About this Piece

The first word of Ein Heldenleben’s existence comes in a letter written by Strauss from a Bavarian mountain resort, dated July 25, 1898: “Since Beethoven’s ‘Eroica’ is so unpopular with our conductors today and hence rarely performed [Straussian irony, hardly delicate], I am filling the void with a tone poem of substantial length on a similar theme. It is titled ‘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.” And finish he did, on December 27. Strauss conducted the premiere in Frankfurt in March of the following year.

Embattled for what was perceived as the “progressive” nature of his early scores, Strauss was additionally raked over the coals for making himself the hero of Ein Heldenleben: “a monstrous act of egotism,” according to one review of the premiere, “and as revolting a picture of this revolting man as one might ever encounter. He is, then, honest.” Strauss took such criticism in stride and was particularly delighted that the critics recognized themselves and were offended by his gibes in the “Hero’s Adversaries” section, with its uncouth woodwind chattering and the leaden academicism of the low-brass references to parallel fifths, forbidden in the classroom.

Although endless detail has been provided about what is happening in every measure of Ein Heldenleben, it should be kept in mind that all Strauss himself provided were titles for the six main sections: 1. The Hero; 2. The Hero’s Adversaries; 3. The Hero’s Companion; 4. The Hero’s Deeds of War; 5. The Hero’s Works of Peace; and 6. The Hero’s Retreat from the World and Fulfillment.

The Hero: A bold and expansive theme typifying the hero is announced at once in low strings and horns. (Strauss calls for eight horns in the score.) Various ideas accumulate that illustrate the sides of his character: pride, emotional intensity, imagination, self-confidence, and directness. After much working out, there is a pause following an indecisive chord (a dominant seventh), leading into the next section.

The Hero’s Adversaries: Strauss limns his carping critics through the instrumental voices of squalling, squeaking flutes, oboes, piccolo, and E-flat clarinet, two ponderous tubas, a mocking English horn, etc. The Hero’s theme appears in minor; finally the adversaries are routed.

The Hero’s Companion: A solo violin reveals the beloved (inspired by Strauss’ wife, Pauline) as teasing, frivolous, coy, tender, scolding. The Hero implores, and there follows a rapturous love duet, at the end of which the adversaries are heard again.

The Hero’s Deeds of War: Here, three trumpets call the hero to battle. The Hero and the Companion are set into raging contention with the Adversaries. The Hero triumphs, but the real battle is not over yet.

The Hero’s Works of Peace: The Hero’s soul expands. Strauss brings in quotations from his earlier works, among them Don Juan, Thus Spake Zarathustra, Death and Transfiguration, Don Quixote, and Till Eulenspiegel. The scoffers, however, are not yet quieted, for we hear their carping still.

The Hero’s Retreat from the World and Fulfillment: He rages, but then resigns himself and is finally content. For the last time the Hero’s theme is heard; the work ends as he rises above this world in dignified solemnity.

—Compiled from notes by Herbert Glass and Orrin Howard