Sir Thomas Beecham had a long association with the works of Richard Strauss, to the extent that Strauss once told him “what you have done for my works in England cannot be sufficiently appreciated.” SOMM Recordings pays tribute to this collaboration between two musical giants of the early twentieth century—and throws in an early nineteenth century powerhouse for good measure—with the release of Beecham Conducts R. Strauss and Beethoven. This is the 33rdedition of SOMM’s long-running and acclaimed series The Beecham Collection, and it marks the 70th anniversary of two remarkable recordings from 1956. Once again, audio engineer Lani Spahr brings his depth of musicality and technical expertise to these newly restored masterworks.
In addition to his determined efforts to put Strauss’s operas on the London stage—beginning with conducting the British premiere of Strauss’s opera Elektra in 1910—Beecham was enthusiastic about Strauss’s tone poems. Ein Heldenleben, in particular, became something of a calling card for him. In 1947, he made a studio recording of the tone poem with the recently established Royal Philharmonic Orchestra. A few weeks after his death in 1961, his 1958 stereo recording of Ein Heldenleben was released.
The present live recording comes from an all-Strauss concert given at the Royal Festival Hall on 17 October 1956. The first half of the programme included Macbeth, Le Bourgeois Gentilhomme and the Dance of the Seven Veils, which SOMM released in 2023 (ARIADNE 5021). The second half, heard here, was devoted to Ein Heldenleben.
Strauss’s eighth tone poem is considered somewhat autobiographical despite his insistence that the hero was “not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism.” It traces the dramatic arc of the hero’s life through his adversaries and his companion; at battle and in peace; and it closes with his retirement from this world. Contemporary critics of Beecham’s rapturously received 1956 performance were fulsome in their praise, one noting that “the epilogue was played with such tenderness as to bring tears to the eyes” and another that “this is how Strauss can sound when conducted with musical sensibility deepened by experience.”
