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CHAN 5087
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CHAN 5087

Wagner: Tristan und Isolde/ Overtures

The Classical Shop
release date: February 2011

Recorded in 24 Bit / 96Khz

Originally recorded in 2010

Artists:

Royal Scottish National Orchestra


Neeme Jarvi



Venue:

Royal Concert Hall, Glasgow



Producer:

Brian Pidgeon



Engineer:

Ralph Couzens


Jonathan Cooper

(Assistant)

Record Label
Chandos

Genre:

Orchestral & Concertos




Total Time - 70:32
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RICHARD WAGNER

(1813-1883)
   
1 

Overture to 'Das Liebesverbot'

8:15
  Molto vivace - Allegro con fuoco - Presto  
2 

Overture to 'Die Feen'

10:48
  Adagio - Un poco meno adagio - Tempo I - Allegro con molto fuoco - Più allegro  
 

Tristan und Isolde, an orchestral passion

51:31  
  Arranged 1994 by Henk de Vlieger (b. 1953)  
3 1 Einleitung. Langsam und schmachtend - 6:41
4 2 Isoldes Liebesverlangen. Sehr lebhaft - Immer belebter - Ruhiger und allmählich immer langsamer - 8:12
5 3 Nachtgesang. Mäßig langsam - Breiter - 15:43
  Wieder mäßig langsam - Erstes Tempo -  
  Immer mehr belebend - Immer belebter -  
  Lebhaft, mit Steigerung - Sehr lebhaft und schnell -  
  Sehr drängend - Immer etwas drängend - Noch drängender -  
  Sehr schnell - Immer sehr schnell - Etwas mäßiger -  
  Allmählich etwas langsamer - Mäßig bewegt  
6 4 Vorspiel und Reigen. Mäßig langsam - 5:31
7 5 Tristans Vision. [Mäßig langsam] - Sehr ruhig und nicht schleppend - Immer breiter - Breit - 4:00
8 6 Das Wiedersehen. Etwas lebhafter - 5:55
  Allmählich immer mehr belebend - Sehr lebhaft -  
  Noch schneller - Noch mehr beschleunigend -  
  Früheres Zeitmaß - Sehr lebhaft -  
  Sehr allmählich nachlessend im Zeitmaß -  
  Sehr langsam - Langsam -  
9 7 Isoldes Liebestod. Sehr mäßig beginnend - Etwas bewegter 5:27


Neeme Järvi is back conducting the Royal Scottish National Orchestra in the third of four albums featuring Henk de Vlieger’s bold arrangements of operas by Wagner. Of the first album (CHSA 5060), Classic FM wrote: ‘Dutch composer Henk de Vlieger builds a penetrating symphonic poem that reflects the dramatic depths of The Ring.’

In Volume 3, De Vlieger turns to Wagner’s tragic-romantic opera Tristan und Isolde, which is here treated symphonically. The key themes of anticipation, longing, rapture, separation, hope, death, and transfiguration are expressed solely through orchestral forces. A particularly striking feature of the lovers’ duet, a movement entitled ‘Nachtgesang’, is the conspicuous presence of the violin and the clarinet, which pick out the sung parts of the two lovers. The movement ends on an unresolved chord followed by a compelling caesura, which symbolises the painful realisation that it will never be possible for them to fulfil their great love.

This disc also includes the overture to Wagner’s Die Feen. This was the composer’s first great romantic, although less well-known, opera. The overall style of the work, based on La donna serpente by Carlo Gozzi, owes its essentials to Beethoven, Marschner, and Weber – something that Wagner himself never hid in the least. However, the opera also displays clearly audible foreshadowings of the composer’s later works, Tannhäuser and Lohengrin, in particular.
Wagner based Das Liebesverbot on Shakespeare’s Measure for Measure, and included on this disc is the overture to the opera. It is perhaps the most Mediterranean-sounding of the composer’s operas, something especially apparent in the brimming vitality of the overture in which the tone is set straight away by the sparkling contributions of castanets, triangle, and tambourine. Described as a ‘große komische Oper’, it was composed in 1834, and Wagner conducted the premiere at Magdeburg in 1836. The first performance poorly attended and
involving a lead singer who forgot the words and had to improvise, the opera was a resounding flop and its second performance had to be cancelled after a fist-fight broke out backstage between the prima donna’s husband and a leading tenor before the curtain had even risen. The opera was never performed again in Wagner’s lifetime.
 

“...kudos to Chandos and Jarvi for bringing us orchestral Wagner in an era when his music is too often absent from the concert hall. The RSNO plays with a full, splendid tone, and Chandos’s hybrid SACD sound does them justice...”

Hansen – American Record Guide – July/August 2011


“...for unadulterated persuasiveness I’d recommend the two early overtures: fascinating glimpses of the formidable theatrical magician that (even before Rienzi) Wagner was beginning to become.”

Arnold Whittall – Gramohone May 2011





*****
H Ferguson

*****
E Pellegero