Peter Hofmann sings Richard Wagner

   The difficulties in Wagner’s music are legendary, especially vocal one. Melody was a primary component of his music and his theoretical solutions. He called melody “the only form of music”. Richard Wagner’s musical ideas were subordinated to his idea of music drama, called also Gesamtkunstwerk (total work of art). One of main issues of this reform was changing the style of the melody. In place of periodic structures he proposed the idea of Unendliche Melodie (infinite melody), the new kind of non-divided and not ended sequence of structures depending of lyrics and stage drama. One deep consequences of this attitude was the level of difficulties in Richard Wagner’s opera is so high, special trained voices are demanded to perform it safely. Among singers performing Richard Wagner’s opera and drama roles many are specialists dedicated exclusively to this music and ready to meet the high requirements special trained voices.
   One of most promising voices in Wagnerian stage in 1980’s was phenomenal tenor Peter Hofmann. His debut was Tamino in 1972 in Lübeck performance of Mozart's The Magic Flute. He was 28. Two years later he made his Wagner debut sunging Siegmund in Die Walküre production in Wupertal and in 1976 with the same role he debuted in Bayreuth Festival production. The same year he was singing title role in Parsifal and in next years also title hero in Lohengrin, Tristan in Tristan und Isolde and Walther von Stolzing in Die Meistersinger von Nürnberg. Peter Hofmann was active in many opera houses all over the world. He was also recognized as popular music singer, recording and performing in 1980’s. In 1994 he has been diagnosed with Parkinson disease and in 1999 he withdrawn of public performances. He died in 2010.

Peter Hofmann – Richard Wagner (1983)

   In 1983 CBS Records Masterworks released Peter Hofmann’s album with Highlights from six Wagner’s operas and dramas. Recorded in Stuttgart with Radio-Sinfonieorchester Stuttgart under Iván Fischer, this recording had captured one of best moments in singers career. He reached full capabilities, has won international recognition and married for the second time with successful singer Deborah Sasson. The program of this recital is composed of most famous fragments of Richard Wagners stage works. There are mainly lyrical arias and monologues, most of them presented in such way as they were songs or standalone dramatic scenes. It’s definitely comprehensive set of most beautiful excerpts from Richard Wagner’s operas and dramas.
   First side comprises two fragments from Wagner’s most consequent opera Die Meistersinger von Nürnberg and three fragments from dramas Die Walküre and Siegfried. Interesting performance of Walther von Stolzing Preislied Morgendlich leuchtend im rosigen Schein is more dramatic while scene with Nothung from Siegfried: Nothung! Nothung! Neidliches Schwert! shows more subtle aspect of Wagnerian hero. Second side of the album shows three extensive fragments from operas. Beautiful Rienzi’s Prayer Allmächt’ger Vater, blick herab, the dramatically lyric Rome narrative Inbrunst im Herzen, wie kein Büßer noch sie je gefühlt from Tannhäuser (with Victor Dornberger as Wolfram) and Gral narrative In fernem Land from Lohengrin. This is just one beautifully set and perfectly recorded album. In comparison with other Wagnerian recording this can be seen as incomplete but fresh and creative.

Mahler – Symphony No. 1, The Budapest Version, Lieder eines fahrenden Gesellen

   Gustav Mahler worked on his first symphony since 1884. First sketches to this composition were closer to symphonic poems than symphonic form. These fragments became basic material for composition he finished in years 1987-1988. Completed symphony was premiered 1989 in Budapest, though it was still titled Symphonic poem in two parts, where first part comprised three movements with second movement called Blumine (Flowering) or Bluminenkapitel, and second part was double movement. The premiered work was well received, but some critics had some doubts, so composer continued to work on formal issues of his first symphony.
   Next version was titled Titan (first time in 1993) and still including second movement Blumine. It is serenade written to Joseph Victor von Scheffel's poem Der Trompeter von Säckingen featuring gentle trumpet solo. After devastating critique this part was omitted in 1894 performance and two years later it was completely removed. There are some references to the style of Blumine part in other fragments of the symphony. In common opinion the definitive version is 1896 four movement setting in version published in 1899, and some of greatest conductors like Leonard Bernstein, Georg Solti and Bernard Haitink refuse to perform earlier settings. Many conductors perform Blumine as an independent piece, fewer insert this serenade into later four-part setting as the second movement.

Gustav Mahler – Symphony No. 1, The Budapest Version (1982)

   Performances of Mahler’s Symphony No. 1 in Budapest Version are pretty unique, and even rarer are phonographic records. Only issue I know is 1982 recording made for Hungaroton (SLPX 12267-68) by Hungarian State Orchestra conducted by Iván Fischer. Precise and well recorded performance shows this work as interesting. The Blumine part is quite interesting moment of quiet, slowly moving moment of time stopping before scherzo movement with strong folk tune type melodies and rhythm of landler-type theme. Alive and full of energy and best expectations is the sweet trio episode. A lot of positive energy will prepare next movement contrasting with ironic, grotesque march which subject is taken from popular student’s tune Frère Jacques. After this characteristic melody, comes short interlude with citation of last song from the cycle Lieder eines fahrenden Gesellen. These works has some more common points.
   The cycle of songs, Lieder eines fahrenden Gesellen, was the first Mahler’s cycle. It has been composed for voice with piano in years 1884-1885, the time of first sketches and projects of the symphony. In symphonic version the cycle has its premiere in 1896 in Berlin. In the Symphony No. 1 there are two references to Songs of a Wayfarer. Main theme of second song can be heard in first movement of First Symphony. Second one has been mentioned before. The album conducted by Iván Fischer features recording of Lieder eines fahrenden Gesellen cycle with Klára Takács, star of Budapest Opera House, featured also in series of very good recordings of romantic songs. The double album was part of ambitious and successful project of Hungarian artists.