Strauss indicates a first, second and third theme,
obviously of the symphony, not of a single movement. The whole attitude
of the composer, while it does not compel, must strongly suggest some
sort of guess of intending meaning.[A]
[Footnote A: At the first production, in New York, in obedience to the
composer's wish, no descriptive notes were printed. When the symphony
was played, likewise under the composer's direction, in Berlin in
December, 1904, a brief note in the program-book mentions the three
groups of themes, the husband's, the wife's and the child's, in the
first movement. The other movements are thus entitled:
II.--_Scherzo._ Parents' happiness. Childish play. Cradle-song (the
clock strikes seven in the evening).
III.--_Adagio._ Creation and contemplation. Love scene. Dreams and cares
(the clock strikes seven in the morning).
IV.--_Finale._ Awakening and merry dispute (double fugue). Joyous
conclusion.]
The "first theme" in "comfortable" pace, gliding
[Music: 1st Theme
_Pleasantly_
(Cellos and fagots)
_Dreamily_
(Oboe)
(Cellos, bassoons and horns)]
into a "dreamy" phrase, begins the symphony. Presently
[Music: _Peevishly_
(Clarinets)]
a "peevish" cry breaks in, in sudden altered key; then on a second,
soothing tonal change, a strain sings "ardently" in upward wing to a
bold climax and down to gentler cadence, the "peevish" cry still
breaking in. The trumpet has a short cheery
[Music: _With fire_
(Strings)]
call (_lustig_), followed by a brisk, rousing run in wood and strings
(_frisch_).
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