00:00:00 Prolog - Vorspiel 00:01:50 Prolog - Welch" Licht leuchtet dort? 00:10:45 Prolog - Dammert der Tag? 00:16:00 Prolog - Tagesgrauen 00:18:57 Prolog - Zu neuen Taten, teurer Helde 00:21:09 Prolog - Mehr gabst du, Wunderfrau 00:27:53 Prolog - 0 heilige Gotter 00:29:38 Prolog - Siegfrieds Rheinfahrt 00:35:44 Act 1, Scene 1 - Nun hor, Hagen 00:38:51 Act 1, Scene 1 - Heil! Siegfried, teuerer Held! 00:46:20 Act 1, Scene 1 - Vom Rhein her tont das Horn 00:49:00 Act 1, Scene 2 - Heil! Siegfried, teuerer Held! 00:51:38 Act 1, Scene 2 - Begrusse froh, o Held 00:56:00 Act 1, Scene 2 - Vergass' ich alles 00:57:50 Act 1, Scene 2 - Gunther, wie heisst deine Schwester? 01:03:00 Act 1, Scene 2 - Bluhenden Lebens 01:05:28 Act 1, Scene 2 - Was nahmst du am Eide nicht tell? 01:09:20 Act 1, Scene 2 - Hier sitz' ich zur Wacht 01:20:00 Act 1, Scene 3 - Altgewohntes Gerausch 01:26:38 Act 1, Scene 3 - Hore mit Sinn, was ich dir sagt 01:35:29 Act 1, Scene 3 - Welch banger Traume Maren 01:41:40 Act 1, Scene 3 - Blitzend Gewolk 01:45:00 Act 1, Scene 3 - Brunhild"! Ein Freier kam 01:50:50 Act 1, Scene 3 - Jetzt bist du mein 01:53:55 Act 2 - Vorspiel 02:00:10 Act 2, Scene 1 - Schlafst du Hagen, mein Sohn? 02:07:08 Act 2, Scene 2 - Hoiho, Hagen! 02:11:44 Act 2, Scene 3 - Hoiho! Hoihohoho! 02:18:02 Act 2, Scene 3 - Rustet euch wohl 02:23:40 Act 2, Scene 4 - Gegrusst sei, teurer Held 02:27:35 Act 2, Scene 4 - Einen Ring sah ich an deiner Hand 02:30:21 Act 2, Scene 4 - Betrug! Betrug! 02:32:08 Act 2, Scene 4 - Helle Wehr! Heilige Waffe! 02:40:31 Act 2, Scene 4 - Glaub", mehr zurnt es mich als dich 02:44:03 Act 2, Scene 5 - Welches Unheils List 02:46:47 Act 2, Scene 5 - Vertraue mir, betrog'ne Frau! 02:50:24 Act 2, Scene 5 - Auf, Gunther, edler Gibichung! 02:54:56 Act 2, Scene 5 - So soil es sein! 02:59:15 Act 3 - Vorspiel 03:02:25 Act 3, Scene 1 - Frau Sonne sendet lichte Strahlen 03:06:16 Act 3, Scene 1 - Ein Albe fuhrte mich her 03:06:53 Act 3, Scene 1 - Siegfried! 03:08:08 Act 3, Scene 1 - Ein goldner Ring ragt dir am Finger! 03:10:49 Act 3, Scene 1 - Behalt ihn, Held 03:17:12 Act 3, Scene 1 - Weialala leia 03:19:23 Act 3, Scene 2 - Hoiho! 03:23:33 Act 3, Scene 2 - Trink, Gunther, trink! 03:25:50 Act 3, Scene 2 - Mime hiess ein murrischer Zwerg 03:31:00 Act 3, Scene 2 - In Leid zu dem Wipfel 03:34:00 Act 3, Scene 2 - Was hot/ ich? 03:35:39 Act 3, Scene 2 - Brunnhilde, heilige Braut! 03:40:29 Act 3, Scene 2 - Trauermarsch 03:46:29 Act 3, Scene 3 - War das sein Horn? 03:49:12 Act 3, Scene 3 - Hoiho! Hoiho! 03:51:16 Act 3, Scene 3 - Siegfried - Siegfried erschlagen! 03:54:13 Act 3, Scene 3 - Schweigt eures Jammers jauchzenden Schwall 03:58:00 Act 3, Scene 3 - Starke Scheite schichtet mir dort 04:00:16 Act 3, Scene 3 - Wie Sonne lauter strahlt mir sein Licht 04:02:22 Act 3, Scene 3 - O Ihr, der Erde ewige Huter! 04:06:11 Act 3, Scene 3 - Mein Erbe nun nehm" ich zu eigen 04:08:09 Act 3, Scene 3 - Fliegt heim, ihr Raben! 04:09:33 Act 3, Scene 3 - Grane, mein Ross, sei mir gegrusst!
@@BernardSAUSSAIEIch staune ja immer mal wieder, was wir heute für Dokumente haben.....ich begann vor 50 Jahren mit Oper und ich hatte nur Schallplatten und Radio....
You can find my restoration of the Moralt Ring already on my channel: Rheingold ruclips.net/video/EUp1yMpofGs/видео.html Walküre ruclips.net/video/ltE8CaMTYvc/видео.html Siegfried ruclips.net/video/dVYKKdJ5GLw/видео.html Götterdämmerung ruclips.net/video/FHOdX5MDrys/видео.html
Thank you very much for sharing this wonderfull performance. Can you confirm that although Hermann Uhde is credited for singing the part of Gunther, between 3:23:45 and 3:33:49 it is the voice of Hans Hotter we hear, so this part of the recording stems form the second cycle?
Thank you - I thought I was imagining things!!! LOL Another little splice job from Testament to probably replace a damaged part. But not as bad or apparent as the Modl/Varnay switch in Die Walkure Act 3 Cycle 2.
Great work indeed! I am just asking about the 1) pitch and 2) echo. 1) Are you 1000% percent sure that this is the pitch they were playing? I have read and understood that it is based on a source about the pitch 1954-1958 of 446Hz. Can you give me a reference for this? Some publication or something like that? I am just asking it because I have absolute pitch, and I hear that your reconstruction is much sharper than any other versions of the Bayreuth Rings I heard and it is... just strange for me. I am opened to accept your claims acknowledging you as an expert here, just I wish to be convienced that this is THE thing. 2) Echos. Echos in historical editions from Bayreuth seem to be overpushed for me, and this recording is just fine and acustically, it is one of the best in the league! Maybe because it is genuinely stereo? Do you have information about added analog echos (maybe right when recording? or after?) and digital echos when remastering, or Bayreuth just sounded... that harsh? (My guess is the first one.) Did you yourself add digital echoes or reverbs to your reconstruction? A great work, and a great-great project anyways, thanks A LOT!
Yes, pitch was indeed "moving" during the 1950ies in Bayreuth, as it was still 445 from 1951 to 1953, 446 from 1954-1958, as you quoted, and then 447 until 1975. I wouldn't rely on any publication (not that I know of any), which isn't based on extensive tests, because most what I read on the internet (to be fair: mostly wikipedia) when it comes to concrete concert pitch is purely anecdotal, heresay - and therefore mostly incorrect. So I'm afraid that if we don't have reliable video material which seems to almost always pitch-correct from about 1960 onwards (I don't know why), analysing the 50 (or in the US 60) Hz mains hum is the only reliable way of establishing the correct pitch. In the case of Bayreuth we are extremely lucky: We have master tapes of almost every broadcast, and we have around 6 broadcasts from every summer, which can be cross-referenced. So we don't have to rely on one single example for an entire period, but can get multiple verification for each summer. The recordings being direct copies from MASTER tapes is crucial and very helpful, since each copy process can add a "dubbing hum" which can overlap with the original hum, depending on the discrepancy of tape speed between original recording process and dubbing process. So when looking at recordings that have been copied many times, misinterpretations can easily ocurr and confirmation bias can creep in. With many of the the Bayreuth broadcasts (or DECCA recordings) we have the luxury of having ONE clear and unambiguous 50 Hz hum as reference. Of course there is another possible source of error: orchestra tuning can obviously vary ever so slightly from day to day, but I am amazed how precise most professional orchestras tune their intruments at the beginning of every act. By the way, it would be extremely surprising, if Bayreuth did NOT tune to 445, 446 and 447 in the 50ies and 60ies. After all, their orchestra always consists of players from various presitigous German and Austrian orchestras, so one would assume that they choose a concert pitch which was common in Germany and Austria at the time. And indeed, they always followed the general trend. You mentioned CD releases which are pitched much lower. I'm also not so surprised at this. If sound engineers pay attention to pitch at all (and most don't), they often don't know which concert pitch to use, and given that we are used to much lower orchestra tuning nowadays - mostly a=442 or 443 Hz, it is understandable that they use this pitches (or even 440) when editing a historic recording. There are a few laudable exceptions though: I'm always pleased if I enounter early(ish) DECCA studio recoridngs, which are meticulously and consistently pitched. The 1955 Böhm Fau ohne Schatten with the Wiener Philharmoniker for example is correctly pitched to a=448, which as the orchestra's tuning from 1955 onwards for many years. Sadly I can't say anything about echos and reverbs - only that I never add any.
Thank you very much...
00:00:00 Prolog - Vorspiel
00:01:50 Prolog - Welch" Licht leuchtet dort?
00:10:45 Prolog - Dammert der Tag?
00:16:00 Prolog - Tagesgrauen
00:18:57 Prolog - Zu neuen Taten, teurer Helde
00:21:09 Prolog - Mehr gabst du, Wunderfrau
00:27:53 Prolog - 0 heilige Gotter
00:29:38 Prolog - Siegfrieds Rheinfahrt
00:35:44 Act 1, Scene 1 - Nun hor, Hagen
00:38:51 Act 1, Scene 1 - Heil! Siegfried, teuerer Held!
00:46:20 Act 1, Scene 1 - Vom Rhein her tont das Horn
00:49:00 Act 1, Scene 2 - Heil! Siegfried, teuerer Held!
00:51:38 Act 1, Scene 2 - Begrusse froh, o Held
00:56:00 Act 1, Scene 2 - Vergass' ich alles
00:57:50 Act 1, Scene 2 - Gunther, wie heisst deine Schwester?
01:03:00 Act 1, Scene 2 - Bluhenden Lebens
01:05:28 Act 1, Scene 2 - Was nahmst du am Eide nicht tell?
01:09:20 Act 1, Scene 2 - Hier sitz' ich zur Wacht
01:20:00 Act 1, Scene 3 - Altgewohntes Gerausch
01:26:38 Act 1, Scene 3 - Hore mit Sinn, was ich dir sagt
01:35:29 Act 1, Scene 3 - Welch banger Traume Maren
01:41:40 Act 1, Scene 3 - Blitzend Gewolk
01:45:00 Act 1, Scene 3 - Brunhild"! Ein Freier kam
01:50:50 Act 1, Scene 3 - Jetzt bist du mein
01:53:55 Act 2 - Vorspiel
02:00:10 Act 2, Scene 1 - Schlafst du Hagen, mein Sohn?
02:07:08 Act 2, Scene 2 - Hoiho, Hagen!
02:11:44 Act 2, Scene 3 - Hoiho! Hoihohoho!
02:18:02 Act 2, Scene 3 - Rustet euch wohl
02:23:40 Act 2, Scene 4 - Gegrusst sei, teurer Held
02:27:35 Act 2, Scene 4 - Einen Ring sah ich an deiner Hand
02:30:21 Act 2, Scene 4 - Betrug! Betrug!
02:32:08 Act 2, Scene 4 - Helle Wehr! Heilige Waffe!
02:40:31 Act 2, Scene 4 - Glaub", mehr zurnt es mich als dich
02:44:03 Act 2, Scene 5 - Welches Unheils List
02:46:47 Act 2, Scene 5 - Vertraue mir, betrog'ne Frau!
02:50:24 Act 2, Scene 5 - Auf, Gunther, edler Gibichung!
02:54:56 Act 2, Scene 5 - So soil es sein!
02:59:15 Act 3 - Vorspiel
03:02:25 Act 3, Scene 1 - Frau Sonne sendet lichte Strahlen
03:06:16 Act 3, Scene 1 - Ein Albe fuhrte mich her
03:06:53 Act 3, Scene 1 - Siegfried!
03:08:08 Act 3, Scene 1 - Ein goldner Ring ragt dir am Finger!
03:10:49 Act 3, Scene 1 - Behalt ihn, Held
03:17:12 Act 3, Scene 1 - Weialala leia
03:19:23 Act 3, Scene 2 - Hoiho!
03:23:33 Act 3, Scene 2 - Trink, Gunther, trink!
03:25:50 Act 3, Scene 2 - Mime hiess ein murrischer Zwerg
03:31:00 Act 3, Scene 2 - In Leid zu dem Wipfel
03:34:00 Act 3, Scene 2 - Was hot/ ich?
03:35:39 Act 3, Scene 2 - Brunnhilde, heilige Braut!
03:40:29 Act 3, Scene 2 - Trauermarsch
03:46:29 Act 3, Scene 3 - War das sein Horn?
03:49:12 Act 3, Scene 3 - Hoiho! Hoiho!
03:51:16 Act 3, Scene 3 - Siegfried - Siegfried erschlagen!
03:54:13 Act 3, Scene 3 - Schweigt eures Jammers jauchzenden Schwall
03:58:00 Act 3, Scene 3 - Starke Scheite schichtet mir dort
04:00:16 Act 3, Scene 3 - Wie Sonne lauter strahlt mir sein Licht
04:02:22 Act 3, Scene 3 - O Ihr, der Erde ewige Huter!
04:06:11 Act 3, Scene 3 - Mein Erbe nun nehm" ich zu eigen
04:08:09 Act 3, Scene 3 - Fliegt heim, ihr Raben!
04:09:33 Act 3, Scene 3 - Grane, mein Ross, sei mir gegrusst!
Vielen Dank!
@@ValzainLumivix
Sehr geschätzt. Zumal diese Version die beste ist, die ich kenne.
@@BernardSAUSSAIEIch staune ja immer mal wieder, was wir heute für Dokumente haben.....ich begann vor 50 Jahren mit Oper und ich hatte nur Schallplatten und Radio....
Thank you for posting this!
Prologue: 0:00
Act 1, s.1: 35:39
Act 1, s.2: 1:19:24
Act 2: 1:53:58
Act 3, s.1: 2:59:17
Act 3, s.2: 3:46:29
AHH Thanks so much!!!!! Gems!!!!!!
Esperando ansioso los Anillos de Rudolf Moralt y Colin Davis.
You can find my restoration of the Moralt Ring already on my channel:
Rheingold ruclips.net/video/EUp1yMpofGs/видео.html
Walküre ruclips.net/video/ltE8CaMTYvc/видео.html
Siegfried ruclips.net/video/dVYKKdJ5GLw/видео.html
Götterdämmerung ruclips.net/video/FHOdX5MDrys/видео.html
@@hcleskov-fischer6033 Muchísimas gracias.
Thank you very much for sharing this wonderfull performance. Can you confirm that although Hermann Uhde is credited for singing the part of Gunther, between 3:23:45 and 3:33:49 it is the voice of Hans Hotter we hear, so this part of the recording stems form the second cycle?
You are right - this is Hans Hotter. Great Recording anyway :D
Thank you - I thought I was imagining things!!! LOL Another little splice job from Testament to probably replace a damaged part. But not as bad or apparent as the Modl/Varnay switch in Die Walkure Act 3 Cycle 2.
I see this only now! thanks for pointing this out. Maybe I can find the mono recording with Uhde to patch it correctly..
@@hcleskov-fischer6033 If that recording exists, it would be great.
Great work indeed!
I am just asking about the 1) pitch and 2) echo.
1) Are you 1000% percent sure that this is the pitch they were playing? I have read and understood that it is based on a source about the pitch 1954-1958 of 446Hz. Can you give me a reference for this? Some publication or something like that?
I am just asking it because I have absolute pitch, and I hear that your reconstruction is much sharper than any other versions of the Bayreuth Rings I heard and it is... just strange for me. I am opened to accept your claims acknowledging you as an expert here, just I wish to be convienced that this is THE thing.
2) Echos. Echos in historical editions from Bayreuth seem to be overpushed for me, and this recording is just fine and acustically, it is one of the best in the league! Maybe because it is genuinely stereo? Do you have information about added analog echos (maybe right when recording? or after?) and digital echos when remastering, or Bayreuth just sounded... that harsh? (My guess is the first one.) Did you yourself add digital echoes or reverbs to your reconstruction?
A great work, and a great-great project anyways, thanks A LOT!
Yes, pitch was indeed "moving" during the 1950ies in Bayreuth, as it was still 445 from 1951 to 1953, 446 from 1954-1958, as you quoted, and then 447 until 1975. I wouldn't rely on any publication (not that I know of any), which isn't based on extensive tests, because most what I read on the internet (to be fair: mostly wikipedia) when it comes to concrete concert pitch is purely anecdotal, heresay - and therefore mostly incorrect. So I'm afraid that if we don't have reliable video material which seems to almost always pitch-correct from about 1960 onwards (I don't know why), analysing the 50 (or in the US 60) Hz mains hum is the only reliable way of establishing the correct pitch. In the case of Bayreuth we are extremely lucky: We have master tapes of almost every broadcast, and we have around 6 broadcasts from every summer, which can be cross-referenced. So we don't have to rely on one single example for an entire period, but can get multiple verification for each summer. The recordings being direct copies from MASTER tapes is crucial and very helpful, since each copy process can add a "dubbing hum" which can overlap with the original hum, depending on the discrepancy of tape speed between original recording process and dubbing process. So when looking at recordings that have been copied many times, misinterpretations can easily ocurr and confirmation bias can creep in. With many of the the Bayreuth broadcasts (or DECCA recordings) we have the luxury of having ONE clear and unambiguous 50 Hz hum as reference. Of course there is another possible source of error: orchestra tuning can obviously vary ever so slightly from day to day, but I am amazed how precise most professional orchestras tune their intruments at the beginning of every act.
By the way, it would be extremely surprising, if Bayreuth did NOT tune to 445, 446 and 447 in the 50ies and 60ies. After all, their orchestra always consists of players from various presitigous German and Austrian orchestras, so one would assume that they choose a concert pitch which was common in Germany and Austria at the time. And indeed, they always followed the general trend.
You mentioned CD releases which are pitched much lower. I'm also not so surprised at this. If sound engineers pay attention to pitch at all (and most don't), they often don't know which concert pitch to use, and given that we are used to much lower orchestra tuning nowadays - mostly a=442 or 443 Hz, it is understandable that they use this pitches (or even 440) when editing a historic recording.
There are a few laudable exceptions though: I'm always pleased if I enounter early(ish) DECCA studio recoridngs, which are meticulously and consistently pitched. The 1955 Böhm Fau ohne Schatten with the Wiener Philharmoniker for example is correctly pitched to a=448, which as the orchestra's tuning from 1955 onwards for many years.
Sadly I can't say anything about echos and reverbs - only that I never add any.
Thanks,
Do you have all the fanfares before each act of each opera ?
Sadly not. I did film quite a few of them though when in Bayreuth myself.