Ein Heldenleben RICHARD STRAUSS
Premiere Edition G R A P H I C
S C O R E
50th ANNIVERSARY SEASON Saturday, November 19, 2016
COMPOSER COMMENTARY
Richard Strauss ( 1864 – 1949)
THE HORNS AS STRAUSS’ HERO Strauss uses musical expression to describe his relationships with those he writes about, such as the horns, written with a heroic quality. Strauss greatly admired his father, one of the best horn players in the world. It is certainly no accident that he chose the horn to symbolize the hero.
Ein Heldenleben (A Hero’s Life) was completed in 1898 with a premiere performance held in
STRUCTURE & MUSICAL FORM
Frankfurt, Germany, the following
Though Ein Heldenleben holds no formal structure
year. Written as a tone poem, this
or musical form, it does resemble that of a sonata (ABA).
piece was dedicated to Willem Mengelberg, a Dutch conductor, famous for his performances
With an exposition of themes, development of those themes, a recapitulation and a coda, Strauss loosely weaves many elements together, overlapping and intertwining melodies to create the effect of the ambiguity and lack of sequence of human thoughts and emotions.
of Mahler and Strauss with the Concertgebouw Orchestra. No small furor arose when it was discovered that Richard Strauss had written the piece with autobiographical intentions. Those who were appalled at the notion shouldn’t have been surprised; after all, Richard Strauss may have had many faults, but excessive modesty wasn’t one of them.
This solo is one of the most challenging and capricious violin solos in symphonic literature. - YULIYA SMEAD, CONCERTMASTER Fox Valley Symphony Orchestra
OTHER
Romantic Artists
FRÉDÉRIC CHOPIN COMPOSER
Romanticism
EUGÈNE DELACROIX ARTIST
INCLUDE:
VICTOR HUGO POET
is a term that denotes an
era of Western classical music that began in the late 18th and early 19th century. Romantic and Late Romantic music dominated the movement in Germany through the end
TONE POEMS A symphonic poem, or tone poem, is a piece of
of the 19th century.
orchestral music, usually in a single continuous movement, that illustrates the content of a poem, short story, novel, painting, landscape
A MUSICAL AUTOBIOGRAPHY
or other non-musical source. The tone poems of Richard Strauss are noted as the
Critics argue that Strauss was an egoist because he
high point of program music in the latter part of the 19th
wrote himself as the hero, his wife as the faithful
century, expanding its boundaries in musical realism to
companion and crude music to depict his critics.
an unprecedented level. In these works, he widened the
Strauss’ musical autobiography wasn’t meant to
expressive range of music while depicting subjects many
be taken seriously, as he also admits. Regardless,
times thought unsuitable for musical depiction. Hugh
the man certainly lacked no limit of self confidence,
MacDonald states in the New Grove Dictionary of Music
stating, “I don’t see why I shouldn’t write a symphony
and Musicians, “In the years prior to World War I, these
about myself. I find myself as interesting as Napoleon
works were held to be in the vanguard of modernism.”
or Alexander (the Great).”
The work is scored for piccolo, three flutes, three oboes, English horn, three clarinets (B-flat, E-flat), bass clarinet, three bassoons, contra-bassoon, eight horns (F, E), trumpets (B-flat, E-flat), three trombones, tenor tuba (B-flat), tuba, timpani, bass drum, cymbals, snare drum, tenor drum, tam-tam, two harps and strings.
Ein Heldenleben is one of the most inspiring pieces ever composed for orchestra. - BRIAN GRONER, DIRECTOR Fox Valley Symphony Orchestra
This hero theme
I
Hero Theme
describes not only the
The is introduced immediately. A dashing, courageous, principal motif is unaccompanied and self-sufficient, carried in the low voices, opening the piece and setting the tone of the entire composition.
many attributes of the composition’s hero, but is also intended to mirror Strauss himself.
.
Der Held The Hero Ein Heldenleben has been described as a symphony in one movement. The first of those sections introduces the hero, in
The composition’s principal theme (the hero theme) elicits the theme from BEETHOVEN’S EROICA. Like Eroica, this piece is also written in E-flat major. “ Eroica is so little beloved by our conductors that I decided to write my own heroic piece in the same key as compensation.”
— STRAUSS
addition to other symbolic themes.
this melody spans three and a half octaves and describes the many attributes of the hero — also reflective of Strauss, himself. The horn makes grand appearances throughout the work, depicting the
Ensemble grows even louder
An epic theme for an epic work,
BLAZING TRUMPETS pierce above the orchestra.
A CRESCENDO calls for a gradual increase in loudness within a particular section of a piece of music.
hero’s confidence. Strauss states, “Horns are, after all, the thing for heroism.” It is no small accident that Strauss had this impression of the horn. His father, with whom he had a close relationship, was well known as one of the best horn players of his time. Background artwork by Jeremy C. and Elvis H. 3rd grade, Ferber Elementary
As the themes develop, the complex intertwining melodies get louder and louder as they begin to portray the optimism and determination of the inspired hero figure.
Listen for the glorious sounding of the horns (THE HERO).
Lyrical Love Theme
Listen for the horns among the ensemble — the voice of the hero calling in response to his companion’s love song (violin).
Strauss follows with a secondary high-spirited melody, making its first appearance in the 1st and 2nd violin.
PAUSE
The violins, viola and trumpet play a repeated eighth-note rhythm, adding texture to the background. An eighth note holds the value of one eighth of a whole note.
FORTE or FORTISSIMO define various levels of loudness.
Continues to build for about a minute
The trumpets sound a TRIUMPHANT FANFARE as the rest of the ensemble builds.
Listen for the delicate FLUTE MOTIF fluttering in the background as the rest of the ensemble begins to build.
Ensemble builds again
At the same time he wrote Ein Heldenleben, Strauss composed another tone poem, DON QUIXOTE, in 1898. He intended the two to be complementary, noting they were conceived as “direct pendants” to one another.
PAUSE
PAUSE
PAUSE
PAUSE
A quieter melody in the OBOE & CLARINET peeks through for a brief solo.
Listen as the LOW VOICES release the tension of the ensemble’s build-up.
PAUSE PAUSE PAUSE
Each of the melodies come together to create the ultimate sense of inspiration. The hero is prepared for the danger and thrill of his adventure ahead.
The movement ends with a lift of anticipation as the hero foresees the onslaught of his adversaries... The FERMATA symbol indicates that a note’s length should be prolonged at the discretion of the conductor, independent to the current tempo, intended to add drama to a hold or pause. THIS MOVEMENT IS ABOUT FOUR AND A HALF MINUTES LONG.
II
The FLUTE introduces the second movement with a parodied version of the principal hero theme.
The TUBA joins with a solemn melody, also a parody of the principal hero theme.
.
Des Helden Widersacher The Hero’s Adversaries The second movement can be described as a miscellaneous
The ADVERSARIES are announced with squeaks and snarls from the woodwinds. Their petty and criticizing nature is hard to ignore.
Strauss parallels the adversaries of the hero with his own foes — the critics of his work.
assortment of caricatures. Strauss took particular delight in painting musical portraits of various music critics who had berated him in the past. The obnoxious noises symbolize those who complained of the composer’s modernistic melodies. Strauss used special care in depicting critic Doktor
In the critics’ response to Strauss’ caricatures of them, one of them called the piece, “as revolting a picture of this revolting man as one might ever encounter.” Another stated,“The man who wrote the outrageously hideous noise, no longer deserving the word of music, is either a lunatic, or he is rapidly approaching idiocy.”
Dehring, who would not abide the breaking of the rules of harmony. Doktor’s name is announced by the tenor and bass tubas written in parallel fifths — a deliberate harmonic “mistake.”
Background artwork by Carter P., Alexa O. and Isabella F. 3rd grade, Ferber Elementary
The enemies’ criticism and bickering returns, becoming increasingly more distracting. The “pecking” sounds symbolize Strauss’ annoyance with the judgment of his critics.
DoktorDehring
was a famous 19th-century Viennese music critic, and one of the toughest judges of Strauss’ works. The ominous four-note letimotif played by the two tubas is Strauss’ direct nod to his “tribute.”
The sounds of the low register create a sense of negativity and apprehension as the hero recognizes the reality of the looming danger ahead.
The TROMBONES punch through with sudden accents. This unique effect created by their mutes helps to create the obnoxious, nasally voice Strauss hears within the critique of his audience.
ACCENTS are notated by placing this symbol above the designated note.
An elaboration of the themes begin with a solemn, flowing melody in the STRINGS. The heroic principal theme is now in a minor key, symbolic of dejection.
Strauss was often criticized for his modernistic melodies. He amuses himself by shaping this work to characterize the many critics who had berated him in the past. The angular, spiky noises found in the upper woodwinds are meant to depict his interpretation of the clucking and harping of those complaints.
The ensemble flows softly for about a minute and a half
The term PIANO determines varying levels of softness.
Only TWO HORNS provide subtleties in the background, symbolizing hope and encouragement from afar (another reference to Strauss and his father).
PAUSE
The fighting and dissension between the hero and his adversaries (or Strauss and his critics) continues, weaving together into a brawl of musical endeavors. The emotion builds and builds until the hero, in a moment of confidence, breaks through the noise to pursue his courageous duties.
The SOLEMN MELODIES continue in quiet, dark groupings. The hero is timid and introverted, pulling away from the open, or in Strauss’ case, the limelight.
PAUSE
VictoryMotif
The triumphs over the bickering of the basses. Now with increased confidence, the hero silences the critics, but only for a moment... THIS MOVEMENT IS ABOUT THREE AND A HALF MINUTES LONG. NO PAUSE. FLOWS DIRECTLY INTO MOVEMENT III.
III
The SOLO VIOLIN plays a series of cadenzas, depicting the hero’s companion. Listen for the worry in her voice.
.
The first violin cadenza lasts about five minutes
Des Helden Gefährtinf
A CADENZA is an improvised or written-out ornamental passage played or sung by a soloist, usually in a “free” rhythmic style, allowing for virtuosic display.
The Hero’s Companion Strauss’ musical portrait of his wife
norms: his insensitivities were in line with the gender relations of his time. The hero’s companion
Cadenza continues
certainly ventures outside modern
The cadenza continues fiercely
is voiced by the solo violin as she courses among many moods. Markings within the score intend interpretation as “hypocritically longing,” “frivolously,” “in a rage” and “tenderly and lovingly.” Despite
Strauss begins to wind down the intensity of the love scene dedicated to his beloved wife, to whom he was married for more than half a century. He received profound satisfaction from his domestic life, in addition to his love for music.
these not always flattering mood swings, he lets us know in some of the most beautiful moments of the piece how passionately he feels about his beloved, as the music swells into a dramatic love duet of impressive proportions.
Background artwork by Dylan S. 4th grade, Janet Berry Elementary
Listen as the CLARINET and HORN trade solos. The hero theme returns, pacified, yet fortified.
A series of playful dialogue begins between the hero and his companion. The solo violin (companion) calls to her hero (horn/low voices) with delicate, loving motifs, in addition to strange whimsical phrases, in an effort to be playful and intimate.
Strauss was evasive about whether he viewed himself as the hero of the composition. However, he was very clear, however, in that the hero’s “companion” was a portrait of his wife.
Strauss described his wife as “very complex, a trifle perverse, a trifle coquettish, never the same, changing from minute to minute.” Full ensemble joins momentarily, about 5 minutes after start of movement
The hero (Horn) responds to his companion’s temptation. He is confident and touts his masculinity with the virility (having strength, energy and a strong sex drive) theme.
love idyll
A is an extremely happy, peaceful, or picturesque scene, typically idealized and unsustainable.
Pauline Maria de Ahna (February 4, 1863 – May 13, 1950) was a German operatic soprano. Strauss and his wife had one child — a son named after the composer’s father (Strauss’ hero), Franz.
The melody evolves into a voluptuously scored love scene. The hero and his companion are taken away from the reality of the danger ahead, if only for a moment.
Listen for the return of the “pecking” melody in the FLUTE AND PICCOLO. The ADVERSARIES interrupt the cherished moment between husband and wife as he is pulled into battle.
The melody lessens and becomes more somber as the hero and his companion part ways. The hero makes his way to the battle ahead...
THIS MOVEMENT IS ABOUT THIRTEEN MINUTES LONG. NO PAUSE. FLOWS DIRECTLY INTO MOVEMENT IV.
IV
The score is written with a German description hinter der scene, meaning backstage, or behind the scenes. The movement begins with the faint sound of THREE TRUMPETS (off-stage) calling the hero to war.
TRUMPET fanfares sound again, signifying the beginning of the battle.
.
Des Helden Walstatt The Hero at Battle The trumpets and drums announce that the hero, together
This battle section has long been celebrated in symphonic literature for its grotesquely chaotic character.
A soft reminiscence of the VIOLIN depicts the hero’s nervousness for his wife, should he fall in the battle that is only moments away.
with his comrades, will do battle with his adversaries. The hero and helpmate themes gather along with the adversaries’ themes in an immense contrapuntal development, building to
The battle becomes increasingly more fierce
extremely loud and chaotic proportions. Strauss brilliantly depicts the rush of adrenaline and frantic, disorderly thoughts through his fragmented writing. The sound of eight horns bellow through the rest of the ensemble as the momentous struggle is fought and it comes as no surprise that the hero emerges victorious. Background artwork by Angelah X. 4th grade, Highlands Elementary
Strauss brings the chaotic battle scene to life like never depicted before. This section is infused by percussion, a distorted version of one of the critic’s themes in the trumpet and by fragments of various other themes. The hero and enemy (or in Strauss’ eyes, his critics) are placed in a fierce struggle.
After increasing buildup of intensity, the enemy forces collapse under the weight of the hero’s motives.
A spirited continuation of themes develop. EVERYONE HAS NOW BEEN CALLED TO WAR. Comradery now extends beyond the trumpets. A momentary pause: ANTICIPATION.
A terrific ROLL OF THE DRUMS signifies the challenge to fight. The strong presence of the percussion section sounds the advancement of the troops.
PAUSE
A calamity of motives and themes ensues as the battle wages, creating an immensely chaotic development. This section is filled with COUNTERPOINT, which means to demonstrate a melody or melodies in conjunction with another, according to fixed rules.
Because the composition is so chaotic, particularly this movement, Strauss provides extremely specific notation for certain instruments to play louder than others in order to control which parts the audience hears.
Briefly sweet
Terror strikes
Adrenaline rises along with the composition’s intensity. The hero is confused and makes an effort to remain strong and focused among the disruptive atmosphere of the battleground. With wild tumult, the themes seem to be hacked into pieces.
PAUSE
hero’s theme
The soars forth after a frantic effort to signal his victory and retreating adversaries. The LOVE AND VICTORY THEMES also return, joyous and exultant.
Brief appearances of the VIOLIN break through amid the chaos as the hero holds a momentary thought of his wife. The love themes suggest that his companion serves as inspiration to the hero, awaiting his return.
PAUSE
The hero rides triumphantly across the battlefield to the victorious hymn, DON JUAN (another of Strauss’ works).
Listen as the HORNS (the hero) bellow gloriously among the orchestra at the conclusion of the hero’s triumphant conquest. THIS MOVEMENT IS ABOUT EIGHT MINUTES LONG. NO PAUSE. FLOWS DIRECTLY INTO MOVEMENT V.
V
Strauss has interwoven the principal themes of his most important compositions with those of the hero’s life. A glorious medley comes together forming a movement of absolute beauty, depicting the hero’s celebration and peaceful deeds after the ugliness of war.
.
Des Helden Friedenswerke The Hero’s Works of Peace As the hero contemplates his achievements, Strauss uses this
PAUSE
Listen as the melody trades from 1st to 2nd violins, and then adds trumpet
The melody sways between peaceful and somewhat grim melodies as the hero recollects his journey thus far.
Strauss once again pays tribute to his wife. Much of the movement focuses on opera and lieder, primarily love themes related to the hero’s partner.
movement particularly as a venue to quote from his previous works: Don Juan, Also Sprach Zarathustra, Tod und Verklärung, Don Quixote and Till Eulenspiegel, among many others. Lively melodies create a sense of happiness and gaiety not felt before. These phrases trade with troublesome memories and the reminder of the presence of
Strauss uses this section as an opportunity to quote many of his compositions: three themes from Don Quixote (flutes, violins, bass clarinets), two themes from Don Juan (oboes and strings), a MacBeth theme (horn and english horn), the Zoroaster motif (trumpets), a Guntram motif (horn), in addition to lines from Death and Transfiguration (tenor tuba), among others.
danger and criticism. The harp plays a major role in creating the transition from worry to peace. The english horn and upper voices share lighthearted melodies as the horn soars throughout.
Background Background artwork artwork by XXXXXX, by MasonAge S. X 3rd grade, Jefferson Elementary
An exquisite blend of the composer’s greatest inspirations are crowned once again by the LOVE MOTIF, adding to an incomparably fine combination of themes and illustrations — a creative work of a lifetime.
The HORNS bellow above the rest of the ensemble with glorious sounds, accompanied by the violins and harp as the rest of the ensemble grows.
The DON JUAN motif returns in the HORN.
Strauss’ ZOROASTER THEME makes an appearance in the CELLI, BASS CLARINETS and HORN.
Now in the return to peaceful aftermath, beautiful melodies in the HARP flutter through before a brief moment of silence.
The TIMPANI rolls as the hero reminisces the ugly battle.
PAUSE
The TUBA returns once again, depicting a period of dejection, reminiscent of the enemy motif earlier in the piece.
An ELGY is a poem of serious reflection, typically a lament for the dead.
Scary
Harp solo
The score calls for two harps. Some orchestras try to save money by only using one, which places far too much stress on one harpist to play all the notes and be heard.
Melodies in the BASSOON lead into a beautiful solo by the ENGLISH HORN resulting in an elgy that also includes the harp, strings and the upper winds.
The peaceful, soaring melodies lead into the final section, alleviating the unrest that has built within the hero.
PAUSE PAUSE
Strauss writes a beautiful diminuendo within this section, as the HORNS fade to STRINGS, which fade to the HARP, which fades to SILENCE. A DIMINUENDO calls for a decrease in loudness or intensity, often notated with a symbol called a DECRESCENDO.
By the end of the movement, Strauss quotes his early opera Guntram eight times, his symphonic poems Don Quixote five times, Don Juan four times, Death and Transfiguration four times, Macbeth three times, Also Sprach Zarathustra three times and Till Eulenspiegel once. Traum durch die Dammerung and Befreit are also each quoted once. THIS MOVEMENT IS ABOUT SEVEN AND A HALF MINUTES LONG. NO PAUSE. FLOWS DIRECTLY INTO MOVEMENT VI.
VI
The sixth movement marks the start of the second coda: the hero’s retreat from the world and his fulfillment.
PAUSE
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Des Helden Weltflucht und Vollendung The Hero’s Retreat from the World and Fulfillment The final section beautifully depicts
PAUSE
PAUSE
PAUSE
PAUSE
Frantic melodies
The parallel fifths motif reappears in the TUBA, followed by a frantic melody in the STRINGS and the rest of the ensemble. The hero is troubled by his dangerous past (or in Strauss’ case, the critics judgment).
As if from celestial heights, the TRUMPETS sound the hero theme once again, perhaps more grand and mightily than ever before.
the peacefulness of the hero’s retirement. In the end, the hero — and Strauss — have vanquished the last of their enemies. A brief return of the adversaries’ themes reminds the hero that his victories have come at the cost of derision and envy. Many of the work’s
Listen for a VIOLENT OUTBURST, followed by the tearing part of the hero theme. The return of the adversaries’ themes remind the hero that his victories have come at the cost of derision and envy.
previous themes return, and dialogue between the hero and his
Horn and violin trade sweetly
companion illustrate the comfort she brings as she welcomes him back to his new reality. Finally, the hero has found his place of peace. All doubts, musical or otherwise, are finally removed. Background Background artwork artwork by XXXXXX, by Ezra S. Age X 4th grade, Highlands Elementary
Listen for the tender dialogue between the VIOLIN (companion) and the HORN (hero). The violin theme of his beloved consoles the unrest of the hero’s soul while the solo horn eases the somber tensions felt as he renounces his life of adventure.
The ENGLISH HORN solo is described as bucolic (or to relate to the pleasant aspects of country life), and seems to diffuse the chaotic atmosphere to one of peace.
PAUSE
PAUSE
PAUSE
English horn solo begins
The solo leads into the RESIGNATION THEME, which is calm and tranquil in the violins.
Listen as the HORN echoes the melody previously in the english horn — the hero acknowledges a period of peace and tranquility.
Pulsing rhythm Solo transfers to horn
The ending of Ein Heldenleben remains ambivalent, with Strauss suggesting that the solutions to the cosmic mysteries of life are “found at home, in his work and with his beloved companion by his side.”
Violin solo
Once again, terror strikes with ONE MORE PASSIONATE OUTBURST. Solemn and frightening melodies sound once again, accompanied by a call of the trumpet, reminding the hero of the enemies and all that is vile in the world.
Listen as the TRUMPETS sound one final fanfare.
In the end
The VIOLIN plays a heavenly lullaby for the retired hero at the FINAL TRANQUILIZATION of the piece.
, the hero — and Strauss — have vanquished the last of their enemies. Finally, he finds inner peace, and all doubts, musical or otherwise, are removed.
A DOUBLE BAR signifies the end of a piece of music.
THIS MOVEMENT IS ABOUT ELEVEN MINUTES LONG.
EIN HELDENLEBEN ENGAGEMENT INITIATIVES The Fox Valley Symphony Orchestra is committed to making music accessible to audiences in the concert hall and throughout our community. FVSO GRAPHIC SCORE We developed this graphic score with the desire to provide our audience with a tool to dive deeper into the music we perform. This tool is intended to be usable by everyone — from the first time concert-goer to seasoned musicians. We hope it not only
COPYRIGHT & SOURCES This piece was developed by the Fox Valley Symphony Orchestra for educational purposes under “fair use” legal principles. Content is intended strictly for educational purposes and will not be used within for-profit circumstances. Reproduction granted only with written permission of the symphony. The Musician’s Guide to Symphonic Music Essays from the Eulenburg Scores Corey Field
elevates your concert experience, but that you will take it with
Listen to the Music A Self-Guided Tour Through the Orchestral Repertoire Jonathan D. Kramer
you to explore the piece in more detail in the future.
FVSO Autumn Concert Program Notes Mark Rohr britannica.com
BIG ARTS IN THE LITTLE APPLE The symphony also seeks to encourage music exploration at a young age through partnerships with area schools. This year, we launched a new community collaboration called Big Arts in the Little Apple in partnership with The Building for Kids
fringearts.com findagrave.com wikiwand.com researchcatalogue.net independent.co pristineclassical.com interlude.hk IMSLP19168-PMLP04982
Children’s Museum and the Appleton Area School District. As part of this initiative, hundreds of students from across the district learned about Ein Heldenleben and over 600 elementary students submitted visual artwork created as a response to their listening experience.
DEN N I S & N AO M I BACALL
FOR M O RE I N FO RM ATI O N ABO U T T H E O RC H E ST R A , V I S I T F OX VA L L E YSY MP H O N Y. C O M.