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The first consists of a flowing cantilena evolved on broad and dignified lines. The second is a striking example of freely used chromatic intervals. The third follows Wagner's precedent in deploying instruments of brass in forceful and incisive utterance.
"Don Juan"—Tondichtung nach Lenau (op. 20, 1888), belongs to the same creative period as "Macbeth" and follows the same general outlines of philosophical, structural, and orchestral procedure. The following four representative themes are suggestive not only of "local" coloring but reveal the highest attribute of a genuine composer in that their very nature suggests the general type of instrument to be employed. Proof is thus to be had that Strauss simultaneously conceives his subject-matter and the orchestral garment in which it is to be attired.
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