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Richard Strauss: Parergon on Symphonia Domestica for Piano "Left Hand" and Orchestra, Op.73 (1925)
Piano: Paul Wittgenstein (1887-1961) Austrian-American
Orchestra: The Boston Records Orchestra
Conductor: Eric Simon
Released: Boston Records 1959
Label: Boston Records – BST-1011
Format: Vinyl, LP, Album, Stereo
Recorded At – Symphony Hall, Boston
Matrix / Runout (Label Side A): K8OY-7883
Parergon (the Greek word means ‟addendum” or ‟supplement”), which, as Strauss’ sketches attest, was based on the ideas of ("Illness and Recovery").
Score:
1. (Langsam und schleppend)
00:01 F1 Introduction Orchestra (Slow and dragging)
00:19 "Elements of the child’s theme F14, from Sinfonia Domestica".
02:07 F2 Piano (in freiem, sehr leidenschaftlichem Vortag) - (in a free, very passionate)
03:26 F4
04:31 F6
05:25 F7 child theme
2. (Lebhafter)
06:45 F9 +5 (più vivace)
Soaring, energetic theme
07:23 F11
08:53 F15
3. (Wieder langsam - Zeitmaß des Anfangs)
09:47 F17 +4 (Slowly again) dissonant
10:53 F20 (Etwas bewegter) Un poco piú allegro
11:34 F22
12:00 F23 (Orchestra)
Yet this material is abruptly cut off and the uncertainties return with some more agitated and dissonant music.
13:21 F25
13:54 F26 (A meditative interlude culminating in a cadenza)
4. (Fröhlich bewegt)
15:34 F28 -8 Piano Solo (Fröhlich bewegt)
17:04 F28 -8 Woodwinds (Fröhlich bewegt) - (Happily moved) - Allegramente commosso
The woodwinds intone a peaceful song which symbolizes the simple world of the child.
This hymn-like tune turns out to be a variant of the soaring theme we heard before; it returns in its original form and is given a dazzling development.
18:11 F30 -2
18:22 F30 +5 Sehr lebhaft
18:41 F32
19:41 F36 (Ruhig) Calma
20:09 F38 (Wieder ruhig) Di nuovo tranquillo
20:27 F39
21:29 F44 -8 (Sehr lebhaft) Molto vivace
22:14 F47 (Orchestra) Lyrical and Peaceful.
The peaceful version of the theme reappears, now sounding more lyrical in a richer orchestration.
22:48 F50
23:01 F51
23:29 F53 -5 (Fröhlich bewegt) espressivo cantando
5. (Sehr Schnell)
24:42 F56 -4 Molto veloce
25:14 F58
25:30 F59 Child theme
25:45 F60 (Etwas lebhafter) più vivace
Child theme (Sinfonia domestica)
26:30 F63 +4 (Noch Schneller) Ancora più veloce
Grandiose & Triumphant ending.
F = Rehearsal number in the full orchestral score.
**********************
Composed from 1924–25
Premiered on June 10, 1925 in Dresden by Paul Wittgenstein with the Berlin Philharmonic
Instruments:
2 flutes, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 5 French horns, 2 trumpets, 3 trombones, 1 tuba, timpani, harp, 24 violins, 9 violas, 8 cellos, 6 double basses, & Solo Piano (Left Hand).
History:
In 1924, Richard Strauss received a commission from Paul Wittgenstein, a pianist who lost his right arm in World War I, to compose a work for piano left hand & orchestra. The pianist, older brother of the philosopher Ludwig Wittgenstein, came from a prominent Viennese family; their father, Karl, was a steel magnate, arts patron, and host of a salon where many of the greatest luminaries of the time, including Brahms, were regular guests. Strauss had known the Wittgenstein family before the war, and he used to play piano duets with Paul when the latter was a child.
The commission reached Strauss at a time when he had just finished his autobiographical opera Intermezzo. In the opera, Kapellmeister Storch & his wife had a young son named Franz, just as the Strausses did in real life. But the opera captures a much earlier moment in the Strausses’ lives; by 1924, Franz Strauss was a grown man. Recently married, he contracted typhus on his honeymoon in Egypt & for a while his life was in danger. Under these circumstances, Strauss’ thoughts naturally turned to his Symphonia Domestica, written two decades earlier, also inspired by his family life. Franz was a child then, and he was given a lyrical theme that, along with the themes of his parents, formed the basis of much of the work. Elements of the child’s theme, now ‟grown up,” inform the Parergon (the Greek word means ‟addendum” or ‟supplement”), which, as Strauss’ sketches attest, was based on the ideas of illness and recovery.
Structure:
The conflict between those two opposite emotional poles generates the entire structure of the work, as an extensive, brooding, and chromatically complex introduction gives way to a more upbeat, faster section with a soaring, energetic theme. Yet this material is abruptly cut off and the uncertainties return with some more agitated & dissonant music. After a meditative interlude culminating in a cadenza, the woodwinds intone a peaceful song which symbolizes the simple world of the child. This hymn-like tune turns out to be a variant of the soaring theme we heard before; it returns in its original form & is given a dazzling development. The peaceful version of the theme reappears, now sounding more lyrical in a richer orchestration, before the grandiose & triumphant ending.
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In 1944, Capt. Charlie Nelson (Errol Flynn) leads a platoon of paratroopers into Burma to blow up a Japanese radar station in advance of the allied invasion. They're accompanied on the mission by Mark William (Henry Hull), an American journalist who is there to write about their exploits. The mission goes off without a hitch and without the loss of any men. The plan was for them to be picked up by two transport airplanes at an old landing strip but a Japanese patrol prevents them from doing so. The men are now forced to march towards the front lines, however the closer they get, the greater the number of Japanese troops they will face.
In creating his soundscape, Waxman composed five primary themes and a number of reoccurring motifs, including; the long-lined Main Theme, which is borne by surging strings and woodwinds dramatico. “Main Title” offers a powerful score highlight where Waxman introduces his primary themes and perfectly establishes the tone of the film. We open dramatically with gong strikes, then trumpets militare. Waxman sows tension atop dire chords and snare drums bellicoso, entwined within this martial passage, which creates a tense and powerful synergy. The musical narrative is grim as the planned mission is daunting and full of risk. The tremolo strings of flight and horns militare support the flight of an American Liberator reconnaissance plane scanning for Japanese troop movement below.
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$7.59 gasoline in various parts in California—a record, and going higher. All over the Country gasoline is spiking. If the Trump Administration were in there, it would right now be $2 a gallon or less. – President Donald J. Trump Author: The Iowa Standard
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???? ???????????????????? ????????????????, ????????????????????????????????????????, ????????????-???????????????? ???????????????????????????????????????????? ???????? "???? ????????????'???? ???????????????? ????????????????????????????" — ???????????????? ???????????????????????????? ???????????????? ???????? ???????????????????????????? ???????????????? ????????????, ????????????????. This stunning footage captures Phil Collins’ "Both Sides of the World Tour 1994" (later renamed "Far Side of the World Tour" in 1995), a massive run of 171 shows across five continents, during its stop at the Orlando Arena, Orlando, Florida.
The video is taken from the original promo tape distributed to US TV stations to promote the concert coverage.
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When "Both Sides" was released on November 8, 1993, it initially received mixed reviews, especially from adult contemporary radio, which criticized its introspective tone and slower pace. Expectations were sky-high — this was, after all, the follow-up to "…But Seriously". Yet the album became Collins’ most personal and emotional work, written during the collapse of his marriage to Jill Tavelman. Reflecting on that period, Collins said: “???? ???????????????????????????? ???? ???????????????????? ???????????????????? ???????????????? ????????????????????????????????, ???????????????????????????? ???????????????????? ???????????????? ????????????????????????. ???? ???????????????????????????????? ???????????????? ???? ???????????? ???? ???????????? ???????? ????????????.”
The result was an album that marked a return to the darker, more melancholic atmosphere of "Face Value" and "Hello, I Must Be Going!". Despite its moody nature, Both Sides sold over three million copies within months, reaching #1 in eight countries (including the UK) and #13 in the U.S.
In a 2016 interview with "The Guardian", Collins described Both Sides as his favorite album from a songwriting and creative standpoint, explaining: “???????? ???????????? ???????????????? ???????????????? ???? ???????????????? ????????????????????. ???? ???????????????????????? ????????????????????????????????????????. ???????????? ???????????????????? ???????????????? ???????????????????????????????? ???????????? ???????? ????????… ???????? ???????????? ???????????? ???????????????? ????????????????????????????????????????????.” The album was recorded entirely by Collins himself — no Hugh Padgham, no Daryl Stuermer, no Leland Sklar, no Phenix Horns. After sketching demos at home, he finished the record in just six weeks at The Farm with engineer Paul Gomersall, playing every instrument. It was a bold experiment that reflected both his isolation and artistic independence.
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Only a few months after the album’s release, Collins embarked on the "Both Sides of the World Tour," which opened in Utrecht and later visited Europe, North America, South America, Australia, and Japan.
The stage design echoed the video for "We Wait and We Wonder": an urban, working-class backyard scene — corrugated metal walls, dented trash cans, flickering “HOTEL” signs, wooden boards, and even newspapers and coffee cups — turning the stage into a cinematic set. Compared to the previous "Serious Tour 1990", Collins reshaped almost his entire band. Only a few familiar faces remained: Arnold McCuller (backing vocals), Brad Cole (keyboards), and Daryl Stuermer (guitars). Amy Keys replaced Bridgette Bryant on backing vocals; Nathan East (of Eric Clapton fame and co-writer of Easy Lover) took over on bass; and the legendary Vine Street Horns replaced the Phenix Horns, led by ex-member Harry Kim. Replacing Chester Thompson behind the kit was Ricky Lawson, an accomplished drummer whose groove perfectly complemented Collins’ energy. When asked about the major lineup changes, Phil explained: “???????????????? ???????????????????? ???????????? ???? ???????????????????????????????????????? ???????????????????????????????????? ???????????????????? — ???? ???????????????????????? ???????????????? ???????????????????????????????????? ???????? ???????????????????? ???????? ????????????????.”
The show was split into two halves: the first quiet and introspective, featuring six songs from Both Sides; the second brighter and more dynamic, with a powerful light show and fan favorites.
Despite the lack of an official concert release, the "Both Sides Tour" remains one of Collins’ finest — his most theatrical, emotional, and musically daring production. The setlists featured deep cuts, rare tracks, unexpected covers, and the longest shows of his career, often surpassing three hours.
This video — remixed and remastered in 16:9 4K, featuring a new audio mix by our dear friend Blukaos — offers a rare opportunity to experience one of Collins’ most powerful tours, taken from a tour long known for its scarcity of professional footage and official releases.
Fun fact: ???????????????????????????????????????????????????? ???????????????????? ???????????????????????? ???????????? ???????????????????????????????????????? ???????????????????? ???????????? ???????????? ???????????????? ???????????? ???????????????????????? ???????????????? ???????????????????????? ???????????????????????????????????????? ???????????? ???????? ???????????????????????????????? ????????????????????????????????????????????.
???????????? ????????????????
Phil Collins – Drums / Vocals / Piano / Tambourine / Solo Hi-Hat during band introductions
Brad Cole – Keyboards
Nathan East – Electric Bass Guitar / Electric Upright Bass / Vocals
Amy Keys – Backing Vocals
Arnold McCuller – Backing Vocals
Ricky Lawson – Acoustic Drums (Remo) / Electric Drums and Drum Triggering
Daryl Stuermer – Electric / Acoustic Guitars
????ℎ???? ???????????????? ???????????????????????? ????????????????????
Daniel Fornero – Trumpet
Harry Kim – Trumpet
Arturo Velasco – Trombone
Andrew Woolfolk – Saxophones
#PhilCollins #BothSides #Orlando
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