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Rundfunk-Sinfonieorchester Berlin Rundfunkchor Berlin Marek Janowski SYMPHONIA DOMESTICA & DIE TAGESZEITEN Richard Strauss

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Rundfunk-Sinfonieorchester Berlin Rundfunkchor Berlin Marek Janowski SYMPHONIA DOMESTICA & DIE TAGESZEITEN Richard Strauss Richard Strauss SYMPHONIA DOMESTICA & DIE TAGESZEITEN Rundfunk-Sinfonieorchester Berlin Rundfunkchor Berlin Marek Janowski Richard Strauss (1864-1949) Symphonia statement (if meant sincerely) does not the Frenchman recommended the reference to the (outdated) traditional necessarily win you friends... work be performed only without the genre, in order to subsequently Symphonia Domestica, Op. 53 Domestica, Op. 53 accompanying programme, as it would demolish the internal musical structure 1 Bewegt 5. 03 In fact, the content of the Symphonia certainly distract the listener and and compositional content with 2 Scherzo 12. 46 Richard Strauss was a master at domestica does seem rather trivial, as misrepresent the character of the work. powerful irony. After all, one would 3 Adagio 11. 22 creating double entendres in his the composer places his own, deeply To which Strauss responded: “For me, surely elect a completely diff erent 4 Mäßig langsam. Bewegter 15. 43 music. Nothing is as it seems at fi rst bourgeois family idyll in the spotlight of the poetic programme is no more than genre to accompany the private glance. One should always keep this the musical scene. His original working a means of expressing and developing area of a domestic idyll: an art song, Die Tageszeiten, Op. 76 in mind when dealing with such a title for the work was: “My home. A my perception in a purely musical perhaps, a sonata – but certainly not (Poems by Joseph von Eichendorff ) controversial work as his Symphonia symphonic portrait of myself and my manner; not, as you think, merely a a symphony written for the concert For Male Chorus and Orchestra domestica, Op. 53. And this work was family.” Family and home as the theme musical description of certain events hall. But this is not what the composer 5 Der Morgen 3. 43 certainly recognized as controversial of a symphony? Of that supremely in life. That would be quite contrary intended for the Symphonia domestica. 6 Mittagsruh 6. 40 following its completion on December metaphysically charged instrumental to the spirit of the music. [...] Anyone Despite the fact that there are four 7 Der Abend 3. 02 31, 1903 and its fi rst performance in genre? The musical aspect of subjects who truly knows how to listen to music admittedly lengthy movement-like 8 Die Nacht 9. 15 New York on March 21, 1904. In 1905, such as visiting relatives, children’s probably would not even need it [the sections – identifi able not least thanks the French writer Romain Rollande play, lullabies, a sexually charged programme].” to their headings – by no means do Total playing time: 67. 50 criticized Strauss most notably for yet love scene, a dispute between the they fulfi l the basic cyclic approach of again, after Ein Heldenleben, dealing spouses, and a reconciliation with a So which secrets does the Symphonia the symphony. These “movements” exclusively with his own personality. To concluding idyll most certainly did not domestica contain? Is it a tone poem fl ow into one another without a break. Herren des Rundfunkchores Berlin (Male voices of Berlin Radio Choir) (tracks 5 - 8) which the composer gave his famous correspond to themes that were usually or a symphony? Here, one should More than 40 individual themes drive Chorus master: Michael Gläser response: “I do not see why I should combined with absolute music. On this recall Strauss’ skill in creating double the music forward. Three main theme Rundfunk-Sinfonieorchester Berlin (Radio Symphony Orchestra Berlin) not make a symphony about myself. I subject especially, a correspondence entendres in his music – as he quite groups with various motifs determine Concert master: Rainer Wolters consider myself just as interesting as came about between Rollande and deliberately gave the work the archaic the course of the music – they are Conducted by Marek Janowski Napoleon and Alexander.” This kind of Strauss, during the course of which title of Symphonia domestica as a assigned to the father, the mother, English and the child. Mathias Hansen the huge orchestral forces – yet based on purely musical parameters. Die Tageszeiten Die Tageszeiten for male choir and “[Here] choir and orchestra [are] demonstrated the existence of a Strauss deploys these in an incredibly Let us return to our starting point: orchestra was commissioned in 1927 brought to a perfect balance [...] both “construction kit principle,” in which diff erentiated manner, full of fi ne, pouring the symphonic portrait of the (The times of day), by the Wiener Schubertbund (= Vienna partners share the invocation of the Strauss’ “motifs and themes resemble chamber music-like adjustments, composer and his family into the mould Schubert Choral Society), who also idyllic and the dark sides of romantic building blocks that re-appear in tonally “chiselled,” and graduated in of the “metaphysical authority” of Op. 76 gave the première of the work under nature.” (Eichner). the most varied of arrangements, orchestral strength to each individual the symphonic genre proves just how conductor Viktor Keldorfer on July 21, combinations and modifi cations.” situation. He makes unscrupulous use far above it all Strauss was. Because Not only on the concert stage do 1928 in Vienna during the Deutsche Therefore, there is no compositional of the full orchestra when required; nothing about him is as it seems at fi rst Richard Strauss’ choral works lead a Sängerbundesfest (= German Choral development that does not contain however, when an intimate dialogue is glance. miserable existence, musicological Society Festival). Here, Strauss set a motif or a theme, with the result demanded, he portrays it in a masterly research has also – may we say – poems by Eichendorff to music in four that the composition is “lacking in fashion. At this time, Strauss was graciously restrained itself over the past romantic scenes: Der Morgen ornament” – a key indicator of new, already a brilliant orchestrator, but 100 years. The declining development (= morning), Mittagsruh (= afternoon cutting-edge music. On the other here he also proves himself a sound of the male-voice choir and of choral rest), Der Abend (= evening), Die Nacht hand, early critics of the Symphonia magician who has already completely traditions in general have ensured that (= night). The pieces have also been interpreted the work as Strauss’ mastered the neoclassical tone of the nowadays Strauss’ only choral cycle, described as the Four Last Songs for “change of direction towards musical Rosenkavalier, as well as the excessive Die Tageszeiten (= The times of day) Choir, thus theoretically referring – in conservatism.” outbursts of Salome. On the one hand, remains virtually unknown territory, at Die Nacht, with its birdsong imitated the aforementioned total saturation least in Germany, for a wider-ranging, by fl ute and clarinet – to Im Abendrot Another fascinating feature of the of the composition with motivic and interested audience. The demands (= at sunset) from the Vier Letzte Lieder Symphonia is based on another thematic elements allows us to sift made on technology, intonation and (= the Four Last Songs). The choral (apparent) contradiction, which through the various situational and execution are so high that only a settings are of a captivating harmonic Strauss manages to solve here in a programmatic details; on the other, professional ensemble can handle the luminosity, melodic simplicity, brilliant manner. Thus, the intimate it enables us to observe the specifi c complexity of the work. instrumental fi nesse, and an almost Marek Janowski family situation is juxtaposed against development of the composition, unheard-of sonic serenity. © Felix Broede DIE TAGESZEITEN THE TIMES OF DAY MITTAGSRUH AFTERNOON REST DIE NACHT NIGHT Die Stern' gehn auf und nieder - The stars rise and descend - (Joseph von Eichendorff ) (Joseph von Eichendorff ) Über Bergen, Fluß und Talen, Over mountain, stream and vale, Wie schön, hier zu verträumen How wonderful to dream away Wann kommst du, Morgenwind, When will you come, morning breeze, Stiller Lust und tiefen Qualen Quiet joy and deep torment, Die Nacht im stillen Wald, The night in silent forest, Und hebst die Schatten wieder And lift away the shadows DER MORGEN MORNING Webet heimlich, schillert, Strahlen! Sunbeams, weave secretly, shimmer! Wenn in den dunklen Bäumen When in the darkness of the trees Von dem verträumten Kind? From the dreamy child? Wann der Hahn kräht auf dem Dache, When the cock crows on the rooftop, Sinnend ruht des Tags Gewühle Musing, the bustle of day takes rest Das alte Märchen hallt. The ancient fairy-tale resounds. Putzt der Mond die Lampe aus, And the moon prunes back its light, In der dunkelblauen Schwüle, In the dark-blue sultriness, Schon rührt sich's in den Bäumen, Already, trees are stirring, Und die Stern' ziehn von der Wache, And the stars withdraw from their watch, Und die ewigen Gefühle, And the eternal feelings, Die Berg' im Mondesschimmer The mountains stand as in thought Die Lerche weckt sie bald - The lark will wake her soon - Gott behüte Land und Haus! May God safeguard land and house! Was dir selber unbewußt, Of which you are unaware, Wie in Gedanken stehn, In the lustre of the moon, So will ich treu verträumen Thus would I staunchly dream away Treten heimlich, groß und leise Slip secretly, massively, softly, Und durch verworrne Trümmer And the springs fi nd their plaintive way Die Nacht im stillen Wald. The night in the silent forest. Fliegt der erste Morgenstrahl The fi rst ray of morning light Aus der Wirrung fester Gleise, From the turmoil of
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