Search - R. Strauss, Reiner, Cso :: Symphonia Domestica / Bourgeois Gentilhomme

More great Reiner/R. Strauss/Chicago performances!

04/26/1999

(5 out of 5 stars)

"Strauss' "Symphonia Domestica" (Domestic Symphony) is a piece that is not played all that often by the world's symphony orchestras. Not only is this difficult music to play, but the subject matter doesn't exactly lend itself to large orchestra treatment. At this point in his life, Strauss, already financially successful as a composer and musician, decided to take time out from inspiration by literary and historical subjects for his compositions to that of his family, which is why this is called the "Symphonia Domestica." Reiner and Chicago make something of this music, both artistically and technically, and the result is a product worth listening to from time to time. Sound on this 1957 recording is very good.Strauss wrote music for an operatic adaptation of Moliere's comedy, "Le Bourgeois Gentilhomme" on a collaboration with Hugo von Hoffmansthal in 1912, and adapted a suite from that music in 1918. Recorded at about the same time as the "Elektra" excerpts, this recording has exceptional sound, about the best that Mohr/Layton ever gave Reiner and Chicago. Listen to the coda of "Entrance of Cleonte." Reiner makes the 40-piece orchestra in the coda sound twice its size or larger!"

Still the one.

Howard G Brown | Port St. Lucie, FL USA | 12/30/2005

(5 out of 5 stars)

"I was given the mono lp recording of this issue, along with several other RCAs, by an uncle 'in the business' back in the 1950s. It was my introduction to Richard Strauss; one could ask for a better introduction, but you would not have convinced me of that at the time. I really loved this recording, and I still do in this new incarnation. It is all the more valuable with the inclusion of the other Strauss pieces on the disc -- far preferrable in my opinion to the Strauss-Wagner collection on the von Karajan EMI recording.



As for the sound, I think RCA got it right the first time with their minimal setup. This sounds like a recording of a great orchestra in its hall, rather than the souped up soundtrack for a wide-screen, action-packed Hollywood movie (whether from Cleveland, Dresden or Berlin). There is plenty of clarity and just enough detail -- within the overall impression of warmth and brilliance -- to hold one's attention through the span of Strauss' day in the life.



Welcome home, my dear.



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