Richard WAGNER (1813-1883)
Overture to Das Liebesverbot (1836) [8:15]
Overture to Die Feen (1834) [10:48]
Tristan und Isolde, An Orchestral Passion (arr. 1994, Henk de Vlieger
(b. 1953)) (1865) [51:31]
Royal Scottish National Orchestra/Neeme Järvi
rec. Royal Concert Hall, Glasgow, 16-17 February 2010. SACD DSD
CHANDOS CHSA 5087 [70:53]
I reviewed this in standard CD mode.
This disc continues Henk de Vlieger’s exploration and indeed advocacy of Wagner’s
music-dramas as standalone orchestral pieces. The earlier volumes are:-
The Ring – An Orchestral Adventure RSNO/Järvi Chandos CHSA5060
Parsifal – An Orchestral Quest RSNO/Järvi Chandos CHSA5077
I cannot pretend that Wagner has ever attracted me enough to encourage me
to explore any of the operas more than once – except Tristan. I am
sure this must be more my problem than his. I recall dabbling in my early
exploratory days. I enjoyed some of Boult’s EMI recordings of the orchestral
excerpts. Lohengrin Act III prelude was a rowdy favourite of mine.
I was a little bit interested when I heard a 1970s Radio 3 studio broadcast
of Rienzi. The Siegfried Idyll does hold tender attractions.
The Ride of the Valkyries was stunningly arrogated in Apocalypse
Now. As for the rest I have sampled from time to time but for the most
part I find myself wanting to turn away. It’s probably a problem with a short-breathed
attention span.
The idea behind this music is old-fashioned and unfashionable. There’s no
intrinsic criticism in that but the sort of thing de Vlieger does is hardly
historically informed practice or part of the path to authenticity. Surely
this is the way of showman-conductors such as Wood, Sargent and Stokowski?
Perhaps not – after all what is untoward in making available accessible concert-hall
doorways to music-dramas which are expensive to stage and indeed to attend.
Stokowski did in fact produce a 20+ minute Symphonic Synthesis of Tristan
in two variants. We have heard this in the Serebrier-Stokowski project on
Naxos
and also on Chandos
from Bamert. This skilled seven-movement Passion is of about the size
as a major late-romantic symphony. It broods on the broadest canvas reminding
me, in the Einleitung, of Franck’s Psyché. Järvi evidently relishes
the experience because a sort of romantic enthusiasm can be felt at every
turn. The Nachtgesang is especially affecting with its solo violin.
In the Vorspiel und Reigen one can hear how Tristan influenced
film music – especially that of Bernard Herrmann and the late John Barry in
their most broodingly expansive moods. The alert and increasingly urgent playing
in the Das Wiedersehen as well as some pert woodwind make this a real
delight. The Liebestod crowns a satisfyingly expansive work in which
de Vlieger and Järvi nicely weight, accelerate, holds back and release (3:55)
the music-drama’s slow ascent to sustained climax.
Two original Wagner scores preface the Passion. Järvi drives the Das
Liebesverbot overture with a fiery will – it’s a great performance. This
has to be an early work given the tendency towards repetition of orchestral
effects including the generously represented castanets and percussion generally.
The manner recalls more famous but later works from Weber, Sullivan and Rossini.
The brass are abrasively throated. The sound is utterly magnificent. The Die
Feen overture carries passing prescience of Meistersinger as does
Das Liebesverbot in relation to Fliegende Holländer. It is however
a more Weberian work with even a shade of the style of writing we now associate
with Mendelssohn’s Midsummer Night’s Dream music. Once again Järvi
gives this a passionately exciting impulse. In fact he plays both works without
excuse as masterworks completely holding his and our attention. I doubt they
have ever been better advocated.
The thoughtfully extensive notes are by Maarten Brandt.
Järvi on best of best form here.
Rob Barnett
Järvi on best of best form here.