Wagner - Tristan und Isolde: Prelude & Liebestod (Ct.rc.: Hans Knappertsbusch, Birgit Nilsson)

Richard Wagner (1813-1883) - Orchestral Works by Hans Knappertsbusch / REMASTERED.
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00:00 Tristan und Isolde: Vorspiel
10:10 Tristan und Isolde: Isolde's Liebestod "Mild und leise, wie er lächelt"

Complete Remastered Edition Available on all the main streaming platforms (Qobuz in 24/96 His-Res, Spotify, Amazon Music, Deezer, Tidal, Youtube Music..)

Wiener Philharmoniker
Conductor: Hans Knappertsbusch
Recorded in 1960
New mastering in 2022 by AB for CMRR
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Tristan and Isolde — Prelude to Act One
In his novella Tristan (1903), Thomas Mann describes the introduction to Wagner's Tristan and Isolde, psychologically and musically the most ambitious and forward-looking of all his music dramas. 'The Longing motif, a solitary voice wandering in the night, softly ventured its hesitant question. A silent pause. And 10, an answer: the same plaintive, solitary sound, yet brighter, more tender. Silence once again. Then that wonderful, muted sforzando, a sort of blissful arousal of unfettered passion, introduced the Love motif. Rising, towering up to an ecstatic consummation, it sank back and resolved itself before the cellos bore the melody off with their deep, painful song of bliss (…) Two forces, two rapt beings strove towards one another in suffering and bliss, and embraced in an ecstatic and mad desire for the Eternal and the Absolute...

Tristan and Isolde — Isolde's Liebestod (Act Three)
The lovers' longing for death is fulfilled in Act Three: in an ecstatic rage Tristan has torn open his fatal wound and died in Isolde's arms. Isolde, captivated by her vision of the resurrected Tristan, becomes ever more distanced from her surroundings until her consciousness finally transcends the real world and she sinks into the 'vast wave of the world's breath', into the realm of Death and of 'supreme bliss'.

Hans Knappertsbusch (1888-1965) made all the recordings on this compilation during the last ten years of his life. His interpretations of Wagner are characterised by a majestic, reverent solemnity, and derive directly from the old school of the Bayreuth veteran Hans Richter, to whom the young Knappertsbusch was assistant conductor at the Bayreuth festivals between 1910 and 1912. The Vienna Philharmonic Knappertsbusch's orchestra on the present recordings, had worked with him since the 1930s and were familiar with his idiosyncratic style. He attached little importance to detailed rehearsals in which works were played through repeatedly, preferring instead to rely on the experience and musicality of the individual members of the orchestra, as well as on the inspiration of the moment.

Wagner - Parsifal (Century's recording: Hans Knappertsbusch 1951)
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