2 Stücke aus Tannhäuser und Lohengrin, S.445 скачать в хорошем качестве

2 Stücke aus Tannhäuser und Lohengrin, S.445

Einzug der Gäste auf Wartburg – Marsch aus Richard Wagners Tannhäuser S.445/1a (1853): 0:03 S.445/1b (1874): 10:01 S.445/1c (1876): 21:49 Elsas Brautzug zum Münster, S.445/2: 34:37 The Zwei Stücke aus ‘Tannhäuser’ und ‘Lohengrin’, of which the Einzug der Gäste auf der Wartburg is the first piece, first appeared in print in 1853. For the reissue in 1876 Liszt made a few alterations to the first number, and in subsequent editions, the original text is usually printed with the later alterations as footnotes. Since the ternary structure of the transcription entails a large literal repeat, it is possible to include the details of the later edition (not the variant simplifications) in the repeated section without doing any violence to the work. This repeat is, in any case, Liszt’s own invention to round off the work as a concert piece; in the opera—Act 2 Scene 4, the Song Contest at the Wartburg—the march and chorus move into a further slower march for the entry of the minstrels, which music recurs in another key towards the end of the scene. Liszt turns these two 32-bar periods into a trio section and composes a brilliant modulating return to a shortened version of the march. from notes by Leslie Howard © 1998 (No.1a,b) ----------- For some reason, Liszt returned to his transcription of the Einzug der Gäste auf Wartburg: Marsch aus Richard Wagners Tannhäuser in 1876 and, whereas the published editions had all been very faithful to Wagner’s text, allowed himself a little free improvisation before the principal theme appears, and made numerous further changes, sometimes of harmony and even of structure. These new alterations were written into a copy of the 1874 edition, and this version appeared in print for the first time in the excellent Neue Liszt-Ausgabe. from notes by Leslie Howard © 2011 (No.1c) ----------- This piece comes from the opera of Wagner, whose long and storm-tossed friendship with Liszt is one of the most complex in musical history. Liszt’s enthusiasm and financial and practical support for the living composer he most revered is very well documented, as is the fact of Liszt’s being entrusted with producing and conducting the first performances of Lohengrin since Wagner was in exile on pain of death after his prominent support of the 1848 revolution. (Typically, Liszt received small thanks from Wagner for his efforts.) For some reason, Liszt issued the transcription of Elsa’s Bridal Procession with his flamboyant account of the ‘Entry of the Guests’ from Tannhäuser with which it scarcely belongs. Elsa’s Bridal Procession comes from the fourth scene of Act II as she is prepared for her wedding with Lohengrin, the Festspiel und Brautlied is the Prelude to Act III and the now-ubiquitous Bridal March, to which Liszt adds a shortened reprise of the Prelude. Elsa’s Dream—her vision of the knight—is found in the second scene of Act I, and Lohengrin’s Reproof forms part of the love music in the scene in the bridal chamber from Act III. Liszt’s faithful (and, in the case of the Prelude to Act III, sometimes treacherous-to-play) transcriptions furnish each of the quieter pieces with appropriate endings; Wagner’s original has them flow straight into ensuing transitions. from notes by Leslie Howard © 1994 (No.2) Performed by: S.445/1a: Wilhelm Backhaus S.445/1b: Steven Mayer S.445/1c: Leslie Howard S.445/2: Ketevan Sharumashvili