Christian Colberg began his musical studies at the age of five in his native Puerto Rico. Known for his versatility, Colberg excels as a violinist and violist, and has garnered accolades as a composer and a conductor.
Ilya Finkelshteyn, principal cellist of the Cincinnati Symphony, has performed extensively throughout the United States, Europe and Asia as soloist, recitalist, chamber musician and principal cellist of the Baltimore and Cincinnati Symphony Orchestras.
The Cincinnati Symphony Orchestra is one of America’s finest and most versatile ensembles.
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The French conductor Louis Langrée has been Music Director of the Mostly Mozart Festival at Lincoln Center in New York since 2002 and of the Cincinnati Symphony Orchestra since the 2013/14 season. The Mostly Mozart Festival celebrated its 50th Anniversary in 2016, in a programme including Così fan tutte with the Freiburger Barockorchester, the latter following performances at the Aix-en-Provence Festival. With Cincinnati Symphony Orchestra, recent and future highlights have included a performance in New York as part of their anniversary season of Lincoln Center’s Great Performers series, a tour to Asia and several world premieres, including three Concertos for Orchestra by Sebastian Currier, Thierry Escaich and Zhou Tian.
Guest conducting projects over the next two seasons include Louis Langrée’s debut with the Philhadelphia and Konzerthaus Berlin Orchestras and return engagements with the Leipzig Gewandhaus, Wiener Symphoniker and Hallé. With the Orchestre National de France he will conduct Debussy’s opera and Schoenberg’s tone poem based on Maeterlinck's Pelléas et Mélisande. He will also return to the Metropolitan Opera in New York, Wiener Staatsoper and Opéra Comique in Paris.
Louis Langrée has conducted the Berliner Philharmoniker, Wiener Philharmoniker (in concert in both Vienna and Salzburg) and London Symphony Orchestra. He has worked with many other orchestras around the world including the London Philharmonic, Orchestre de Paris, Orchestre de la Suisse Romande, Santa Cecilia in Rome, Deutsche Kammerphilharmonie Bremen, Budapest Festival, Sao Paulo and NHK Symphony Orchestras. Festival appearances have included Wiener Festwochen, Salzburg Mozartwoche and Whitsun, BBC Proms and Glyndebourne Festival Opera. He has held positions as Music Director of the Orchestre de Picardie (1993-98) and Orchestre Philharmonique Royal de Liège (2001-06) and was Chief Conductor of the Camerata Salzburg (2011-16).
Louis Langrée was Music Director of Opéra National de Lyon (1998-2000) and Glyndebourne Touring Opera (1998-2003). He has also conducted at La Scala, Bayerische Staatsoper in Munich, the Royal Opera House Covent Garden, Opéra-Bastille and Théâtre des Champs-Elysées in Paris, Lyric Opera of Chicago, Dresden Staatsoper, Grand Théâtre in Geneva and the Netherlands Opera in Amsterdam.
Louis Langrée's first commercial recording with the Cincinnati Symphony Orchestra features Copland’s A Lincoln Portrait (narrated by Dr Maya Angelou) and world premieres by Nico Muhly and David Lang. Louis Langrée’s recordings have received several awards from Gramophone and Midem Classical. He was appointed Chevalier des Arts et des Lettres in 2006 and Chevalier de la Légion d’Honneur in 2014.
Christian Colberg began his musical studies at the age of five in his native Puerto Rico. Known for his versatility, Colberg excels as a violinist and violist, and has garnered accolades as a composer and a conductor. He is currently the Principal Viola of the Cincinnati Symphony Orchestra, holding the Louise D. & Louis Nippert Chair.
Prior to joining the CSO he was the Assistant Principal Viola of the Baltimore Symphony Orchestra and Concertmaster of the Annapolis Symphony Orchestra. He is a graduate of the Peabody Institute of Music, having studied under the tutelage of Charles Libov and Shirley Givens..
Colberg played his New York City debut under the auspices of Música de Cámara Inc. in 1992 to excellent reviews, which described him as an artist with "real romantic ardor, charm and a good deal of brilliance…" (Strings Magazine). He has made a strong impact on audiences and critics alike, which is best described by the music critic of Orpheus Magazine of Berlin: "Christian Colberg exhibited a dynamic temperamental flair, and sparks from his fiery playing agitated the atmosphere and the audience response."
Recipient of numerous awards, including the Alpha Delta Kappa Foundation Fine Arts grant, Colberg has also been recognized by the House of Representatives and the Senate of Puerto Rico for his achievements in the classical music field. He has been a featured soloist with the Cincinnati Symphony Orchestra, Pittsburgh Symphony Orchestra, Baltimore Symphony Orchestra, Victoria Symphony Orchestra, Puerto Rico Symphony Orchestra, and San Salvador Symphony Orchestra.
Since 2014, Mr. Colberg has performed as Principal Viola with the Bellingham Festival of Music and recently has become a regular performer with the Sitka Summer Music Festival in Sitka, Alaska. In 2018, he was invited to perform as Principal Viola with the Aspen Music Festival as a Visiting Faculty Member. Christian Colberg has held teaching positions at both the Peabody Institute of Music, as well as the University of Cincinnati College-Conservatory of Music (CCM).
As an active chamber musician, Mr. Colberg has collaborated with such artists as, Marvin Hamlish, Gary Karr, Milton Katims, Augustin Hadelich, Samuel Sanders, Joseph Silverstein, Jaime Laredo, Sharon Robinson, and the Muir, Cypress and Ariel String Quartets. He has also performed on the Linton Chamber Music Series, and is a frequent guest artist with the Silk Road Festival in China.
In October 2018, Mr. Colberg performed one of his most recent compositions, Viola Concerto, with the Cincinnati Symphony Orchestra. (Read review in Cincinnati Business Courier.) He has performed this work with numerous orchestras, including the Puerto Rico Conservatory Orchestra and Musica de Camara in New York City. The second movement of his concerto, Aldonza, was used as the competition piece for the 2014 Primrose International Viola Competition. In June of 2018, his newest work, The Rant - For Two Violas, will be premiered at the International Viola Congress in Los Angeles.
In his spare time he enjoys a good espresso, photography, home renovation projects and playing electric guitar and drums.
Ilya Finkelshteyn, principal cellist of the Cincinnati Symphony, has performed extensively throughout the United States, Europe and Asia as soloist, recitalist, chamber musician and principal cellist of the Baltimore and Cincinnati Symphony Orchestras. Highly acclaimed for his performances, Finkelshteyn was recently praised in the Washington Post as a “complete master of his instrument.”
Finkelshteyn has been featured as soloist with numerous orchestras including the Baltimore Symphony Orchestra, St. Louis Symphony Orchestra, Detroit Symphony Orchestra, Mostly Mozart Festival Orchestra, Baltimore Chamber Orchestra, Saint Paul Civic Orchestra, the Peninsula Music Festival Orchestra, National Repertory Orchestra, Bardy Symphony Orchestra (England) and the Cincinnati Symphony Orchestra. Finkelshteyn has claimed top prizes of the Concertino Praga, Russian Cello Competition, the WAMSO International Competition, the Aspen Music Festival Concerto Competition (where he was the recipient of a Fellowship) and the Chautauqua Concerto Competition. First prize winner of the Juilliard Concerto Competition, Finkelshteyn performed as soloist with the Juilliard Orchestra on tours to France and Bermuda.
An active chamber musician, Finkelshteyn has collaborated in chamber music with such artists as András Schiff, Hilary Hahn, David Soyer, Richard Goode, Joseph Silverstein, Steven Ansell, Harold Robinson, Vadim Repin, Isidore Cohen and Lydia Artymiw, and has been featured at the Aspen, Marlboro, Mostly Mozart, Innsbrook, Bay Chamber and Peninsula Music Festivals, the Linton Music Series and with the Jupiter Players in New York. Finkelshteyn has been featured on Wisconsin Public Radio, Maine Public Radio, KFUO-FM in St. Louis, WYPR in Baltimore, WGUC in Cincinnati and has recorded on the Sony Label.
While Finkelshteyn maintains a busy private teaching studio, he presents frequent public master classes at major conservatories of music across North America including the Manhattan School of Music, Peabody Conservatory, Indiana University, University of Cincinnati College-Conservatory of Music (CCM) and at the University of California Chico. He has also been on the faculties of the Jonannesen International School of the Arts, Victoria, Canada, NOI and Orchestra Academy at Indiana University. In January 2012 Finkelshteyn was appointed to the faculty of CCM where he teaches applied cello lessons and will design and teach a new orchestral repertoire audition course for cello beginning Fall Semester 2012.
Finkelshteyn was born in Leningrad of the former USSR and began his musical training in St. Petersburg Conservatory Special Music School under the tutelage of Sergei Chernyadiev. Once he immigrated to the United States, he continued studies with Tanya Remenikova at the University of Minnesota the year before attending the Juilliard School for both undergraduate and graduate studies as a full scholarship student of Harvey Shapiro. Chamber music coaches include Felix Galimir, Samuel Sanders and members of the Juilliard String Quartet. Finkelshteyn won his first orchestra job with the St. Louis Symphony prior to his graduation where he performed for five seasons under the late Hans Vonk. From 2002-2009 he performed as principal cellist of the Baltimore Symphony Orchestra under the baton of Yuri Temirkanov, departing in 2009 to become principal cellist of the Cincinnati Symphony Orchestra where he holds the Irene & John J. Emery Chair.
Finkelshteyn's performs on a cello by Giovanni Crancino, c.1700. In his spare time he enjoys golf, reading, museums, billiards and table tennis.
CINCINNATI SYMPHONY ORCHESTRA
The Cincinnati Symphony Orchestra, which also performs as the Cincinnati Pops, is one of America’s finest and most versatile ensembles. With a determination for greatness and a rich tradition that dates back over 120 years, the internationally acclaimed CSO attracts the best musicians, artists and conductors from around the world to Cincinnati. With new commissions and groundbreaking initiatives like LUMENOCITY®, One City, One Symphony, and the MusicNOW Festival collaboration, the Orchestra is committed to being a place of experimentation.
Louis Langrée began his tenure as the CSO's 13th Music Director in the 2013-2014 season with a celebrated program The New York Times said “deftly combined nods to the orchestra's history, the city's musical life and new music.” Over the Orchestra's 120-year history, it has also been led by Leopold Stokowski, Eugène Ysaÿe, Fritz Reiner, Eugene Goossens, Max Rudolf, Thomas Schippers, Jesús López-Cobos, and Paavo Järvi, among others.
A champion of new music, the Orchestra has given American premieres of works by such composers as Debussy, Ravel, Mahler and Bartók and has commissioned works that have since become mainstays of the classical repertoire, including Copland's Fanfare for theCommon Man. The CSO was the first orchestra to be broadcast to a national radio audience (1921) and the third to record (1917). The Orchestra continues to commission new works and to program an impressive array of music. In recent years, the CSO has performed the world premieres of Nico Muhly's Pleasure Ground, David Lang's mountain, Caroline Shaw's Lo and Daniel Bjarnason's Collider as part of the groundbreaking collaboration with the MusicNOW Festival, Cincinnati's premier new music festival, as well as the world premiere of André Previn's Double Concerto. More recent commissions include Gunther Schuller’s Symphonic Triptych, three works set to the poetry of Dr. Maya Angelou by T. J. Cole, Jonathan Bailey Holland and Kristin Kuster, as well three new concertos for orchestra by composers Sebastian Currier, Thierry Escaich and Zhou Tian, which will be released on a commercial recording in November of 2016.
The CSO was the first American orchestra to make a world tour sponsored by the U.S. Department of State and continues to tour domestically and internationally, most recently to Europe in 2008 and to Japan in 2009, including two concerts at Tokyo's Suntory Hall and the CSO's first-ever nationally televised concert in Japan. The CSO has performed at New York's Carnegie Hall 48 times since its debut there in 191, most recently to rave reviews in May of 2014. In January of 2016, the Orchestra performed at New York’s Lincoln Center as part of the invitational Great Performers series.
LOUIS LANGRÉE conductor • CHRISTIAN COLBERGviola • ILYA FINKELSHTEYN cello
Don Quichotte (Ouverture burlesque de Quichotte), TWV 55:G10
Ouverture Le Reveille de Quichotte (“The Awakening of Don Quixote”) Son Attaque des Moulins à Vent (“His Attack on the Windmills”) Ses Soupirs amoureux après la Princesse Dulcinée (“Sighs of Love for Princess Dulcinea”) Sanche Panche berné (“Sancho Panza Swindled”) Le Galope de Roscinante (“Rosinante Galloping”) Celui d’Ane de Sanche (“Sancho Panza’s Mule”) Le Couché de Quixotte (Don Quixote at Rest”)
CHRISTIAN COLBERG (b. 1968)
Viola Concerto, “Don Quixote”
Alonzo Aldonza Sancho
R. STRAUSS (1864-1949)
Don Quixote, Fantastic Variations on a Theme of Knightly Character, Op. 35
GREAT LITERATURE and enduring characters not only transcend time, but also inspire art. In the early 1600’s readers were first introduced to Don Quixote, Sancho Panza and the never-seen Dulcinea del Toboso in two novels by Miguel de Cervantes. These novels captured the imagination, found a worldwide audience and continue to inspire composers four centuries later. This program explores Don Quixote’s fascinating story from three distinct musical vantage points. From Georg Philipp Telemann’s 1761 orchestral suite to Richard Strauss’ sweeping tone poem composed in 1897, featuring Principal Cellist Ilya Finkelshteyn, to the Cincinnati premiere of CSO Principal Violist Christian Colberg’s recent Viola Concerto, all inspired by Cervantes’ expression of yearning through the Don Quixote character. We are always thrilled to introduce Cincinnati audiences to new music, but take special pride when that music is written by one of our own. At no time in recent memory has a CSO musician performed their own concerto composition with the Orchestra. This is a remarkable program in the life of the CSO. —LOUIS LANGRÉE
DON QUIXOTE, MUSICALLY SPEAKING
Don Quixote by Miguel de Cervantes (1547–1616) is not only among the earliest examples of the novel in world literature (1605), but also one of the most admired and widely enjoyed. Cervantes sketched his hero thus: “Through little sleep and much reading, he dried up his brains in such sort as he wholly lost his judgment.” Thereupon, “He fell into one of the strangest conceits that a madman ever stumbled on in this world...that he himself should become a knight-errant, and go throughout the world with his horse and armor to seek adventures and practice in person all that he had read was used by knights of yore....”
Knights in shining armor were as much out of fashion in Cervantes’ day as covered wagons and the Pony Express are in ours, but the nostalgic, historical romance that they represent is the source of much of the poignancy that Don Quixote elicits and that served as the inspiration for works by some 60 composers, including Strauss, Telemann, Purcell, Massenet and Falla.
Along for the adventure, and the recipient of much abuse from his master, is Sancho Panza, Quixote’s witty, ironic, perceptive but devoted servant. Aldonza, although she appears in the novel only in the old man’s imagination, represents for him the ideal of beauty and chivalric love, though Cervantes indicates that she is at best a common farm girl or innkeeper’s daughter but probably someone far more experienced in the salacious ways of the world.
This Cincinnati Symphony Orchestra concert includes compositions from three centuries inspired by Cervantes’ timeless novel, works that speak of the enduring “quixotic” quest for the good, for the ideal, which help to renew our own human spirit.
Don Quichotte (Ouverture burlesque de Quichotte), TWV 55:G10
Born:March 14, 1681, Magdeburg, Germany
Died:June 25, 1767, Hamburg
Work composed:c. 1761
CSO notable performances:These performances are the work’s CSO premiere.
Duration:approx. 17 minutes
With the condescending pronouncement, “Since the best man could not be obtained, mediocre ones would have to be accepted,” City Councilor Platz announced the appointment of Johann Sebastian Bach in 1723 as Kantor for Leipzig’s churches. Platz’s “best man” was Georg Philipp Telemann, then the most highly regarded composer in all Germany. Telemann’s association with Leipzig went back to 1701, when he left his hometown of Magdeburg to enroll at the city’s university; he was soon receiving regular commissions from the Leipzig City Council for new service music. In 1702, he became director of the local opera house, and began churning out specimens of that genre to fill his own stage. Two years later, he started a Collegium Musicum with some of his talented university friends in a local coffee house to give concerts of instrumental music and was also appointed organist and Kapellmeister of Leipzig’s Neukirche. A year later, Count Erdmann von Promnitz lured Telemann to his estate at Sorau, a hundred miles southeast of Berlin, to become his music master. In 1708 or 1709, Telemann was appointed court composer at Eisenach, Sebastian Bach’s birthplace, and in 1712, he moved to the post of city music director in Frankfurt-am-Main. Nine years later, he was named director of music for Hamburg’s five main churches. During his tenure, he also headed the municipal opera house and oversaw the city’s flourishing concert series. Telemann composed with staggering prolificacy for the rest of his days, being slowed only in his last years, like Bach and Handel, by problems with his eyesight. He died of (probably) pneumonia in 1767 (Mozart turned eleven that year), and was succeeded in his Hamburg post by his godson, Carl Philipp Emanuel Bach.
Among Telemann’s vast catalog of instrumental suites are a number with extra-musical and programmatic associations. Perhaps the most familiar of these is the Hamburger Ebb’ und Flut (“Hamburg’s Ebb and Flow,” commonly known as Telemann’s Water Music), composed in 1723 to celebrate the centenary of the founding of the city’s Admiralty. Other of his referential instrumental works include suites titled La Lyra, Sounding Geography (depicting Germans, Swedes and Danes through various national dances; the work ends with a movement called The Old Women Bemoan the Good Old Days) and one brazenly dubbed La Putain (“The Prostitute”), which contains scenes of The Peasants’ Church Fête, The Witches’ Dance, The Inn of Lice, Boss-Girl Lissabeth and Brother Michael’s Goatee. Cervantes’ Don Quixote of 1605 inspired from Telemann both a vocal serenata (Don Quixote auf der Hochzeit [i.e., Marriage] des Camacho) and an instrumental suite.
Telemann’s Don Quixote suite opens with a rather stiff realization of the old French overture—somewhat arthritic dotted-rhythm strains in pompous tempo at beginning and end frame a livelier central episode of knight-errantly dash. The following movements, utilizing two-part dance form for their structural organization, explore a variety of moods to suggest their subjects. The Awakening of Don Quixote is a somnolent number incorporating a drone that is reluctant to be roused. His Attack on the Windmills develops an almost operatic fury. Sighs of Love for Princess Dulcinea uses the stock galant device of a small drooping melodic interval to portray Quixote’s amorous state. His servant’s misadventure (Sancho Panza Swindled) rudely interrupts this reverie. The mounts of the two adventurers are depicted in Rosinante Galloping and The Gallop of Sancho Panza’s Mule. The suite closes with a movement titled Don Quixote at Rest, but the music indicates that thoughts of adventure and heroic deeds continue to canter through the old man’s mind.
—Dr. Richard E. Rodda
Viola Concerto, “Don Quixote”
Born: October 30, 1968, Puerto Rico
Premiere:October 2014, San Juan, by the Orquesta Sinfonica del Conservatorio de Musica de Puerto Rico, Christian Colberg, violist
CSO notable performances:These performances are the work’s CSO premiere.
Duration:approx. 30 minutes
Violist, violinist, composer and conductor Christian Colberg began his musical studies at the age of five and took his professional training as a violinist at the Peabody Institute of Music in Baltimore, where he also served as assistant to his principal teacher, Shirley Givens. He made his New York City violin debut under the auspices of Música de Cámara, Inc. in 1992. In 1994 he joined the viola section of the Baltimore Symphony Orchestra and eventually won the position of Assistant Principal Violist, a post he held until being appointed to the Louise D. and Louis Nippert Chair as Principal Violist of the Cincinnati Symphony Orchestra in 2010. Since 2014, Colberg has also performed as Principal Viola with the Bellingham Festival of Music and recently became a regular performer with the Sitka Summer Music Festival in Alaska. In 2018, he was invited to perform as Principal Viola with the Aspen Music Festival as a visiting faculty member. In addition to his orchestral work, Colberg has performed internationally with noted artists such as Marvin Hamlisch, Gary Karr, Milton Katims, Augustin Hadelich, Samuel Sanders, Joseph Silverstein, Jaime Laredo and Sharon Robinson, as well as the Muir, Cypress and Ariel String Quartets, and he is a frequent guest artist with the Silk Road Festival in China and Cincinnati’s Linton Chamber Music Series. He has appeared as soloist with the symphony orchestras of Cincinnati, Pittsburgh, Baltimore, Victoria, Puerto Rico and San Salvador. He has taught at the Peabody Institute and University of Cincinnati College-Conservatory of Music, where he taught an orchestral excerpts class 2012–2014, and he continues to offer orchestral audition training in his private studio. Christian Colberg was honored for his achievements in classical music by the House of Representatives of Puerto Rico in 1985 and again by the Senate in 1994; his additional awards include an Alpha Delta Kappa Foundation fine arts grant.
In 2013, Cervantes’ Don Quixote provided the inspiration for Christian Colberg’s Viola Concerto, which he premiered in October 2014 in San Juan with the Orquesta Sinfónica del Conservatorio de Música de Puerto Rico; its second movement (Aldonza) was chosen by that year’s Primrose International Viola Competition as its required piece. Colberg has since performed the Concerto with numerous orchestras. In June of 2018, his newest work, The Rant for Two Violas, was given its world premiere at the American Viola Society Festival in Los Angeles, with Colberg and Karin Brown as soloists. [Colberg and CSO violist Joanne Wojtowicz will perform The Rant for the CSO Chamber Players Concert on April 26 in Corbett Tower.]
Colberg wrote of the Concerto:
Essentially, there are three major compositions that form the core of the solo viola concerto repertory: the Bartók, Walton and Hindemith. Although they are truly great works, I find that for some first-time concertgoers the pieces can be a little hard to digest. So, I decided to write one of my own that would be accessible to a wider audience.
The Viola Concerto is in three movements, depicting characters from Cervantes’ Don Quixote. The first movement evokes Alonzo (the title character’s given name) before he embarks on the journey that renames him Don Quixote, just moments before his sense of reality and fantasy begins to blur. The second movement is Aldonza as she really was and not as Don Quixote’s idealized Dulcinea. The third movement represents Sancho as he was, is, and always will be.
—Dr. Richard E. Rodda
Don Quixote,Fantastic Variations on a Theme of Knightly Character, Op. 35
Born: June 11, 1864, Munich
Died: September 8, 1949, Garmisch-Partenkirchen, Germany
Work composed: 1897
Premiere: March 8, 1898, Cologne, Germany, Franz Wuellner conducting
CSO notable performances: 11 previous subscription weekends | Premiere: October 1924, Fritz Reiner conducting | Most recent: January 1996, Jesús López Cobos conducting; Marna Street, violist and Eric Kim, cellist.
Duration: approx. 38 minutes
In his large-scale tone poem, Richard Strauss emphasized the dramatic elements of Cervantes’ tale by assigning a theme representing Quixote to the solo cello, and then varying the melody to depict several episodes from the novel. Sancho Panza is usually played by the solo viola, as it will be this weekend, but it is also sometimes given to the tenor tuba and the bass clarinet. Strauss’ work portrays ten of Quixote’s exploits, described in a summary of the action that appeared in the two-piano version of the score:
Introduction: The elderly hero’s fancy teems with the “impossible follies” of the romantic works he has been reading. He goes mad [a sharp dissonance following a harp glissando] and in his madness he vows that he will become a knight-errant.
Theme: “Don Quixote, the Knight of the Rueful Countenance; Sancho Panza.” Here the theme of the hero is announced by the solo cello. Sancho Panza’s theme emerges first in the bass clarinet, then in the tenor tuba; later, however, it is given to the solo viola.
Variation I. “The Knight and his Squire Start on Their Journey.” Inspired by the beautiful Dulcinea of Toboso, the Knight attacks some “monstrous giants,” who are nothing more than windmills revolving in the breeze. The sails knock him down and he is in a “very evil plight.”
Variation II. “The Victorious Battle Against the Host of the Great Emperor Alifanfaron.” A huge army approaches in a swirling cloud of dust. It is only a great herd of sheep, but the Knight’s tottering mind perceives the flashing weapons of soldiery. He rushes into the charge, unmindful of Sancho’s warnings, and the muted brass depicts the pitiful bleating of the animals. The Knight is stoned by the shepherds, and he falls to the ground.
Variation III. “Colloquies of Knight and Squire.” Honor, glory, the Ideal Woman—these are the things that Don Quixote speaks on. Sancho, the realist, holds forth for a more comfortable life, but he is ordered to hold his tongue.
Variation IV. “The Adventure with the Penitents.” Mistaking a band of pilgrims for robbers and villains, Don Quixote attacks, only to receive a sound drubbing from them. The pilgrims depart, intoning their churchly theme, and the senseless Knight revives to the great delight of Sancho, who soon falls asleep.
Variation V. “The Knight’s Vigil.” Don Quixote spurns sleep. He will watch by his armor instead. Dulcinea, in answer to his prayers, comes to him in a vision, as the theme of the Ideal Woman is heard in the horn.
Variation VI. “The Meeting with Dulcinea.” Jestingly, Sancho points to a country wench as Dulcinea. Don Quixote then vows vengeance against the wicked magician who has wrought this transformation.
Variation VII. “The Ride Through the Air.” Blindfolded, Knight and squire sit astride a wooden horse, which—they have been informed—will carry them aloft. Their themes surge upward and one hears the whistling of the wind, including the whine of the wind machine, though the wooden horse has never left the ground.
Variation VIII. “The Journey to the Enchanted Park.” In an oarless boat, Don Quixote and Sancho embark, as the theme of the Knight comes through as a Barcarolle. Though the boat capsizes, the two finally reach shore and give thanks for their safety.
Variation IX. “The Combat with Two Magicians.” Back on his horse and eager as ever for adventure, Don Quixote violently charges into a peaceable pair of monks, who are going by on their mules. In his maddened brain, the monks are mighty magicians, and Quixote is elated beyond measure at their utter rout.
Variation X. “The Duel with the Knight of the White Moon.” The greatest setback of his knightly career is suffered by Quixote at the hands of the Knight of the White Moon, who is, after all, a true friend. He explains that he hoped to cure Don Quixote of his madness, and, having won the duel, orders him to retire peacefully to his home.
Finale. “The Death of Don Quixote.” The worn and harried Knight is no longer bemused. It was all vanity, he reflects, and he is prepared, now, for the peace that is death.