Conducted by Andrés Orozco-Estrada, the hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra) performs Ein Heldenleben (English: A Hero’s Life), Op. 40, a tone poem by Richard Strauss, a leading German composer of the late Romantic and early modern eras. Recorded at Alte Oper Frankfurt on December 11, 2015.

Conducted by Andrés Orozco-Estrada, the hr-Sinfonieorchester performs Ein Heldenleben (English: A Hero’s Life), Op. 40 by Richard Strauss. This performance was at Alte Oper Frankfurt on December 11, 2015.

Richard Strauss’ Ein Heldenleben

“Ein Heldenleben” contains more than thirty quotations from Strauss’s earlier works, so despite contradictory statements on the matter by the German composer, it is generally agreed to be autobiographical in tone.

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 program note he wrote that the 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:

“The music, though, points stubbornly to its own author as its subject, and Strauss did concede, after all, in a remark to the writer Romain Rolland (29 January 1866 – 30 December 1944, the French dramatist, novelist, essayist, art historian and mystic who was awarded the Nobel Prize for Literature in 1915), that he found himself “no less interesting than Napoleon,” and his gesture of conducting the premiere himself instead of leaving that honor to the respected dedicatee (Willem Mengelberg, 28 March 1871 – 21 March 1951, the Dutch conductor) may well be viewed as further confirmation of the work’s self-congratulatory character.”

Romain Rolland would relate the following about his conversation in 1924 with Strauss regarding the third movement, “Hero’s Companion”, where the “companion” is characterized by the effusive violin solo:

“I questioned him about the Hero’s wife, who so greatly intrigued the audience – some considering her a depraved woman, others simply a flirt. Strauss said, ‘Neither the one nor the other. It’s my real-life wife, Pauline, whom I wanted to portray. She is very complex, very much a woman, a little depraved, something of a flirt, every moment different from what she was the moment before. In the beginning, the hero follows her, and goes into the key she has just sung (Pauline had, in fact, been an opera singer), but she always flies further away. Then at the end, she says, ‘No, I’m staying here.’ He stays in his thoughts, in his own key. Then she comes to him.”


The work contains six movements. Except for a dramatic grand pause at the end of the first movement “The Hero”, it is performed without breaks. The piece does not have distinct movements in the traditional sense. Instead, this tone poem is composed as a single, continuous piece of music. However, within this continuous structure, different sections can be likened to movements in terms of their contrasting character and thematic material.

Strauss himself has provided the titles for the movements. With start times in the video:

  1. 00:21 “Der Held” (The Hero)
  2. 04:32 “Des Helden Widersacher” (The Hero’s Adversaries)
  3. 08:00 “Des Helden Gefährtin” (The Hero’s Companion)
  4. 20:14 “Des Helden Walstatt” (The Hero at Battle)
  5. 27:50 “Des Helden Friedenswerke” (The Hero’s Works of Peace)
  6. 34:22 “Des Helden Weltflucht und Vollendung” (The Hero’s Retirement from this World and Completion)

1. Der Held” (The Hero)

In the opening section of “Ein Heldenleben,” which could be considered analogous to a first movement, Strauss introduces the hero’s theme. This theme is grand, confident, and full of vigor, encapsulating the strength and boldness of the hero. The music begins with a powerful statement in the strings, quickly joined by the full orchestra, creating a rich tapestry of sound that sets the stage for the hero’s journey.

This section is characterized by its expansive orchestration and dynamic range. Strauss uses a large orchestra to its full potential, crafting layers of sound that build a vivid musical portrait of the hero. The hero’s theme is noble and majestic, with a sense of forward momentum that suggests courage and determination.

Throughout this opening part, Strauss demonstrates his skill in thematic development. The hero’s theme is presented, then varied and expanded upon, illustrating different facets of the hero’s character and experiences. The music is complex and multifaceted, with frequent shifts in dynamics and texture that keep the listener engaged.

As the piece progresses, the hero’s theme undergoes various transformations, encountering different musical elements that can be interpreted as challenges or adventures in the hero’s life. Strauss’s use of leitmotifs, or recurring musical themes associated with specific characters or ideas, is evident here, as he weaves the hero’s theme through various orchestral landscapes.

This opening section sets the tone for the rest of “Ein Heldenleben,” introducing key themes and establishing the heroic, ambitious nature of the work. Strauss’s mastery of orchestration and his ability to convey a narrative through music is on full display, making this opening part a powerful and compelling introduction to the hero’s story.

2. “Des Helden Widersacher” (The Hero’s Adversaries)

In “Ein Heldenleben” by Richard Strauss, as mentioned earlier, the piece is structured as a single, continuous tone poem rather than being divided into distinct movements like a traditional symphony. However, for descriptive purposes, the work can be segmented into several sections that each convey different aspects of the ‘hero’s’ journey or character.

Following the initial section, which introduces the hero with a grand and confident theme, the second section of “Ein Heldenleben” is often regarded as a portrayal of the hero’s adversaries. This part of the work is marked by a noticeable shift in musical character from the preceding heroic themes.

In this segment, Strauss employs a series of dissonant, mocking motifs that are believed to represent his critics. The music here is characterized by its sharp, biting quality, and the orchestration includes a cacophony of sounds that creates a sense of chaos and conflict. This is achieved through the use of erratic rhythms, discordant harmonies, and a somewhat satirical treatment of the musical material.

Strauss cleverly weaves together these motifs to create a vivid musical caricature of his detractors. He uses a variety of instruments to produce a range of timbres and textures, which enhances the sense of ridicule and confrontation in this part of the piece. It’s a striking contrast to the noble and majestic themes associated with the hero, emphasizing the tension and opposition the hero faces.

This section is often noted for its innovation in orchestration and harmony, as Strauss pushes the boundaries of the traditional orchestral sound. The use of extreme registers, unusual combinations of instruments, and complex rhythms demonstrates Strauss’s skill as a composer and his willingness to explore new musical territories.

The portrayal of the adversaries in this section is not just a narrative device but also a reflection of Strauss’s own experiences with criticism and opposition in his career. It adds a personal and somewhat introspective dimension to the work, making “Ein Heldenleben” a deeply expressive and autobiographical composition.

3. “Des Helden Gefährtin” (The Hero’s Companion)

In Richard Strauss’s “Ein Heldenleben,” the third section, following the depiction of the hero’s adversaries, is often interpreted as a tender and lyrical portrayal of the hero’s companion or love interest. This part of the tone poem is notably different in character from the preceding sections, featuring a more intimate and romantic musical landscape.

This section is frequently associated with Strauss’s own life, specifically his relationship with his wife, Pauline de Ahna. Pauline was known to be a strong and complex personality, and Strauss’s music in this section seems to reflect these characteristics.

The most prominent feature of this part of “Ein Heldenleben” is the beautiful and extended violin solo. This solo is often seen as representing Pauline’s voice. It’s characterized by its warmth, lyricism, and expressiveness. The solo violin line is both passionate and intricate, demanding a high level of technical skill and emotional depth from the performer.

Accompanying the violin solo is a rich orchestral backdrop that supports and interacts with the solo line. Strauss’s orchestration here is masterful, creating a lush but delicate sound that perfectly complements the violin. The interplay between the soloist and the orchestra adds layers of depth and complexity to the music, enhancing its emotional impact.

This section of “Ein Heldenleben” stands out for its contrasting mood and texture. After the assertive and conflict-ridden music representing the hero and his adversaries, this tender and expressive segment offers a moment of introspection and emotional depth. It’s a testament to Strauss’s ability to convey a wide range of emotions and characters through his music.

The violin solo in this part of the tone poem is not only a highlight of “Ein Heldenleben” but also one of the most celebrated passages in the violin repertoire. It showcases Strauss’s skill in writing for the instrument and his capacity to create deeply moving and personal music.

4. “Des Helden Walstatt” (The Hero at Battle)

In “Ein Heldenleben” by Richard Strauss, the fourth section, following the intimate portrayal of the hero’s companion, is typically regarded as a depiction of the hero’s battlefield or a metaphorical battle. This part of the tone poem marks a return to the more dramatic and expansive style seen in earlier sections, but with added intensity and complexity.

This section is characterized by its powerful, tumultuous music, symbolizing conflict and struggle. Strauss masterfully uses the full orchestra to create a sense of chaos and intensity, evoking the tumult of battle. The music is dynamic, with rapid shifts in tempo and volume, and it employs a wide range of orchestral colors and textures to convey the drama of the scene.

The hero’s theme, introduced in the opening section, returns here, but it is transformed and developed to reflect the challenges and trials of the battle. The theme is interwoven with other motifs and musical ideas, creating a rich tapestry that depicts the hero’s courage and resilience in the face of adversity.

One of the remarkable aspects of this section is Strauss’s use of counterpoint and orchestration to create a layered, complex sonic landscape. Different instrumental groups within the orchestra engage in a musical dialogue, sometimes in collaboration and sometimes in opposition, mirroring the conflict depicted in the music.

The battle scene is not just a display of orchestral power and virtuosity; it also serves as a pivotal point in the narrative arc of “Ein Heldenleben.” It represents the climax of the hero’s journey, where he faces his greatest challenges and asserts his strength and heroism.

As the battle reaches its peak, the music becomes increasingly intense and dramatic, leading to a resolution that paves the way for the final section of the tone poem. This resolution often reflects the hero’s triumph or, in a more introspective interpretation, his transcendence of the conflict.

5. “Des Helden Friedenswerke” (The Hero’s Works of Peace)

The fifth section follows the intense and tumultuous battle scene. This part of the tone poem is often interpreted as the hero’s retirement from the world or a reflection on his past achievements. It represents a significant shift in mood from the preceding sections, moving towards introspection and tranquility.

In this section, the music becomes more reflective and subdued. Strauss uses the orchestra to create a sense of calm and contemplation, contrasting sharply with the drama and conflict of the earlier parts of the work. The hero’s theme, which has been a central element throughout the tone poem, reappears here but in a more gentle and reflective form. This suggests a sense of the hero looking back on his life and achievements.

The orchestration in this part of “Ein Heldenleben” is characterized by its subtlety and depth. Strauss employs a softer dynamic range, with delicate interplay between different sections of the orchestra. This creates an atmosphere of serenity and introspection, allowing the listener to reflect on the hero’s journey.

Another notable aspect of this section is the integration of themes from Strauss’s earlier works. This self-quotation can be seen as Strauss’s own reflection on his career and achievements. By incorporating elements from his previous compositions, Strauss creates a sense of continuity and retrospection, linking the hero’s journey in “Ein Heldenleben” with his own life as a composer.

The mood of this section is often bittersweet, combining a sense of accomplishment and fulfillment with an awareness of the passage of time and the inevitability of change. This duality adds emotional depth to the music and provides a poignant contrast to the more heroic and dramatic sections of the tone poem.

As the fifth section draws to a close, it prepares the listener for the final part of “Ein Heldenleben.” The music gradually diminishes in intensity, leading to a conclusion that is typically calm and reflective, offering a sense of closure to the hero’s journey.

6. “Des Helden Weltflucht und Vollendung” (The Hero’s Retirement from this World and Completion)

The final section, which can be thought of as the sixth movement in a loosely structured sense, serves as the conclusion to the tone poem, bringing the hero’s journey to a serene and fulfilling end. This section is often viewed as a peaceful resolution and a reflection on the hero’s life and legacy.

In this concluding part, the music is characterized by a sense of calm and resolution. The turbulent and dramatic elements of the previous sections give way to a more tranquil and reflective mood. Strauss uses the orchestra to create a sense of closure, with lush harmonies and gentle melodies that suggest a feeling of contentment and peace.

The hero’s theme, which has been a recurring motif throughout the tone poem, is revisited here in a transformed manner. It is now presented in a more subdued and serene version, indicating the hero’s sense of fulfillment and completion. This thematic transformation is a key element in conveying the narrative arc of the tone poem, showing the hero’s development and growth.

Strauss’s orchestration in this final section is masterful, creating a rich and warm sound that envelops the listener. The use of strings and woodwinds is particularly notable, providing a soft and gentle texture that contrasts with the more robust and dramatic sections earlier in the work.

The conclusion of “Ein Heldenleben” often includes a sense of introspection and nostalgia. Strauss may incorporate references to his own life and career, as well as to the broader themes of heroism and legacy. This personal touch adds depth and poignancy to the music, making it not just a story about a generic hero, but also a reflection of the composer himself.

As the music draws to a close, there is typically a feeling of gentle finality. The orchestra gradually winds down, leaving the listener with a sense of satisfaction and contemplation. This ending is both emotionally fulfilling and musically satisfying, providing an apt conclusion to the epic and multifaceted journey that is “Ein Heldenleben.”


M. Özgür Nevres

Published by M. Özgür Nevres

I am Özgür Nevres, a software engineer, a former road racing cyclist, and also an amateur musician. I opened to share my favorite music. I also take care of stray cats & dogs. This website's all income goes directly to our furry friends. Please consider supporting me on Patreon, so I can help more animals!

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