Szell conducts Wagner – Great Orchestral Music from “The Ring”

★★★★

   In the history of culture some artists were always confined to one kind of activity. Although most composers were many-sided, there were always musicians who limited their activity to narrow stream of formal or functional output. They were producing just the kind of work as an answer to social order. In 19th century with the division of labor came specialization and competitiveness. Composers started to follow their most successful works. From formal and social point of view Richard Wagner was such an artist. Miscellaneous works he composed in first years of his life did not bring him any success, so he had specialized in opera and musical drama. This was consistent with his idea of dramatic aspect of music theatre. He became famous as the great reformer in the field of opera.
   Opera in 19th century was extremely popular genre. One of effects of this success was many orchestral fragments of operas were included in concert repertoire as symphonic pieces. Especially popular were fragments of Richard Wagner’s works. Powerful orchestrations and elements of illustrative means are characteristic style features of this composer. Preludes and overtures from his early operas and symphonic images in later composed dramas, all fragments of Wagner’s instrumental music on the span next century became popular concert pieces. It was also the element of orchestra sound display. One of Wagnerian features was characteristic form basing on crescendos which he used in overtures and in many scenes. One of best choices showing Wagner’s music was Great Orchestral Music from “The Ring” published in 1982 in CBS Great Performances series (MY 36715).

Szell – Great Orchestral Music from “The Ring” (1982)

   Although this album was reissue of previously published recordings, this edition became very popular in eighties. It shows most famous excerpts of four dramas cycle Der Ring des Nibelungen shortly mentioned as “The Ring”. Opening fragment is Entrance Of The Gods Into Valhalla from Das Rheingold, followed by Ride Of The Valkyries and Magic Fire Music from Die Walküre. The closing piece of the first side is image of virgin wood painted with orchestral sound in Forest Murmurs from Siegfried. These excerpts show how powerful can be music creating imaginary. The program of this album is concluded with two fragments From Götterdämmerung. In Dawn And Siegfried's Rhine Journey orchestra exposes once again a crescendo with characteristic Wagner’s impetus and whole story is closed with Siegfried's Funeral Music And Final Scene from fourth part of tetralogy. Strong, powerful orchestral sound meets subtle, fine and precise fragments. Cleveland Orchestra conducted by George Szell sounds perfect and Wagner’s music let it show its sound possibilities.
   The Great Orchestral Music from “The Ring” choice has its own history. It was recorded at Cleveland Severance Hall in 1968 and published for the first time as Columbia Masterworks’ album Great Orchestra Highlights From “The Ring Of The Nibelungs” (MS 7291). It was highly appreciated and included in various medley editions of Wagner’s Greatest Hits. In 1973 it was included as third record of Columbia album Wagner Orchestral Music by George Szell an Cleveland Orchestra (D3M 32317) and in 1990 complete program of “Ring” excerpts was included in CBS compact disk compilation Wagner Without Words (MDK 46286) with Prelude and Liebestod from Tristan und Isolde and Prelude to 1st Act of Die Meistersinger von Nürnberg. These recordings are the perfect example of great symphonic renditions of Wagener’s music, republished so many times, these tracks became standard way of understanding the orchestral imagination by Richard Wagner. Four stars is clear bargain for these still living performances.

Richard Wagner's Parsifal conducted by Pierre Boulez

   After Richard Wagner gain success as composer, librettist, and theoretician in musical aesthetics and entrepreneur, in last years of his life he became the prominent and widely-known figure of German cultural life. He was a person of difficult character and strange views, trying to join his radical esthetics with Buddhism and anti-Semitism, Schopenhauer inspirations with his own philosophic concepts. Although he was complex and difficult personality, his operas and musical drama oeuvres can be considered as climax of romantic era, a crowning achievement of 19th century spirituality, just the way Beethoven’s symphonies closed the classical music period. This comparison is not accidental, just like Beethoven’s last symphonies paved the way for romantic style, Wagner’s last dramas had shown the tendencies for new century, although some of the consequences of these processes are now difficult to reconcile.
   The last, 16th work in series of Richard Wagner’s stage works is Parsifal. The libretto of Parsifal is loose version of early 13th century famous romance Parzival by Wolfram von Eschenbach, knight, epic poet and Minnesinger. Story of Parsifal young knight who fulfils prophecy and saves the order from decay is universal idea in legends of all cultures. Although there are no clear indications of racist or anti-Semitic content in this work, there were heavy arguments on some symbolic meanings Wagner used. Connection of negative characters with some stereotypes and situations can be referenced this way, but in fact the whole work can be interpreted as the eternal struggle between good and evil. Kundry and Klingor are characters who can be seen both as connected to enemies of Christ. In this “most Christian” of Wagner’s works main character kills Klingor and gives absolution Kundry what makes her die. 

Pierre Boulez – Richard Wagner – Parsifal (1971)

   Wagner’s attitude has been expressed more clearly in his writings and letters, where he was developing his anti-Semitic beliefs. During preparations to the premiere of Parsifal, Wagner has objections against conductor Hermann Levi whom he demanded to be Christianized before premiere. But Levi was chosen by King Ludwig II of Bavaria, who was also donating the whole production, and Wagner wrote to king some letters with declarations he is agree, but in still offensive style. Not only in this field Wagner was strange and his behavior was the subject of many analyses. He was very unstable and difficult as a writer and as composer, and his music with ecstatic sublimity, strong emotions and crazy epigone estheticism allows us to feel the atmosphere of dying romanticism. 
   Parsifal is huge dramatic work, which was neither musical drama nor opera. This work became Wagner’s artistic testament. Composer called it ein Bühnenweihfestspiel (A Festival Play for the Consecration of the Stage) and this denomination could serve as an explanation of his real intentions. For the first time it was premiered during Bayreuth Festival in 1882 and until 1903, when Parsifal was shown in Metropolitan Opera in New York, theatre in Bayreuth was the proprietor of exclusive license for staging this work. In Europe this monopole granted by composers will and copyright rights expired ten years later. Produced as a part of Bayreuth Festival with Pierre Boulez in 1970, one year later recording by Deutsche Grammpohon this is one of most rational and psychological renditions of Parsifal. Gwyneth Jones as Kundry is so dramatic, Franz Crass as Gurnemanz is powerful enough to build célèbre sensuality. Other two soloists are Stomas Stewart performing as Amfortas and James King singing Parsifal. Four and a half of a star.

Karl Böhm conducts Wagner's Overtüren & Vorspiele

   Richard Wagner operatic and dramatic works are significant contribution into development of post-romantic orchestration and process of reshaping the symphonic orchestra. He also had played his role in German politics of 19th and early 20th century. As composer he was close to Ludwig II of Bavaria and his music was used as a forefront of German culture in its nationalistic era. From another point of view Richard Wagner was one of most important composers in German culture of the 20th century, who developed harmonic and melodic language to meet the needs of modern musical theatre. No wonder his works played the key role in the career of Karl Böhm, one of most important Austrian conductors of the 20th century.
   Since Karl Böhm was conductor specializing in opera, Richard Wagner’s works were important part of his repertoire. He debuted in Vienna in 1933 conducting Tristan und Isolde. Wagnerian repertoire was Böhm’s great success after 1957 debut in Metropolitan Opera in New York. He conducted in New York Tristan und Isolde, Lohengrin, Parsifal, Der Fliegende Holländer, Die Walküre, and Die Meistersinger von Nürnberg. In 60’s he was also active in Bayreuth Festival – his 1962 Bayreuth debut was Tristan und Isolde again. In 1965 to 1967 he made complete Der Ring des Nibelungen cycle, which he later recorded in his critically acclaimed interpretation. The result of his Bayreuth performing experiences was also recording of Tristan und Isolde.

Karl Böhm conducts Wagner's Overtüren & Vorspiele (1981)

   Importance of Wagner’s music in Karl Böhm’s artistic biography is clear considering his discography with most valuable complete recordings of musical dramas for Philips. Wagner’s music was also significant element of modern symphonic repertoire which for Böhm was extremely important for Richard Strauss music. In his late years Karl Böhm recorded two albums of Wagner symphonic fragments, both for Deutsche Grammophon, both with Wiener Philharmoniker and both published under the same name: Overtüren & Vorspiele.  In 1979  Overtüren & Vorspiele comprised overtures and preludes from Rienzi, Tannhäuser, Die Meistersinger Von Nürnberg and Parsifal. Next year, in Großer Saal of Wiener Musikverein in June 1980, Karl Böhm with Wiener Philharmoniker recorded next Overtüren & Vorspiele album. This time program had comprised Der Fliegende Holländer, Lohengrin and Tristan und Isolde. The recording has been published in 1981 in Karl-Böhm-Ausgabe Serie Galerie with Caspar David Friedrich’s Auf dem Segler painting illustrating the cover.
   Karl Böhm is interpreting Wagner overtures in his own way. His attitude is more dramatic than illustrative, more as if it was symphonic poem, than overtures or fragments of stage music. The one opening of this record is overture to Der Fliegende Holländer piece of so many onomatopeic sugestions it can be seen as illustrative music, but still it shows symphonic potential. More dependent of dramatic context are preludes to 1st and 3rd acts of Lohengrin. But still Vorspiel zum 3. Akt shows dramatic potential of Wagner’s orchestral narration. Second side is Prelude and Isolde’s Love Death Scene from Tristan und Isolde. These fragments have strong bounds with dramatic story of famous lovers and can serve as the hallmark of Wagner’s music. The powerful foundation of Böhm’s renditions are Wiener Philharmoniker, one of very best orchestras ever. Precision of articulation, transparency of clear and deep orchestral sound gives this performance solemn and noble taste. Even without Caspar David Friedrich’s picture reproduction this album is five star recording.

Hermann Prey – Auf Flügeln des Gesanges

   Hermann Prey was one of greatest German singers of 20th century. His lyric baritone was perfect for performing artistic song which was main part of Prey’s rich repertoire. He was also known for his opera appearances, especially for the roles requiring acting talents and virtuoso vocal technique like the unforgettable one of Figaro in TV movie of Rossini’s Il Barbiere di Siviglia made by Jean-Pierre Ponnelle in 1972. Since he was known as gifted singer with beautiful voice, he was appearing as well in oratorio as in more popular repertoire. But he was remembered mainly for his Lider recitals. So the hallmark of his discography are perfect renditions of songs and song cycles.
   Collection of Herman Prey’s song recordings were published by Philips in early 70’s. The series Lied Edition Prey comprises 27 discs in four boxes from Minnesang to contemporary music, from Walter von Vogelweide and Oswald von Wolkenstein to songs composed by Giselher Klebe and Friedrich Gulda. In the series there were also published two albums with highlights Zum Lob des deutschen Liedes and Auf Flügeln des Gesanges with songs of German romanticism.

Hermann Prey – Auf Flügeln des Gesanges (1974)

   Under the title inspired with Heinrich Heine’s poem and Felix Mendelssohn’s song, Philips published album of romantic songs recorded by Hermann Prey for this label. Choice comprises four songs by Franz Schubert with Der Pilgrim to the poem by Friedrich von Schiller, three songs by Robert Schumann to poems by Johann Wolfgang von Goethe, Joseph von Eichendorf and Hans Christian Andersen – brave performance of Der Spielmann. Second side is opening with title song Auf Flügeln des Gesanges by Heinrich Heine and Felix Mendelssohn-Bartholdy, then come Im Rhein by Heinrich Heine and Franz Liszt, Lied des Mephistopheles from Goethe’s Faust composed by Richard Wagner, In der Ferne written by Peter Cornelius to his own words, and recital close two songs by Johannes Brahms and three songs by Hugo Wolf.
   Piano accompaniments were played by Karl Engel (Schubert), Leonard Hokanson (Schumann, Wolf) and Gerald Moore (Mendelssohn, Liszt, Wagner, Cornelius, Brahms, Wolf). Hremann Prey’s renditions are natural and unforced, subordinated to musical and artistic ideas of each song. He interprets music and words trying to catch them as the entity of the message. In fact romantic artistic song is called with German term Lied, and this is somehow honoring this phenomenon. Based on great poetry of 18th and 19th centuries and perfect music elaborations of romantic composers, these songs are complete artistic expression and in Hermann Prey interpretations they shine as jewel in the crown of romantic output. Four and half jewels in five jewel scale.

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.

Richard Wagner – Der Fliegende Holländer

THE 200th ANNIVERSARY OF RICHARD WAGNER'S BIRTH

   The central figure in German romanticism was Richard Wagner who was connecting early romanticism with post romantic aesthetics. He started as a composer of operas continuing the style of Carl Maria von Weber and Giacomo Meyerbeer, but dissatisfied with the results, he criticized previous solutions frequently used for stage works. He created the idea of Gesamtkunstwerk (total work of art) as a fundamental connection of various elements subordinated to the parent structure. As a technique of establishing such connections he was using leitmotifs – motifs characteristic to dramatis personae, situations, ideas or things. Rich chromatics and advanced harmony, symphonic orchestrations and organic unity of dramatic and musical narrative are his great achievements fulfilled after 1851 in his music dramas, Parsifal and Der Ring des Nibelungen tetralogy.
   After earlier works, Tannhäuser, Lohengrin, he composed Tristan und Isolde and Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg). When Richard Wagner was already famous as opera reformer and composer of music dramas, he did not mind the parallel work on regular operatic works, so was also successful composer of more traditional stage music like Tristan und Isolde which is considered as first atonal music. He renounced his very early works and the first opera which he regarded as a new beginnning was Der Fliegende Holländer (The Flying Dutchman) composed in years 1840-1843. Inspired by stormy sea travel from Riga to London and by story by Heinrich Heine, Der Fliegende Holländer became a major step in the history of German romantic opera.

Richard Wagner – Der Fliegende Holländer (1965)

   As a perfectly romantic performance of Der Fliegende Holländer one can consider 1965 recording conducted by Hans Löwlein. It was reissued in Resonance series by Deutsche Grammophon in 1979 as the opera cross-section. The brightest star of this performance was Evelyn Lear singing convincingly dramatic role of Senta. Her ballad Jo ho hoe! Traft ihr das Schiff is astonishingly fresh even half a century after the recording. Dutchman in rendition of Thomas Steward and Eric sung by James King made the main group of soloists. Other soloists were Kim Borg as Daland, Johannes Elteste as Steuermann and Christa Emde as Mary. Powerful sound of Chor der Deutschen Oper Berlin (in choir of sailors from 3. act) and Bamberger Symphoniker are playing with great sound and culture. This dramatic legend on wandering sailor whose only redemption can be love, a version of sea wandering exile, like wandering Jew in mediaeval Christian mythology, here presented in clear sound and dramatic interpretation, gives Richard Wagner key position in history of romantic state of mind.