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Home , Also sprach Zarathustra, Arabella discography, Aus Italien, Die Liebe der Danae, Symphonia Domestica

SEATTLE SYMPHONY Gerard Schwarz Seattle Symphony COLLECTION

Gerard Schwarz has a vast The Seattle Symphony, founded in 1903, has gained international prominence with more than 140 recordings, repertoire that includes major twelve GRAMMY® nominations, two Emmys and numerous other awards. Gerard Schwarz led the orchestra commitments to Germanic, from 1985 to 2011, and is now Conductor Laureate. The Seattle Symphony is internationally recognized for its Russian and American music. He innovative programming and extensive recording history. The Seattle Symphony performs in one of the world’s was Music Director of the Seattle fi nest concert venues – the acoustically superb Benaroya Hall – in downtown Seattle. Under the leadership of Symphony from 1985 to 2011. Music Director Ludovic Morlot since September 2011, the Symphony is heard live from September through July He currently serves as Seattle by more than 315,000 people. For more information on the Seattle Symphony, visit www.seattlesymphony.org. Symphony Conductor Laureate and Music Director of the Eastern Richard Music Festival. Previously, he was Music Director of New York’s Mostly Mozart Festival, Gerard Schwarz conducts the Seattle Symphony in Benaroya Hall, Seattle the Royal Liverpool Philharmonic Photo courtesy of Yuen Lui Studio Orchestra, Los Angeles Chamber Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu Bunkamura STRAUSS © Ben VanHouten with the Tokyo Philharmonic. His considerable discography of over 330 releases showcases his collaborations with some of the world’s greatest orchestras, including the Philadelphia Orchestra, the Czech Philharmonic, the London Symphony, Berlin Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and Symphonia domestica the Seattle Symphony, among others. Schwarz has served on the National Council on the Arts. He has received two Emmy Awards, thirteen GRAMMY® nominations, six ASCAP Awards, and numerous Stereo Review and Ovation Awards. In addition, he holds the Ditson Conductor’s Award from Columbia University, was the fi rst American named Conductor of the Year by Musical America, and has received numerous honorary doctorates, Symphonic Fragment from Die Liebe der Danae including one from his alma mater, The Juilliard School. In 2002, the American Society of Composers, Authors and Publishers honored Schwarz with its Concert Music Award, and, in 2003, the Pacifi c Northwest branch of the National Academy of Recording Arts & Sciences gave Schwarz its fi rst “IMPACT” lifetime achievement award.

Seattle Symphony Gerard Schwarz 8.571216 5 6 8.571216 Richard Strauss (1864-1949) was staying on the Isle of Wight, after conducting theme is heard again, played by the oboe d’amore, Mother breaks in, but it seems that father has the last engagements in London. The immediate cause accompanied by three clarinets. His father suggests word in the triumphant closing bars. Symphonia domestica, Op. 53, TrV 209 of Pauline Strauss’s jealousy, which provided a new game, an idea given to a solo violin, and father Hugo von Hoffmannsthal died in 1929, leaving Die Liebe der Danae, Op. 83, TrV 278: Symphonic Fragment the subject for the opera Intermezzo, had been a and mother prepare the child for bed, his father the libretto for the opera Arabella complete. Strauss misdirected message from which she inferred that delaying and his mother firmly intervening, while the later embarked on a collaboration with Stefan Zweig, The German composer and conductor Richard followed in 1909 by Elektra, with a libretto by the her husband had been conducting an illicit affair. boy voices his own objections. to whom the National Socialist Government had Strauss represents a remarkable extension of the writer with whom he was to collaborate over the The delights and vicissitudes of married life are Bathtime now over, the child is put to bed, with a the strongest racial objections. Zweig refused the work of Liszt and Wagner in the symphonic poems of next twenty years, Hugo von Hoffmannsthal. Der reflected in the Symphonia domestica, scored for a cradle-song played by the clarinets, accompanied by suggestion of secret collaboration, but was willing his early career and in his operas shows an equally Rosenkavalier (‘The Knight of the Rose’), a romantic large orchestra of piccolo, three flutes, two oboes, the child’s theme from oboe d’amore, bassoons and to act in advisory capacity. Strauss was left with the remarkable use of late romantic orchestral idiom. opera set in the Vienna of Mozart’s time, was staged oboe d’amore, cor anglais, D and A clarinets, two violas. The glockenspiel strikes seven and the oboe services of the historian Josef Gregor, whose literary Born in Munich, the son of a distinguished horn- at the Court Opera in Dresden in 1911, followed B flat clarinets, bass clarinet, four saxophones, introduces the father’s dreamy motif, accompanied talents were limited. The opera Die Liebe der Danae player, he had a sound general education in Munich, by ten further operas, ending only with Capriccio, four bassoons, double bassoon, eight horns, four by an A clarinet and bass clarinet. His reverie is used a libretto by Gregor, based on an original draft while studying music under teachers of obvious mounted at the Staatsoper in Munich in 1942. It was trumpets, three trombones, bass tuba, timpani, interrupted by his wife, who draws him away from the by von Hoffmannsthal combining the legends of distinction. Before he left school in 1882 he had unfortunate that, in the eyes of some, Strauss was glockenspiel, triangle, cymbals, bass drum, two cradle. Danae, wooed by Zeus in the form of a shower of gold, already enjoyed some success as a composer, that compromised by his seeming acquiescence under harps and strings. The first series of motifs making Strauss gave the title Schaffen und Schauen and King Midas, who turned to gold all he touched. continued during his brief period at Munich University the National Socialist Government that came to up the first theme represents different elements (‘Creating and Looking’) to the Adagio. The thematic Through the persistence of Clemens Krauss, whose with the composition of concertos for violin and for power in 1933. After 1945 he withdrew for a time to in the character of Papa, Strauss himself, by turns material is taken from the motifs of the father and advice had been of considerable use to the composer, French horn, as well as a sonata for cello and piano. Switzerland, returning to his own house at Garmisch gemächlich (easy-going – cello), träumerisch mother, while the child, now asleep, is not heard. For the opera was scheduled for the Salzburg Festival of By the age of 21 he had been appointed assistant only four months before his death in 1949. (dreamy – oboe), mürrisch (sulky – clarinet), feurig the father this should be a time of creative work, while 1944, when the composer’s eightieth birthday was also conductor to the well known orchestra at Meiningen Strauss made the first sketches for his (ardent – violins) and lustig (cheerful – trumpet). his wife interrupts. The whole section represents a to be celebrated. In the turmoil of that year it proved under Hans von Bülow, whom he succeeded in the Symphonia domestica in 1902 and 1903, completing The group of motifs associated with Pauline Strauss musical development of the two thematic groups impossible to do more than hold a dress rehearsal of following year. the work in the latter year. It was first performed constituting the second theme includes grazioso and his wife’s return marks the beginning of the Die Liebe der Danae in the presence of the composer, In 1886 Strauss resigned from Meiningen and under the composer’s direction at Carnegie Hall in (flutes and violins),gefühlvoll (tender – solo violin and Liebesszene (‘Scene of Love’), with suggestions and the first public performance took place only after began the series of tone-poems that seemed to New York on 21 March 1904. He had completed clarinet) and zornig (angry). Her anger is deflected by of that erotic element soon to find expression in his death, in 1952. Krauss then made from the score an extend to the utmost limit the extra-musical content Ein Heldenleben five years before and had been Papa, and the two converse before the appearance Salome. The couple sleep, dreams and worries put orchestral arrangement, describing it as a Symphonic of the form. The first of these works, Aus Italien occupied in the intervening years in the composition of their son, known as Bubi in the family, his theme, aside as the clock strikes seven. Fragment, for which he modestly declined to use his (‘From Italy’), was followed by Macbeth, Don Juan, of his second opera, Feuersnot. The period brought, the third, given to the oboe d’amore, accompanied In the Finale the boy wakes up and a variant of own name. The Symphonic Fragment consists of a Tod und Verklärung (‘Death and Transfiguration’) as always, a number of songs, and Strauss was first by tremolo divided second violins. The child his theme provides the first subject of a double fugue, linked series of excerpts from the second and third acts and, after a gap of a few years, Till Eulenspiegel, heavily engaged in his duties as a conductor. In 1897 wakes and cries out loudly, and mother and father entrusted to four bassoons, answered by clarinets of the opera. Also sprach Zarathustra (‘Thus spake Zarathustra’), his son Franz had been born and the Symphonia make him ready to be shown to his relations. The and horns, with father’s motifs used in the fugal Don Quixote, and Ein Heldenleben (‘A Hero’s Life’). domestica was dedicated to him and to Strauss’s aunts think him just like his father (muted trumpets exposition. The second fugal subject is introduced by Keith Anderson The Symphonia domestica followed, after a break formidable wife Pauline. He had first met Pauline and clarinets), while the uncles think him just like his the violins, answered by violas and cellos, while the of a few years, and Eine Alpensinfonie was finally de Ahna, daughter of a Major-General, when she mother (trombones, horns and oboes). child’s theme makes its return. The motifs of father completed in 1915. Over these years Strauss was came to him for singing lessons in 1887, but it was In a continuing synthesis of symphony and and mother provide the movement with its figurative establishing his reputation as a conductor, directing not until 1894 that they married, after she had put symphonic poem, a Scherzo follows, with a variant element as cheerful quarrel and reconciliation. The the Berlin Philharmonic Orchestra for a season and aside her immediate misgivings at what she saw of the son’s theme heard from the oboe d’amore, a latter seems to be marked by the yielding of the taking appointments in Munich and then at the opera as the possible end to a hitherto successful career. depiction, according to Strauss, of the child playing father. Eventually the three voices come together in in Berlin, where he later became Court Composer. Her strength of character was of continued support and the parents’ happiness. The oboe d’amore Bubi a simple folk-like passage for woodwind. Father and The new century brought a renewed attention to Strauss, in spite of the occasional difficulties that theme, doubled by the cor anglais and first violin, mother unite and to them is added the child’s theme, to opera, a medium in which he had initially enjoyed arose, not the least of these her sudden request is heard in conjunction with its variant, given to the proclaimed by the trombones. There are references no great success. Salome in Dresden in 1905 was for a divorce in the summer of 1902, while Strauss oboes and D clarinet. The child grows tired and his to what has passed. The child’s theme is heard.

8.571216 2 3 8.571216 4 8.571216 Richard Strauss (1864-1949) was staying on the Isle of Wight, after conducting theme is heard again, played by the oboe d’amore, Mother breaks in, but it seems that father has the last engagements in London. The immediate cause accompanied by three clarinets. His father suggests word in the triumphant closing bars. Symphonia domestica, Op. 53, TrV 209 of Pauline Strauss’s jealousy, which provided a new game, an idea given to a solo violin, and father Hugo von Hoffmannsthal died in 1929, leaving Die Liebe der Danae, Op. 83, TrV 278: Symphonic Fragment the subject for the opera Intermezzo, had been a and mother prepare the child for bed, his father the libretto for the opera Arabella complete. Strauss misdirected message from which she inferred that delaying and his mother firmly intervening, while the later embarked on a collaboration with Stefan Zweig, The German composer and conductor Richard followed in 1909 by Elektra, with a libretto by the her husband had been conducting an illicit affair. boy voices his own objections. to whom the National Socialist Government had Strauss represents a remarkable extension of the writer with whom he was to collaborate over the The delights and vicissitudes of married life are Bathtime now over, the child is put to bed, with a the strongest racial objections. Zweig refused the work of Liszt and Wagner in the symphonic poems of next twenty years, Hugo von Hoffmannsthal. Der reflected in the Symphonia domestica, scored for a cradle-song played by the clarinets, accompanied by suggestion of secret collaboration, but was willing his early career and in his operas shows an equally Rosenkavalier (‘The Knight of the Rose’), a romantic large orchestra of piccolo, three flutes, two oboes, the child’s theme from oboe d’amore, bassoons and to act in advisory capacity. Strauss was left with the remarkable use of late romantic orchestral idiom. opera set in the Vienna of Mozart’s time, was staged oboe d’amore, cor anglais, D and A clarinets, two violas. The glockenspiel strikes seven and the oboe services of the historian Josef Gregor, whose literary Born in Munich, the son of a distinguished horn- at the Court Opera in Dresden in 1911, followed B flat clarinets, bass clarinet, four saxophones, introduces the father’s dreamy motif, accompanied talents were limited. The opera Die Liebe der Danae player, he had a sound general education in Munich, by ten further operas, ending only with Capriccio, four bassoons, double bassoon, eight horns, four by an A clarinet and bass clarinet. His reverie is used a libretto by Gregor, based on an original draft while studying music under teachers of obvious mounted at the Staatsoper in Munich in 1942. It was trumpets, three trombones, bass tuba, timpani, interrupted by his wife, who draws him away from the by von Hoffmannsthal combining the legends of distinction. Before he left school in 1882 he had unfortunate that, in the eyes of some, Strauss was glockenspiel, triangle, cymbals, bass drum, two cradle. Danae, wooed by Zeus in the form of a shower of gold, already enjoyed some success as a composer, that compromised by his seeming acquiescence under harps and strings. The first series of motifs making Strauss gave the title Schaffen und Schauen and King Midas, who turned to gold all he touched. continued during his brief period at Munich University the National Socialist Government that came to up the first theme represents different elements (‘Creating and Looking’) to the Adagio. The thematic Through the persistence of Clemens Krauss, whose with the composition of concertos for violin and for power in 1933. After 1945 he withdrew for a time to in the character of Papa, Strauss himself, by turns material is taken from the motifs of the father and advice had been of considerable use to the composer, French horn, as well as a sonata for cello and piano. Switzerland, returning to his own house at Garmisch gemächlich (easy-going – cello), träumerisch mother, while the child, now asleep, is not heard. For the opera was scheduled for the Salzburg Festival of By the age of 21 he had been appointed assistant only four months before his death in 1949. (dreamy – oboe), mürrisch (sulky – clarinet), feurig the father this should be a time of creative work, while 1944, when the composer’s eightieth birthday was also conductor to the well known orchestra at Meiningen Strauss made the first sketches for his (ardent – violins) and lustig (cheerful – trumpet). his wife interrupts. The whole section represents a to be celebrated. In the turmoil of that year it proved under Hans von Bülow, whom he succeeded in the Symphonia domestica in 1902 and 1903, completing The group of motifs associated with Pauline Strauss musical development of the two thematic groups impossible to do more than hold a dress rehearsal of following year. the work in the latter year. It was first performed constituting the second theme includes grazioso and his wife’s return marks the beginning of the Die Liebe der Danae in the presence of the composer, In 1886 Strauss resigned from Meiningen and under the composer’s direction at Carnegie Hall in (flutes and violins),gefühlvoll (tender – solo violin and Liebesszene (‘Scene of Love’), with suggestions and the first public performance took place only after began the series of tone-poems that seemed to New York on 21 March 1904. He had completed clarinet) and zornig (angry). Her anger is deflected by of that erotic element soon to find expression in his death, in 1952. Krauss then made from the score an extend to the utmost limit the extra-musical content Ein Heldenleben five years before and had been Papa, and the two converse before the appearance Salome. The couple sleep, dreams and worries put orchestral arrangement, describing it as a Symphonic of the form. The first of these works, Aus Italien occupied in the intervening years in the composition of their son, known as Bubi in the family, his theme, aside as the clock strikes seven. Fragment, for which he modestly declined to use his (‘From Italy’), was followed by Macbeth, Don Juan, of his second opera, Feuersnot. The period brought, the third, given to the oboe d’amore, accompanied In the Finale the boy wakes up and a variant of own name. The Symphonic Fragment consists of a Tod und Verklärung (‘Death and Transfiguration’) as always, a number of songs, and Strauss was first by tremolo divided second violins. The child his theme provides the first subject of a double fugue, linked series of excerpts from the second and third acts and, after a gap of a few years, Till Eulenspiegel, heavily engaged in his duties as a conductor. In 1897 wakes and cries out loudly, and mother and father entrusted to four bassoons, answered by clarinets of the opera. Also sprach Zarathustra (‘Thus spake Zarathustra’), his son Franz had been born and the Symphonia make him ready to be shown to his relations. The and horns, with father’s motifs used in the fugal Don Quixote, and Ein Heldenleben (‘A Hero’s Life’). domestica was dedicated to him and to Strauss’s aunts think him just like his father (muted trumpets exposition. The second fugal subject is introduced by Keith Anderson The Symphonia domestica followed, after a break formidable wife Pauline. He had first met Pauline and clarinets), while the uncles think him just like his the violins, answered by violas and cellos, while the of a few years, and Eine Alpensinfonie was finally de Ahna, daughter of a Major-General, when she mother (trombones, horns and oboes). child’s theme makes its return. The motifs of father completed in 1915. Over these years Strauss was came to him for singing lessons in 1887, but it was In a continuing synthesis of symphony and and mother provide the movement with its figurative establishing his reputation as a conductor, directing not until 1894 that they married, after she had put symphonic poem, a Scherzo follows, with a variant element as cheerful quarrel and reconciliation. The the Berlin Philharmonic Orchestra for a season and aside her immediate misgivings at what she saw of the son’s theme heard from the oboe d’amore, a latter seems to be marked by the yielding of the taking appointments in Munich and then at the opera as the possible end to a hitherto successful career. depiction, according to Strauss, of the child playing father. Eventually the three voices come together in in Berlin, where he later became Court Composer. Her strength of character was of continued support and the parents’ happiness. The oboe d’amore Bubi a simple folk-like passage for woodwind. Father and The new century brought a renewed attention to Strauss, in spite of the occasional difficulties that theme, doubled by the cor anglais and first violin, mother unite and to them is added the child’s theme, to opera, a medium in which he had initially enjoyed arose, not the least of these her sudden request is heard in conjunction with its variant, given to the proclaimed by the trombones. There are references no great success. Salome in Dresden in 1905 was for a divorce in the summer of 1902, while Strauss oboes and D clarinet. The child grows tired and his to what has passed. The child’s theme is heard.

8.571216 2 3 8.571216 4 8.571216 SEATTLE SYMPHONY Gerard Schwarz Seattle Symphony COLLECTION

Seattle Symphony Gerard Schwarz 8.571216 5 6 8.571216 SEATTLE SYMPHONY Gerard Schwarz Seattle Symphony COLLECTION

Seattle Symphony Gerard Schwarz 8.571216 5 6 8.571216 Also available:

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8.571215 8.571217 NAXOS R. STRAUSS: Symphonia domestica 8.571216

of 12:05 (Naxos 8.554417). Scored for for Scored 8.554417). (Naxos depicts the joys and worries of and worries the joys depicts Symphonic Fragment Die Liebe der Danae – Die Liebe der 278: TrV Opera, Op. 83, (arr. Clemens Krauss) (arr.

depicts the joys depicts and life worries of married Richard 5:41 5:59 7:08 (1864-1949) 13:17 15:59 48:04 Booklet notes by Keith Anderson STRAUSS Previously released on Delos International Boosey and Hawkes Music Publishers Ltd. (Die Liebe) ); Recorded on 14 & 15 November 1988 (Symphonia domestica Cover photo & inlay photo of Gerard Schwarz by Ben VanHouten ) Publishers: Kalmus reprint of Bote & Bock (Symphonia domestica Symphonia domestica the Symphonia orchestra, Recording Engineer: John M. Eargle • Associate Engineer: Al Swanson (Die Liebe) Recording Engineer: John M. Eargle • Associate Engineer: : recording date unknown) at the Seattle Center Opera House, USA (Die Liebe der Danae: recording date unknown) at the Seattle Center Opera House, life with Strauss, his wife, child and other family members deftly portrayed in a portrayed deftly members family and other child wife, his Strauss, with life Executive Producer: Amelia S. Haygood • Recording Producers: Adam Stern and Bejun Mehta Executive Producer: Amelia S. Haygood • Recording Producers: ); Li Teo (Die Liebe) Assistant Engineers: Al Swanson & Laura Wirthlin (Symphonia domestica Bewegt – – Wiegenlied Adagio – Finale Scherzo – Symphonia domestica, 209 TrV Op. 53, Seattle Symphony • Gerard Schwarz Seattle Symphony

3 4 5 1 2 in a variety portrayed deftly members family and other child wife, his with Strauss, symphony Richard Strauss’s orchestral music includes several works with autobiographical with works several includes music orchestral Strauss’s Richard large for Scored 8.554417). (Naxos Heldenleben Ein including significance, The has word! the last in which the father situations, quarrel’ a ‘cheerful including themes, was on mythic der Danae , based Die Liebe the opera from Fragment Symphonic Clemens Krauss. conductor champions, great one of Strauss’s arranged by Richard Strauss’s orchestral music includes several works with with works several includes music orchestral Strauss’s Richard including Ein Heldenleben significance, autobiographical domestica Symphonia the orchestra, symphony large married has word! last the which in the father of situations, variety quarrel’ a ‘cheerful including

NAXOS R. STRAUSS: Symphonia domestica 8.571216