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Strauss R. - Ein Heldenleben - Mengelberg (1928 & 1941)

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Here are the two famed Heldenleben performances by Mengelberg in Pristine Audio transfers that are fabulous.



Richard Strauss (1864-1949)



Ein Heldenleben, Op. 40 Tone poem for large orchestra 1898



1. Der Held (The Hero)

2. Des Helden Widersacher (The Hero's Adversaries)

3. Des Helden Gefährtin (The Hero's Companion)

4. Des Helden Walstatt (The Hero at Battle)

5. Des Helden Friedenswerke (The Hero's Works of Peace)

6. Des Helden Weltflucht und Vollendung (The Hero's Retirement from this World and Consummation)



Philharmonic-Symphony Orchestra of New York conducted by Willem Mengelberg

Recorded: 1928

http://www.pristineclassical.com/LargeWorks/Orchestral/PASC104.php



Concertgebouw Orchestra of Amsterdam conducted by Willem Mengelberg

Recorded: 1941

http://www.pristineclassical.com/LargeWorks/Orchestral/PASC103.php



Covers included.



Review:



"R. STRAUSS Ein Heldenleben • Willem Mengelberg, cond; New York P-SO • PRISTINE 104 (40:59) Available at
www.pristineclassical.com



R. STRAUSS Ein Heldenleben • Willem Mengelberg, cond; Concertgebouw O • PRISTINE 103 (42:13) Available at
www.pristineclassical.com



This surprising dual issue of both of Mengelberg’s recordings of Ein Heldenleben, and both in superbly
reengineered sound, gives one a rare opportunity to compare and contrast them. I owned the New York
Philharmonic-Symphony Orchestra recording on an RCA Victrola LP from the early 1970s and, though I liked it, I was not
altogether convinced of its legendary status. In 1986 I bought the Concertgebouw Orchestra version on an old Telarc CD
and, though it had your typically harsh, congested radio sound and lots of acetate crackle, I found the performance much
more intense, cohesive, and emotional—even in the soft passages.



Comparing them now, one notices immediate differences. The New York Philharmonic-Symphony Orchestra of that era (1928)
had a simply gorgeous sound quality; every section was equal in timbre, weight, and color, and each section had superb
first-chair players (Mishel Piastro was concertmaster, Bruno Janicke the first horn, and both get their fair share of
solo passages here). The Concertgebouw Orchestra (in 1941), on the other hand, was a much more uneven band. Due to
either Mengelberg’s preferences or his reluctance to replace inferior players, the violins sounded harsher, the
woodwinds edgier. Yet to my ears, it is the Concertgebouw performance that scores more points in the overall
presentation of the music, and which in the final analysis gives us a much more “legendary” performance.



For example, the strings in the first half of “Der Held” are far more beautiful in the New York version, but
about halfway through the orchestra sounds a bit sluggish rhythmically while the Concertgebouw version maintains a
forward pulse. In the beginning of “Des Helden Widersacher,” the winds of the CO are much livelier, more
incisive than the NY P-SO. “Des Helden Gefährtin” is supposedly five seconds longer in the CO version
than the NY P-SO, but it doesn’t sound it. Both solo violinists (I believe it is Piastro on the NY P-SO recording)
use portamento that is no longer heard in the music but, overall, there is much more portamento throughout the NY P-SO
recording, and it becomes annoying after a while. The one section in which the NY P-SO is markedly superior to the CO is
in “Des Helsen Walstatt” (The Hero’s Battlefield), where the more solid sound of the NY P-SO ,
combined with a slightly brisker tempo (8:18 compared to 8: 39), creates slightly more tension, but the CO performance
is certainly not lacking tension.



Of course, your proclivity to buy one performance rather than another will depend on your familiarity with both of them.
Except for the extra portamento in the 1928 recording and the extra clarity in the 1941, there’s not really a
tremendous amount of difference in overall musical concept, certainly not as widely varied as, say, certain earlier and
later performances by Toscanini or Furtwängler. Yet if you like Mengelberg and believe that this was one score that
he “owned,” you may certainly want to get both. The sound restoration was, to my ears, even more striking in
the 1941 broadcast than the 1928 studio version. Lynn René Bayley"

This article originally appeared in Issue 31:5 (May/June 2008) of Fanfare Magazine.

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