Symphonia Domestica
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Sinfonia Domestica, op.53 (Domestic Symphony) 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.
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[edit] History and composition
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 Sinfonia Domestica, he intended for it to be the sequel to Ein Heldenleben, the next instalment of the autobiography of the now-successful artist. Of it, Strauss said "My next tone poem will represent a day in my family life. It will be partly lyrical, partly humorous - a triple fugue will bring together Papa, Mama and Baby."
The piece is scored for piccolo, 3 flutes, 2 oboes, oboe d'amore, English horn, E-flat clarinet, 3 clarinets, bass clarinet, 4 bassoons, contrabassoon, 4 saxhorns, 8 horns, 4 trumpets, 3 trombones, tuba, timpani, tenor drum, bass drum, triangle, cymbals, glockenspiel, 2 harps, and strings
[edit] Structure
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 (indeed, originally this section was labelled "parents' happiness", "child's games", "cradle song" and "the clock strikes 7pm"). The third section is a three-part adagio which begins with the husband's activities. This is followed by "a love scene" which segues into "dreams and worries" for the child. The clock striking 7am launches the finale. This sees itself through to an "awakening" passage, followed by "a lively row" which ends with "making up" and "happy conclusion of the stormy family scene".
[edit] Performance
Richard Strauss conducted the Wetzler Symphony Orchestra at the premiere performance on March 21, 1904 at the Carnegie Hall in New York. Originally the work was intended for a performance on March 9, but the orchestral parts were delayed. The later date allowed more rehearsals
A typical performance of the work lasts approximately forty-four minutes.
[edit] Discography
| Conductor | Orchestra | Recorded |
|---|---|---|
| Eugene Ormandy | Philadelphia Orchestra | 1938 |
| Carl Schuricht | Orchestra of La Scala Opera House, Milan | 1941 |
| Richard Strauss | Vienna Philharmonic | 1944 |
| Wilhelm Furtwängler | Berliner Philharmoniker | 1944 |
| Franz Konwitschny | Staatskapelle Dresden | 195? |
| Clemens Krauss | Vienna Philharmonic | 1952 |
| Fritz Reiner | Chicago Symphony Orchestra | 1956 |
| George Szell | Cleveland Orchestra | 1957 |
| Zubin Mehta | Los Angeles Philharmonic Orchestra | 1968 |
| Rudolf Kempe | Staatskapelle Dresden | 1972 |
| Herbert von Karajan | Berliner Philharmoniker | 1973 |
| Lorin Maazel | Vienna Philharmonic | 1983 |
| Zubin Mehta | Berliner Philharmoniker | 1985 |
| Neeme Järvi | Scottish National Orchestra | 1986 |
| Gerard Schwarz | Seattle Symphony | 1988 |
| Edo de Waart | Minnesota Orchestra | 1990 |
| Wolfgang Sawallisch | Philadelphia Orchestra | 1993 |
| Lorin Maazel | Bavarian Radio Symphony Orchestra | 1995 |
| André Previn | Vienna Philharmonic | 1995 |
| Vladimir Ashkenazy | Czech Philharmonic Orchestra | 1997 |
| David Zinman | Zurich Tonhalle Orchestra | 2002 |
There is also a two-piano version, which Martha Argerich and Alexandre Rabinovitch recorded in 1995 for Teldec.
[edit] Sources
- Content from adaptation of the notes of Ernst Krause.
