In the course of an interview published in London in 1902, Strauss made this announcement: "My next tone-poem will illustrate 'a day in my family life.' It will be partly lyrical, partly humorous—a triple fugue, the three subjects representing papa, mamma, and the baby." TheSymphonia Domestica, composed in 1903, was published in 1904. The first performance anywhere was at Carnegie Hall, New York, March 21, 1904.
The symphony, which bears this dedication:Meiner lieben Frau und unserm Jungen gewidmet("Dedicated to my dear Wife and our Boy"), is in one movement and three subdivisions: (1) Introduction and Scherzo; (2) Adagio; (3) Double Fugue and Finale. The composer declined, at the time of the first performance of the symphony, to furnish any programme for the music.[158]When thework was produced in Berlin (December 12, 1904), under the direction of the composer, the programme books contained this (presumably authorized) annotation of the music:
"I.INTRODUCTIONand development of the three chief groups of themes:
The Husband's Themes:
(a) Easy-going,
(b) Dreamy,
(c) Fiery.
The Wife's Themes:
(a) Lively and gay,
(b) Grazioso.
The Child's Theme:
Tranquil.
"II.SCHERZO:
Parents' happiness. Childish play.
Cradle-song (the clock strikes seven in the evening).
"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 conclusion."
A year later, in connection with the first performance in England, an "official" description was published, and it was intimated that this description was "allowed" by the composer "to be made public." It is therefore reproduced here, since there is every reason to believe that it constitutes an authentic interpretation of the music.
"[INTRODUCTION]"The symphony is concerned with three main themes, that of the husband, that of the wife, and that of the child. The husband theme is divided into three sections, the first of which is markedgemächlich('easy-going,' or 'deliberate,' given out by 'cellos), the secondsinnend('meditative,'[159]oboe,) and the thirdfeurig('fiery,' violins). The first section of the symphony, the Introduction, is devoted to an exposition and treatment of the chief themes, or groups of themes, its most striking feature being the introduction of the child themeon theoboe d'amore, an instrument which has practically fallen out of use.[160]The composer himself has spoken of this theme as being of 'almost Haydnesque simplicity.' On this follows a very characteristic passage, which has been interpreted as representing the child in its bath.[161]"[SCHERZO]"The Scherzo bears the headingsElternglück—Kindliche Spiele('Parents' Happiness'—'The Child at Play'). Its chief theme is the child theme in a new rhythm. At its end the music suggestive of the bath recurs, and the clock strikes seven. We then come to the lullaby, where we have another version of the child theme."[ADAGIO]"The sub-headings of the Adagio areSchaffen und Schauen—Liebes-scene—Träume und Sorgen('Doing and Thinking'—'Love Scene'—'Dreams and Cares'). This elaborate section introduces no new themes of any importance, and is really a symphonic slow movement of great polyphonic elaboration and superlatively rich orchestral color. The gradual awakening of the family is next depicted by a change in the character of the music, which becomes more and more restless, the use of rhythmical variants of previous themes being very ingenious; and then there is another reference to the bath music, and the glockenspiel[162]indicates that it is 7A.M."[FINALE]"In this way we reach the final Fugue. The principal subject of this is also a new version of the child theme. Its sub-title isLustiger Streit—Fröhlicher Beschluss('Merry Argument'—'Happy Conclusion'), the subject of the dispute between father and mother being the future of the son. The Fugue (the chief subject of which is another variant of the child theme) is carried on with unflagging spirit and humor and great variety of orchestration.... As the Fugue proceeds, the child theme gradually grows more and more prominent, and finally seems to dominate the whole score." ["The child seems to have hurt himself in boisterous play," says another commentator. "The mother cares for him, and the father also has a soothing word."] "Some new themes, all more or less akin to it, and all in the nature of folk-tunes, are introduced. The father and mother, however, soon assume their former importance, and the whole ends with great spirit and in the highest good-humor, with an emphatic reassertion of the husband theme with which it began, suggesting that the father had the last word in the argument."
"[INTRODUCTION]
"The symphony is concerned with three main themes, that of the husband, that of the wife, and that of the child. The husband theme is divided into three sections, the first of which is markedgemächlich('easy-going,' or 'deliberate,' given out by 'cellos), the secondsinnend('meditative,'[159]oboe,) and the thirdfeurig('fiery,' violins). The first section of the symphony, the Introduction, is devoted to an exposition and treatment of the chief themes, or groups of themes, its most striking feature being the introduction of the child themeon theoboe d'amore, an instrument which has practically fallen out of use.[160]The composer himself has spoken of this theme as being of 'almost Haydnesque simplicity.' On this follows a very characteristic passage, which has been interpreted as representing the child in its bath.[161]
"[SCHERZO]
"The Scherzo bears the headingsElternglück—Kindliche Spiele('Parents' Happiness'—'The Child at Play'). Its chief theme is the child theme in a new rhythm. At its end the music suggestive of the bath recurs, and the clock strikes seven. We then come to the lullaby, where we have another version of the child theme.
"[ADAGIO]
"The sub-headings of the Adagio areSchaffen und Schauen—Liebes-scene—Träume und Sorgen
('Doing and Thinking'—'Love Scene'—'Dreams and Cares'). This elaborate section introduces no new themes of any importance, and is really a symphonic slow movement of great polyphonic elaboration and superlatively rich orchestral color. The gradual awakening of the family is next depicted by a change in the character of the music, which becomes more and more restless, the use of rhythmical variants of previous themes being very ingenious; and then there is another reference to the bath music, and the glockenspiel[162]indicates that it is 7A.M.
"[FINALE]
"In this way we reach the final Fugue. The principal subject of this is also a new version of the child theme. Its sub-title isLustiger Streit—Fröhlicher Beschluss('Merry Argument'—'Happy Conclusion'), the subject of the dispute between father and mother being the future of the son. The Fugue (the chief subject of which is another variant of the child theme) is carried on with unflagging spirit and humor and great variety of orchestration.... As the Fugue proceeds, the child theme gradually grows more and more prominent, and finally seems to dominate the whole score." ["The child seems to have hurt himself in boisterous play," says another commentator. "The mother cares for him, and the father also has a soothing word."] "Some new themes, all more or less akin to it, and all in the nature of folk-tunes, are introduced. The father and mother, however, soon assume their former importance, and the whole ends with great spirit and in the highest good-humor, with an emphatic reassertion of the husband theme with which it began, suggesting that the father had the last word in the argument."