Symphonia Domestica

The title of Richard Strauss’ Symphonia Domestica says it all. It’s a “domestic symphony”: an orchestral work on the grandest scale dealing with the emotions and experiences of family life. Commentators in 1904, when the Symphonia was premiered, were astonished that Strauss should devote such effort to what seemed like a trivial subject—and they didn’t hesitate to say so. Strauss was unapologetic. He was deeply in love with his wife Pauline and devoted to their son Franz (born in 1897). Art, he said, deals with humanity, and what subject could be more serious than parenthood? He deployed all his fantasy, humour and flair for colour on this huge score for an orchestra that includes eight horns, oboe d’amore and (a startling novelty in 1904) an optional quartet of saxophones. The movements play without a break, beginning with a string of themes representing husband (easy-going), wife (sparky) and baby (peaceful—for now). A toddling scherzo portrays the parents’ delight in their child (followed by a tantrum at bath-time), before evening settles over the home and the parents retire to bed—where their passion is still very much alive. A bell chimes 7am: a new day begins, and with it all the mayhem (quarrels included) of family life. Strauss throws the kitchen sink at his boisterous finale: the horns raise the roof and it all ends in hugs and laughter.