A hero life

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Ein Heldenleben op. 40 is a symphonic poem by Richard Strauss . Completed in 1898, it is one of the composer's mature works in this genre. Strauss dedicated the piece to Willem Mengelberg, then 27 years old,and the Concertgebouw Orchestra . It was premiered on March 3, 1899 by the Frankfurt Opera House and Museum Orchestra under the direction of the composer.

occupation

4 flutes (4th piccolo ), 4 oboes (4th also English horn ), 4 clarinets (1st and 2nd in Bb, 3rd in Eb, 4th bass clarinet ), 4 bassoons (4th contrabassoon ), 8 horns in F and E, 5 trumpets (2 in Eb and E, 3 in Bb, partly behind the stage ), 3 trombones , 2 tubas (1st "tenor tuba" in Bb, is now usually played on a euphonium , 2nd in C) , Timpani , percussion ( snare drum , tenor drum and bass drum , cymbals , tam-tam and triangle ), 2 harps , strings (with solo violin).

Structure and analysis

A heroic life is a thoroughly composed symphonic poem with a playing time of about 50 minutes, which is performed without interruption. The composer originally added six headings or movement names, which were removed at his request in later editions of the score:

  1. The hero
  2. The hero's adversary
  3. The hero's companion
  4. The hero's whale place
  5. The hero's works of peace
  6. The hero's flight from the world and perfection

Throughout the entire work, Strauss uses a composition technique with leitmotifs based on Richard Wagner , whereby the motifs are mostly embedded in the extended symphonic form ( sonata with rondo ).

1. The hero

The theme of the hero, which is played for the first time in unison by the horns and cellos, with its rapidly ascending melody is reminiscent of the opening theme of Ludwig van Beethoven's third symphony ( Eroica ): the E flat major triad covers almost four octaves and is Horns picked up in parallel throughout the theme. A contrasting, lyrical theme appears for the first time in B major in the high strings and winds, followed by a second heroic motif, which is framed by a gradually descending fourth. Trumpet signals announce the hero's departure for his adventures with a dominant seventh chord, followed by an unexpected, dramatic general pause, the only extended period of silence in the entire work.

2. The hero's adversary

The opponents appear in the form of chromatic and atonal squeaks and growls from woodwinds and deep brass, starting with the flute. Several motifs in contrasting registers and timbres create the sonic impression of intrusive pettiness and mockery.

Rumor has it that the sarcastically portrayed opponents are Strauss' critics from the 19th century, such as the Viennese musicologist Eduard Hanslick , who appears in the score as an inimitable four-note leitmotif of tenor and bass tuba in parallel fifths. Only the subject of the hero itself can silence the adversaries, if only for a brief moment.

3. The hero's consort

A solo violin takes on the role of companion with a delicate melody. In a detailed, accompanied cadenza , which the composer provided with detailed playing instructions in the score like a recitative , the violin presents new motivic material. In alternation, the low strings, woodwinds and brass introduce a third, expansive hero motif in short interjections. At this point, the violin already briefly indicates a theme that takes up a lot of space in the last section of the piece. Following the violin cadenza, the new material is merged into a vocal episode that begins in G flat major: the hero has found his romantic voice and a feeling of happiness sets in. In the midst of a sleepy silence, short fragments of the adversary motif can be heard. A new fanfare motif of trumpets behind the scenes, repeated by those in the orchestra, heralds the beginning of the battle: His supporters summon the hero.

These three introductory sections form an elaborate exposition with the characteristics of a multi-movement symphony, especially with regard to the contrast of atmosphere and tempo. The rest of the work includes development, recapitulation and coda, with additional thematic material occasionally introduced.

4. The hero's place of worship

In this first detailed development of the work, the percussion symbolizes the advance of the armies, while trumpet signals in the first passage of the piece, notated in 3/4 time, call for battle, a bizarre variation on the first "adversary" theme. The dispute continues in the form of a tragic development of the previously introduced motifs and themes. With sweet melodies, the violins remind the hero that the beloved longs for his return. A succession of loud and technically demanding fanfare blasts indicate that the battle has reached a turning point, while the music approaches a harmonic climax in G flat major and the related key of E flat minor. The percussion permeates the entire movement, which forms an efficient representation of the lively fighting. In the end, the hero theme wins the upper hand over the hastily retreating adversaries in an unprecedented compositional “tapestry” of human conflict. The victory is now represented (again in 4/4 time) in a modified recapitulation of the hero theme as at the beginning of the piece, but this time to a majestic, constantly repeated accompaniment melody in eighth notes. A new vocal theme appears in the trumpets; its detailed development leads on to the following section.

5. The hero's peace work

The hero's victory is celebrated under themes from earlier works by Strauss, including Till Eulenspiegel's Funny Pranks , Macbeth , Also Spoke Zarathustra , Don Juan (the first theme to appear here), Don Quixote and numerous other works by Strauss, both symphonic poems and poems Songs . The peaceful, ascending melodies lead on to the last section by soothing the restlessness that is building up in our hero.

6. The hero's flight from the world and perfection

Another new motif appears, beginning with a rapidly descending triad in E major that introduces a new development in the hero theme: a lament played by harp, bassoon, cor anglais and strings. The hero's earlier works appear here as counterpoint. By freeing himself from worldly thoughts and values, the hero imagines new, greater and extraordinary adventures and strives for release from his fears. The reappearance of the previous "Hanslick" motif introduces an agitato episode when the hero remembers the battles of his past only to be comforted by his companion again. This is followed by a clearly pastoral interlude with English horn, reminiscent of Rossini's overture to Wilhelm Tell . The descending triad now appears slowly, cantabile , as the head of that new, peaceful theme in E flat major that was previously indicated in the violin cadenza. In a celebratory final variation of the original hero motif, the brass instruments intone a final fanfare for the hero who is withdrawing from life. This passage can be seen as a transition to the beginning of another symphonic poem, Also Spoke Zarathustra , which is often performed together with Ein Heldenleben .

criticism

Numerous critics have branded Ein Heldenleben as a shameless self-glorification of the composer. From this perspective Strauss appears as an egomaniac who exaggerates himself as a hero, while his wife is his loyal companion and the critics are ridiculed with underhand mockery. At least Strauss himself said that he considered himself to be just as interesting a subject of research as Nero or Napoleon.

It is more conceivable, however, that this self-portrayal is not meant very seriously, which Strauss himself admitted. He explained to his friend Romain Rolland : “I'm not a hero. I lack the necessary strength; I am not made for battle; I prefer to withdraw, to enjoy peace and quiet… ”Numerous critics have taken the program of the piece literally, while others still suspect that it has certain autobiographical traits.

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

Recordings

There are many recordings of this work. The best are:

literature

  • Mathias Hansen (Ed.): Richard Strauss. The symphonic seals (paperback) , Bärenreiter 2003, ISBN 978-3-7618-1468-0