[Footnote 72: Since the above lines were written, a sixth period was assuredly entered upon with the opera "Salome," first performed at Dresden in the fall of 1905 under the magnetic baton of Schuch, director of the Royal Opera. The work, which has since been given throughout Europe and in New York, has universally created a sensation to which nothing in the annals of the musical stage furnishes a parallel unless it be the initial performances of "Tristan und Isolde" in Munich in 1865. "Salome," by reason of its overwhelming dramatic force, the sureness of Strauss' marvellous use of representative themes, together with an orchestral color-scheme beyond anything he has used before, not only marks an epoch in the career of this still young composer and an epoch also in his orchestration, but becomes a landmark in the form of opera as evolved from and built upon the Tetralogy of Wagner.] In the "Symphonia Domestica" we recognize the personal element that asserted itself, though in an unobtrusive manner, in "Ein Heldenleben." Humorous inclinations, characteristic of "Don Quixote," are also in evidence. The Introduction is an exposition of the three principal themes. The theme for the father is comprised of three contrasted sections (No. 34, a, b, c). The mother is characterized by a lively and perhaps slightly undignified theme (No. 35). For the child's theme (No. 36) Strauss makes use of an oboe d'amore. The tone of this practically obsolete member of the wood-wind is veiled and tender, and the instrument found favor with Bach who assigned to it an important rôle in his mass in B minor,--in fact two oboi d'amore are employed for accompanying the bass solo "Et in Spiritum Sanctum." [Music: No. 34, a.] [Music: No. 34, b.] [Music: No. 34, c.] [Music: No. 35.] [Music: No. 36.] The following sportive Scherzo or first main division proper presents a sprightly development of the three primary themes and especially of the child's theme. The movement is finally brought to a restful ending. The succeeding Adagio enlarges upon the father's theme and pictures him alone as if in a revery. The music is reflective and dreamy, at times restless and impassioned as well. The Finale embodies a lively double-fugue (No. 37, a and b), of which the principal theme consists of a diminution of the child's theme (No. 36). The close of the work is calm and peaceful. [Music: No. 37, a.] [Music: No. 37, b.]