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Updated: May 12, 2025
It is true it is the summit of one period of his life, containing the essence of all that is best in it; but Heldenleben marks the second period, and is its corner-stone. How the force and fulness of his feeling has grown since that first period!
It is impossible to conceive him attempting the musical exposition of such themes as kindled the imagination of Strauss when he wrought out his "Heldenleben," "Zarathustra," and "Till Eulenspiegel"; nor has he any appreciable affinity with the prismatic subtleties of the younger French school: so that there is little in the accent of his musical speech to remind one of the representative voices of modernity.
Freedom of spirit is the greatest happiness one can know; one must be sorry for those who have not got it. And there is a secret pleasure in rendering homage to another's splendid creed, even though it is one that we do not ourselves profess. The composer of Heldenleben is no longer unknown to Parisians.
There is no music more plaintively stupid than that which in the same work figures the "sheep" against which Don Quixote battles so valiantly. Nor is there any music more maliciously, malevolently petty than that which represents the adversaries in "Ein Heldenleben."
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