Wagner: Parsifal by Hans Knappertsbusch (1962)
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Wilhelm Richard Wagner (1813-1883) Transformation Scenes in Parsifal
00:00 Parsifal, Act 1: Verwandlungsmusik (Transformation Music)
10:38 Parsifal, Act 3: Verwandlungsmusik (Transformation Music)
Chor und Orchester der Bayreuther Festspiele
Chorus and Orchestra of the Bayreuth Festival
Chorus Master / Choreinstudierung : Wilhelm Pitz
Dirigent / Conductor : Hans Knappertsbusch
Live recording at the Bayreuth Festival in 1962
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Transformation Scenes in Parsifal ( https://www.monsalvat.no/verwandlung.htm ) Parsifal contains a number of special effects, such as the suspension of the Spear in the second act and the scenes of transformation between the forest and the temple in the outer acts. For the latter in the first production of Parsifal, the composer decided that a backdrop on rollers, the Wandeldekoration, should move across the stage, producing the illusion that the figures on stage were moving. Apparently such devices were in use in Paris in the 1830s, where Wagner might have encountered one during his stay there from 1839 to 1842. The stage technician who was commissioned to produce the various effects and illusions was, as in 1876, Carl Brandt. Unfortunately, Brandt died a few months before the start of the festival, and the stage effects became the responsibility of his son Fritz.
The Wandeldekoration covered an area of more than 2500 square metres, weighed some 700 kilograms and cost 17,694 marks. The scenes were painted by the Brückner brothers following the set designs by Paul von Joukowsky. During rehearsals, it was discovered that the transformation music of the first and third acts did not last long enough to allow the Wandeldekoration to be fully revealed. This presented something of a problem and little time remained to find a solution.
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Engelbert Humperdinck (Humperdinck began his musical studies at the Cologne Conservatory under Hiller, a one-time friend of Wagner who had drifted into the anti-Wagner camp. Humperdinck had cast off the yoke of Hiller's Schumannesque style when he moved to Munich in 1877 and enrolled in the Königliches Musikschule. He heard the Ring in 1878 and soon afterwards joined a band of local Wagnerians calling themselves the Order of the Grail. He won the Mendelssohn prize in 1879, which funded a scholarship tour of Italy and, to Wagner's amusement, the Meyerbeer prize in 1881. Humperdinck worked as a repetiteur at every subsequent Bayreuth festival until 1894): « Dismayed, we watched him go. What was to be done? It was simply not possible to risk the whole production, with all its attendant difficulties, merely because of a stupid miscalculation. And it wasn't as bad as all that, Levi thought; just as cuts can be made, so it was possible to repeat the odd phrase. I thought the matter over. To expect the already overburdened Master to undertake such a thoroughgoing revision at the eleventh hour was out of the question. I preferred to try my own solution. I ran home, quickly sketched out a few transitional bars, orchestrated them and incorporated them into the original score. Then, filled with anxious expectancy, I took the original to the Master. He look through the leaves, nodding affably, then said, 'Well, why not? It should work! Be off with you to the Chancellery and copy out the parts, so that we can get on.' No sooner said than done. The sets and music were now in glorious accord and no one in the audience had the least suspicion at any of the performances that the score had been patched together by a back street cobbler plying his modest trade. Of course, the sets were altered in time for the following year's performances; the interpolated passage, dignified by Levi with the conscientious note 'H. ipse fecit', was removed and the original music reinstated. »
Wagner: Parsifal, Sacred Festival Drama in Three Acts (Hans Knappertsbusch 1951)
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