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Meistersinger - an orchestral tribute
Richard Wagner

Edo de Waart / Netherlands Radio Philharmonic Orchestra

Meistersinger - an orchestral tribute

Price: € 12.95 9.07
Format: CD
Label: Challenge Classics
UPC: 0608917232622
Catnr: CC 72326
Release date: 01 October 2010
old €12.95 new € 9.07
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12.95 9.07
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Label
Challenge Classics
UPC
0608917232622
Catalogue number
CC 72326
Release date
01 October 2010
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

This is an orchestral tribute to Wagner's Meistersinger ánd Deux entreactes tragiques, all of these works in arrangements by Henk de Vlieger.

Die Meistersinger von Nürnberg holds a special position among Richard Wagner’s music dramas. First, it is his only “comic” opera, and its subject, moreover, is not based on a myth or saga. The characters are mere common mortals and at least one of them, Hans Sachs, actually existed. The plot is set within a historical context, 16th-century Nuremberg, and has clear sociological and political implications, regarding the relationship between the artist, tradition and society. The libretto, which Wagner wrote himself, as always, is in keeping with this. In contrast with his mythological and mythological historical dramas, here the verse lines are longer than in previous works, corresponding more with spoken language, and employ more traditional rhyme patterns. In many places, one could even speak of rounded-off song texts consisting of various couplets.Die Meistersinger also differs musically from Wagner’s other operas. In the preceding works, among which most of Der Ring des Nibelungen and Tristan und Isolde, he developed a musical idiom increasingly marked by short phrases and ever more daring chromaticism. This reached a high point in the love drama Tristan und Isolde, in which tonality itself is stretched to the limit. In Die Meistersinger, however, Wagner returned to a predominately diatonic idiom and its most important moments, such as Walther’s prize song, in fact the central moment, are set simply in the key of C major. Another musical element found throughout this score is brilliant counterpoint, the harmonious combination of two or more melodic lines. Despite all of this, the orchestration of Die Meistersinger is relatively small compared to his other operas. The vivid Romantic tone colours of his orchestral palette, such as the English horn and bass clarinet, are entirely lacking. But the opera is nevertheless filled with instrumental strokes of genius and the orchestration is dazzling in all its riches. Through the cunning combination of all of these elements, Die Meistersinger von Nürnberg is a wondrous, highly original score that is moreover one of the most readily accessible of Wagner’s entire oeuvre.
Een orkestrale ode aan Die Meistersinger
Dit is een orkestrale eerbetoon aan Wagner’s Die Meistersinger en Deux entreactes tragiques in een bijzonder arrangement van Henk de Vlieger.

Die Meistersinger von Nürnberg heeft een speciale plek binnen Richard Wagner’s muzikale drama’s. Ten eerste is het zijn enige komische opera en het onderwerp is, in tegenstelling tot zijn andere opera’s, niet gebaseerd op een mythe of saga. De personages zijn gewone stervelingen en ten minste één van hen, Hans Sachs, heeft echt bestaan. Het verhaal speelt zich af in een historische context in het 16e-eeuwse Neurenberg en bevat meerdere sociologische en politieke ladingen wat betreft de relatie tussen de kunstenaar, traditie en de maatschappij. In tegenstelling tot zijn mythologische drama’s zijn in dit werk de verzen langer en volgen een tradioneler rijmschema om zo gesproken taal te representeren. Op veel plekken kan men zelfs spreken van afgeronden liedteksten, bestaande uit meerdere coupletten. Muzikaal is er ook veel verschil tussen Die Meistersinger en zijn andere werken: Wagner gebruikt een overwegend tonaal idioom met briljant contrapunt, in tegenstelling tot zijn gebruik van korte frases en een gedrufde chromatiek in bijvoorbeeld Tristan und Isolde.

De muziek wordt uitgevoerd door het Nederlands Radio Filharmonisch Orkest onder leiding van Edo de Waart, een buitengewone orkesttrainer die de internationale reputatie van meerdere orkesten tot een ongelooflijk niveau wist te katapulteren. Zo heeft hij ook zijn stempel gedrukt op het Radio Filharmonisch Orkest met deze uitvoering van wereldklasse.
Diese Neueinspielung der Meistersinger-Orchester-Adaption von Henk de Vlieger mit dem Netherlands Radio Philharmonic Orchestra unter Edo de Waart setzt die erfolgreiche Reihe fort und ist einzigartig in seiner Art. Sie enthält außerdem die Orchestrierungen Henk de Vliegers von Anfängen zweier instrumentaler Kompositionen, die als 'Entreactes tragiques' in die Richard-Wagner-Gesamtausgabe von 1986 aufgenommen wurden und ursprünglich vom Komponisten als Theatermusik konzipiert wurden. Das Ergebnis passt hervorragend zu Wagners eigenen Orchestrierungen seiner unvollendeten Oper 'Die Hochzeit' (1833) und seinem ersten abgeschlossenen Musikdrama Die Feen (1833-1834).

Artist(s)

Edo de Waart (conductor)

Edo de Waart established a notable conducting career in the last third of the 20th century, becoming known for clear, exciting performances in a wide range of repertory. He came from a musical family, being the son of a choral singer. He studied oboe with Haakon Stotijn and also conducting at the Music Lyceum in Amsterdam. He became co-principal oboe of the Amsterdam Philharmonic in 1961 and associate principal of the Concertgebouw Orchestra in 1963. Meanwhile, he studied conducting, including a course with Franco Ferrara at Hilversum in 1964. This led to a debut with the Netherlands Radio Philharmonic in 1964. That same year he won the prestigious Dimitri Mitropoulos Conductors' Competition in New York, which resulted in a year-long appointment as an assistant conductor of the New York Philharmonic (1965-66). He became assistant...
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Edo de Waart established a notable conducting career in the last third of the 20th century, becoming known for clear, exciting performances in a wide range of repertory. He came from a musical family, being the son of a choral singer. He studied oboe with Haakon Stotijn and also conducting at the Music Lyceum in Amsterdam. He became co-principal oboe of the Amsterdam Philharmonic in 1961 and associate principal of the Concertgebouw Orchestra in 1963. Meanwhile, he studied conducting, including a course with Franco Ferrara at Hilversum in 1964. This led to a debut with the Netherlands Radio Philharmonic in 1964. That same year he won the prestigious Dimitri Mitropoulos Conductors' Competition in New York, which resulted in a year-long appointment as an assistant conductor of the New York Philharmonic (1965-66). He became assistant conductor of the Amsterdam Concertgebouw under Bernard Haitink in 1966. He made an impressive recorded debut with the Netherlands Wind Ensemble, which he founded in 1967, including classic recordings of Mozart wind music. He was also appointed co-music director of the Rotterdam Philharmonic with Jean Fournet, becoming sole music director when Fournet vacated his appointment in 1973. His association with the Rotterdam Philharmonic, which lasted until 1979, became noted for firm, exciting orchestral performances and intriguing choices of repertory. In 1975 he became principal guest conductor of the San Francisco Symphony Orchestra, and was elevated to music director in 1977. Although the orchestra was often capable of fine performances, it was variable and had weaknesses. De Waart lifted its standards, turning it into a consistently fine orchestra. In 1985 he conducted an acclaimed series of the complete Wagner Ring operas in San Francisco.
Over the years he has made many appearances as an opera conductor, including Bayreuth, Covent Garden, the Santa Fe Opera, Paris' Bastille Opera, and the Metropolitan Opera. He conducted the first recording of Adams' Nixon in China, which won a Grammy Award in 1988. In 1996 he debuted at the Salzburg Festival with Mozart's The Marriage of Figaro.
In 1993 he was appointed chief conductor and artistic director of the Sydney (Australia) Symphony Orchestra, and in August 1995 led it on its first European tour in 20 years. In 1996 he took it on its first tours of Japan and Taiwan, and in 1998, on an American tour. He was appointed artistic director of the Netherlands Dutch Radio and Television Organization, and chief conductor of the Netherlands Radio Philharmonic. At the beginning of the 1999-2000 season he began his tenure as chief conductor of the Netherlands Opera. In that year de Waart became music director of the Hong Kong Philharmonic, with his contract extended until 2012. He assumed responsibilities as musical director of the Milwaukee Symphony Orchestra in 2009. An advocate of modern and contemporary music, he has conducted the work of Reich, Torke, Wuorinen, and Britten.

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Netherlands Radio Philharmonic Orchestra

The Netherlands Radio Philharmonic Orchestra gave its first concert on 7 October 1945, led by its founder and ‘first conductor‘ Albert van Raalte, on Radio “Herrijzend Nederland”. Initially the orchestra spent most of its time in studios working on a large number of recordings for the public broadcasting system. The Netherlands Radio Philharmonic featured prominently in the Saturday Matinee as soon as the series started in 1961, and has continued to give frequent live performances ever since. The celebrated Saturday Matinee has hosted many legendary concerts. Illustrious soloists such as Kathleen Ferrier, Elisabeth Schwarzkopf, Clara Haskil and Jean-Pierre Rampal have shared the stage with the Netherlands Radio Philharmonic Orchestra. In 2004, the three classical orchestral formations of the broadcasting 15 system...
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The Netherlands Radio Philharmonic Orchestra gave its first concert on 7 October 1945, led by its founder and ‘first conductor‘ Albert van Raalte, on Radio “Herrijzend Nederland”. Initially the orchestra spent most of its time in studios working on a large number of recordings for the public broadcasting system. The Netherlands Radio Philharmonic featured prominently in the Saturday Matinee as soon as the series started in 1961, and has continued to give frequent live performances ever since. The celebrated Saturday Matinee has hosted many legendary concerts. Illustrious soloists such as Kathleen Ferrier, Elisabeth Schwarzkopf, Clara Haskil and Jean-Pierre Rampal have shared the stage with the Netherlands Radio Philharmonic Orchestra.
In 2004, the three classical orchestral formations of the broadcasting 15 system were transformed into two: the present Netherlands Radio Philharmonic Orchestra and the Netherlands Radio Chamber Philharmonic. In 2006, these two orchestras, the Netherlands Radio Choir and the Metropole Orchestra joined the Dutch public broadcasting organisation NPO.
The Radio Philharmonic Orchestra has been conducted by great names such as Bernard Haitink, Jean Fournet, Hans Vonk, Sergiu Comissiona and Edo de Waart. Jaap van Zweden was named its chief conductor in September 2005. The orchestra has also worked with numerous famed guest conductors such as Leopold Stokowski, Kirill Kondrashin, Antál Dorati, Riccardo Muti, Kurt Masur and Valery Gergiev. Soon after its founding, the Netherlands Radio Philharmonic found itself foremost in Dutch musical life in the number of performances and the diversity of its repertoire, with a predilection for Dutch and contemporary works in its programming. It has honed another facet of its striking profile with a great many opera concertante performances. The orchestra has an extensive discography, ranging from legendary LPs recorded in the 1970s under such conductors as Leopold Stokowski and Antal Doráti to Jean Fournet’s much-lauded renderings of French repertoire. Under Edo de Waart, not only did it release its legendary Wagner interpretations, but also the complete orchestral works of Rachmaninov. CDs with work by contemporary composers such as Jonathan Harvey, Klas Torstensson, Jan van Vlijmen and Stravinsky have garnered prizes and much acclaim.

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Otto Tausk (conductor)

Composer(s)

Richard Wagner

Richard Wagner was an important innovator of music in his time. He is best known for his operas, which he himself preferred to refer to as musical dramas. He wrote the texts (the libretti) himself and sought to make a Gesamtkunstwerk, the ideal union of text, music and theatre. Over time, this lead to grandiose musical dramas which were performed in a specially built theater for these works in the small town of Bayreuth. Wagner's greatest critic, the philosopher Nietzsche, named his former friend the 'greatest miniaturist of music who in the smallest of space squeezed an endless amount of sense and sweetness'. Nietzsche regarded this as a sympton of decadence, yet it does portray the large variety of treasures which can...
more

Richard Wagner was an important innovator of music in his time. He is best known for his operas, which he himself preferred to refer to as musical dramas. He wrote the texts (the libretti) himself and sought to make a Gesamtkunstwerk, the ideal union of text, music and theatre. Over time, this lead to grandiose musical dramas which were performed in a specially built theater for these works in the small town of Bayreuth.

Wagner's greatest critic, the philosopher Nietzsche, named his former friend the "greatest miniaturist of music who in the smallest of space squeezed an endless amount of sense and sweetness". Nietzsche regarded this as a sympton of decadence, yet it does portray the large variety of treasures which can be found in Wagner's music: the mysterious fantasy stories of the love potion of Tristan & Isolde, Wotan's spear, the sea of flames of Brünhilde, the sword of Siegfried... Still the real main character is the orchestra, which shines its light on all the true intentions and feelings of these heroes with great depth.

Both as a composer and as an individual, Wagner remains a subject of controversy and emotional discussions. By many he is hailed as a hero, and by equally many others completely dismissed. But his influence as a composer and musical innovator is undeniable!


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Press

Play album Play album
01.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Vorspiel
09:53
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
02.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Versammlung der Meistersinger
05:31
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
03.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Gesang der Lehrbuben
02:20
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
04.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Sachsens Monolog
03:47
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
05.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Vorspiel III
06:10
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
06.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Taufspruch
03:42
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
07.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Züge der Zünfte
05:11
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
08.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Tanz der Lehrbuben
03:11
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
09.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Aufzug der Meistersinger
03:17
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
10.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Walther's Preislied
05:16
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
11.
Meistersinger - an orchestral tribute arr. Henk de Vlieger: Schlussgesang
03:30
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
12.
Deux entreactes tragiques: Entreacte tragique no. 1 - Allegro
08:46
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
13.
Deux entreactes tragiques: Entreacte tragique no. 2 - Allegro con brio
04:19
(Richard Wagner) The Netherlands Radio Philharmonic Orchestra
show all tracks

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