Great info Hans. I'm going to go and listen to all of these later. How well did you know Roland Berger? My teacher told me that the long call that we hear on the Solti recordings was the 1st take and they did a second take just in case. He also told me that Berger was across the street at the pub before he was called to record it late at night. Any truth to this urban legend?
Hans Pizka <[email protected]> wrote: >Well, at first it is "Tannhaeuser" not "Tanhauser". > >What do you mean with "pretty amazing" ? Is it the very finale of the act one >with the stage horns ? >I guess so. The last scene is quite long, 42 full score pages total, and it >begins when the Count (Landgraf) finds Tannhaeuser praying in the forest & >asks: "Wer ist der dort in bruenstigem Gebete ?" >("Who is the man there in ardent prayer ?"). > >Preceding to that is the famous hunting scene with the different horn signals >coming from different >places. Two different groups of 3-voiced horn choirs in F, (they used 2-valved >horns when there was the Munich first performance, Franz Strauss playing viola >that time because of illness for 18-months), answered by single horns in C >(hunting masters), and third group of four horns in E-flat answers them >finally before the single horn in C (hunting master !!) gives the final >command signal. > >At the very end of act one, the hunting master gives a very strong different >signal on a horn in F, to which all four groups of three horns answer with a >very loud three voiced triplet signal of 12c measures, to which the full >orchestra joins in the last measure to play the last sequence of 15 measures >until the break. The curtain closes with the last chord of the stage horns & >the entrance of the orchestra. > >This is a quite real old hunting scene. > >Other favorite moments in Wagner operas: > >Beginning of third act of "Goetterdaemmerung" with the unison (1,3,5,7th horns >in the orchestra) Siegfried signal, answered by the solo stage horn, followed >by the other stage horns & the Stierhorn signal to end in another middle short >version of the Siegfried call. Then, yes, then comes an often heard disaster >spot with the daybreak, rhythmically & from the range quite tricky. > >The "hoi-ho, hoi-ho, Waffen, starke Waffen" - call by Hagen in the 2nd act of >Goetterdaemmerung, some of the most demanding playing for all 8 horns. Anyway, >the first quartet should be filled with "fresh troups", while the other first >quartet celebrates a deserved break after two hours strong playing in the >first act. But they act as stage horns at the end of the 2nd act (Hochzeitsruf >- call to marriage). > >Also, the stage call in the last scene of act one in Goetterdaemmerung, when >Bruennhilde sings "Zur Felsenspitze waelzt sich der feurige Schwall." ("to the >tip of the rock rolls the fiery wave ..") then the single solo horn on stage >enters with the introduction to the call & performs the shorter call slower >than usual but with a maximum of force, sounding above the full orchestra. The >sounds back pressure is that much, that one has to wait two moments until >walking of the stage (the call is played right on the edge of the scene, just >being covered by the frame of the stage). When we did that last time, there >was a lightning just at the very point entering the real Siegfried signal. >This moment illustrates the very moment, Siegfried is "taking" Bruennhilde. > >Next: Funeral March & Trauermusik from third act of Goetterdaemmerung, with >the famous beginning of the Wagner Tuba quartet. > >next: beginning of Rheingold with the 8 horns in E-flat >and the very finale of the same opera: March of the gods entering Valhalla. > >next: Walkuere: very beginning, then 2nd scene with the Hunding motif, Ride of >Valyries > >next: Tristan & Isolde, Prelude, Hunting scene > >next: Parsifal as a whole & special the Klingsor appearance at the beginning >of act two & ther fine chorals at act three. > >more, more, more > >But Wagner, even genius, is not all. We also have Richard Strauss with e.g. >Frau ohne Schatten with the >important hits of the Wagner Tuba quartet, or Elektra with the great Orest >motif again played by the Wagner Tuba quartet. > >Think about the transition from act two to act three of Puccinis Turandot. > >Just a few favorite moments. > >########################################################### >Am 14.05.2011 um 09:13 schrieb Horn List: > >> The last scene of act one is pretty amazing. Anyone have a few favorite >> moments in other wagner operas? >> >> Sent from my iPod >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at >> https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com > >_______________________________________________ >post: [email protected] >unsubscribe or set options at >https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/schmidhorninst%40gmail.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
