Composer: Richard Strauss
Works: Ein Heldenleben, Tod und Verklarung
Performers: Concertgebouw Orchestra, Willem Mengelberg (conductor)
Recording: Concertgebouw, 1941 (Ein Heldenleben) and 1942 (Tod und Verklarung)
Label: NAXOS HISTORICAL 8.110161
Richard Strauss’s Ein Heldenleben, a masterwork from 1898, stands as a monumental testament to the romantic spirit, blending autobiographical elements with a grand orchestral palette. This piece, dedicated to the conductor Willem Mengelberg and the Concertgebouw Orchestra, resonates with a rich historical lineage that underscores its significance in the orchestral repertoire. Mengelberg’s interpretations, particularly in this newly reissued recording, capture the essence of Strauss’s vision while simultaneously reflecting the tumultuous period during which these performances were recorded, specifically during World War II. The urgency and fervor of the time are palpable in the performances, offering listeners a unique lens through which to appreciate these works.
The interpretation of Ein Heldenleben is marked by Mengelberg’s characteristic approach, which marries a lush Romanticism with moments of dramatic intensity. While the 1941 Concertgebouw performance may not boast the virtuosic brilliance of the earlier 1928 recording with the New York Philharmonic, it compensates with emotional depth and a palpable sense of longing. The orchestral textures reveal Mengelberg’s nuanced understanding of Strauss’s orchestration; one can hear the rich sonorities of the double basses that provide a grounding foundation, while the trumpets pierce through with a forceful clarity that is electrifying. The violin solos, performed by Ferdinand Helman, though somewhat marred by intonational issues, carry an emotional weight that resonates with the thematic content of the work. Mengelberg’s application of portamento, a hallmark of his style, creates a pervasive expressiveness throughout the performance, ensuring that even in moments of technical struggle, the musical line maintains its integrity and significance.
In Tod und Verklarung, recorded a year later, Mengelberg’s interpretation diverges from the more serene readings often associated with this work. Instead, he offers a passionate and raw exploration of the themes of life, death, and transcendence. The performance is infused with a visceral sense of urgency, aptly described by Ian Julier as a “witheringly poignant and pained knell of regret.” The lavish use of portamento here enhances the emotional landscape, drawing the listener into the chasms of feeling that Strauss so expertly crafts. The sound quality is surprisingly robust for a wartime recording, allowing the listener to appreciate the detailed orchestral interplay and the rich emotional textures that Mengelberg conjures. The engineering captures the warmth of the Concertgebouw’s acoustics, even if the technical precision of the musicians may occasionally falter under the weight of their expressive aims.
Mengelberg’s late interpretations of Strauss deserve wider recognition within the canon of recorded music. This NAXOS release not only revives significant historical performances but also showcases the conductor’s unique interpretative choices that diverge from more contemporary standards. The emotional authenticity and historical context of these recordings invite a deeper understanding of Strauss’s music and the era in which it was performed. The combination of Mengelberg’s interpretive depth and the Concertgebouw’s rich sound culminates in a compelling listening experience that transcends mere nostalgia, making this release a vital addition to any collection of Strauss’s works.
