Altogether the Guntram experience cost Strauss a lot of headaches, and his happiest association with the work was his engagement during the rehearsal period and marriage four months later to his pupil and difficult leading lady, Pauline de Ahna. She plays an important part in Ein Heldenleben as well. All this time, Strauss had been making a name for himself as a conductor.
He had made his debut in , leading his Suite for Winds, Opus 4, without benefit of a rehearsal. From there he had gone to Weimar and then back to Munich, where he now shared the number-one spot with Hermann Levi. Each time Strauss had ended up frustrated, bored, in some way dissatisfied.
The year at last brought liberation from a trying situation in Munich in the form of a ten-year contract as principal conductor at the Court Opera in Berlin.
He had had a previous and unhappy experience in the Prussian and Imperial capital, when after only one season with the Berlin Philharmonic he had been replaced by Arthur Nikisch.
But now Strauss faced Berlin with confidence—rightly so, as it turned out—and most of the score of Ein Heldenleben , begun in Munich and completed in Berlin, was written in sky-high spirits. The two works remained associated in his mind. He worked the two scores simultaneously for several months and always felt that together they made a superb concert program.
Three days later, Strauss began work on the full score, and this he finished on December 1, subjecting the end to a striking revision in the last days of that month. Hepokoski James. The Second Cycle of Tone Poems. Cambridge : Cambridge University Press. Hurwitz David. Milwaukee : Amadeus Press. Kaufmann Walter. The Portable Nietzsche. New York : Viking Penguin. Basic Writings of Nietzsche. New York : The Modern Library.
Kennedy Michael. Richard Strauss: Man, Musician, Enigma. Krause Ernst. Kristiansen Morten. Doctoral dissertation , Yale University, New Haven. Louis Rudolf. Princeton : Princeton University Press. Newman Ernest.
London : The Bodley Head. Nietzsche Friedrich. Of the First and Last Things. Smith Kenneth. British Postgraduate Musicology 7 Youmans Charles. The Journal of Musicology Bloomington : Indiana University Press. It is obvious that Krause lacks many sources for Strauss that are more intimate. Hepokoski regards Symphonia domestica —3 and Eine Alpensinfonie as an extension of the cycle but does not include these late tone poems in his essay.
The English translation is by Kristiansen, from the original writing in German by Seidl. Thus, his travels to Greece and Egypt were between late and the autumn of Strauss declared in his diary, quoted earlier, that he urged the German nation to free itself from Christianity.
Smith referred to heroic scenes in operas. In his work, he interpreted a rising fourth as representing the masculine and a descending chromatic line as representing the feminine. I prefer to withdraw.
The strength is not that of a real warrior in a battle but of an individual striving with the Nietzschean will. Reference Works. Primary source collections. Open Access Content. Contact us. Sales contacts. Publishing contacts. Social Media Overview. Terms and Conditions. Privacy Statement. Login to my Brill account Create Brill Account. Email this content Share link with colleague or librarian You can email a link to this page to a colleague or librarian:.
Your current browser may not support copying via this button. Author: Ampai Buranaprapuk 1. Online Publication Date: 26 Aug Strauss likewise turned his attention toward anti-metaphysics. His plans for the tone poems composed after evince a desire to capture more physical, everyday experience as opposed to metaphysical power in the music to serve for apotheosis. The similar Nietzschean idea of struggle is reflected in Symphonia domestica Domestic Symphony , op.
The works showing direct influences, Zarathustra and Eine Alpensinfonie , are anti-religious. In Zarathustra , Strauss quotes the plainchants Credo in unum Deum I believe in one God and the Magnificat , seemingly treating them with derision. The Credo , representing religious belief, is placed in the Von den Hinterweltlern Backworldsmen section.
The plainchant the Magnificat , played on the organ, is placed in the Von der grossen Sehnsucht The Great Longing section. As the lyrical motif fig. Strauss uses the solo violin to represent his wife Pauline. Figure 1 The Hero theme, mm. Figure 2 The Adversaries theme, mm. Figure 3 The Hero theme in mm. Figure 4 Mm. Figure 5 Mm. Figure 6 The Companion theme, mm. Figure 7 Mm. Ein Heldenleben, Op 40 composer. View whole album. The Symphonia Domestica Op 53, in particular, has the composer depicting the minutest details of his home life, wife and family.
The tone poem received a barrage of criticism when it appeared, portraying Strauss as a monstrous egotist, a shameless self-promoter, portraying himself as the hero of the piece. Such critics may well have been also smarting at the outrageous caricature of their kind as being shrill, spiteful and complacent, in the second movement. I haven't got the necessary strength; I am not cut out for battle; I prefer to withdraw, to be quiet, to have peace.
Leuckart, Javascript is required for this feature. Editor Michael Banks b. This is a C bass clef transposition of the tenor tuba part for Ein Heldenleben. The original part is in Bb bass clef, an odd key for euphonium and trombone players to transpose. This C bass clef transposition was created in Sibelius 8. Arranger Otto Singer II — This file is part of the Sibley Mirroring Project.
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