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The following article is published with
the kind
permission of the author.
It was published first in 1998. So the paragraph "The recordings"
doesn't consider the new publishings of the last decade. However there
are not that many really new publications since that time, like for
example the "The Merry Wives of Windsor" which was published in 2010.
Given this fact the paragraph hasn't lost much of its up-to-dateness.
Hans Knappertsbusch: The Keeper of the Seal
by David
Patmore
Influences and Style
The early influences of Fritz Steinbach and Hans Richter, two of the
most pre-eminent conductors in the period before the First World War,
must have been very strong upon Hans Knappertsbusch. Perhaps even more
profound would have been contact (through Richter) with the conducting
style preferred by Wagner himself and outlined in his slim pamphlet ‘On
Conducting’. In this Wagner railed against metronomic conducting -
identifying this with the ‘lighter’ music of Mendelssohn - and instead
urged the adoption of a flexible style, in which the main criterion was
to be the beauty of the moment: ‘the law of beauty is the sole measure
of what is possible.’ Wagner strongly urged a spontaneous approach to
the performance of his music.
Kna, as Knappertsbusch was often affectionately known, certainly
followed this lead, believing firmly in the inspiration of the moment.
As the historian of the Vienna Philharmonic, Otto Strasser, has pointed
out, he believed that the doctrine contained within Wagner’s idea of
‘tempo modification’ was ‘central to every performance’. Kna was thus
likely to adjust tempi if he felt that the results ‘sounded
particularly beautiful, and this imparted a pronounced individuality to
his interpretation of a work.’ This stylistic approach stands centrally
within Wagner’s own preferred conducting method. An extension of this
conducting style is the characteristic of positively seeking
spontaneity of expression. Thus throughout his life Kna would
continually surprise audiences with impromptu discoveries within even
well-known scores. This revelation of previously obscured detail was
still set within a careful moulding of the overall architecture of the
piece.
Technically Knappertsbusch seems to have been highly undemonstrative as
a conductor. Comparison with Richard Strauss was often made. At his
debut in 1923 with the Vienna Symphony his restrained style of
conducting was noted and favourably commented upon. As the commentator
Erich Deiber noted laconically: ‘Knappertsbusch is the only
conductor who can transform a pianissimo into a fortissimo by moving
his cufflinks.’ (Another conductor of the same vintage but from an
extremely different stylistic background - Fritz Reiner - also
possessed a very disciplined and small-scale baton technique. And also
like Knappertsbusch he was both a friend of Richard Strauss and a fine
interpreter of his music.) With this lack of rostrum showmanship went a
high degree of platform modesty. Contemporaries noted that Kna rarely
allowed himself and his orchestra more than two curtain calls.
Knappertsbusch’s reliance on feelings and musical instinct, drawn from
the Wagnerian interpretative aesthetic and manifesting itself in the
search for spontaneous expression and tempo modification, naturally led
to a positive dislike of rehearsals as an inhibiting influence. The
influence of many years of working within the old German operatic
system can also be observed in this trait, when conductors were
frequently expected to take command of often complex works without
rehearsal. To survive in such circumstances was an acid test of ability
as a conductor. But success bred tremendous confidence, and this was
immediately noticed when Kna took the stand, for instance when he made
his debut in Vienna. It also gave rise to numerous anecdotes, typical
of which is the following quoted in Roger Vaughan’s biography of
Herbert von Karajan: ‘One time he was going over Tchaikovsky’s Fifth
with the Vienna Philharmonic. He came to the second movement, with the
horn solo, and said ‘Let’s start’. He did a few bars, stopped, and said
‘See you his evening. You know the piece, I know the hall.’ The solo
horn protested, ‘I am new, I have never played this piece in concert’.
Knappertsbusch said: ‘It is beautiful music - you will love it.’
It would be wrong however to think of Knappertsbusch as lax in
performance. In his obituary of Kna written for Opera magazine, Hans
Hotter tells the story of how, having inadvertently omitted a crucial
sung sentence in a certain opera, at subsequent performances he noticed
that Kna ‘had risen from his stool to his full height, turned his baton
upside down and was shaking the thick end of it at me with a
threatening and meaningful gesture. It would not have needed much more
to make me forget my part again! The same scene was re-enacted in a
series of performances of this opera throughout the following years.’
Given his particular artistic personality, it is hardly
surprising that Knappertsbusch was uncomfortable with recording -
an aesthetic based on spontaneity and variation stands in
complete opposition to one based on exact repetition both in recording
and in reproduction. Knappertsbusch’s reputation from the late 1960s
was dealt a severe blow (certainly unintentionally) by John Culshaw’s
comments about his dislike of rehearsal and recording in ‘Ring
Resounding’, his account of the recording of the Decca Ring. Culshaw
clearly had great admiration for Knappertsbusch, particularly in the
theatre, but the descriptions of him recording for instance the first
act of ‘Die Walkure’ with Svanholm and Flagstad, portrayed a conductor
who was obviously very uncomfortable with the fundamental necessity of
recording: exact repetition on every dimension as required. Nothing
could be more unspontaneous and inimical to variation. In order to
produce records to his particular standards Culshaw needed conductors
who could exact highly accurate readings from orchestras time after
time, and continuously at performance levels of intensity. Musicians
such as Georg Solti, coming from a completely different background,
that of the Liszt Academy in Budapest where the emphasis was upon
technical exactitude and discipline, were at home with this process.
Kna was not.
Another comparison which does Kna less than justice is with
Furtwangler. Frequent parallels have been drawn between the two
conductors, principally because they shared a similar stylistic
approach, characterised by spontaneity and tempo modification. However
Furtwangler’s performances tend to be much more highly strung, almost
neurotic, than Knappertsbusch’s. The latter rely on a broad
underpinning of orchestral mass, and move at a different pace and with
a different tone and atmosphere to Furtwangler’s readings. Both
conductors are highly individual in their own ways.
The misunderstanding of Knappertsbusch’s aesthetic and powers as a
conductor has been further compounded by his later recordings for
Westminster, made in the twilight of his career in Munich, and when his
tempi had become inordinately slow. Both the major works of this
contract - a complete recording of Fidelio and Bruckner’s Eighth
Symphony - do Knappertsbusch little justice. By contrast it is
interesting to note that the reviews of his post-war recordings for
Decca were almost always enthusiastic. But the studio recordings are in
many respects now an addendum to the increasingly rich legacy of
recordings of live performances - a far more appropriate means of
understanding Knappertsbusch’s high-risk strategy of relying on the
magic of the moment to reveal musical insights. In this respect the
formal hierarchy of the gramophone - studio recording above live
performance - is neatly reversed.
The recordings
Given that many of Knappertsbusch’s live recordings have emerged from
unauthorised sources, such as radio broadcasts, quite a few
of the same performances have appeared under different labels
both at different times and simultaneously. The disc references given
below may therefore be just one among several.
Opera
In the field of opera the Knappertsbusch legacy is inevitably focused
upon Bayreuth, which may be seen as his spiritual home. His 1957
reading of The Ring was released on the Italian Cetra-Live label in
1978 (LP: LO58-61 (10/78)) and continues to reappear regularly (e.g.
CD: Laudis LCD 44010-13). The massiveness and grandeur of this
performance have a particular power of their own. Music and Arts have
recently released the 1956 Bayreuth Ring (CD: CD-1009), and the1952 Die
Meistersinger, which has attracted particular praise (CD: CD-1014).
Also of note are The Flying Dutchman of 1955 with Varnay and Uhde - a
realization of great strength (CD: CD-876). The two commercially
available recordings of Parsifal - that of 1951 from Decca/Teldec (CD:
9031 76047) and 1962 from Philips (CD: 416 390) are excellent examples
of Kna’s art at its finest. The readings are by no means identical, the
later one being for instance twenty minutes faster. Although Kna may
have not been totally in sympathy with Wieland Wagner’s stage
production with its emphasis upon the internal psychology of the
characters rather than just straightforward action, his musical insight
into this mystical masterpiece was as equally perceptive.
The other major opera houses that were central to Knappertsbusch’s
career were those of Munich and Vienna. As with Bayreuth, the recorded
legacy is surprisingly rich. From Munich, the 1950 Tristan, recorded
from a performance at the Prinzregentheater, is a highly idiomatic
realization, less febrile and mercurial than Furtwangler’s, and more
monumental in approach. This reading is representative of Kna at his
best (CD:Orfeo 355 943). Orfeo have also released two further live
performances from Munich both from1955: Gotterdammerung with Nilsson
and Aldenhoff (CD: 356 944) and another Meistersinger (CD: 462
974), with Lisa della Casa, as at Bayreuth in1952.
Available at one time on LP from Discocorp (LP: RR 482) is a splendidly
vigorous as well as surprisingly subtle Der Rosenkavalier, recorded at
the 1957 Munich Festival, with Marianne Schech as the Marschallin and
Hertha Topper as Octavian. This performance is an excellent example of
the way Kna could cast new light into the recesses of well-known scores.
The vaults of the Vienna State Opera House and especially the May
archive have yielded many treasures from performances of the thirties
and early forties, and one of the Koch-Schwann double CD volumes in
this series is devoted to performances directed by Knappertsbusch (CD:
3-1467-2). Although the actual circumstances of recording cause these
extracts to stop and start arbitrarily, what we have is magnificent,
even if the sound is not good. There is a very exciting sliver of
Elektra with Rose Pauly, some magnificent Lohengrin with Paul Kotter,
Margarethe Teschemacher and Anny Konetzni, and more brilliant
Rosenkavalier from 1936 and1937. An oddity is a group of brief excerpts
from Wolf-Ferrari’s The Jewels of the Madonna. This set is highly
recommended as a strong anti-dote to all the received opinions about
Knappertsbusch - for instance throughout there is a high degree of
lyricism. An interesting pendant to this set is a radio broadcast in
highly variable sound of Act III of Figaro from the 1939 Salzburg
Festival (Radio Years 75) - again this shows that Kna was no slouch,
ably supporting an outstanding cast led by Maria Reining and Ezio Pinza.
The ‘official’ operatic legacy of Knappertsbusch on Decca contains some
excellent items, pride of place within which must go to two relatively
late recital discs, the first with George London, originally on LXT
5478 / SXL 2068 (3/59). This contains one of the most brilliantly
conducted performances of ‘Wotan’s Farewell’ on record, with the Vienna
Philharmonic in particularly fine form. Of almost equal intensity is a
recital disc of excerpts from Tristan with Birgit Nilsson and the
Vienna Philharmonic again (originally on LXT 5559 / SXL 2184
(3/60), reissued on CD: 452-896-2). The Decca Meistersinger recorded in
Vienna in 1950 has a fine cast, but is hampered by an early LP balance
which places the voices too far forward, with a resultant loss of
orchestral sound and detail. Paul Schöffler as Sachs is however
extremely fine (originally released on LXT 2659-64 complete (2/52),
reissued on CD: 440-057-2). One of the weakest of the Decca opera
recordings conducted by Kna is the first act of Die Walkure
(LXT5429-30/SXL2074-5 (6/59)), which with the third act conducted by
Solti acted as a test run for the first studio recording of Das
Rheingold and ultimately the complete Decca Ring. This is one of the
few Decca recordings by Kna which just does not come off.
The symphonic repertoire
The cornerstone of Knappertsbusch’s symphonic repertoire was the music
of Anton Bruckner. As early as the 1920s and 1930s he was conducting
‘Bruckner Evenings’ throughout Germany. Not surprisingly he saw
Bruckner through a Wagnerian lens and conducted throughout his life the
now discredited Schalk and Loewe versions of the symphonies. These
adjusted certain symphonies in orchestral and structural terms to give
them a more Wagnerian (and therefore less Brucknerian) flavour. The
‘live’ discography is quite extensive and of especial value is the
performance of the Seventh Symphony, given at the Salzburg Festival in
1949 with the Vienna Philharmonic (Music & Arts CD: CD-209). The
Seventh is notable in existing in only one basic version, and therefore
Kna’s conducting is probably closer to Bruckner’s intentions than his
more Wagnerian view of the other symphonies. Also of note are a Munich
performance of the Third Symphony (Music & Arts CD: CD-257), and a
very powerful, granite-like, Ninth with the Berlin Philharmonic from
1950 (Music & Arts CD: CD-219). Decca recorded Symphonies Three,
Four and Five with Knappertsbusch and the Vienna Philharmonic - the
Fifth is available on CD in the original stereo recording not
previously released in the UK (CD: 448-581-2). This is a strong
performance, if without the cumulative power of the live performances.
Kna’s recordings of Beethoven and Brahms, and the many reissues from
various sources are too numerous to comment upon individually,
but mention should be made of certain outstanding performances. Tahra
have recently issued a two disc set with the Berlin Philharmonic
containing the Eighth Symphonies of Beethoven and Schubert in uniformly
fine readings (CD: TAH 214/215). A wartime Eroica, again with the
Berlin Philharmonic, is currently available on Iron Needle (CD: IN
1322). Nothing points up the difference between Knappertsbusch and
Furtwangler more distinctly than comparison between this performance
and Furtwangler’s from the same period. Among the many fine Brahms
readings is an immensely powerful performance of the Third Symphony
coupled with the Tragic Overture, given with the Vienna Philharmonic at
the Salzburg Festival in 1955 (Orfeo CD: 329 931). Zubin Mehta, who
observed Knappertsbusch while a student in Vienna, noted how he was
able to inject great tension into the music which he was conducting:
‘He could play the Brahms Third Symphony at half the tempo and you’d
still not be bored, because it would make musical sense.’ This
performance is an excellent example of Mehta’s point. The Third has
also been available in another excellent reading with the Dresden
Staatskapelle, coupled with the Schumann Fourth (Arkadia CD: CD 724).
Mention should also be made of a studio recording for Decca of several
of Brahms’ shorter works, including a very moving Alto Rhapsody with
Lucretia West (originally on LP: LXT 5394 (3/59))
Knappertsbusch’s success with heavyweight works and composers has
obscured his penchant for lighter music - two late Decca stereo LPs
featuring this repertoire have been issued on a double CD (CD: 440
624-2) and contain some extraordinary readings of music by Johann
Strauss II, Tchaikovsky, and minor masters such as Ziehrer and Komzak
(who would have been contemporaries in Kna’s youth). These are not
readings for the faint-hearted, but they are great fun.
Kna was an intimate friend of Richard Strauss, frequently playing cards
with him until Strauss gave the premiere of Arabella to Clemens Krauss.
Sadly his Strauss discography is small but not to be overlooked. Decca
recorded an interesting coupling of Kna conducting the Paris
Conservatoire Orchestra in Don Juan and Tod und Verklarung in 1956 at
the same time as the early Solti Tchaikovsky Fifth (when Solti was less
than complementary about the orchestra’s discipline), originally issued
on LP: LXT 5239 (11/59). Another knock-out reading of Tod und
Verklarung with the Dresden Staatskapelle from 1959 has been available
on Pilz Historic CD: 78003. The 1928 78rpm recordings of Till
Eulenspiegel and excerpts from Intermezzo and Salome have been reissued
on Preiser CD: 90260.
The Concertos
Throughout the 1950s Knappertsbusch was probably most well known in the
United Kingdom for his accompaniments to Clifford Curzon’s magisterial
readings of the Beethoven Fourth and Fifth and the Brahms Second Piano
Concertos (originally released on LP: LXT 2948 (10/54), LXT
539(1/58)/SXL2002(10/58), and LXT 5434(7/58) respectively). When
accompanying the necessary discipline of working with a soloist seems
to have revealed a slightly different aspect of Knappertsbusch’s
musical character: more precise and often more sensitive. These latter
characteristics are even more apparent in several ‘off-air’
performances of the same repertoire with Wilhelm Backhaus. Backhaus
came from a similar musical background as Knappertsbusch (he was only
four years older than Kna and shared with him an especial reverence for
Brahms) and certainly their collaborations were extra special. The
Beethoven Fourth Concerto has been available on LP: Baton 1002 and CD:
Stradavarius 10002, while the Fifth has appeared on LP: I Grandi
Concerti 17 and CD: Orfeo 385 961 (different performances).
Conclusion
This article has sought to suggest an approach to understanding the
music-making of a conductor from a past era, and representative of a
style of performance reliant upon the inspiration of the moment.
Although fraught with risk, this approach in the right hands certainly
yielded performances of great individuality. It is an approach with
which the process of recording has found it difficult to coexist.
Recording requires accuracy and intensity time after time, whereas for
the inspirational conductor every performance is subject to the mood of
the moment. It is a style infrequently encountered today, if at all.
Fortunately there are in existence a reasonable number of recordings
conducted by Knappertsbusch available, mainly of live performances,
which attest to its validity. While the principal issues have been
mentioned there are many more available on either a new or second-hand
basis which are well worth investigating.
Perhaps the last word should rest with Wieland Wagner, the founder of
New Bayreuth, who wrote the following tribute to Knappertsbusch: ‘His
name awakens love and reverence. His life means service to music,
dedication to the great masters of the past. He is not of this time and
age in the real sense of the word: he is aristocratic, idealistic,
self-assured and humble. His secret is the absolute belief in the work,
which he knows to transmit to musicians and listeners in a truly magic
manner and thus creates a congregation of believers. In the centre of
his being stands the works of Richard Wagner, primarily Gotterdammerung
and Parsifal. Nobody at all is more chosen than he to interpret this
mystic, mythical, but also gay and idyllic music of Richard
Wagner.’
Dr.
David
Patmore
is a Research Associate with the Centre for the History
and Analysis of Record Music (CHARM) and Director of the MSc in Music
Management. He teaches at the Sheffield University Management School,
Great Britain.
He is the author of The
A-Z
of
Conductors (Naxos Books, 2007).