these simpler l%rical sections are so stunning in contrast." 8his is also the first ma2or e5ample of thematic transformationH moti e !e" in this section is much richer and fuller than it was in the preceding one, perhaps signif%ing that Fuan and his lo er are now disco ering their mutual feelings toward one another. 8he !c" theme is still present, and a new theme in two parts, !f#" and !f2" is introducedH the two parts are then de eloped independentl%. 8hese three themes seem to suggest that Fuan(s lust for new ad entures is about to resurface, causing the current lo e affair to turn sour, which it does, and er% suddenl% at that. Mar'ed with three *f0s !including the timpani, which enters here", this contrast does not seem to be dramatic enough in some recordings. 9ith churning chromatic lines in the strings and a significant change in the rh%thm of the accompaniment, we hear a minor transformation of !e", the most significant metamorphosis of a theme %et. .n fact there is a 'e% change, to & minor, this being the first section in a minor 'e% thus far. =t bar #@<, moti e !;" reappears, without the rest of !a". 8his is alternated with the transformed !e"DFuan is mo ing on but is still somewhat attachedDbut at bar #AA he is on to new con7uests, signified b% the entr% of !w", shortl% followed b% !b". = telling line from the second 7uotation gi en b% Strauss is the following) */ passion is alwa%s and onl% the new passionH it cannot be carried from this one to thatH it must die here and spring anew thereH and, when it 'nows itself, then it 'nows nothing of repentance.0#< 8his is the underl%ing theme that ties the de elopment section togetherH he cherishes the moment, and 7uic'l% mo es on after whate er upsets he ma% e5perience. 9ith the entr% of !b", we are now in ? ma2or, but otherwise this section is er% similar to the opening, where elements of !a" and !b" are de eloped alternatel%. =nother difference is that !w" is the onl% part of the original !a" moti e present here, and !b" is embellished with man% e5tra passing tones. =s in the first = section !=#", !c" is present as well, entering at roughl% the same point relati e to the start of the section as it did in =#. 8he facile interwea ing of these
#<

8ranslation from Del Mar, p. A8

themes continues until it is interrupted at bar #$1 b% the introduction of a new theme. Mar'ed molto a$$assionato, this theme appears in the 'e% of G minor, and seems to ha e an intense %earning to it due to its une en rh%thm. =s the harmon% changes to the dominant, short twoMnote phrases enter in a flute solo mar'ed *flebile0 !recall that the same mar'ing was used for the first mistress". 8his is, in fact, the third lo er that Strauss chose to include in the wor'. She is initiall% resisting in a similar wa% as the first two, rather halfMheartedl%. Fuan is not con inced in the slightest, and !g" reMenters as Fuan continues his pursuit, soon followed b% the *flebile0 flute line again. Bow Fuan puts more effort into wooing the girl, represented b% an interpla% between the flute and !5" and !%" in the other parts. =t rehearsal :, there is a slowing of the tempo and mood, in preparation for the greatest lo e scene in the piece. 8he 'e% changes to G ma2or and undulations of !g" appear in the cellos and iolas, a er% tran7uil transformation of this theme compared to its original ersion. 9ith this bac'drop in place, a beautiful lo e song enters on the oboe, which is the most e5tended melod% in the piece. 8he breathta'ing beaut% of this section must certainl% ha e been one of the reasons the piece made such an impression on audiences and critics ali'e in #88$. = wonderful e5ample of Strauss(s orchestration occurs at bar 238, when the flute and harp add a beautiful dab of color at a gap in the melod%, as the horn enters with a phrase of countermelod%. 8hen the oboe begins the melod% again, reaching a gentle pea' at bar 2AA. =t this point the melod% is transferred to multiple woodwinds in imitati e counterpoint, with the oboe resting. 9e can obser e that e en in this relati el% simple te5ture, Strauss(s propension for pol%phonic writing is at wor', %et it is er% restrained here, 2ust enough to enhance the melod% and e o'e the significance of this er% deep and meaningful lo e relationship. 8his section is undoubtedl% a depiction of the most significant relationship of Don Fuan(s life, perhaps the onl% one that had the power to mo e him in a deep and lasting wa% !there is no comparable episode in the pla% b% :enau, so we cannot with confidence gi e a name to this lo er, who could possibl% be one of the characters in the original legend". =s Sir 8homas =rmstrong stated, this passage is one of *strange and ominous beaut%/the whole passage !ha ing" that autumnal richness of regret which is so often felt in Strauss(s lo eliest music and is carried to such a height in 'osen(a&alier.0#3 But, at this moment in the stor%, Don Fuan(s agitation cannot be contained, as we are reminded b% the subtle reiterations of !g" in the strings, which are otherwise relati el% static. 8he conclusion of this section is nonetheless fulfilling, if
#3

Del Mar, 12.

poignant, as the iolins and flutes ascend to an &b 2ust before bar <02, followed b% an &bMMa2or 3M2 chord in the woodwinds that sounds 7uite dissonant in conte5t. 8he anticipation is suspended until the cadence on the tonic !G ma2or" at bar <0A. 8his cadence is of the utmost tran7uilit%, fading to nothing in 2ust two bars, as statements of !g" 7uic'l% build suspense for the following section. 8he 7uestion of what that section should be from a compositional standpoint must ha e been a difficult one. 9e ha e, at this point in the de elopment, so far heard two ma2or independent episodes, corresponding to the two most significant lo e affairs of Don Fuan(s life, 'nowing that his stor% is onl% half o er. .n a traditional classical piece, it might ha e made sense to ha e a full recapitulation here, which could e en ha e made sense programmaticall%, but Strauss in a stro'e of inspiration instead introduces a new theme !i", which is %et another one of his finest melodic ideas, and to man% listeners the most memorable in the piece. &mphaticall% stated in four horns, this theme and the section which it defines is indeed inspiring, and heroic. Here there is a clear connection with a line from the program) *>orth and awa%, then, to triumphs e er new, so long as %outh(s fier% pulses raceO0 #@ Fuan(s passion is certainl% fier%, but this first entrance of the theme is a false startH his worried lo er tries to hold him bac' starting at bar <2A, with two fe erish transformations of !h", but she has no power o er him, as e idenced b% the restatement of !i" followed b% the entrance of !;" at bar <<1, which is 2oined b% !%". 8he mistress ma'es one final attempt but is cut off b% Fuan(s renewed igor, e5pressed b% an e en stronger restatement of !i" at rehearsal E, this time mo ing chromaticall% downward at the end of the first phrase. =fter a da;;ling upward orchestral flourish, we ha e suddenl% landed in a new scene, often called the *carni al scene,0 which corresponds to the mas'ed ball in :enau(s pla%. 8he progression from section & to this section b% wa% of section ># had to ha e been er% carefull% planned, because while the contrast between the materials present is dramatic, the transitions are alwa%s seamless, showing a er% 'een sense of structure. 8he planning and e5ecution of the ># section is particularl% impressi e, since at the same time as multiple themes are being presented in rapid succession, the range is continuall% mo ing upwards and the intensit% ne er lets up e en for a moment, e5cept at the strategic gap between the first and second statements of !i". = tic'ling contrast with reall% all the preceding sections, the mas'ed ball section transforms earlier themes into sounds of pure en2o%ment. 8he material of this section, but more importantl% its arri al at 2ust this moment, shows Strauss(s delightful sense of humor. *9here do
#@

8ranslation from Del Mar, A8.

. thin' the chief difficult% in interpreting m% composition lies,0 Strauss once said in an inter iew. *.n thisDa lac' of sense of humor. Humor is generall% the last 7ualit% an orchestral conductor has. :oo' at Beetho en, how full of humor he is in his >ourth and &ighth S%mphoniesO But how few conductors loo' for humor in Beetho en, and %et he is so full of humorO0#A 8he new section is first mar'ed b% the entrance of a new, pla%ful theme in the upper register !2" and its counterpart !'". Be5t is a lighthearted transformation of !g", which is announced in the muted trumpet at bar <@<. .n the same two bars, the iolins pla% an ascending line !'" that perhaps corresponds to the woman Fuan meets at this ball who remembers him, though not in the wa% Fuan would li'e. Fuan is undeterred, and tries to charm her nonetheless. =n imitation of !g" soon leads to a statement of !i", which ta'es on a wholl% new character as it appears in the gloc'enspiel. Moti e !2", the central moti e of this section, continues in the second iolins and iolas, and we hear the ascending line in the iolins again at bar <A1. Restatements of !2" occur at a higher and higher register while the entrance of !;" at <18 further builds the tension. =fter another da;;ling flourish characteri;ed b% churning chromatic figures, accented b% a harp glissando at the pea' of their ascent, a new subsection begins, organi;ed around !%", which is now fortissimo in the brass. Cne remar's at how such potential was hidden in this fragment of the original !a" theme. Here the 'e% changes to ?P minor, one of the few places where a minor 'e% does not seem to be associated with despair on the part of Don Fuan. Rather than continue with !w", a new ending is gi en to !%", a simple downward scale !%2" which appears throughout this section. 8he sound of this theme and its orchestration suggest that Fuan is becoming increasingl% bra;en and confident of his seducti e powers. 8his impression is enforced when !i" is introduced in pol%phonic combination with !%", at bar <$<. 9ith it comes a change to = ma2or, beginning with a dominant se enth harmon%. 8he last phrase of moti e !i" is then de eloped independentl%, as is the first part. .n increasing displa%s of contrapuntal de5terit%, !%" continues prominentl% until it is finall% 2oined b% !w" at bar 3##. 8his occurs two bars after the change to D minor, which hints at the grief that will follow Don Fuan(s triumphant but rec'less attitude here. =fter a er% wild, tumultuous passage in which ma2or and minor struggle for dominance, Fuan is struc' as though b% a thunderbolt at bar 32# !represented b% a D diminished chord accented b% brass", as he recei es news that sends him into utter despair. .n the stor%, a guest at
#A

Strauss(s inter iew with 9illiam =rmstrong, as printed in >inc', @8MA0.

the ball tells him that one of his e5Mlo ers has died of a bro'en heart, and Fuan begins to reall% see the damage he has wrought in the course of his e5ploits. = precipitous descent spanning o er four octa es ends with a fearful timpani tremolo on B, which acts as a pedal for the foreboding diminished se enth chord at bar 321. 8here is an eerie parallel between this chord and the *death thrust0 chord in the final section of the wor'. 9ith the e erMpresent B pedal maintaining the dar' mood, the themes of Fuan(s three former mistresses appear first in their original order) !d", !e", and !h". 9ithout a doubt Fuan is e5periencing the memories of these mistresses in a sort of nightmare, depicted b% their dar', minor transformations, concluding with imitati e statements of !e". But this is not %et the end for Don Fuan) with a staccato chord that establishes B ma2or, he gathers his courage, at first tentati el% at bar 3@1 with a 7uiet statement of !;", then graduall% becoming more hopeful as the repeated instances of !;" are 2oined b% the same downward stepwise figure that appeared in section H !%2", this time in a ma2or 'e%. Both become increasingl% animated until, with a great crescendo and a heightening of the range, a brief clima5 arri es that will be interrupted b% the opening of the ne5t main section, the recapitulation. B% now, certainl%, it is clear that Strauss is using interruption as a structural de ice, and also as a programmatic element. So man% of the sections ha e seemingl% ended before their time, as Don Fuan impatientl% mo es forward in search of his ideal, e en the most e5tended and complete section, &. 8his de ice wor's e5tremel% well to 'eep the e5citement going, without e er reaching such a degree of interruption as to hinder the natural flow of the music. 8he de elopment section as a whole is a remar'able testament to Strauss(s master% of form, and shows perhaps his most important contribution to the genre of the tone poem) the abilit% to 'eep spontaneit% ali e and e5plore man% independent episodes while still maintaining an o erall structure that is balanced and focused, much as a good stor%teller might do !as opposed to someone who rambles on and has a tendenc% to lose the main thread of the stor%". Bot one to stra% too far from the classical tradition, Strauss now recapitulates the opening material.

The Third ection !'eca$itulation% 8he recapitulation is an abbre iated ersion of the opening that also incorporates moti e !i". .t sta%s generall% in the 'e% of & ma2or, true to classical form. >irst, !;" is stated b% itself,

immediatel% followed b% !b". 8his independent use of !;" is one of a number of differences between this section and the original e5position. =nother is that !b", rather than continuing in & ma2or, reMenters at bar 38# in the relati e minor, cP. 9hat was before an introduction to the hero of the stor% is now a familiar statement of his 7ui5otic pursuit, this time tinged with reminders of the man% undesired conse7uences he regrets, which for the moment he chooses to ignore. =t bar 31$, a shortened ersion of !w" enters which is then de eloped in its full form in a section of call and response with !b", followed b% !c" Dmaintaining some degree of consistenc% with the se7uence of e ents in the first = section. Be5t we hear the entrance of !%", interspersed with !b", which is still continuing. 8he downward stepwise line that now alwa%s accompanies it !%2" is de eloped ne5t, with occasional entrances of !b" occurring simultaneousl%. =n ascending chromatic progression leads to a reestablishment of & ma2or as the 'e% at bar @#0, with a . AM3 chord. .n the remainder of the recapitulation we hear Don Fuan in all his glor% one last time, beginning with the entrance of !i" at bar @#0, with the . AM3 harmon% ser ing as an important conte5t for this dramatic de elopment. 8his time the theme is pla%ed a ma2or third higher than it was before, ta'ing the horns all the wa% to a high &, at which point the melod% is ta'en o er b% the strings. .n this section we ha e, in essence, a recapitulation of section >#, e5cept this time it is e en more inspiring and unhampered b% constant interruptions. =s in section H, the two parts of !i" are ne5t de eloped independentl%. =t bar @3<, Don Fuan is trul% resplendent, his lust for life and lo e awa'ened once more as the 'e% changes to ? ma2or, and the independent parts of !i" ta'e on a life of their own. Fuan is certainl% in a delirium, but the music is so full of passion that one hardl% minds. = tremendous clima5 is reached at rehearsal BB, followed b% the reMentrance of !%" and !b", or rather the beginning of !b" which is repeated again and again in a se7uence that creates %et another unresol ed sweep into the upper register. Here the section comes full circle, with the entrance of !;" at bar @A3, again cadencing in & ma2or at bar @A1. =t this point !c" also ma'es a reappearance, and is de eloped into an upward chromatic se7uence that builds to a staggering le el of intensit% with an outstandingl% orchestrated half cadence that is ne er properl% resol ed. 8he demands on the orchestra are reall% at their utmost pea' here, at least in terms of the sheer ph%sical effort demanded of the performers. Eerhaps it was because of this section that one of the horn pla%ers sat dripping with sweat and sighed) *Good God, in what wa% ha e we sinned that %ou should ha e sent us this

scourgeO0 which was of course met with laughter.#1 Strauss wrote, *. was reall% sorr% for the wretched horns and trumpets. 8he% were 7uite blue in the face, the whole affair was so strenuous.0#8 But Strauss had a charm and a talent for encouraging the orchestra, and in an% e ent the clima5 is wonderfull% effecti e, especiall% in light what is to come ne5t/ The Fourth ection !Coda% 8he stri'ing originalit% of Strauss and his ingenious use of contrast are unsurpassed in the fourth section, which lasts onl% about a minute. Cn first listening, one cannot help but be shoc'ed b% the change in mood, which is so sudden, so stri'ing, and so complete that it seems almost as though it belongs to a different piece. +et it is the fact that it is placed here, after all that has come before it, and especiall% after the greatest unresol ed clima5 of the wor', that ma'es it so incredibl% effecti e. 9ithout a doubt, Don Fuan has ta'en a #80Mdegree turn in his outloo', as e idenced b% the beginning of the third 7uotation of the program) *.t was a beautiful storm that urged me onH it has spent is rage, and silence now remains. = trance is upon e er% wish, e er% hope/0#$ 8he section contains no recogni;able themes from earlier in the pieceH instead, Strauss depicts this moment in the program with almost pure orchestration. 8he decepti e chord that opens this section is = minor, mar'ed $ianissimo. .t is hard not to ma'e the analog% with a gra e%ard, since this section sounds so eerie and ominous. But it is certainl% associated with death, as the trumpets on the accented, dissonant note of >Mnatural definitel% suggest the fatal thrust that 'ills Don Fuan in the duel. Recall that in :enau(s ersion of the stor%, Fuan literall% allows himself to be 'illed in the duel, ha ing lost all sense of purpose, and that there is no ghost who pulls him down to hell. +et it is hard to imagine that Strauss was not influenced in some wa% b% that ersion of the legend, which was 7uite well 'nown at the time, and this section would certainl% do a fine 2ob of e o'ing that scene. .n an% case, downward tremolos in the iolins i idl% depict Fuan(s d%ing moments as a series of shudders. =s it turns out, = minor sets up a plagal cadence on & minor, which is reached b% wa% of one final upward scale in the first iolins !could the choice of a plagal cadence be in an eerie wa% s%mbolic of death, especiall% gi en its long association with church music,". =fter one final cadence, the bassoons pla% the final phrase !their timber perhaps dar'l% reminiscent of the beautiful oboe melod% in section &",
#1 #8

Del Mar, 1A )bid #$ 8ranslation from Del Mar, A8.

with pi;;icato unison &(s lea ing the listener with a feeling of anticipation, but then it becomes clear that the end has been reached. Strausss Compositional Process 8he abo e anal%sis has co ered man% of the literal aspects of Strauss(s interpretation of the program, which are clearl% significant and pla% an important role in organi;ing the wor' as a whole. Howe er, simpl% *mic'e% mousing0 the action, as it would be called in film music, is not the onl% method at wor'. !.t is interesting how similar criticisms of Strauss(s literalism are to criticisms of *Golden &ra0 film composers li'e Ma5 Steiner for their tendenc% to *mic'e% mouse0 the action." 9ith regard to an earlier wor', *us )talien, Strauss stated) .t is reall% absurd/in the case of a modern composer li'e m%self, who has learned from the classical masters, including the mature Beetho en, as well as from 9agner and :is;t, to suppose him capable of composing a wor' lasting three 7uarters of an hour with the deliberate intention of e5hibiting a few pi7uant specimens of tone painting such as at present are at the command of almost an% ad anced conser ator% student.20 Strauss certainl% has a point hereH in the case of Don Juan, the protagonist and his emotions are alwa%s the central focus, and the details of the e ents that occur are to some degree on the peripher%. 8he most important e idence for this is that while the piece does follow the chronolog% of the stor%, it does not do so blindl%, in other words Strauss(s foremost concern is alwa%s the musical de elopment. .t is remar'able how this seems to coincide so perfectl% with the action of the stor%, and Don Fuan(s response to it. 8he reconciliation of these two structural elements is 7uite a feat. Here Strauss(s training in traditional forms was a great asset to himH the following 7uote from the composer is re ealing) *M% wor' in composition means not re olution but e olution, and e olution built on the classics which must be the foundation of all musical composition.02# +et it would be ignoring the facts to suggest that Strauss does not follow the details of the actionH as we ha e seen, he actuall% follows them 7uite closel%, often with a literal use of range and harmon%. 8he critics are 2ustified in their case against him on this point, but the idea that this ma'es the music less artistic is highl% sub2ecti e. 9ith the structure of the piece being so solid,
20 2#

>inc', 8$. >inc', @$.

the inclusion of literal plot elements adds interest without detracting from the focus or central emotional tra2ector%, so this is largel% a matter of taste. Strauss(s attitude toward his organi;ational process is summari;ed in his own words) >rom the > minor s%mphon% onwards . ha e found m%self in a graduall% e er increasing contradiction between the musicalMpoetic content that . want to con e% 4and6 the ternar% sonata form that has come down to us from the classical composers. 4/6 .f %ou want to create a wor' of art that is unified in its mood and consistent in its structure, and if it is to gi e the listener a clear and definite impression, then what the author wants to sa% must ha e been 2ust as clear and definite in his own mind. 8his is onl% possible through the inspiration b% a $oetical idea, whether or not it be introduced as a program.22 Strauss goes on to sa% that each poetical idea should inspire a correspondingl% new form, an attitude that at first seems in opposition to his statement abo e !which is actuall% from a later date" that classical form must be the basis of all composition, but, as Borman Del Mar states, *to understand this seeming disparit% is to understand Strauss(s whole attitude to his tas'.02< Debuss% seemed to ha e an appreciation for this disparit% and Strauss(s ingenuit% when he said) 4Strauss6 has found a highl% indi idual wa% of handling the de elopment. He no longer uses the rigorous architectural methods of a Bach or Beetho en. .nstead, he de elops with rh%thmic colors, 2u5taposes the strangest tonalities as if it were 7uite normal, for he is not concerned with what he has Qabused,( onl% with what new life he has gained.23 >rom this 7uote we can gather a number of insights into Strauss(s compositional process, but we can also see that Debuss% has misunderstood him and interpreted him according to his own ideas on composition. .t is true that Strauss(s manner of handling the de elopment was er% indi idual, and although he owed much to :is;t in this area, he was able to ta'e that freedom and structure it into a trul% coherent form. .n the case of Don Fuan, the form is essentiall% a deri ati e of sonataM allegro form, and e en the greatl% e5tended, inno ati e handling of the de elopment it is er% well structured. So perhaps it would be more accurate to sa% that he uses the architectural methods of Bach and Beetho en but not in a rigorous wa%.
22 2<

:etter to Hans on Bulow, =ugust 23, #888. Del Mar, A$. 23 Richard :angham Smith, ed., Debuss% on Music !Bew +or') Knopf, #$11" #A0.

Strauss does 2u5tapose tonalities in a wa% that must ha e been 2arring to man% listeners at the premiere, %et this statement is 7uite relati e. 9agner had been doing essentiall% the same thing, and it could be said that Strauss simpl% pic'ed up where he left off !9agner was still ali e in Strauss(s %outh". =s we ha e seen in the abo e anal%sis of the wor', Strauss(s harmonic language, while certainl% infused with much chromaticism, is strongl% rooted in the tonal s%stem, and is not er% dissonant b% modern standards. &dward 9right Murph% points out in his dissertation on harmon% and tonalit% in Strauss(s music that passing tones alone account for A#.AR of the melodic dissonance in Don Juan.2@ 8he harmonic dissonances, most of which occur on the strong beat,2A are perhaps more stri'ing. 8he ascending third is the inter al used most often between 'e%s,21 the prominent use of which was still a relati el% new harmonic de ice in Strauss(s time, but as far as the o erall structure is concerned, tonic and dominant relationships are fundamental. .f we follow the o erall course of the harmon%, we see that it is an essential structural element. 8he piece begins in the 'e% of & ma2or !though the new harmonic language that Strauss had inherited is alread% at wor' in the opening ? ma2or chord", generall% sta%ing in this 'e% in spite of man% transitor% harmonic changes until the de elopment, which transitions to the 'e% of B, the dominant. =n e5ception to the general scheme is section =2, which decepti el% modulates to ? ma2or instead of &. Generall% spea'ing, howe er, the = section material is strongl% associated with the 'e% of & ma2or. =fter a long series of modulations throughout the de elopment, we finall% arri e again at & ma2or for the recapitulation. & en the coda, which is so completel% different from the opening in e er% other wa%, sta%s in the 'e% of &, though this time in & minor. So, in summar%, the form ma'es almost a complete arc, strongl% adhering to the tonal s%stem. 9ith regard to Debuss%(s comment we can see that it has more to do with his own interests than with Strauss. Strauss himself, though he certainl% contributed to the e olution of tonalit%, was 7uite content with the basic tenets of the s%stem, which he ne er abandoned, though he came close in "le(tra !after which he retreated to a less dissonant language". =nother important element of the de elopment of Don Juan in particular is melod%. Henr% >inc' states in his boo' on Strauss !published in #$#1" that on the whole, Don Juan has *more melod% than an% of the other wor's of Struass, and that is wh% it is the most popular of
2@

&dward 9right Murph%, Harmon% and 8onalit% in the :arge Crchestral 9or's of Richard Strauss !.ndiana -ni ersit%, =nn =rbor) -ni ersit% Microfilms, .nc." A#. 2A Murph%, A1. 21 Murph%, 10.

them all.028 >inc' was one of Strauss(s most ardent critics, who also tells an amusing stor% of how a German court decided that stealing themes from Strauss(s music !at least in the case of +eldenleben" did not constitute cop%right infringement, because the% could not, in the technical sense, be considered to be *melod%.02$ ?ritics ha e often argued that although Strauss had an ama;ing abilit% to transform and combine his themes, the themes themsel es left much to be desired. 8his stands in direct contrast to what Strauss said he was tr%ing to do) the prere7uisite for reall% artistic program music, he said, is that *its creator must be primaril% a musician with ideas and the abilit% to fashion structures/4whose6 first and most important 7uestion alwa%s concerned the absolute alue and strength of the musical idea.0<0 9e can see how in this regard, Strauss was er% much rooted in the classical tradition of using a short musical idea as a seed from which an entire piece would grow, as Beetho en did. But, unli'e Beetho en, Strauss did not rel% 7uite so hea il% on one idea, and rather had 7uite a number of themes, most of which were strongl% related to each other but operated independentl%. .n his tone poems, these themes are of course programmaticall% significant, and are best understood as leitmotifs, since the influence of 9agner on Strauss is an established fact. 8heir similarities to each other are a ma2or factor in their potential to be combined and transformed, which Strauss e5ploited to such a degree. 8he% are highl% related in terms of rh%thm, with !b" for e5ample growing 7uite naturall% out of !a". 9e see the dotted eighth rh%thm again and again, and triplet figures are also prominent in man% of the themes and throughout the wor'. 8hemes !a" !b" and !c" all contain er% definite ascents or descents, which allow for great use of contrar% motion when the% are contrapuntall% combined. 8hese and the rest of the principle moti es ser e as the basic building bloc's of the piece, and at the finest le el of anal%sis it is Strauss(s use and de elopment of his themes that ma'e the wor' such as a coherent whole. 9ith so man% elements at pla%, what can be considered to be the central organi;ing factor of Strauss(s programmatic music, 9ithout a doubt, the ob ious answer is) the program. But what is meant b% this, =ll the action of the stor% is absent from the 7uotations pro ided b% Strauss, which focus solel% on Don Fuan(s ps%cholog%, and %et much of this action is depicted 7uite i idl% in the music. 8he 'e% is to recogni;e that Strauss(s use of the program cannot be understood in blac' and white terms, and in fact the program is functioning on a number of
28 2$

>inc', #A2. >inc', #20M#22. <0 &rnst Krause, Richard Strauss) 8he Man and His 9or' !Boston) ?rescendo Eublishing ?ompan%" #31.

le els simultaneousl%. 8he first le el is the action of the stor%. 8he second le el is Don Fuan(s emotional and ps%chological response to these e ents in the conte5t of his life philosoph%. 8he third le el is the musical ideas that the program inspired in Strauss, and how the% relate to one another. 8he relationship between these ideas is of the utmost importance to the structuring of the wor', because the% must not onl% be in accordance with the musical form, but also fit into the framewor' of the stor% in a wa% that ma'es sense. 8he first le el should be especiall% ob ious after the abo e anal%sis, but if one loo's closel% one would find few instances where Strauss fails to e5plore the impact of these e ents on Don Fuan(s ps%che. .ndeed, it is reall% this second le el that mo es the piece from one scene to the ne5tH there is alwa%s a hint of Fuan(s restlessness before each brea'up actuall% occurs. 8he most central themes of the piece all focus on Fuan, not an% particular e ents. & en the themes of the mistresses ha e more to do with Fuan(s feelings than the mistresses themsel es. 8he mistress themes nonetheless demonstrate the first le el !literal interpretation", which is clearl% present and should not be ignored. 8he first two le els together are the inspiration for the third le el, the use of themes. &ach of the themes is programmaticall% significant in its own wa%, though it his hard to pinpoint the e5act s%mbolism of each of Fuan(s themes, which probabl% cannot be e5pressed er% well in words an%how. 8a'en together, howe er, Fuan(s themes present a complete character, with all his lust, carelessness, and taste for ad enture. 8he use of these themes is alwa%s programmaticall% significant, as are of course the lo e themes. =t the same time, the% ser e as the foundation for the musical structure of the wor', with themes !a" through !c" being strongl% associated with the = section that reappears in modified recapitulations at points that are strategic both musicall% and programmaticall%. :i'ewise, the remaining themes are used as the structural basis for their respecti e sections and, in some cases, recapitulations. 8he use of interruption to segue from one section to another is also significant from both a musical and programmatic perspecti e, which greatl% contributes to the e5citing unfoldment of the long de elopment section. .n summar%, the program !on man% le els, but weighted toward Fuan(s feelings and thoughts" supplies the structural foundation of the wor'. .n this case, the form that it inspired has a ague resemblance to traditional sonataMallegro form, which is not in itself the basis of the wor'(s organi;ation, but rather a form that seemed to suit the poetic sub2ect. .ndeed, especiall% in the de elopment and in the coda, Strauss feels no need to confine himself strictl% to the

traditional rules of sonataMallegro form but rather creates his own form to suit his compositional intent. Still, he uses his training in classical forms to create an architectural plan from which he constructs the composition, using his themes as building bloc's. .n a brilliant s%nthesis, he combined freedom with structure in an original method of de elopment that defined the genre of the tone poem as we 'now it toda%.

Appendix A Princi$al Moti&es !there are other less significant moti es, mainl% limited to their own sections, that are not listed here" 8hemes that are associated with the lo ers are also associated with Fuan(s feelings toward them

Fuan Bar #

Fuan Bar $

Fuan Bar 2<

#st lo er Bar 33

2nd lo er Bar 3A

Fuan Bar #0A

Fuan Bar #$1

<nd lo er Bar 2<@

etc,

Fuan Bar <#3

Mas'ed Ball !and Fuan(s pla%M ful flirtations," Bar <@#

Fuan Bar <8A

Appendix B Detailed anal-sis of the form Section I - Exposition Subsection A1 B Transition derived fro *1 *" */ In searc& of a new (ove "nd a)or (ove affair *ritica( )2nct2re $as%ed ba(( psyc&o(o#ica( deve(op ent (sti(( in
as%ed ba(( c&rono(o#ica((y)

Opening bar 1 40 !" A1 +1 (re&earsa( ') .0 14. 1!! 1.+ "/" (re&earsa( 0) /14 /31 /5!

Primary motives a (z, y, x, w), b, c c, d, e, z z, fra# ents of e e, c e, c, f1, f" e ( inor transfor ation), z, w z, w, b, c #, y, x &, # i, &, z & (transfor ed), i (transfor ed), z, w y ( inor transfor ation), i ((ast p&rase deve(oped independent(y), w d, e, &

Most prominent key(s)* E E $ovin# %ey center (c&ro atic) B (&ar ony is ,-, t&e do inant, e p&asized by ,- peda() B e * # 1 * 1, A (2nti( bar /!.) c-, A, d

II - 'eve(op ent 1st a)or (ove afair

A" ' E ,1 1 4

62an7s

ora(e drops

8eca((s B, * and E Transition derived fro and 4 A/ ," ,/ A4

4"4 (4 after re&earsa( 9) 43+

62an s(ow(y #at&ers stren#t& III ; $odified 8ecapit2(ation

A1 4+4 (re&earsa( <) 310 34/ 3!4 35! a (z, y, x, w), b, c i i, y, b z, c no reco#nizab(e t&e es fro ear(ier in t&e piece

$ovin# %ey center: downward c&ro atic &ar ony over a B peda( E (&ar ony is B, t&e do inant, e p&asized by B peda() E E *, , E e

I= ; *oda 62an7s tota( &ope(essness and deat&

I:ower case letters designate minor 'e%s

Appendix C "nglish translation of the $rogram 8he following is a translation of the three e5cerpts from the original pla% that Strauss included in the score and concert programs. 8he translation is b% Fohn E. Fac'son, as printed in Henr% >inc'(s boo', 'ichard trauss: The Man and +is .or(s/ C magic realm, illimited eternal, Cf glorified woman, C lo eliness supernalO >ain would ., in the storm of stressful bliss, &5pire upon the last one(s lingering 'issO 8hrough e er% realm, C friend, would wing m% flight, 9here er Beaut% blooms, 'neel down to each, =nd, if for one brief moment, win delightO . flee from surfeit and from rapture(s clo%, Keep fresh for Beaut% ser ice and emplo%, Grie ing the Cne, that =ll . ma% en2o%, 8he fragrance from one lip toMda% is breath of springH 8he dungeon(s gloom perchance toMmorrow(s luc' ma% bring. 9hen with the new lo e won . sweetl% wander, Bo bliss is ours upfurbish(d and regildedH = different lo e has 8his to 8hat one %onder, D Bot up from ruins b% m% temples builded. +ea, :o e :ife is, and e er must be new, ?annot be changed or turned in new directionH .t cannot but there e5pireDhere resurrectionH =nd, if Qtis real, it nothing 'nows of rueO &ach beaut% in the world is sole, uni7ueH So must the :o e be that would Beaut% see'O So long as +outh li es on with pulse afire, Cut to the chaseO 8o ictories new aspireO .t was a wond(rous lo el% storm that dro e meH Bow it is o erH and calm all round, abo e meH Sheer dread is e er% wishH all hopes o er shrouded, D (8was p(r(aps a flash from hea en that so descended, 9hose deadl% stro'e left me with powers ended, =nd all the world, so bright before, o(ercloudedH =nd %et p(r(aps notO &5hausted is the fuelH =nd on the hearth the cold is fiercel% cruel.

Bibliography Del Mar, Borman. Richard Struass) = ?ritical ?ommentar% Cn His :ife and 9or's !:ondon) Barrie and Roc'liff, #$A2" 2A. >inc', Henr% 8. Richard Struass) 8he Man and His 9or's !Boston) :ittle, Brown, and ?ompan%, #$#1" Krause, &rnst. Richard Strauss) 8he Man and His 9or' !Boston) ?rescendo Eublishing ?ompan%" Murph%, &dward 9right. Harmon% and 8onalit% in the :arge Crchestral 9or's of Richard Strauss !.ndiana -ni ersit%, =nn =rbor) -ni ersit% Microfilms, .nc." A#. Smith, Richard :angham, ed. Debuss% on Music !Bew +or') Knopf, #$11". Letters: :etter from Strauss to his parents, 9eimar, Bo ember 8, #88$. :etter to Hans on Bulow, =ugust 23, #888