Ein Heldenleben was completed in December, 1898. The score bears absolutely no indication of its purport or significance save the title: we are left to guess whether the "hero" whose life is celebrated therein is an ideal hero or a figure of history, of myth, of romance, or of private life. Strauss is said to have observed, in response to a question: "There is no need of a programme. It is enough to know there is a hero fighting his enemies." Yet the analysts have been busy with this score, as with others by Strauss; and he has, at least by implication, sanctioned their interpretations.

"A Hero's Life" is in six connected sections, arranged and identified as follows:

  1. THE HERO
  2. THE HERO'S ADVERSARIES
  3. THE HERO'S CONSORT
  4. THE HERO'S BATTLE-FIELD
  5. THE HERO'S WORKS OF PEACE
  6. THE HERO'S RETIREMENT FROM THE WORLD, AND THE END OF HIS STRIVING

I. THE HERO

We hear first the theme of the Hero, a chivalric and wide-arched phrase, of extraordinary breadth and energy, announced forte by horns, viola, and 'cellos. Subsidiary themes follow, picturing various aspects of his nature—his "pride, emotional nature, iron will, richness of imagination," and so forth. The main theme, weightily proclaimed by tenor and bass tubas, four horns, double-basses, 'cellos, and wood-wind, brings the first section to a thunderous close.

II. THE HERO'S ADVERSARIES

Herein are pictured the Hero's opponents and detractors—an envious and malicious crew, rich in all uncharitableness. [156] The wood-wind instruments—flutes, oboes, English horn, clarinets—utter shrill and snarling phrases: beside them, the spiteful cackling of the wood-wind in the "Meistersinger" overture is as the amorous murmuring of doves. There is also an uncouth and sluggish phrase for tenor and bass tubas, intended to picture the malevolence of the dull-witted among the foe. The theme of the Hero, in a sad and meditative guise, pictures his dignified amazement, his pained and sorrowful surprise that his adversaries should so reveal the smallness and meanness and acrimony of their natures. A poignant phrase, of "Parsifal"-like color and profile (muted[157] strings) speaks of his temporary disquietment—perhaps his doubt of his own sublimity; but this is barely hinted at. His dauntless courage reasserts itself, and the mocking and contemptible horde are put, at least for the time, to rout.

III. THE HERO'S CONSORT

A solo violin, in a long and elaborate passage, introduces the Hero's beloved. She is pictured at first as capricious—a coquette; but the music grows more tender, more gentle; the full orchestra enters; the oboe sings an expressive melody; there are rapturous and passionate phrases for the strings amid sweeping arpeggios in the harps, and the love scene reaches its climax. The mocking voices of the foe are heard remotely, like the distant croaking of night birds through an ecstatic dream: they are powerless to disturb the peace and felicity of the lovers.

IV. THE HERO'S BATTLE-FIELD