“Ein Heldenleben” (A Hero’s Life), Tone Poem, Op. 40
We doubt if Ein Heldenleben will be ranked among Strauss’s important works, though some of the sections, notably “The Hero’s Escape from the World, and Conclusion” are impressive, having emotional depth, being the baring of a soul. No man is perhaps a hero to his valet; but Strauss is evidently a hero to himself. He is autobiographical in this tone poem, as in his Domestic symphony. There is a certain presumption in asking one to hear musical descriptions of a composer’s struggles, his feelings at being adversely criticized by wretched Philistines, who do not appreciate him, his sulking and withdrawal, like Achilles to his tent. And why drag Frau Strauss into the musical story and typify her, capricious, coquettish, by whimsical measures for the violin? This tone poem, in spite of the sections just referred to, might be justly entitled “A Poseur’s Life,” and a blustering poseur at that.
Still, in Ein Heldenleben there is the peaceful, contemplative ending, pages that Strauss has seldom surpassed, only in the recognition scene of Elektra and the presentation of the rose by the cavalier.
Ein Heldenleben, a Tondichtung, was first performed at the eleventh concert of the Museumsgesellschaft, Frankfort-on-the-Main, March 3, 1899, when Strauss conducted from manuscript and Alfred Hess played the violin solo.
Strauss began the composition of this tone poem at Munich, August 2, 1898; he completed the score December 27, 1898, at Charlottenburg. The score and parts were published at Leipsic in March, 1899.
The score calls for these instruments: sixteen first and second violins, twelve violas, twelve violoncellos, eight double basses, two harps, a piccolo, three flutes, three or four oboes, an English horn, clarinet in E flat, two clarinets in B flat, bass clarinet, three bassoons, double bassoon, eight horns, five trumpets, three trombones, a tenor tuba, a bass tuba, kettledrums, bass drum, snare drum, side drum, cymbals. It is dedicated to Willem Mengelberg and his orchestra in Amsterdam. Strauss has said that he wrote A Hero’s Life as a companion work to his Don Quixote, Op. 35: “Having in this later work sketched the tragi-comic figure of the Spanish Knight whose vain search after heroism leads to insanity, he presents in A Hero’s Life not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism—not the heroism to which one can apply an everyday standard of valor, with its material and exterior rewards, but that heroism which describes the inward battle of life, and which aspires through effort and renouncement towards the elevation of the soul.”
There are many descriptions and explanations of Ein Heldenleben. One of the longest and deepest—and thickest—is by Friedrich Rösch. This pamphlet contains seventy thematical illustrations, as well as a descriptive poem by Eberhard König. Romain Rolland quotes Strauss as saying: “There is no need of a programme. It is enough to know there is a hero fighting his enemies.”
The work is in six sections:
The Hero
The chief theme, which is typical of the hero, the whole and noble man, is announced at once by horn, violas and violoncellos, and the violins soon enter. This theme, E flat major, 4-4, is said to contain within itself four distinct motives, which collectively illustrate the will power and self-confidence of the hero, and their characteristic features are used throughout the work in this sense. Further themes closely related follow. They portray various sides of the hero’s character—his pride, emotional nature, iron will, richness of imagination, “inflexible and well-directed determination instead of low-spirited and sullen obstinacy,” etc. This section closes with pomp and brilliance, with the motive thundered out by the brass; and it is the most symphonic section of the tone poem. “A pause is made on a dominant seventh: ‘What has the world in store for the young dreamer?’”
The Hero’s Antagonists
They are jealous, they envy him, they sneer at his aims and endeavors, they are suspicious of his sincerity, they see nothing except for their own gain; and through flute and oboe they mock and snarl. They are represented by about a half-a-dozen themes, of which one is most important. Diminutions of the preceding heroic themes show their belittlement of his greatness. (It has been said that Strauss thus wished to paint the critics who had not been prudent enough to proclaim him great.) “Fifths in the tubas show their earthly, sluggish nature.” The hero’s theme appears in the minor; and his amazement, indignation, and momentary confusion are expressed by “a timid, writhing figure.” Finally the foes are shaken off.
The Hero’s Helpmate
This is an amorous episode. The hero is shy. The solo violin represents the loved one, who at first is coy, coquettish, and disdains his humble suit. There is a love theme, and there are also two “thematic illustrations of feminine caprice” much used later on. At last she rewards him. The themes given to the solo violin, and basses, violoncellos, and bassoon, are developed in the love duet. A new theme is given to the oboe, and a theme played by the violins is typical of the crowning of happiness. The clamorous voices of the world do not mar the peacefulness of the lovers.
The Hero’s Battlefield
There is a flourish of trumpets without. The hero rushes joyfully to arms. The enemy sends out his challenge. The battle rages. The typical heroic theme is brought into sharp contrast with that of the challenger, and the theme of the beloved one shines forth amid the din and the shock of the fight. The foe is slain. The themes lead into a song of victory. And now what is there for the hero? The world does not rejoice in his triumph. It looks on him with indifferent eyes.
The Hero’s Mission of Peace
This section describes the growth of the hero’s soul. The composer uses thematic material from Don Juan, Also sprach Zarathustra, Tod und Verklärung, Don Quixote, Till Eulenspiegel’s lustige Streiche, Guntram, Macbeth, and his song, “Traum durch die Dämmerung.” Jean Marnold claims that there are twenty-three of these reminiscences, quotations, which Strauss introduces suddenly, or successively, or simultaneously, “and the hearer that has not been warned cannot at the time notice the slightest disturbance in the development. He would not think that all these themes are foreign to the work he hears, and are only souvenirs.”
The Hero’s Escape From the World, and Conclusion
The world is still cold. At first the hero rages, but resignation and content soon take possession of his soul. The bluster of nature reminds him of his old days of war. Again he sees the beloved one, and in peace and contemplation his soul takes flight. For the last time the hero’s theme is heard as it rises to a sonorous, impressive climax. And then is solemn music, such as might serve funeral rites.