It cuts straight to the first iteration of the Valhalla theme rather than to the opening scene with the Rhinemaidens. To my mind, the use of the first iteration of the Valhalla theme overlooks the pyrrhic victory that was achieved when the gods built it. In the Zumpe concert arrangement we hear the theme in its last iteration in this opera and it might be more apt to use this instance and context in a Ring digest like this.
However, things wake up from the Forest Murmurs stretch. The Twilight of the Gods sequence fares best. It skips over the moment Hagen kills Siegfried and cuts straight to his recollections of finding Brunnhilde. I know that there are rough spots in this compilation, but Maazel is still to be commended for making the Ring palatable.
No complaints about the playing of the Berliners and the superb Telarc recording. So I give credit for encouraging others to follow suit with their own jumbo-sized Ring suites. In an ideal world, a Ring suite would bring out the narrative more clearly. The Dressler and de Vlieger suite do a better job at highlighting the narrative. Thanks for sharing it. It is very well played by the Berliners and Telarc have supplied excellent sonics. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
In his late teens, he studied composition with Christian Theodor Weinlig, the conductor of the Thomanerchor in Leipzig. Weinlig made the young Wagner study counterpoint, and almost certainly sonata form as Wagner dedicated his first opus, a four-movement Piano Sonata, to his teacher. This was published in , in the same year when Wagner composed the Fantasy in F sharp minor recorded here.
The Fantasy approximately outlines a three-movement sonata work, each movement preceded and linked by dramatic recitative passages. It opens with such a brooding, recitative-like section, which leads into an episode marked Un poco lento. More dramatic recitative introduces a bridge passage, with a passing resemblance to the famous Toccata attributed to Bach, which leads to an impetuous Allegro agitato.
Another episode of recitative introduces a broad Adagio molto e cantabile, Beethoven-like in its noble melodiousness, with a hint of the 'Tempest' Sonata in some threatening rumbles in the bass. After some dramatic recollections of earlier sections of the Fantasy, a recapitulation of the opening Un poco lento returns the work to the lugubrious gloom from which it started.
The next original piano work represented on this album is an attractive 'Song without words', dated Wagner's early Fantasy in F sharp minor is a promising large-scale statement from a composer aged But as with the Sonata written for Mathilde Wesendonck two decades later, the musical material lacks the focus and individuality that makes for rewarding listening, and the other Wagner items included in this programme are very slight.
They do, however, work well as interludes between the much more elaborate operatic fantasies, which is where Llyr Williams's fine pianism comes into its own. Among the Liszt transcriptions, the 'Liebestod' from Tristan und Isolde shines out as a masterwork in its own right; its surging waves ofsound are superbly shaped and paced by Williams, who has also made his own transcriptions of three scenes from Parsifal. These include his remarkable conjuring of the deep bell sounds of the castle of Momsalvat, although some Lisztian daring would have been welcome in the exotic sound-world of 'Parsifal and the Flower Maidens', where Williams's approach is a shade cautious.
But he excels in the gorgeously extravagant 'Santo spirito cavaliere' from Rienzi, conjuring splendour from figuration that can easily sound overwritten when played on a modern piano. Franz Liszt DR15 Franz Liszt DR12 Franz Liszt DR16 DR13 Franz Liszt DR13
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