Behn: Der Ring / Garben, Zeyne, Hoppe

$26.99
Label
Musicaphon
Release Date
August 27, 2021
Format
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    Featuring ⌄
    • COMPOSER
      WAGNER, RICHARD
    • PERFORMER
      Garben, Hoppe, Zeyen
    Product Details ⌄
    • RELEASE DATE
      August 27, 2021
    • UPC
      4012476569888
    • CATALOG NUMBER
      M56988
    • LABEL
      Musicaphon
    • NUMBER OF DISCS
      2
    • GENRE
      Classical
    Works ⌄

    1. Prelude

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    2. Scene 1: —

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    3. Scene 2: Götter und Riesen

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    4. Scene 3: Nibelheim

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    5. Scene 4: Entry of the Gods into Valhalla

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    6. Act I: Prelude

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    7. Act I Scene 3: Siegmund und Sieglinde

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    8. Act II: Prelude

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    9. Act II Scene 4: Todkündung

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    10. Act III: Prelude

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    11. Act III Scene 3: Leb' wohl, du kuhnes, herrliches Kind!, "Wotan's Farewell" - Feuerzauber (Magic fire music)

      Composer: Richard Wagner

      Performer: Cord Garben, Thomas Hoppe

    12. Act I: Prelude

      Composer: Richard Wagner

      Performer: Cord Garben, Justus Zeyen

    13. Act I Scene 2: Siegfrieds Schmiedelied

      Composer: Richard Wagner

      Performer: Cord Garben, Justus Zeyen

    14. Act II Scene 2-3: Waldweben, Stimme des Waldvogels

      Composer: Richard Wagner

      Performer: Cord Garben, Justus Zeyen

    15. Act III Scene 3: Brünnhildes Erweckung

      Composer: Richard Wagner

      Performer: Cord Garben, Justus Zeyen

    16. Prologue: Siegfrieds Rheinfahrt (Siegfried's Rhine Journey)

      Composer: Richard Wagner

      Performer: Cord Garben, Justus Zeyen

    17. Act III Scene 2: Siegfrieds Trauermarsch (Siegfried's Funeral March)

      Composer: Richard Wagner

      Performer: Cord Garben, Justus Zeyen

    18. Act III Scene 3: Brünnhildes Schlussgesang

      Composer: Richard Wagner

      Performer: Cord Garben, Justus Zeyen


The Hamburg composer Hermann Behn (1859-1927) bore, like numerous other composers of that time, the hard fate of Wagner’s succession. After he had largely ended his compositional activities around 1883, he developed another great talent, i.e., the transference of compositional structures and the musical content of symphonic works by other composers to two pianists on two pianos. Here he broke new ground exactly at the time as the circus of excessive virtuoso opera rhapsodies of the super virtuosos collapsed. Through the use of two instruments and the development of a completely new tonal arrangement, Hermann Behn succeeded in overcoming the limits of the piano. If his arrangement of Gustav Mahler’s Second Symphony for two instruments turned out more or less traditional, in that the substance of the score was divided up, well-playable, between four hands, then an entirely new dimension of the rendition of symphonic music on the piano began, after Behn’s extensive studies of individual works, primarily overtures from various epochs, with the turn to Richard Wagner. The undoubtedly most extensive project ever realized in the area of transcriptions for piano, the “Fifty Symphonic Movements from Richard Wagner’s Master Dramas,” was commenced in 1914. Behn found his very personal symphonic sound already in the arrangement of the first fragments of the “Ring of the Nibelung”. To this end, he skillfully employed the doubling of chord progressions and nearly absurdly wide spans in the left hand, which could only be performed in “broken” style, i.e., by means of the rapid arpeggiation of the notes from bottom to top. In this way, an entirely intended inexactness in the congruence between the two players was inevitably produced, which – with ample use of the pedal – leads to an until then unheard-of tonal richness.