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CHAN 5126
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CHAN 5126

Wagner: Overtures and Preludes

The Classical Shop
release date: September 2013

Recorded in 24 Bit / 96Khz
album available as a Studio File
Originally recorded in 2009

Artists:

Royal Scottish National Orchestra


Neeme Jarvi



Venue:

Royal Concert Hall, Glasgow



Record Label
Chandos

Genre:

Orchestral & Concertos




Total Time - 79:02
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RICHARD WAGNER

(1813-1883)
   
1 

Overture to 'Die Feen', WWV 32

10:48
  Adagio - Un poco meno adagio - Tempo I - Allegro con molto fuoco - Più allegro  
2 

Overture to 'Columbus', WWV 37

8:02
  Edited 1907 by Felix Mottl (1856-1911)  
  as concert overture with the title Christoph Columbus  
  Allegro molto agitato - Andante maestoso - Tempo I -  
3 

Overture to 'Das Liebesverbot', WWV 38

8:10
  Molto vivace - Allegro con fuoco - Presto  
4 

Overture to 'Rienzi, der Letzte der Tribunen', WWV 49

11:16
  Molto sostenuto e maestoso - Allegro energico - Un poco più vivace - Molto più stretto  
5 

Eine Faust-Ouverture, WWV 59

11:03
  Sehr gehalten - Sehr bewegt - Sehr allmählich das Tempo etwas zurückhalten -  
6 

Overture to 'Der fliegende Hollander', WWV 63

11:00
  Allegro con brio - Andante - Animando un poco - Tempo I - Molto animato -  
7 

Prelude to Act III of 'Lohengrin', WWV 75

3:04
  Sehr lebhaft  
8 

Prelude to 'Tristan und Isolde'. WWV 90

6:43
  Langsam und schmachtend  
9 

Prelude to 'Die Meistersinger von Nurnberg', WWV 96

8:56
  Sehr mäßig bewegt - Bewegt, doch immer noch etwas  
  breit - Mäßig im Hauptzeitmaß -  


On this album we bring together some of the highlights from Neeme Järvi’s five-volume Wagner series with the Royal Scottish National Orchestra. As an added bonus, we have included the Overture to Der fliegende Holländer, a piece not before released.

 
Among Wagner’s most revolutionary scores is the tragic-romantic opera Tristan und Isolde. The key themes of anticipation, longing, rapture, separation, hope, death, and transfiguration are suggested already in the famous Prelude to the opera, recorded here. 
 
The Overture to Rienzi, Wagner’s third completed opera (1838 – 40), incorporates the melody of Rienzi’s prayer at the start of Act V, which since became the opera’s best-known aria, and ends with a dazzling military march. Die Feen 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.
 
Wagner based Das Liebesverbot on Shakespeare’s Measure for Measure. It is perhaps the most Mediterranean-sounding of his operas, something especially apparent in the brimming vitality of the Overture with its sparkling contributions of castanets, triangle, and tambourine. ‘Rollicking good fun’ wrote American Record Guide of this piece.
 
Also enriching the album are the Prelude to Die Meistersinger von Nürnberg, the Prelude to Act III of Lohengrin, and the seldom performed and recorded, Weber-inspired Overture which Wagner wrote in 1835 for the play Columbus by Theodor Apel. Eine Faust-Ouvertüre followed in 1840. Taking its inspiration from Goethe’s famous play, this work, together with Hector Berlioz’s Symphonie fantastique, became the main example of nineteenth-century programme music.

"... it [Faust] receives an urgent and ardent reading that is very fine. This enjoyable ... is in excellent recorded sound ... an audiophile’s paradise."

Colin Anderson - International Record Review - January 2014


“…Neeme Järvi is a master of this repertoire and he continually conjures splendid playing from his Scottish orchestra … the sound is of the highest Chandos quality to match the fine playing …”

Ivan March – Gramophone magazine – November 2013


                    Performance ****      Recording *****

"... an excellent programme ... hard to better ... He [Järvi] tends to favour measured tempos, but these are illuminated by the fine playing of the RSNO, gleaming richly in the spacious grandeur of SACD sound, a fine demonstation of why this connoisseur’s format still endures... enjoyable disc."

Michael Scott Rohan - BBC Music magazine - December 2013


“... Järvi’s interpretations are wonderfully supple.”

Paul Driver – The Sunday Times magazine – 1 September 20




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