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Frontispiece illustration of a bust of Lord Byron in the 1824 edition of Don Juan. (Benbow publisher) Byron was a prolific writer, for whom "the composition of his great poem, Don Juan, was coextensive with a major part of his poetical life"; he wrote the first canto while resident in Italy in 1818, and the 17th canto in early 1823. [3]
Don Juan, Op. 20, is a tone poem in E major for large orchestra written by the German composer Richard Strauss in 1888. The work is based on Don Juans Ende , a play derived from an unfinished 1844 retelling of the tale by poet Nikolaus Lenau after the Don Juan legend which originated in Renaissance -era Spain. [ 1 ]
The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction.
The opus Six Romances was composed in 1878 by Pyotr Ilyich Tchaikovsky (1840 – 1893) for voice and piano, and was published as Opus 38 later that year. Of these six songs, "Don Juan's Serenade" was the most successful, becoming one of the best-known works among the approximately 100 romances that Tchaikovsky composed during his lifetime.
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Don Juan (Spanish: [doŋ ˈxwan]), also known as Don Giovanni , is a legendary, fictional Spanish libertine who devotes his life to seducing women. The original version of the story of Don Juan appears in the 1630 play El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest) by Tirso de Molina.
Back in C major, "The Dance Song" marks the recapitulation. It features a very prominent violin solo throughout the section. Later in this section, elements from "The Song of the Grave" (the second subject theme) are heard in the work's original key. "Song of the Night Wanderer" marks the coda of the tone poem. It begins with 12 strikes of ...
At Strauss's request, this was described in a poem by his friend Alexander Ritter as an interpretation of Death and Transfiguration, after it was composed. [1] As the man lies dying, thoughts of his life pass through his head: his childhood innocence, the struggles of his manhood, the attainment of his worldly goals; and at the end, he receives ...