Sound of music

Whether it is the result of intellectual awakening or emotional outburst, the symphony orchestra is the ultimate, writes NOEL D.CHOWELLER.

IN Western "Classical" music, the finest 'instrument' is the symphony orchestra, since it is capable of reproducing the entire sonic spectrum of tone colours. It can be divided into four basic sections - strings, wood-winds, brass and percussion. The many instruments that comprise these sections give the composer considerable leeway in expressing the many musical ideas that occur to him.

In orchestral music there are basically two types - abstract music, that is music in which the composer expresses his emotions through the music, but does not specify in which the composer expresses his emotions through the music, but does not specify in so many words just what his emotions were at the time the work was composed. In other words, he leaves it to the listener to interpet these emotions as he sees fit. The other type of music is called "program" music - music that attempts to convey the composer's impressions of a literary work, or poem, or a specific idea.

Of this latter type is the composition "Ein Heldenleben" or "A hero's life" by the German composer, Richard Strauss, who lived from 1864 till 1949. The composer was one of the outstanding conductors of his day, and, as such, was skilled in recognising the potential of each instrument of the orchestra. He designates the work a "Tone Poem." The "Hero" in this tone poem, according to the composer, is "not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism - not the heroism to which one can apply an everyday standard of valour, with its material and exterior rewards, but that heroism which describes in inward battle of life, and which aspires through effort and renunciation towards the elevation of the soul."

The work is in six sections, played without pause: 1. The Hero. 2. The Hero's adversaries. 3. The Hero's helpmate. 4. The Hero's battlefield. 5. The Hero's works of peace. 6. The Hero's release from the world - conclusion. The opening bars of the work present the here as a swashbuckling figure, bent on taking the world by storm, and conquering it by the sheer brilliance of his creative art. The theme is announced by the horns, violas and cellos, with the violins soon participating in the exposition; the theme contains sub-motives which illustrate his will-power, self- confidence, emotional side etc., completing the portrait. The section closes brilliantly, as the main theme roars out of the brass in an enormous climax.

The next section begins quietly, the music depicting the doubts and fears that begin to assail the hero. A sombre mood is set by a figure in the trombones and tuba. Soon, shrill notes are heard from flute and oboe, as evidence of the carping criticism of the ever-present sneerers, jealous of any display of original talent. Some half-dozen themes represent the belittlers. The Hero's theme enters again, in the minor, and his dismay at the oneset of derision is shown by a timid, writing figure. "The Hero's Helpmate"; this character is depicted by the solo violin. It is part of considerable difficulty of interpretation as evidenced by the score's expression markings - "hypocritically gushingly, gaily, frivolously, tenderly, somewhat sentimentally, very sharply, playfully, in a large, quickly scolding, amiably, furiously suddenly guiet gain and very feelingly, tenderly and lovingly" - all lead, however, to a love duet, the conclusion of which is marred by echoings of the contemptuous phrases from the wood-winds. Behind the scenes comes a fanfare by three trumpets - the call to battle.

"The Hero's Battlefield." The section begins with a loud battery of side drums. The theme of the adversaries is flung out by a blaring trumpet, and this music soon becomes pitted against the themes of the Hero and the Heroine. The raging contention has been described by Romain Rolland as "the most splendid battle that has ever been painted in music." At last, triumph and a song of victory. The world, however, looks upon the hero with indifferent eyes.

The Hero's Works of Peace. The development of the Hero's soul is the subject of this section. Strauss incorporates themes from well-known compositions of his to illustrate the point - revealing in the process that this is an autobiographical work, and that he is the unnamed "Hero" of the work. There are quotations from Don Juan, Also Sprach Zarathustra, Tod und Verklarung, Don Quixote, Till Eulenspiegel and Guntram, besides an excerpt from one of his songs. The scoffers are not stilled as their themes still crop up.

The Hero's release from the world - conclusion. Finally, his life's work accomplished, the Hero withdraws from the world, serene in the knowledge of his virtues and accomplishments. Although a brief reminiscence of the grotesque music of his adversaries threatens to mar the Hero's contentment, his Beloved, again indicated by the solo violin, sets him at ease. The Hero's spirit and that of his mate, represented by solo horn and violin respectively, seem to find unassailable serenity in the tone poem's final measure. This work is a virtuoso piece for the symphony orchestra, and is scored for a large orchestra. It was first performed on Mar 3, 1899, in Frankfurt, with the composer, one of the outstanding conductors of the era, directing the performance.

Particularly moving is the epilogue, when a theme of great beauty appears in the strings, in what appears to be a eulogy delivered at the Hero's passing from this world.

Suggested recorded performances of the work for audition: The Royal Philharmonic Orchestra conducted by Sir Thomas Beecham; The Chicago Symphony Orchestra conducted by Daniel Barenboim.

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