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.