By thus analyzing the programmatic foundation of two of Strauss' latest orchestral conceptions one can obtain at least a superficial idea of the somewhat eccentric though intensely original range of his imagination. The philosophical aspect of the "Symphonia Domestica" is, of course, far simpler than that of "Ein Heldenleben" and its companions, nor would it seem to possess the same scope or exert the same fascination that his nobler and more serious works do. The orchestration, however, leaves nothing to be desired. There is no retrogression in the deployment of the instruments whether as solo or in combination. Strauss is in command of an orchestral technique so deep-rooted that it can never fail him. One would have supposed that his works prior to the "Symphonia Domestica" had made requisition for practically every legitimately available instrument in existence, but the addition of an oboe d'amore together with four saxophones proves that Strauss has an insatiable craving for ever novel tonal tints, and whereas "Ein Heldenleben" requires 105 instrumentalists, the symphony demands 108.
Before proceeding to sum up the cardinal features of Strauss' orchestration, it is desired to call attention to his highly commendable foresight in evolving his songs with pianoforte accompaniment on comparatively simple lines, thereby greatly enhancing their effectiveness for vocal utterance as well as their adaptability for extensive rendition. It is a rare attribute of genius to possess the faculty of colossal orchestral language and at the same time of simple and pathetic song-speech.
XIII.
(Instrumentation.) The marvellous subtleties of Strauss' instrumentation and the irresistible sweep and large contour of his orchestration have already been so thoroughly aired by prominent critics the world over, that there is little further to say beyond epitomizing in a few brief sentences the general consensus of opinion. Founding his art of scoring upon that of Berlioz and Wagner, Strauss evidently has also made a careful study of the means and methods of his eminent contemporary, Saint-Saëns, for the performances of "Samson et Dalila" at the Berlin Royal Opera, when controlled by Strauss' magnetic force, are a source of artistic delectation. The fundamental reason that makes his scoring so effective is his intimate acquaintance with the characteristics of each individual instrument even to the minutest detail of mechanical limitation or latent potentiality. Therefore his instrumentation pure and simple as distinct from orchestration en masse is unhesitating and authoritative. In thus appreciating the imperative necessity for an exhaustive study of the instruments themselves, Strauss has done no more than to follow the precepts of his illustrious model, Wagner. Strauss would be entitled to but little credit had he not advanced beyond his master, for proportionately, Wagner established a far greater number of unalterable precedents than Strauss has since been able to add to. The criticism has been advanced that Strauss' demands upon the technique of the performers are excessive, and that he is given to force the instruments, and especially those of brass, into unnatural registers. Such points, however, would appear to be for the gentlemen of the orchestra to decide, and the enthusiasm and grim determination with which they overcome seemingly insurmountable difficulties at rehearsal, and the suavity and verve with which the performances of his works by first-class orchestras are carried through, may be looked upon as tangible proof that Strauss knows what he is about. The performers may complain of the demands made upon them, but they realize that the page before them bears the impress of a master of instrumentation whose music is written with special regard for the very instrument they are playing,—can and must therefore be played. And they accordingly respect the author of their arduous though fascinating task. Finally, if the now childlike simplicity of Schubert's orchestration proved a stumbling block to the Viennese orchestra only fifty odd years ago (as stated on [page 75]), and furthermore Wagner's "Tristan und Isolde" shared the same fate at a still more recent date, it will not be difficult to realize that Strauss fifteen years ago taxed the virtuosity of the performers with passages that are already no longer dreaded. As to the details of instrumentation, he has strengthened and elaborated upon the methods of his predecessors, assimilated the procedures of his contemporaries, besides resuscitating various obsolete instruments and initiating numerous novelties of his own.
The flexibility of execution that formerly was expected only of a first violinist is now imposed upon all five sections of the string band, and each member finds before him the pages of what looks like a concerto.[73] To the wood-wind are assigned passages that Wagner would have hesitated to write.[74] What Strauss demands from them, Beethoven might have demanded from the strings. Most prominent of all is the attention bestowed upon the deployment of the brass as initiated by Wagner.[75] The trumpets are treated with unprecedented freedom, and are expected to perform passages either of flowing melody or of rhythmic intricacy in the fastest of tempos. The horns are taught to display the agility of violoncellos. In four-part writing, the fourth horn is much used as a deep bass-instrument absolutely apart from the three upper horns. The trombones are employed as much for unallied melodic utterance as for combined harmonic effects, and the intricacy of their parts constantly necessitates the use of three staves in the partitur. Incidental mention might also be made of such devices for acquiring weird tonal tints as obtained from muted trombones. Similar to Wagner's procedure in the "Meistersinger" Vorspiel, the tubas—and particularly the tenor tuba—are constantly detached from their conventional association with the trombones, for the purpose of giving expression to flowing cantilena. Novelty in the use of instruments of percussion is restricted to rhythmic peculiarities and original combinations with other instruments of more variable pitch; for Wagner's general methods of handling the battery cannot be improved upon.
In a word, the three choirs of the orchestra have respectively advanced one step higher. The string band are graduated to the plane of so many virtuoso soloists. The wood-wind replace the strings and are themselves replaced by the brass. The battery acquire prominence such as the classicists formerly allowed to the trumpets and trombones.
(Orchestration.) The numerical distribution of Strauss' orchestra is, of course, consistent with the modern custom of employing quartets of uniform tone-color. But he advances yet further by making permanent Wagner's occasional incorporation into the orchestra of a second harp, an E flat clarinet, a double quartet of horns, five instead of four trumpets, and a tenor-tuba in addition to the bass-tuba. The occasional addition of unusual instruments such as an oboe d'amore and saxophones has already been referred to.
The sum total of Strauss' orchestration as a whole consists of what has been termed its "exposed" quality, resulting in a "vast piece of chamber music."[76] The extensive range of his imagination reveals itself in constantly novel combinations and kaleidoscopic variety of effects that are unprecedented. His command of dynamics is superb. His synthesis of thematic counterpoint in all the voices of the different choirs is at times so reckless that the euphony of its harmonic corollary is endangered and the resultant effect presents a chaos of cacophony unless the auditor accustom himself to follow the Melos not vertically but horizontally. The orchestration is the most vivid in existence. Realism is accentuated. The tonal tints are scintillating and glowing. Every single instrument in the orchestra has an indispensable rôle assigned to it. The scores abound in clever orchestral devices, in startling contrasts, powerful crescendos and exciting climaxes, and disclose the mind of a master possessed of poetic fancy, natural humor, artistic culture, strong individuality, philosophical insight and intellectual power.
The titanic achievements of Richard Strauss have caused him to appear as the most conspicuous living musician, and in the arrangement of a modern program, his works are at present the accepted companions to those of his models in rich and massive orchestration, Wagner and Liszt; to those of Brahms, conservator of classic models and loftiest ideals; to Saint-Saëns' scintillating and unrivalled tableaux; to Tschaikowsky's sombre tone-pictures, to Dvořák's brilliant and vivacious portrayals, to Grieg's poetic and popular conceptions.