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We're listening to an all Wagner concert by the Cincinnati Symphony Orchestra under max Rudolph. The composer himself would often conduct all larger concerts featuring preludes and other excerpts from his operas. He called his music the music of the future and in spite of all his efforts to promote it it was at first rejected by many of its listeners. But Wagner was determined that the public should understand his aims as an artist. And in his theoretical writings he attempted to explain his revolutionary ideas. He sought the ideal combination of music drama and poetry. And in this search for the universe all the all embracing. He reflected the aims of the romantic movement. He proposed mythology as the ideal subject matter. Since it appeals directly to the emotions. Wagner felt that in his operas are music dramas as he called them. He had achieved his ideals.
Did he. Or didn't he. The question is still being debated. The second half of our programme of orchestral works by Wagner. Begins with the prelude to Acts 1 and 3 from Lohengrin. Wagner began working on this work in 1845. And by the time it was completed in 1848. Germany was threatened by a revolution. Bogner was considered politically dangerous and before he could produce his new work he had to flee the country. His temporary home was Switzerland where there was no chance to produce the opera. So he turned in hope to France and England. To a friend at this time he wrote immediate object just to get my latest opera Lohengrin translated into English and performed in London. But nothing came of these efforts. And when the premier finally took place in
1850 it occurred in Germany. Wagner was still in the next hour so. The new production was in the hands of another conductor of great champion and future father in law lives despite list's best efforts Lohengrin was not well received. Now back through the period on stage to conduct the Cincinnati Symphony Orchestra prelude to act one and three longer.
Thanks. For. Following. The a thousand were few. Thousand. One. Her.
Her. And I. Hate. Her. Hey hey. Hey. Hey. Hey. I. Guess I. Hate 3000
irrelevant. I. I hate. To in. The end. To it. I am. A in.
The in. The book. On a. Plane a leg Lub. Oh and. The way. To a new.
Theory ablaze. Going to. The unholy. The end. I eat. Plenty.
The book. The end. The NIH. The H. The OED.
The OED. Eh eh. Eh eh. Eh eh Zelenka. A. Leg. Up.
Reap. What. Hey. Or the. Third. Or the. Earth or the.
There's going. To. Do so. To. Thank you. To. Julie thank you THANK YOU ARE do. Or do to. The book.
And. The boa. Luau. Much. Much. Much. Much much MUCH. Much. Much easier. You forget you. Get. Much done. Electro OK. I've been. Much
11. I've no a will. Thinking that a symphony orchestra under max Rudolph has just played the prelude to act 1 and 3 from Lauren Graham by Wagner. Collections from Act Three from Dee Meister singer from Nurnberg is next on our
program. We'll hear the prelude dance of the apprentices and procession of the Masters. The idea of the Meister singer first came to Wagner in 1945. He originally thought of it as a one act comedy opera that might serve as a companion piece to Tom Heiser but he put aside his sketch for 16 years while he composed the ring of the Nibelung and some other works. Of course there were other things as well that occupied his time. His domestic troubles confused love affairs gambling losses revolutionary interests and exile. So finally in 1861 Wagner set to work on the libretto. But another six years went by before the opera was completed by that time to Meister singer had grown from one act to three and became a production that lasted a good four and a half hours. It's been called Wagner's most enduring opera
called it the greatest work of genius ever achieved by any artist in any field of human activity. Not every musician would rate it that high. Yet there's little question that it ranks with the best of the operatic comedy sense for most I'm sure once again the truth on this is that except for the orchestra in the prelude down through the apprentices and. Thank you for the masters from ACT 3 Meister singer from their very the Mastersingers of Nuremberg by Wagner. I.
The B. B A A A. B A. Belief. In the and. The evil. And. The big. Bang. Bang. Bang.
Ya. Ya. Love. Ya bud. Iland. Dylan.
I. Mean you. Know. Ya. Yes.
It. Is. The boy. The boy.
The air. The air. The AA. Lame. Lame. Lame. Lame. Lame lame.
Lightning. Fled heard excerpts from three of the Meister singer for new and very. Dark the Cincinnati Symphony Orchestra was conducted by Makar lead. Master. Series of Nuremberg refers to a 16th century old vocally. Or in other words a musician's union might have been referring to. The master singers the musicians you learned very well from
the last work on our program is from the opera traced on and is sold. The prelude and Lee bestowed. As the most autobiographical of all Wagner operas. He worked on the score for two years for me hundred fifty seven hundred fifty nine. And during much of that time he was living in the home of a wealthy merchant of Zurich Besson dong. Wagner fell in love with out of the wife. And the theme of the Opera passion over propriety reflects the composer's private life at the time. After its completion Don had 54 rehearsals at the court opera and Vienna only to be withdrawn. The reason given was that it was too difficult and too new in style for the company. But there were other reasons too. The soprano is scheduled to sing the role of the Soul that was the sister of Mrs. dog when she found out about the love affair with Wagner the singer canceled her apparent Rudolph has appeared on stage
on the podium and in the moment will conduct the Cincinnati Symphony Orchestra. Little piece by block. A. Little.
Led. Military.
Will. The boy. The boy. The boy.
Last. Laugh. Oh and. The end.
The end. The end. Of what.
0 0. 0. What.
100. A.
Woo. Woo. Woo. Woo. Woo. Woo. Woo. Woo. Yiu. Willand. Leblanc.
When to. Go of. The air. The banner of. The end. The end. To any
above. The end. And. The end.
Hello. Hello. Hello.
Her woof. Woof one. Roof. You. Are early. On. You.
Know. Wagners Don you sold the prelude and played by the Cincinnati Symphony Orchestra under perhaps. More than any other of Wagner's operas. He's carried out his theories of what the music might really be. This was the first guy and the orchestra had played the unquestioned dominant role. Commenting on every psychological. Or magic element.
Of an elaborate system of like motif. The minister. Was part of the Cincinnati Symphony Orchestra's world tour repertoire in 1066 and they performed this music at the was for him festival just a few miles from the place where. Wagner wrote the score and the other selections heard on the program. Works by Richard Wagner for the overture and Bach ally when convoys are gone Siegfried's Rhine journey and funeral music. From her dorm room
prelude to act 1 and 3 be from Lohengrin and excerpt from ACT 3 from the Meister singer of fun and free the conductor of the concert was my true music director in. America and so we conclude another concert of the seventy fifth season by the Cincinnati Symphony Orchestra. This concert was recorded during a performance at Cincinnati music hall by W.G. U.S. the radio station of the University of Cincinnati. These programs are made possible for the cooperation of the Cincinnati Symphony Orchestra. The Cincinnati musicians Association and national educational radio. Recording Engineer for the series as Martin Bennett production by Bob Stephenson. And continuity by Carol Richardson. This is George Bryant inviting you to be with us for the next program in this series by the Cincinnati Symphony Orchestra.
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Series
Cincinnati Symphony Orchestra 1970
Episode Number
#10 (Reel 2)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-vd6p464z
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Description
Series Description
This series features live performances from the 1970 season by the Cincinnati Symphony Orchestra .
Date
1970-04-18
Topics
Music
Subjects
Concerts
Media type
Sound
Duration
00:51:42
Credits
Performing Group: Cincinnati Symphony Orchestra
AAPB Contributor Holdings
University of Maryland
Identifier: 71-19-10 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:50:35
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Cincinnati Symphony Orchestra 1970; #10 (Reel 2),” 1970-04-18, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed February 6, 2023, http://americanarchive.org/catalog/cpb-aacip-500-vd6p464z.
MLA: “Cincinnati Symphony Orchestra 1970; #10 (Reel 2).” 1970-04-18. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. February 6, 2023. <http://americanarchive.org/catalog/cpb-aacip-500-vd6p464z>.
APA: Cincinnati Symphony Orchestra 1970; #10 (Reel 2). Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-vd6p464z