Ein Heldenleben

Ein Heldenleben Op 40 is a symphonic poem by Richard Strauss. The finished work in 1898 among the mature late works in this genre. Strauss dedicated the piece to the then 27 -year-old Willem Mengelberg and the Concertgebouw Orchestra. It was premiered under the baton of the composer from the Frankfurt Opera and Museum Orchestra on March 3, 1899.

Occupation

The trumpets are listed in part B, part in it. The impact mechanism includes snare drum, tenor drum and bass drum, cymbals and fanfare. The one with " tenor tuba " designated part is played today usually on a euphonium.

Structure and analysis

A Hero's Life is a through-composed symphonic poem with a playing time of approximately 50 minutes, which will be performed without interruption. Originally the composer five headings or designations set had inserted that were removed at his request in later editions of the score:

Throughout the factory, Strauss uses a technique of composition with leitmotifs after Richard Wagner, in which the motifs mostly in the extended symphonic form ( sonata rondo ) are embedded.

1 The Hero

The theme of the hero, which was first played in unison by the horns and cellos, recalls his fast ascending melody to the opening theme of the third symphony of Ludwig van Beethoven ( Eroica ): The E-flat major triad sweeps almost four octaves and is of the horns taken in parallel during the whole subject. A contrasting, lyrical embossed theme first appears in B major in the high strings and winds, followed by a second heroic motif, which is surrounded by a gradually descending fourth. Bugle announcing the departure of the hero to his adventures with a dominant seventh chord, followed by an unexpected, dramatic grand pause, the only extended period of silence to the entire work.

2 A Hero's adversary

The enemies come in the form of chromatic and atonal squeal and growl woodwinds and deep sheet on the plan, starting with the flute. Several motifs in contrasting registers and tones create the aural impression of intrusive pettiness and scorn.

It is rumored that at the adversaries such sarcastic shown to Strauss' critics of the 19th century such as the Viennese musicologist Eduard Hanslick, who appears inimitable as ominous four-note theme of tenor and bass tuba in parallel fifths in the score. Only the theme of the hero himself, the adversary to silence, if only for a brief moment.

3 A Hero's Companion

A solo violin takes over the role of the companion with a delicate melody. In a detailed, accompanied cadenza, which the composer knew the manner of a recitative in the score with detailed playing instructions, the violin presents new motivic material. In exchange to make the low strings, woodwinds and brass in short interjections before an expansive third hero motif. Already at this point indicates the violin just a theme that takes up much space in the last section of the piece. Following the violin cadenza, the new material is merged into a singing episode that begins in G flat major: The hero has his romantic voice found a sense of happiness adjusts itself. Set in a sleepy silence sound short fragments of the adversary motif. A new fanfare motif of trumpets behind the scenes, which is repeated from those in the orchestra, tells of the beginning of the battle: His followers summon the hero.

These three introductory sections form a complex exposure with the characteristics of a multi-movement symphony, particularly as regards the contrast of atmosphere and pace. The rest of the work includes development, recapitulation and coda, with occasional additional thematic material is introduced.

4 The hero battlefield

In this first detailed implementation of the work the percussion symbolizes the advance of the armies, while bugle call in the first passage quoted in 3/4-time of the piece for the battle, a bizarre variation of the first "adversary " theme. The dispute takes its progress in the form of a tragic development of the previously introduced motifs and themes. With sweet melodies violins remember the heroes because the lover longs for his return. A sequence louder and technically very demanding fanfares suggest that the battle has reached a turning point, as the music approaches a harmonic peak in G flat major and the related key of E flat minor. The percussion permeates the entire set, which forms an efficient representation of the lively battle scene. At the end of the theme of the hero gains the upper hand over the hastily retreating adversary in an unprecedented compositional " tapestry " of human conflict. The victory will be shown ( again in 4/4-time ) in a modified recapitulation of the hero theme as input to the piece, but this time for a majestic, constantly repeated accompanying melody in eighth notes. A new The vocal theme appears in the trumpets; his detailed development brings us to the next section.

5 A Hero's works of peace

The victory of the hero is celebrated under themes from earlier works of Strauss, including Till Eulenspiegel's Merry Pranks, Macbeth, Thus Spoke Zarathustra, Don Juan spoke (the first appearing here theme), Don Quixote and numerous other works of Strauss, both symphonic poems as well songs. The peaceful, ascending melodies lead on to the last section, by calm the unrest that builds up in our heroes.

6 The hero escapism and completion

Another new scene appears, starting with a rapidly descending E major triad, which introduces a new development of the hero theme: a dirge, played by harp, bassoon, English horn and strings. The earlier works of the heroes appear here as counterpoint. By liberating itself from worldly thoughts and values ​​, the hero imagines new, larger and extraordinary adventures and seeking redemption from his fears. The reappearance of the previous " Hanslick " motif initiates a agitato episode, when the hero remembers the battles of his past in order to be again comforted by the companion. It follows a clear embossed pastoral interlude with English horn, reminiscent of Rossini's William Tell Overture. The descending triad now appears slow, cantabile, as head of that new, peaceful theme in E flat major, which was previously indicated in the violin cadenza. In a solemn final variation of the original hero motif the brass intone a final fanfare for the hero, who is retiring from life. This passage can be view as a reconciliation to the beginning of another symphonic poem, Also sprach Zarathustra, which is often performed together with Ein Heldenleben spoke.

Criticism

Many critics have branded a hero's life as a shameless self-glorification of the composer. From this perspective, Strauss appears as egomaniac who oversubscribed themselves as heroes, while his wife is the faithful companion and the critics are revealed with devious ridicule of ridicule. From Strauss himself, the comment is, after all narrated that he be just as interesting a subject of research look like Nero or Napoleon.

However, it is rather possible that this self- representation is not too serious, what Strauss has also added itself. His friend Romain Rolland, he explained: "I'm no hero. I lack the necessary strength; I 'm not made ​​for battle; I prefer to retire to enjoy peace and quiet ... " Many critics have used the program for the play literally, while others suspect still that it carries certain autobiographical elements.

In the introduction to his Bach Portraits Peter Schickele explained that he wanted to do for Bach "what Copland Lincoln, Tchaikovsky did for the Little Russians and Richard Strauss for themselves."

Recordings

There are many recordings of this work. Among the best are:

• New York Philharmonic Orchestra / Willem Mengelberg (1928, Pearl Records)
• Concertgebouw-Orchester/Willem Mengelberg (1942, Teldec, Naxos Historical )
• Royal Philharmonic Orchestra / Sir Thomas Beecham (1947, Testament; Biddulph )
• Chicago Symphony Orchestra / Fritz Reiner (1954, RCA Living Stereo )
• Staatskapelle Dresden / Karl Böhm (1957, German Grammophon )
• Berliner Philharmoniker / Herbert von Karajan (1959, German Grammophon )
• Royal Philharmonic Orchestra, Thomas Beecham (1959, EMI [STEREO ] )
• Philadelphia Orchestra / Eugene Ormandy (1960, Sony Classical)
• London Symphony Orchestra / John Barbirolli (1969, EMI)
• Concertgebouw-Orchester/Bernard Haitink (1970, Philips)
• London Symphony Orchestra / John Barbirolli (1970, BBC Classics [IN CONCERT ] )
• Staatskapelle Dresden / Rudolf Kempe (1972, EMI)
• Berliner Philharmoniker / Herbert von Karajan (1974, EMI)
• Wiener Philharmoniker / Andre Previn (1988, Telarc )
• Cleveland Orchestra / Christoph von Dohnanyi (1992, London / Decca )
• Staatskapelle Dresden / Giuseppe Sinopoli (1992, German Grammophon )
• Wiener Philharmoniker / Carlos Kleiber (1993 )
• Czech Philharmonic Orchestra / Vladimir Ashkenazy (2000, EXTON )
• WDR Sinfonieorchester Köln / Semyon Bychkov (2001, Avie )
• Tonhalle Orchestra Zurich / David Zinman (2003, Arte Nova Classics )
• Chicago Symphony Orchestra / Daniel Barenboim (2003, Erato / Warner Classics )
• Vienna Philharmonic Orchestra / Christian Thielemann (2003, German Grammophon )
• Concertgebouw-Orchester/Mariss Jansons (2004, RCO Live)
• Berliner Philharmoniker / Simon Rattle (2005, EMI)
• Staatskapelle Dresden / Fabio Luisi (2007, Sony)
• Pittsburgh Symphony Orchestra / Manfred Honeck (2008, EXTON )
• Frankfurt Opera and Museum Orchestra / Sebastian Weigle (2013, OehmsClassics )