Ein Heldenleben at Milton Court
Mendelssohn’s Violin Concerto, completed in 1844, is one of the most beloved works of the violin repertoire. Written for his friend Ferdinand David, leader of the Leipzig Gewandhaus Orchestra, the concerto emerged from a period of professional turmoil as the composer reluctantly took up a post in Berlin before returning to Leipzig to complete the work.
Listening Notes:
Unlike traditional concertos, the piece flows seamlessly across its three movements. The first, Allegro molto appassionato, opens with the soloist’s soaring entry, played on the E string for maximum expressivity. A fully written-out cadenza, placed at the heart of the movement, showcases both technical brilliance and an impassioned lyricism. The Andante follows, offering a moment of introspection before the Allegro molto vivace finale bursts forth with Mendelssohn’s signature lightness and dazzling virtuosity. Echoes of A Midsummer Night’s Dream can be heard in its quicksilver energy, while interludes add warmth and charm.
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First conceived in 1898 during a retreat in the Bavarian mountains, Ein Heldenleben was Strauss's modern take on the heroic ideal. The composer’s characteristic wit and irony are present from the outset: ‘Since Beethoven’s Eroica is so unpopular with our conductors today and hence rarely performed, 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.’
Strauss completed the work by the end of the year, and its premiere in Frankfurt in 1899 immediately sparked controversy. Many critics derided it as an act of vanity, arguing that Strauss had made himself the hero of the piece—an accusation he took in stride, especially when those same critics found themselves caricatured in the movement he called ‘Hero’s Adversaries’, with its chattering woodwinds and pompous brass interjections. Yet the work’s scale and emotional depth transcended such disputes, cementing its place as one of the defining orchestral works of the late Romantic era.
Ein Heldenleben comprises six sections: The Hero, The Hero’s Adversaries, The Hero’s Companion, The Hero’s Deeds of War, The Hero’s Works of Peace, and The Hero’s Retreat from the World and Fulfillment. Particularly captivating is The Hero’s Companion, a soaring love scene marked by an effusive solo violin line—Strauss’ portrait of his wife, Pauline. The violin’s mercurial shifts between playfulness, passion, and tenderness capture Pauline’s spirit in an unforgettable musical portrait.
Listening Notes for Ein Heldenleben
The music unfolds in six continuous sections, akin to symphonic movements. The Hero is introduced through vigorous, expansive themes in E-flat major, presented by the cellos and horns. A brief silence signals the arrival of his enemies—petty critics—depicted through biting woodwind figures and ominous tubas. Their sharp, angular motifs contrast starkly with the Hero’s noble lines, but he soon triumphs, banishing them to the shadows.
The focus then shifts to the Hero’s companion, his wife, represented by a solo violin. Strauss’s depiction is affectionate yet unflinching, reflecting the complex character of his own wife, Pauline. The violin weaves through shifting tempos and keys, by turns tender and fiery, playful and sharp-tongued. The portrait culminates in an ardent love scene, dissolving into tranquillity.
Peace is short-lived, however, as the critics return with renewed malice. The distant call of offstage trumpets signals impending battle, and as the snare drum enters, the conflict erupts. Strauss unleashes a dazzling orchestral melee, where themes clash in a whirlwind of sound. Ultimately, the Hero emerges victorious, the triumph resounding in a blazing return of E-flat major.
A lyrical new theme, introduced by trumpet and violins, leads into a reflective passage where Strauss weaves quotations from his own works—more than 30 snippets from earlier tone poems and operas, including Don Juan, Death and Transfiguration, Guntram and Don Quixote. This musical tapestry celebrates a lifetime of artistic endeavour, the Hero’s “works of peace.”
As the journey nears its end, doubt and struggle resurface. Only after one last moment of tension does the Hero achieve true serenity. The music gently fades, as if retreating from the world, leaving behind an overwhelming sense of resolution and fulfilment.