July 1951) John Briggs

Total Page:16

File Type:pdf, Size:1020Kb

July 1951) John Briggs Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1951 Volume 69, Number 07 (July 1951) John Briggs Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Briggs, John. "Volume 69, Number 07 (July 1951)." , (1951). https://digitalcommons.gardner-webb.edu/etude/138 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. JULY 1951 40 CENTS magazine• .A" Special Jssue Commemorating the :R.e-opening oj the Bayreuth 1estival On July 29, f95f, and the 75th HHiversary oj THE OLD AND THE NEW . • • Bob Jones Universi~ stands without apology lor t~e Symphony-less Detroit will have Music Educators National Con- its own orchestra next year, spon- ference, will conduct workshop old-time religion sored by a group of Detroit music- courses at the University of Colo- lovers. (See" Dilemma in Detroit, II rado this summer. and t~e ETUDE, April 1951) ... Corn- Hunter College in New Y ork absolute authority 01 the Bible. poser Roy Harris and his pianist City last month presented first wife lohono Harris will join the American performances of two It believes faculty of Pennsylvania College for one-act operas by European com- Women next fall ... Ernst von posers, "Comedy on the Bridge," in the standards 01 dec Dohnanyi, Hungarian composer, by Bohuslov Martinu, and will conduct an advanced seminar "Judgment Day" by Paul Berl. and integrty this month at San Francisco's In a single day last month, ,n the Old Boo, Music and. Arts Institute. Eugene Orm"ndy of the Phila- Serge Koussevitzky will open delphia Orchestra received invita- the Berkshire Festival on July 7 tions to conduct in four different with an all·Bach program. The corners of the globe. Bids came Bob J nes University hili July 14,program will be all- Haydn, from the Nippon Philharmonic in that of .July 21 all-Mozart ... Tokyo, the Argentine Slate Orches- beau lui new campUl With Saul Caston conducting, tra in Buenos Aires, the Australian the fifth annual Red Rocks Festi- Broadcasting Commission and a ith up.to.dat~ val of the Denver Symphony will group of impresarios planning a open July 6 . This year's tour of South America. uilding ond equipment. Salzbu.rg Festival will be inaugu- The House Ways and Means It believes rated July 27 with a performance Committee has approved the Mo- of Mozart's "Idomeneo." rano Bill, H. R. 2524, exempting Students profit from 0 Dr. George Howerton, pro· grand' opera and non-profit sym· Bob Jones University. in sane nd reasonable lessor of music history at North- phonic organizations from Federal m dern methods western University since 1931, will admissions taxes. This marks the become dean of the University's first favorable action taken by the School of Music on Sept. 1 . committee on removal of the war- Students have the advantages of the most modern equipment in Ity Dr. Etltvin Franko Goldlnan time admissions tax, which musi- radio station WMUU as elsewhere in Bob Jones University. last month received the Lincoln cal organizations maintain is caus- youn eople are Award of Abraham Lincoln High ing financial hardship to and may School "for his services to the lead to suspension of many of the nesses to eternal and unchanging City of New York." ... Ballad- nation's great cultural institutions. singer Burllves has been named The ~letropolit((n Opera Com- truth and the head of the folk-music division of pany, the New York Philhar. the Music Research Foundation. monic-Symphony and other or- old-fashioned Gospel Otto Harbach was re-elected ganizations have been seeking in this modern age. president of the American Society removal of the tax for some time. With IrTtI Petina in the role of of Composers, Authors and Pub- Music finds its way into every lishers al the latest ASCAP elec- Rosalinda, and Adelaide Bishop tions. The only change in the roster of the New York City Opera as life-somewhere, somehow music of officers was election of Paul Adele, the S. Hurck-National Con- will play its part in your child's Cunningham as secretary, suc- certs and Artiste Corporation tour present and future. Wise parents ceeding George W. Meyer .. _ of "Die Fledermaus" will open in Misch" Misch"kofJ, NBC Sym- Hartford, Conn., Oct. 15. Another know it-are aware of the phony concertmaster, and Mar- touring "Fledermaus" presented lifetime satisfaction to be found MUSIC, SPEECH, AND AiT guertte V. Hood of the Univer- by the ilfetropolitctn 0/lera also in a knowledge and appreciation WITHOUT ADDITIONAL COST sity of Michigan, president of the will be on the road next season. of music. So, in selecting your piano ABOVE REGULAR ACADEMIC TUITiON COIUPETITIONS (For details, write to sponsors listed) -for a lifetime of musical enjoyment-follow ACADEMY IN CONNECTION • Four-part a cappella anthem. Prize and closing date not announced. in the tradition of the famous musicians who endorse Sponsor: Chapel Choir Conductors' Culld, c/o Ellis E. Snyder, Mees Conservatory, Capital University, Columbus 9, Ohio. and use the Baldwin exclusively. • Rome Prize Fellowships, $.3,000 for one year's study in Rome of classics and the fine arts. Closing date for 1952-53 scholarships, Jan. 1, 1952. American Academy, 101 Park Avenue, N. Y. C. • Fulbright Scholarships for music study abroad, providing trans- portation, tuition and maintenance Ior one year. Closing date for 1952-53 scholarships, Oct. 15, 1951. Institute of International Educa- tion, 2 West 45th St., N. Y. C. THE BALDWIN PIANO COMPANY, CiNCINNATI 2. OHIO • Gershwin Memorial Contest, IS-minute orchestral work hy an Amer- lean composer under 30. Prize, $1,000. Sponsor: B'nal B'rith Hillel Baldwin else builds the exquisite Acrosonic Spinet, Hamilton BOI JONES UNIVERSITY Foundation, 165 W. 46th St., N. Y. C. G r e e n V I I e, Sou the a r 0 lin 0 Verticals and Grands, and Baldwin Electronic Organs ~--------- ETUDE-JULY 1951 1 IIlU'(UIE voo lIllY ANY ETUDE,,,, i'Z T 0 'I' H E EDITOR ~) Its new, PUBLISHED MONTHLY BY THEODORE PRESSER CO., PHILADELPHIA, PA PlliNO Editorial and Advertising Offices, Bryn Mawr. Pe , "We Make a Game of Practicing" semi for j;his Music Section HOW Jnmc ... Francis C/)fll..". Editor l' . Founded 1383 by THEODORE PRESSr::/{. • LnleTilUs Sir: Since we have progressed Sir: For years I took the it's a Wurlitzer, TO (Editor, J907"1~,j()J ETUDE, then there came a time CHOOSE in music we find that the ETUDE JOHN BlUGGS, Editor when it did not seem to fill my THE offers very little material for us BEST CIIY l'Il"Co~-, .11anaging Editor to work on although the articles needs. I again subscribed a couple PIANO are very helpful. In the past haH of years ago, and find it, as others it Charles J. Reed, Art Director you can play ! year only 15 percent of the piano have also said, much more inter- ,\. Cc:~1 Karl \\ _ (;,·hrL.I'lh esting at present. I have typed HDrold Berkley Nicolas Slcnimsky Eltaabcth music has been beyond 4.th Crade William D. 1~,·\.·Jlj and only 3 percent beyond 5th "We Make a Game of Practicing," Cu)' \Jai,'r \ I..xuudcr .\lcCurdy New Wurlitzer home organ Grade. It would be a great aid to in the May issue. for my pupils' the ETUDE to add some less parents. • What ere the important hidden qual. with 1000 different tonal effects common compositions by the I. Ross ities to look for? La Crance, Ill, Vol. 69 No.7 JULY 1951 great composers which are be- • How can you make sure of musical CONTENT yond the 5th Crade. excellence, as welt as surface beauty? Richard and John Cciuiguglia Musical Challenge • How can a person without I'\'lusical I'E ""I'UIl IlS Auburn. N. Y. training judge a piano's quality? Sir: I would like to challenge IlAYREUTH 195'1 FESTIVAl. ..•.• 1..11I/'" 11ub,,' D,ll/II 9 someone to a friendly musical These arc just a few of the questions TllE FIRST BAYREUTII FESTIVAL. 12 Sir: It would be greatly appre- duel (not duet) to playa stand- ever-y thoughtful person wants to ask mCHARD WAGNER, AS SEEN IlY TilE I'/CESS, ~ ciated by many of your readers ard selection on the following: ,1~ef()rc{.:IJoMing a piano for the home. if in some of your issues you THE IlUBRELL COLLECTION, . , ...... , , }n/iu tV. B.,rk 15 Flute l,y asking them, you will gel: more " would publish some tuneful num-. THE LIFE OF RICHARD WAGNEB If> Clarinet piano value for your money, and as- bers in lower grades. The ma- Saxophone sllr~ncc that your choice will give you IIEVOLUTION IN THE OUCfIESTRA PIT. .. , ..... n iltittm /). Rrrrlli 20 jority. I am safe to say, is in that Trumpet lnsfiug musical satisfaction. WHAT'S NEW IN ~'IUSIC? . , , ••••• , ••••• , ••••• )(11I1'" /lrm 11.0'1 22 category and like catchy tunes, French horn The booklet, "How to Choose the I,:' MUSIC, 57 but lately the music section is too Slide trombone Best Piano," answers 20 irnpottant. NO SCALES FOR DOBIS ", •••• 11.,mfllt I.
Recommended publications
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Kirsten Flagstad, Wagner, Set Svanholm, Arnold Van Mill, Hans
    Kirsten Flagstad Die Walküre Act One Complete / Götterdämmerung mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Die Walküre Act One Complete / Götterdämmerung Country: Japan Released: 1987 Style: Opera MP3 version RAR size: 1186 mb FLAC version RAR size: 1132 mb WMA version RAR size: 1903 mb Rating: 4.6 Votes: 283 Other Formats: MMF ASF WAV AA AHX MIDI AUD Tracklist Die Walküre Act 1 A1 Wess Herd Dies Auch Sei B2 Gast, Wer Du Bisst Wuss Ich Gern C1 Der Manner Sippe Götterdämmerung C2 Dawn And Siegfried's Rhine Journey C3 Siegfried's Funeral Music Credits Bass Vocals – Arnold Van Mill Composed By – Richard Wagner Conductor – Hans Knappertsbusch Orchestra – Wiener Philharmoniker Soprano Vocals – Kirsten Flagstad Tenor Vocals – Set Svanholm Notes Superanalogue release Barcode and Other Identifiers Barcode: T498800302398 Other versions Category Artist Title (Format) Label Category Country Year Kirsten Flagstad, Wagner*, Set Kirsten Flagstad, Svanholm, Hans Wagner*, Set Knappertsbusch, SXL 2074 - Svanholm, Hans SXL 2074 - Vienna Philharmonic Decca, SXL 2075, Knappertsbusch, SXL 2075, UK Unknown Orchestra* - Die Decca SXL.2074-75 Vienna SXL.2074-75 Walküre Act One Philharmonic Complete / Orchestra* Götterdämmerung (2xLP) Wagner*, Kirsten Flagstad, Set Wagner*, Kirsten Svanholm, Arnold Flagstad, Set van Mill, Wiener Svanholm, Arnold Philharmoniker LXT 5429/30 van Mill, Wiener Decca LXT 5429/30 Germany Unknown Dirigent: Hans Philharmoniker Knappertsbusch - Die Dirigent: Hans Walküre Erster Akt / Knappertsbusch Götterdämmerung
    [Show full text]
  • Toscanini in Stereo a Report on RCA's "Electronic Reprocessing"
    Toscanini in Stereo a report on RCA's "electronic reprocessing" MARCH ERS 60 CENTS FOR STEREO FANS! Three immortal recordings by Arturo Toscanini and the NBC Symphony have been given new tonal beauty and realism by means of a new RCA Victor engineering development, Electronic Stereo characteristics electronically, Reprocessing ( ESR ) . As a result of this technique, which creates stereo the Toscanini masterpieces emerge more moving, more impressive than ever before. With rigid supervision, all the artistic values have been scrupulously preserved. The performances are musically unaffected, but enhanced by the added spaciousness of ESR. Hear these historic Toscanini ESR albums at your dealer's soon. They cost no more than the original Toscanini monaural albums, which are still available. Note: ESR is for stereo phonographs only. A T ACTOR records, on the 33, newest idea in lei RACRO Or AMERICA Ask your dealer about Compact /1 CORPORATION M..00I sun.) . ., VINO .IMCMitmt Menem ILLCr sí1.10 ttitis I,M MT,oMC Mc0001.4 M , mi1MM MCRtmM M nm Simniind MOMSOMMC M Dvoìtk . Rn.psthI SYMPHONY Reemergáy Ravel RRntun. of Rome Plue. of Rome "FROM THE NEW WORLD" Pictures at an Exhibition TOSCANINI ARTURO TOSCANINI Toscanini NBC Symphony Orchestra Arturo It's all Empire -from the remarkable 208 belt- driven 3 -speed turntable -so quiet that only the sound of the music distinguishes between the turntable at rest and the turntable in motion ... to the famed Empire 98 transcription arm, so perfectly balanced that it will track a record with stylus forces well below those recommended by cartridge manufacturers. A. handsome matching walnut base is pro- vided.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • Mvdlugt Documentatie
    MARIJKE VAN DER LUGT (ROTTERDAM 1919 – DEN HAAG 1989) LEVEN EN LOOPBAAN AAD VAN DER TANG Höre ich nur diese Weise, Die so wundervoll und Leise, Wonne klagend, alles sagend, Mild versöhnend aus ihm tönend, in mich dringet, auf mich schwinget, hold erhallend um mich klinget? (uit: Isolde’s Liebestod) Maart 2008 INLEIDING Marijke van der Lugt kan worden beschouwd als een van de grootste na-oorlogse operazangeressen die Nederland heeft voortgebracht. In de toch al zo rijke zangcultuur van ons land heeft het aan vooraanstaande zangeressen nooit ontbroken en menigeen heeft naam gemaakt bij de wisselende Nederlandse operagezelschappen aan het eind van de negentiende en de eerste decennia van de twintigste eeuw, de Wagnervereeniging en in het buitenland. Namen als Aaltje Noorderwier-Reddingius en Cato Engelen-Sewing, om ons tot sopranen te beperken, hebben bij operaliefhebbers nog steeds een bekende klank en de stemmen van latere sopranen als Greet Koeman, Erna Spoorenberg, Gré van Swol-Brouwenstijn en Antoinette Tiemessen heeft menigeen nog op het operatoneel kunnen bewonderen. Sopranen die zich op grond van hun bijzondere stemeigenschappen bekwaamden in het dramatische of zelfs hoogdramatische vak zijn uiterst zeldzaam gebleven. Na Liesbeth Poolman-Meissner en Elisabeth Ohms, die een grote naam verwierven in voornamelijk het hoogdramatisch Wagner- en aanverwant repertoire in de eerste helft van de twintigste eeuw, is het alleen Marijke van der Lugt geweest die in dit specialistische domein werkzaam is geweest en lauweren heeft geoogst. Merkwaardig echter is het feit dat haar naam bij niet-ingewijden geen of weinig herkenning oproept, zoals gaandeweg dit onderzoek is gebleken, terwijl haar carrière toch goed te volgen is geweest in de kranten en via de vele radio-uitzendingen waaraan zij heeft meegewerkt.
    [Show full text]
  • De Muzikale Geschiedenis Van De Bayreuther Festspiele Afl. 15 (1945-1951) Door Johan Maarsingh
    De muzikale geschiedenis van de Bayreuther Festspiele afl. 15 (1945-1951) door Johan Maarsingh Als het aan de Amerikanen had gelegen zouden de Festspiele zo spoedig mogelijk haar wereldomvattende culturele taak hebben moeten hervatten. Anno juni 1945 en zeker in de toekomst zou mede daardoor de vertrouwensband tussen Duitsland en de overige landen in de wereld kunnen worden hersteld, zodat Duitsland op termijn weer als land en volk zou worden erkend. Het plan werd niet uitgevoerd, alleen al omdat er zoveel woonruimte was vernietigd en er geen sprake van kon zijn dat medewerkers aan de Festspiele onderdak zouden hebben. En dit gold nog veel meer voor de verwachte bezoekers van het festival. Dit was de belangrijkste oorzaak dat een herstart niet in 1950 kon plaatsvinden, het werd daarom een jaar uitgesteld. In de tussenliggende periode werd Wagners Festspielhaus gebruikt als een gewoon theater. Het werd zelfs in de wintermaanden gebruikt en niet alleen voor het opvoeren van opera’s. Er moest daartoe wel een hete lucht verwarmingsinstallatie in het theater worden gebouwd. Er waren revue-voorstellingen, optredens van Amerikaanse showbands, zelfs voor godsdienstige bijeenkomsten was er plaats in het Festspielhaus. Daartoe werd de orkestbak van een zodanige overkapping voorzien dat er een stevige toneelvloer ontstond. De grote ruimte van het oorspronkelijke toneel werd niet benut. Om toch plaats te bieden aan een orkest werden de eerste rijen stoelen, die voor het publiek waren bestemd, weggehaald. Aanvankelijk bestond dat publiek alleen uit Amerikanen, die in en rondom Bayreuth waren gelegerd. Alles werd georganiseerd door een ‘Special Service’ van het Amerikaanse leger.
    [Show full text]
  • De Muzikale Geschiedenis Van De Bayreuther Festspiele Afl. 17 (1954-55) Door Johan Maarsingh
    De muzikale geschiedenis van de Bayreuther Festspiele afl. 17 (1954-55) door Johan Maarsingh Op 22 juli 1954 debuteerde sopraan Gré Brouwenstijn (1915-1999) bij de Bayreuther Festspiele als Elisabeth in Tannhäuser. In diezelfde voorstelling maakte een jonge Duitse bariton, als Wolfram, eveneens zijn Bayreuth-debuut: Dietrich Fischer-Dieskau (1925-2012). Zij zouden ook in de beide daaropvolgende jaren in meerdere rollen van zich laten horen. Ramon Vinay was Tannhäuser. Opvallend: beiden waren later nog voor één jaar opnieuw geëngageerd en eveneens in een productie van Tannhäuser. Fischer- Dieskau was terug in 1961. De opname is inmiddels officieel op cd verschenen. Dit was helaas niet mogelijk met de opname uit 1965. Brouwenstijn deelde in 1965 de rol van Elisabeth met Leonie Rysanek (1926-1998). De Nederlandse sopraan zong niet tijdens de voorstelling die via de radio was te beluisteren. In 1954 werd voor het eerst sinds de door Toscanini gedirigeerde voorstellingen in 1931, een Tannhäuser gegeven in Bayreuth. Wieland Wagner voerde de regie. De uit de Oekraïne afkomstige componist en dirigent Igor Markevitsj (1912-1983) was in 1954 als dirigent voorzien. Wieland Wagner wilde dirigenten naar Bayreuth Gré Brouwenstijn als Elisabeth halen die van buiten Duitsland kwamen en het liefst niet geschoold waren in de Duitse operahuizen. Een heldere, uitgedunde klank moest met Wagners muziek mogelijk zijn. Markevitsj maakte in 1953 met de Berliner Philharmoniker opnamen voor Deutsche Grammophon Gesellschaft en was dus bekend genoeg en mogelijk in staat om in Bayreuth zijn stempel te zetten op de uitvoeringsstijl van Wagners opera’s. Helaas bleek hij niet optimaal om te kunnen gaan met de akoestiek in het Festspielhaus en daarom werden de geplande uitvoeringen van Tannhäuser verdeeld onder twee dirigenten, die al in Bayreuth hadden opgetreden en in 1954 ook andere opera’s zouden leiden: Eugen Jochum en Joseph Keilberth.
    [Show full text]
  • Wagner's Die Meistersinger
    Wagner’s Die Meistersinger: A partial discographical survey by Ralph Moore There are around ninety recordings of Die Meistersinger, of which only seven were studio-made and the last of those was recorded nearly twenty years ago; a handful are composite recordings from radio broadcasts or live performances but the majority are simply live recordings of one performance, with all the hazards, extraneous noises and potential for errors that the presentation of such a long and complex work entails. I review here some 24 recordings in all, including all seven studio versions, some live or radio broadcast performances, a couple of early recordings of excerpts and Böhm’s 1939 recording of Act 3, for reason of its exceptional quality. Two are in English: the 1923 pioneering effort and Goodall’s Sadler’s Wells performance in 1968. Some understandably esteem this opera above all Wagner’s other works, even the Ring. Certainly my experience in recent years of having seen two excellent productions, one at Glyndebourne and the other at the ENO confirms the validity of that assessment; not only is it musically deeply satisfying but it provides an absorbing dramatic spectacle and Beckmesser’s antics can even be genuinely funny – not a quality we necessarily associate with Wagner. The riot scene concluding Act 2, the cacophonous confusion melting away to leave the sole figure of the Nightwatchman intoning the hour, is one of the most thrilling in all opera; it must surely have influenced or even inspired Strauss in his use of three Nightwatchmen to provide a consoling conclusion to the end of Act 1 of his own Act 2 to Die Frau ohne Schatten.
    [Show full text]
  • A Partial Discographical Conspectus by Ralph Moore Tristan Und Isolde Represents Both the Highpoint of Roman
    Tristan und Isolde: A Partial Discographical Conspectus by Ralph Moore Tristan und Isolde represents both the highpoint of Romantic opera and the gateway to a new world of harmonic invention, epitomised by the famous “Tristan chord”. Despite its length and nearly insurmountable vocal challenges for its principal singers, it has established and maintained a central place in the operatic repertoire worldwide. For some, its popularity and appeal are inexplicable; they are likely to share Rossini’s verdict that “M. Wagner a de beaux moments, mais de mauvais quart d’heures” or, even worse, agree that, like Parsifal, Tristan "is the kind of opera that starts at six o'clock and after it has been going three hours, you look at your watch and it says 6:20.” I for one am not such a purist that I become very exercised if a few judicious cuts are made in this work, but at the same time I do not find that it drags, as long as the artists performing it can rise to its demands and sustain the requisite intensity. If I follow the work with a libretto I am apt to think that not a note is wasted; the intensity of Wagner’s vision is all-consuming if the listener can sustain concentration and be swept along by those glorious, through-composed melodies. I know of few more searingly dramatic moments in opera than “Er sah mir in die Augen” or “Rette dich, Tristan!”; this is grown-up music, devoid of stock gestures and tired platitudes, which instead explores the complexities of adult sexuality and relationships in the most extraordinarily subtle and profound manner, both musically and psychologically.
    [Show full text]
  • WAGNER Die Meistersinger Von Nürnberg
    110872-75 bk Wagner US 05|02|2003 10:06 AM Page 12 0 Sachs disclaims the poem and asks if anyone @ Sachs wisely advises him not to spurn the art of the ADD present can sing the song as it should be sung and win Mastersingers, who have preserved true German art, the title of Mastersinger. inherited from court traditions, and will protect it from Great Opera Recordings danger. 8.110872-75 ! Walther steps forward and sings the prize song and is crowned with the garland by Eva, while Pogner offers # All join in praise of German art. Eva takes the him the golden chain of a Mastersinger. Walther, garland from Walther and bestows it on Sachs, who in 4 CDs however, disclaims this honour, desiring happiness turn bestows the golden chain on Walther. All pay WAGNER alone. tribute to Hans Sachs. Keith Anderson Die Meistersinger von Nürnberg Otto Edelmann • Elisabeth Schwarzkopf • Hans Hopf • Erich Kunz Bayreuth Festival Chorus and Orchestra • Herbert von Karajan Recorded in 1951 Producer’s Note This classic recording of Die Meistersinger was made during a rehearsal and five performances given at the Bayreuth Festspielhaus in July and August of 1951. It was originally taken down on magnetic tape, and was first issued both on LP (from which the present transfer derives) and on 68 sides in the largest set of 78 rpm discs ever devoted to a single work. The original Columbia/EMI recording is problematic in several respects. The splices joining portions taken from different performances are sometimes glaringly obvious; there are occasional dropouts and frequent volume level fluctuations; the voices are caught rather closely, and tend toward harshness in louder passages; and save for the big ensemble pieces (such as the start of the festival scene in Act 3), there is little sense of the unique acoustical qualities of the Festspielhaus which Decca’s engineers caught so well in Knappertsbusch’s contemporaneous recording of Parsifal (Naxos Historical 8.110221-24).
    [Show full text]
  • A Complete Kirsten Flagstad Discography, Would Take Many Years to Carry Throughl
    A complete Kirsten Flagstad discography, would take many years to carry throughl. If we include an unknown amount of pirate copies and till now unknown broadcast recording, we would come close to 1000 recordings of Kirsten Flagstad’s singing, made during a period of 46 years (1913-1959). Several Flagstad discographies have been written, but none of them can be regarded as complete. The most detailed of them all is undoubtedly Howard G. Sanner, edited 1980. Still, when we now have been allowed to write down this so far unknown Arne Dørumsgaard discography, it is our hope that you will get at least an idea of Kirsten Flagstad’s enormouus production. The lists also include some real curiosities. f1 FLAGSTAD MEMORIAL ALBUM, VOLUME II HARVEST H- 1004 side 1 1) Aagots Fjeldsang.......................................................... Thrane 2) Aa Ola,Ola min eigen onge........................................... Folksong 3) Mot Kveld...................................................................... Backer- Grøndahl 4) Solveigs Sang............................................................... Grieg 5) Sæterjentens Søndag................................................... Bull 6) Mainat............................................................................Sinding 7) Vaaren.......................................................................... Grieg 8) Ingalil.............................................................................Rosenfeld side 2 1) Hjem, kjære Hjem......................................................... Bishop
    [Show full text]
  • 110221-24Bk Parsifal
    Mark Obert-Thorn ADD Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been Great Opera Recordings 8.110221-24 nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike 4 CDs those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard with WAGNER the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Parsifal piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and consistently achieves better results than restoration engineers working with the metal parts from the archives of the Windgassen • Mödl • Weber • London • Van Mill • Uhde modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is absent Bayreuth Festival Chorus • Bayreuth Festival Orchestra from many other commercially released restorations. Hans Knappertsbusch, Conductor Recorded during July and August, 1951 at the Festspielhaus, Bayreuth The Naxos Historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide.
    [Show full text]