Ein Heldenleben
Ein Heldenleben, Op. 40, is a tone poem by Richard Strauss. The work was completed in 1898. It was his eighth work in the genre, and exceeded any of its predecessors in its orchestral demands. Generally agreed to be autobiographical in nature despite contradictory statements on the matter by the composer, the work contains more than thirty quotations from Strauss's earlier works, including Also sprach Zarathustra, Till Eulenspiegel, Don Quixote, Don Juan, and Death and Transfiguration.
Background
Strauss began work on the piece while staying in a Bavarian mountain resort in July 1898. He proposed to write a heroic work in the mould of Beethoven's Eroica Symphony: "It is entitled 'A Hero's Life', and while it has no funeral march, it does have lots of horns, horns being quite the thing to express heroism. Thanks to the healthy country air, my sketch has progressed well and I hope to finish by New Year's Day."Strauss worked on Ein Heldenleben and another tone poem, Don Quixote, during 1898. He regarded the two as complementary, saying they were conceived as "direct pendants" to one another. There was speculation before the premiere about the identity of the hero. Strauss was equivocal: he commented "I'm no hero: I'm not made for battle", and in a programme note he wrote that subject of the piece was "not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism." On the other hand, in the words of the critic Richard Freed:
Structure and analysis
The work, which lasts about fifty minutes, is through-composed: performed without breaks, except for a dramatic grand pause at the end of the first movement. The movements are titled as follows :- "Der Held"
- "Des Helden Widersacher"
- "Des Helden Gefährtin"
- "Des Helden Walstatt"
- "Des Helden Friedenswerke"
- "Des Helden Weltflucht und Vollendung"
Instrumentation
The work is scored for a large orchestra consisting of piccolo, three flutes, three oboes, English horn/cor anglais, E clarinet, 2 soprano clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns in F, E and E, 3 trumpets in B and 2 trumpets in E, 3 trombones, tenor tuba in B, tuba, timpani, bass drum, 2 snare drums, cymbals, tenor drum, tam-tam, triangle, 2 harps, and strings, including an extensive solo violin part.Dedication and performances
Strauss dedicated the piece to the 27-year-old Willem Mengelberg and the Concertgebouw Orchestra. However, it was premiered by the Frankfurter Opern- und Museumsorchester on March 3, 1899 in Frankfurt, with the composer conducting. The first American performance was a year later, performed by the Chicago Symphony, conducted by Theodore Thomas. The work did not reach England until 1902, when the composer conducted Henry Wood's Queen's Hall Orchestra.Béla Bartók wrote a piano reduction of the piece in 1902, performing it on January 23, 1903, in Vienna. The conductor Joolz Gale was more recently given permission to arrange the work for chamber orchestra, which was commissioned and premiered by ensemble mini on October 16, 2014, in Berlin.
Reception
The German critics responded to Strauss's caricatures of them. One of them called the piece "as revolting a picture of this revolting man as one might ever encounter". Otto Floersheim wrote a damning review in the Musical Courier, calling the "alleged symphony... revolutionary in every sense of the word". He continued, "he climax of everything that is ugly, cacophonous, blatant and erratic, the most perverse music I ever heard in all my life, is reached in the chapter 'The Hero's Battlefield'. The man who wrote this outrageously hideous noise, no longer deserving of the word music, is either a lunatic, or he is rapidly approaching idiocy." The critic in The New York Times after the New York premiere in 1900 was more circumspect. He admitted that posterity might well mock his response to the piece, but that although "there are passages of true, glorious, overwhelming beauty... one is often thrown into astonishment and confusion". Henry Wood, with whose orchestra Strauss gave the British premiere, thought the piece "wonderfully beautiful".In modern times, the work still divides critical opinion. According to Bryan Gilliam in the Grove Dictionary of Music and Musicians, this is "mainly because its surface elements have been overemphasized." In Gilliam's view:
Whatever the critics might have thought, the work rapidly became a standard part of the orchestral repertoire. It has been performed 41 times at the BBC Proms since its premier there in 1903.
Recordings
There are many recordings of Ein Heldenleben, with three conducted by the composer himself. Important recordings include the following:Orchestra | Conductor | Date | Label |
Staatskapelle Berlin | Richard Strauss | 1926 | Classical Recordings Quarterly |
New York Philharmonic | Willem Mengelberg | 1928 | Pearl Records |
Bayerisches Staatsorchester | Richard Strauss | 1941 | Deutsche Grammophon; Dutton Vocalion |
NBC Symphony Orchestra | Arturo Toscanini | 1941 | RCA; Naxos Historical |
Royal Concertgebouw Orchestra | Willem Mengelberg | 1942 | Teldec; Naxos Historical |
Wiener Philharmoniker | Richard Strauss | 1944 | Preiser Records |
Royal Philharmonic Orchestra | Sir Thomas Beecham | 1947 | Testament; Biddulph |
Pittsburgh Symphony Orchestra | Fritz Reiner | 1947 | RCA |
Wiener Philharmoniker | Clemens Krauss | 1952 | Decca |
Minneapolis Symphony Orchestra | Antal Doráti | 1953 | Mercury; Pristine Classics |
Chicago Symphony Orchestra | Fritz Reiner | 1954 | RCA |
Staatskapelle Dresden | Karl Böhm | 1957 | Deutsche Grammophon |
Berliner Philharmoniker | Herbert von Karajan | 1959 | Deutsche Grammophon |
Philadelphia Orchestra | Eugene Ormandy | 1959 | CBS |
Royal Philharmonic Orchestra | Sir Thomas Beecham | 1959 | EMI |
Philadelphia Orchestra | Eugene Ormandy | 1960 | Sony Classical |
San Francisco Symphony | Pierre Monteux | 1960 | RCA |
London Symphony Orchestra | Sir John Barbirolli | 1969 | EMI |
Los Angeles Philharmonic | Zubin Mehta | 1969 | Decca |
Royal Concertgebouw Orchestra | Bernard Haitink | 1970 | Philips |
London Symphony Orchestra | Sir John Barbirolli | 1970 | BBC Classics |
Staatskapelle Dresden | Rudolf Kempe | 1972 | EMI |
Berliner Philharmoniker | Herbert von Karajan | 1974 | EMI |
Wiener Philharmoniker | Karl Böhm | 1975 | Deutsche Grammophon |
Wiener Philharmoniker | Sir Georg Solti | 1978 | Decca |
Philadelphia Orchestra | Eugene Ormandy | 1980 | RCA |
Cleveland Orchestra | Vladimir Ashkenazy | 1984 | Decca |
Berliner Philharmoniker | Herbert von Karajan | 1985 | Deutsche Grammophon |
Wiener Philharmoniker | André Previn | 1988 | Telarc |
Staatskapelle Dresden | Giuseppe Sinopoli | 1992 | Deutsche Grammophon |
Cleveland Orchestra | Christoph von Dohnanyi | 1992 | Decca |
Wiener Philharmoniker | Carlos Kleiber | 1993 | Sony |
San Francisco Symphony | Herbert Blomstedt | 1994 | Decca |
Minnesota Orchestra | Eiji Oue | 1998 | Reference Recordings |
Symphonieorchester des Bayerischen Rundfunks | Lorin Maazel | 1999 | RCA Red Seal |
Czech Philharmonic Orchestra | Vladimir Ashkenazy | 2000 | Exton |
WDR Symphony Cologne | Semyon Bychkov | 2001 | Avie |
Chicago Symphony Orchestra | Daniel Barenboim | 2003 | Erato /Warner Classics |
Tonhalle Orchester Zürich | David Zinman | 2003 | Arte Nova Classics |
Royal Concertgebouw Orchestra | Mariss Jansons | 2004 | RCO Live |
Berliner Philharmoniker | Sir Simon Rattle | 2005 | EMI |
Wiener Philharmoniker | Christian Thielemann | 2006 | Deutsche Grammophon |
Staatskapelle Dresden | Fabio Luisi | 2007 | Sony |
Pittsburgh Symphony Orchestra | Manfred Honeck | 2008 | Exton |
Philharmonia Orchestra | Christoph von Dohnanyi | 2009 | Signum Records |
Chicago Symphony Orchestra | Bernard Haitink | 2010 | CSO Resound |
Rotterdam Philharmonic Orchestra | Yannick Nézet-Séguin | 2011 | BIS |
Frankfurter Opern- und Museumsorchester | Sebastian Weigle | 2013 | OehmsClassics |
Bavarian Radio Symphony Orchestra | Mariss Jansons | 2015 | BR Klassik |
Melbourne Symphony Orchestra | Andrew Davis | 2016 | ABC Classics |
Munich Philharmonic Orchestra | Valery Gergiev | 2017 | MPHIL |