# Symphonia Domestica

Symphonia domestica (published in 1904 as SYMPHONIA DOMESTICA and in 1926 as Symphonia domestica), Op. 53, is a tone poem for large orchestra by Richard Strauss reflecting the secure domestic life valued by the composer and accordingly dedicated by him to his "dear wife and young ones."

## 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 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.
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.

## 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. 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:
* I. Introduction and development of the chief groups of themes
    The husband's themes (F major):
       (a) Easy-going (gemächlich)
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       (b) Dreamy (träumerisch)
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       (c) Surly (mürrisch)
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       (d) Fiery (feurig)
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    The wife's themes (B major):
       (a) Lively and gay (sehr lebhaft)
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       (b) Grazioso
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    The child's theme (D minor):
       Tranquil (ruhig)
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* II. Scherzo
       Parents' happiness. Childish play.
          Audio playback is not supported in your browser. You can download the audio file.
       Cradle song [quotation from Felix Mendelssohn's "Venetian Boat Song", Op. 19b, No. 6 from Songs Without Words] (The clock strikes seven in the evening).
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* III. Adagio
    Doing and thinking. Love scene. Dreams and cares (the clock strikes seven in the morning).
* IV. Finale
    Awakening and merry dispute (double fugue). Joyous confusion.
       I. Thema
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       II. Thema
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## Performance

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.
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".
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.

## 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 |
| Richard Strauss | Philharmonia Orchestra | 1947 |
| Franz Konwitschny | Staatskapelle Dresden | 1956 |
| Clemens Krauss | Vienna Philharmonic | 1952 |
| Fritz Reiner | Chicago Symphony Orchestra | 1956 |
| George Szell | Cleveland Orchestra | 1957 |
| Dimitri Mitropoulos | Wiener Philharmoniker | 1957 |
| Jascha Horenstein | BBC Symphony Orchestra | 1961 |
| Zubin Mehta | Los Angeles Philharmonic | 1968 |
| Hilde Somer | San Antonio Symphony Orchestra | 1969 |
| 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 |
| Antoni Wit | Staatskapelle Weimar | 2009 |
| Gerard Schwartz | Seattle Symphony | 2012 |
| Marek Janowski | Rundfunk-Sinfonieorchester Berlin | 2015 |
| François-Xavier Roth | SWR Sinfonieorchester Baden-Baden und Freiburg | 2017 |
There is also a two-piano version, which Martha Argerich and Alexandre Rabinovitch recorded in 1995 for Teldec.