Follows the epilogue, where in the comfortable swing of the beginning
the first melody is extended in full beauty and significance. All the
pleasantry of the rogue is here, and at the end a last fierce burst of
the demon laugh.
_"SINFONIA DOMESTICA."_
The work followed a series of tone-poems where the graphic aim is shown
far beyond the dreams even of a Berlioz. It may be said that Strauss,
strong evidence to the contrary, does not mean more than a suggestion of
the mood,--that he plays in the humor and poetry of his subject rather
than depicts the full story. It is certainly better to hold to this view
as long as possible. The frightening penalty of the game of exact
meanings is that if there is one here, there must be another there and
everywhere. There is no blinking the signs of some sort of plot in our
domestic symphony, with figures and situations. The best way is to lay
them before the hearer and leave him to his own reception.
In the usual sense, there are no separate movements. Though "Scherzo" is
printed after the first appearance of the three main figures, and later
"Adagio" and "Finale," the interplay and recurrence of initial themes is
too constant for the traditional division. It is all a close-woven drama
in one act, with rapidly changing scenes. Really more important than the
conventional Italian names are such headings as "Wiegenlied"
(Cradle-song), and above all, the numerous directions. Here is an almost
conclusive proof of definite intent.
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