Symphonia Domestica, Op. 53, is a tone poem for large orchestra by Richard Strauss. The work is a musical reflection of the secure domestic life so valued by the composer himself and, as such, harmoniously conveys daily events and family life.
Symphonia Domestica, Op. 53, is a tone poem for large orchestra by Richard Strauss. The work is a musical reflection of the secure domestic life so valued by the composer himself and, as such, harmoniously conveys daily events and family life.
In 1898, Strauss became the chief conductor of the Royal Court Opera in Berlin. It was at this point in his life that the composer took a keen interest in his own circumstances and turned his attention to his status and personal history. When he began composing the Symphonia Domestica, he intended it to be the sequel to Ein Heldenleben , the next installment of the autobiography of the now-successful artist.
He worked on the piece during 1903, finishing it on New Year's Eve, in Charlottenburg. [1]
The piece is scored for piccolo, 3 flutes, 2 oboes, oboe d'amore, English horn, clarinet in D, 3 clarinets (2 in B♭, 1 in A), bass clarinet in B♭, 4 bassoons, contrabassoon, 4 saxophones (soprano in C, alto in F, baritone in F, bass in C) that are ad libitum (optional)), 8 horns in F, 4 trumpets in F and C, 3 trombones, tuba, timpani, bass drum, triangle, cymbals, glockenspiel, 2 harps, and strings.
The program of the work reflects the simplicity of the subject matter. After the whole extended family (including the aunts and uncles) has been introduced, the parents are heard alone with their child. The next section is a three-part adagio which begins with the husband's activities. The clock striking 7 a.m. launches the finale.
The most detailed exposition of the work's structure is that which was provided for the Berlin Philharmonic's performance on 12 December 1904. On that occasion, the concert programme carried the following outline:
Strauss reserved the premiere for his American tour in 1904, and Carnegie Hall in New York was booked. He would conduct it himself. Originally the premiere was scheduled for 9 March, but the orchestral parts were delayed, so it was postponed to 21 March. The later date allowed more rehearsals, of which 15 were required before Strauss was satisfied. The Wetzler Symphony Orchestra was adequate, but not much more. During a performance of his Don Quixote two nights earlier, the orchestra had broken down in the middle of the piece. [1]
Nevertheless, the performance was a great success, so much so that he was prevailed upon to conduct two more performances in Wanamaker's department store in New York, on 16 and 18 April, for a fee of $1,000. An entire sales floor had to be cleared to make way for the huge orchestra, and the concerts attracted audiences of 6,000 people. The New York and German press were very critical, not just of these exhibitions but of the very work itself, regarding them as a blatant commercialization of the sacred art of music and the intimacy of family life. Strauss responded: "True art ennobles this Hall, and a respectable fee for his wife and child is no disgrace even for an artist". [2]
The Viennese premiere of the Domestica was conducted by Gustav Mahler on 23 November 1904.
A typical performance of the work lasts approximately forty-four minutes.
In 1924 Strauss wrote the Wedding Prelude for two harmoniums (Trv 247) for the occasion of the wedding of his son Franz with Alice Grab-Hermannswörth, based largely on themes found in the Symphonia Domestica. In 1925, Strauss wrote a piece for Paul Wittgenstein for piano left-hand and orchestra, again using themes from the Symphonia Domestica, titled Parergon zur Symphonia Domestica, Op. 73.
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There is also a two-piano version, which Martha Argerich and Alexandre Rabinovitch recorded in 1995 for Teldec.
The Pomp and Circumstance Marches, Op. 39, are a series of five marches for orchestra composed by Sir Edward Elgar. The first four were published between 1901 and 1907, when Elgar was in his forties; the fifth was published in 1930, a few years before his death; and a sixth, compiled posthumously from sketches, was published in 1956 and in 2005–2006. They include some of Elgar's best-known compositions.
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The Variations on a Theme by Joseph Haydn, now also called the Saint Anthony Variations, is a work in the form of a theme and variations, composed by Johannes Brahms in the summer of 1873 at Tutzing in Bavaria. It consists of a theme in B♭ major based on a "Chorale St Antoni", eight variations, and a finale. The work was published in two versions: for two pianos, written first but designated Op. 56b; and for orchestra, designated Op. 56a.
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Ruth Dorothy Louisa ("Wid") Gipps was an English composer, oboist, pianist, conductor, and educator. She composed music in a wide range of genres, including five symphonies, seven concertos, and numerous chamber and choral works. She founded both the London Repertoire Orchestra and the Chanticleer Orchestra and served as conductor and music director for the City of Birmingham Choir. Later in her life she served as chairwoman of the Composers' Guild of Great Britain.
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Ein Heldenleben, Op. 40, is a tone poem by Richard Strauss. The work was completed in 1898. It was his eighth work in the genre, and exceeded any of its predecessors in its orchestral demands. Generally agreed to be autobiographical in nature despite contradictory statements on the matter by the composer, the work contains more than thirty quotations from Strauss's earlier works, including Also sprach Zarathustra, Till Eulenspiegel, Don Quixote, Don Juan, and Death and Transfiguration.
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The Bard, Op. 64, tone poem for orchestra written in 1913 by the Finnish composer Jean Sibelius. It was first performed in Helsinki on 27 March 1913 by the Philharmonic Society Orchestra, conducted by the composer himself, but he revised it in 1914. The new version was first performed in Helsinki on 9 January 1916, again under the baton of the composer.
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The Symphony in B minor "Polonia", Op. 24, was written by Ignacy Jan Paderewski between 1903 and 1908, and first publicly performed in 1909. Although he lived for another 32 years, the symphony was virtually Paderewski's last composition; he wrote only one more work before his death in 1941 - a hymn for male chorus in 1917. Around 1910, he commenced what would become a political career, culminating in becoming the first Prime Minister of independent Poland and signing the Treaty of Versailles on behalf of his nation in 1919. He later returned to the concert platform as a virtuoso pianist.
A Hero's Song, Op. 111, B. 199, also called Heroic Song for Orchestra, is a symphonic poem for orchestra composed by Antonín Dvořák between August 4 and October 25, 1897. It was premiered in Vienna in on December 4, 1898, with Gustav Mahler conducting the Vienna Philharmonic, and was later published in Berlin in 1899. Unlike Dvořák's other symphonic poems, this work is not based upon a specific text, and it may have been intended to be autobiographical. The piece is mostly energetic and triumphant, but it includes a slower section containing a funeral march. A typical performance lasts approximately 22 minutes.
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