[Met Concert or Gala] CID:37100



Fourteenth Grand Sunday Night Concert
Richard Wagner Programme
Metropolitan Opera House, Sun, February 25, 1906




Fourteenth Grand Sunday Night Concert


Richard Wagner Programme



Metropolitan Opera House
February 25, 1906

FOURTEENTH GRAND SUNDAY NIGHT CONCERT Richard Wagner Programme


Tannh?user: Prelude to Act III [see note]

Tannh?user: Dich, teure Halle
Marie Rappold

Die Walk?re: Winterst?rme
Heinrich Knote

Der Fliegende Holl?nder: Overture

Der Fliegende Holl?nder: Wie aus der Ferne
Olive Fremstad
Anton Van Rooy

A Faust Overture

Die Meistersinger von N?rnberg: Prelude to Act III

Die Meistersinger von N?rnberg: Prize Song
Heinrich Knote

Die Meistersinger von N?rnberg: Quintet
Bella Alten
Josephine Jacoby
Heinrich Knote
Anton Van Rooy
Albert Reiss

Tristan und Isolde: Prelude and Liebestod
Olive Fremstad

Conductor...............Alfred Hertz

* Note in Program: This is the Prelude to Act III of Tannh?user as it was originally composed by Richard Wagner. After writing it, Wagner substituted the Prelude which is now played as introduction to the Third Act of the opera, and is known as "Tannh?user's Pilgrimage." It is a much shorter composition.
Wagner made the change because he feared that his audience might fail to appreciate the significance of certain orchestral phrases, descriptive of occurrences which are only referred to subsequently, in the course of Tannh?user's narrative.
In the original version, which will be played for the first time in America at this concert, the composer deals largely with the climax of the Pilgrimage episode - the curse pronounced upon Tannh?user by the Pope - an event scarcely hinted at in the later version.





* Note in Program: This is the Prelude to Act III of Tannh?user as it was originally composed by Richard Wagner. After writing it, Wagner substituted the Prelude which is now played as introduction to the Third Act of the opera, and is known as "Tannh?user's Pilgrimage." It is a much shorter composition.
Wagner made the change because he feared that his audience might fail to appreciate the significance of certain orchestral phrases, descriptive of occurrences which are only referred to subsequently, in the course of Tannh?user's narrative.
In the original version, which will be played for the first time in America at this concert, the composer deals largely with the climax of the Pilgrimage episode - the curse pronounced upon Tannh?user by the Pope - an event scarcely hinted at in the later version.

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