"Macbeth"--Tondichtung nach Shakespeare's Drama (op. 23, 1887), is the first of these vast color-pictures. Although "Don Juan" is to be recorded as opus 20, Friedrich Rösch, the authoritative reviewer of "Ein Heldenleben," places it after "Macbeth," although classifying it also as opus 20. He gives the date of its completion as 1888. Dr. Riemann's Dictionary of Music, which is the most accurate book of its kind in existence, seems for once to be at fault in stating the various dates at which Strauss penned his creations. "Macbeth," like its successors, at once displays a wealth of melodic utterance in all the principal orchestral voices, a prolific number of themes and sub-themes, and the most intimate acquaintance with the specific characteristics of the various instruments as well as with orchestral combinations and the resultant mixture of tonal tints thereby to be obtained. Like Berlioz, Strauss secures dramatic effects by means of vivid orchestration. The themes are arrayed in a kaleidoscopic sequence of instrumental color rather than being subjected to elaborate thematic treatment, and climaxes are reached by means of dynamic effects instead of by melodic evolution. An elaborately conceived program justifies the requisition for vast orchestral resources. There is further evidence of genuine inspiration, of a true gift for thematic development forming a marvellous filigree of contrapuntally interwoven leading motives, of intellectual power, philosophical reflection, poetic revery, and naïve humor. The following themes from "Macbeth" demonstrate the wide range of thematic conception Strauss possesses: [Music: No. 1.[66]] [Music: No. 2.] [Music: No. 3.] [Footnote 66: Most of these examples have been selected from the transcriptions in skeleton form of Friedrich Rösch. Nos. 16 and 19 were suggested by Richard Aldrich. Nos. 34, 35, 36, 37 were prepared by Strauss himself.] 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. [Music: No. 4.] [Music: No. 5.] [Music: No. 6.] [Music: No. 7.]