Music Web International (UK)
I am a self-confessed Strauss obsessive and never tired of hearing his works either recorded or in live concert; I recently heard a superb performance by the CBSO of two of his Tondichtungen and was freshly captivated by the sheer verve and invention of his orchestration. Having posted a survey of the longer, later, second work here, I know how I want these youthful pieces, separated by a decade, to sound, and came to this recording with no particular expectations for its quality, given its slightly unusual provenance, yet on first h I am a self-confessed Strauss obsessive and never tire of hearing his works either recorded or in live concert; I recently heard a superb performance by the CBSO of two of his Tondichtungen and was freshly captivated by the sheer verve and invention of his orchestration. Having posted a survey of the longer, later, second work here, I know how I want these youthful pieces, separated by a decade, to sound, and came to this recording with no particular expectations for its quality, given its slightly unusual provenance, yet on first hearing came away impressed by its vigour and expertise.
We are of course awash with great recordings of both works going back decades and I have recommended live and studio versions by Karajan, Nelsons, Oue et al, but this one may safely be added to the list. I had no previous experience of the Singapore Symphony Orchestra; their sound might not be quite as plush or “upholstered” as in some classic accounts of this music by such as the BPO but it is virtuosic and Hans Graf’s conducting is fleet, fluent and flexible, as suits a young man’s muse. His timings for both works are conventional. The dynamic variation is most pleasing, as is the recorded ambience, full and detailed without being artificially spotlit. Graf lends the central love music section of Don Juan great lyricism and sensuousness and there are power and drive a-plenty in the swashbuckling passages. The death scene is suitably dramatic, its bleakness contrasting neatly with the foregoing bravura.
The opening flourish to Ein Heldenleben could be a little more forceful and emphatic but the performance as a whole is assured and there is no lack of sweep in the delivery of Strauss’ great waves of sound; their impact is cumulative. The many solo instrumental interventions are flawlessly executed, especially David Coucheron’s first violin excursions. The distancing for the battlefield trumpets is well-judged and the percussion comes into their own for the subsequent engagement, which is thrilling, then the horns have the opportunity to display their prowess in the triumph heralding “The Hero’s Works of Peace”. The finale is serene and played con amore – lush and languorous. The poise, then power, of the final phrases quoting Also sprach is admirable. Nobody encountering these works for the first time in these performances will be disappointed and those who wishing to hear an excellent conductor galvanising a fine orchestra will be amply rewarded. Ralph Moore
https://musicwebinternational.com/2026/01/strauss-don-juan-ein-heldenleben-our-recordings/