JAVS Fall 1999

37

STRAUSS Don juan The premiere of Don juan in 1889 catapulted Richard Strauss into the world's musical head lines and established him as the most important composer to have emerged in Germany since Wagner. Lines taken from the lyric poem Don juan, by Nikolaus Lenau, were included by Strauss in both manuscript and published scores and undoubtedly served as inspiration for this tone poem. This excerpt, of course, appears on almost every audition list. It combines tech nique with flair and virtuosity. Very often, this excerpt is played too fast and too loud. Choose a tempo that allows you to execute with clarity and control. 168 to the quarter is a good tempo. Quarter and half notes should be broad and sustained. Separated triplets in the first page should be played on the string, in the lower middle part of the bow. The 16th note preceded by an eighth or dotted eighth note should be played on the late side with crisp articulation. Strauss has heavy dynamic markings throughout this piece. Inasmuch as there is no orchestra with which to compete, you should be able to play with a round, full, and unforced tone. Splitting the bow, starting with the fourth bar of rehearsal [C] allows you to return to the lower half of the bow for the sautille stroke necessary for the triplet passages. Note the difference in articulation from the triplets on the first page, which are on the string.

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