Reposted, now with FF links
# Composer: Richard Wagner
# Performer: Theo Adam, Birgit Nilsson, Helga Dernesch, Dorothea Siebert, Anja Silja,
Annelies Burmeister, Ruth Hesse, Vera Soukupová, Hermin Esser,
Erwin Wohlfahrt, Martti Talvela, Kurt Böhme, Gustav Neidlinger,
Gerd Nienstedt, Wolfgang Windgassen, Liane Synek, Gertraud Hopf,
Elisabeth Schärtel, James King, Sieglinde Wagner, Leonie Rysanek,
Sona Cervena, Danica Mastilovic, Erika Köth, Marga Höffgen,
Josef Greindl, Martha Mödl, Ludmila Dvoráková, Thomas Stewart
# Orchestra: Bayreuth Festival Orchestra
# Conductor: Karl Böhm
# Vinyls (1966/67)
# Number of Discs: 4
# Format: Flac
# Label: Philips
# DR-Analysis: DR 15
# ASIN CD: B000025ESY
# Size: 4.22 GB
# Scan: yes
# Server: FF
Die Walküre (The Valkyrie), WWV 86B, is the second of the four operas that form the cycle Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner. Die Walküre’s best-known excerpt is the “Ride of the Valkyries”.
Wagner took his tale from the Norse mythology told in the Volsunga Saga and the Poetic Edda.
It received its premiere at the National Theatre Munich on 26 June 1870 at the insistence of King Ludwig II of Bavaria. It premiered in Wagner’s Bayreuth Festival as part of the complete cycle on 14 August 1876. The opera made its United States premiere at the Academy of Music in New York on 2 April 1877.
Although Die Walküre is the second of the Ring operas, it was the third in order of conception. Wagner worked backwards from planning an opera about Siegfried’s death, then deciding he needed another opera to tell of Siegfried’s youth, then deciding he needed to tell the tale of Siegfried’s conception and of Brünnhilde’s attempts to save his parents, and finally deciding he also needed a prelude that told of the original theft of the Rheingold and creation of the ring.
Wagner intermingled development of the text of these last two planned operas, i.e. Die Walküre, originally entitled Siegmund und Sieglinde: der Walküre Bestrafung (Siegmund and Sieglinde: the Valkyrie’s Punishment) and what became Das Rheingold. Wagner had first written of his intention to create a trilogy of operas in the August 1851 draft of “Eine Mittheilung an meine Freunde” (A Communication to My Friends), but did not produce any sketches of the plot of Siegmund and Sieglinde until November. The following Summer, Wagner and his wife rented the Pension Rinderknecht, a pied-à-terre on the Zürichberg (now Hochstrasse 56–58 in Zürich). There he worked on the prose draft of Die Walküre, an extended description of the story including dialogue between 17 and 26 May 1852 and the verse draft between 1 June and 1 July. It was between these drafts that Wagner made the decision not to introduce Wotan in Act I, instead leaving the sword the god had been going to bring on stage already embedded in the tree before the action starts. The fair copy of the text was completed by 15 December 1852.
Even before the text of the Ring was finalised, Wagner had begun to sketch some of the music. On 23 July 1851 he wrote down on a loose sheet of paper what was to become the best-known leitmotif in the entire cycle: the theme from the “Ride of the Valkyries” (Walkürenritt). Other early sketches for Die Walküre were made in the summer of 1852. But it was not until 28 June 1854 that Wagner began to transform these into a complete draft of all three acts of the opera. This preliminary draft (Gesamtentwurf) was completed by 27 December 1854. Much of the work of this stage of development of the opera overlapped with work on the final orchestral version of Das Rheingold.
As Wagner had included some indication of the orchestration in the draft, he decided to move straight on to developing a full orchestral score in January 1855 without bothering to write an intermediate instrumentation draft as he had done for Das Rheingold. This was a decision he was soon to regret, as numerous interruptions including a four month visit to London made the task of orchestrating more difficult than he had expected. If he allowed too much time to elapse between the initial drafting of a passage and its later elaboration, he found that he could not remember how he had intended to orchestrate the draft. Consequently some passages had to be composed again from scratch. Wagner, nevertheless, persevered with the task and the full score was finally completed on 20 March 1856. The fair copy was begun on 14 July 1855 in the Swiss resort of Seelisberg, where Wagner and his wife spent a month. It was completed in Zürich on 23 March 1856, just three days after the completion of the full score. (Wikipedia)
Analyzed folder: /Users/alfredo/Desktop/ HiResMusic/96k Wagner Ring/96k Wagner Ring Boehm/2 Die Walkuere Boehm
DR Peak RMS Filename
DR17 -0.61 dB -22.64 dB Die Walkuere Boehm – SideA.wav
DR15 -0.28 dB -19.95 dB Die Walkuere Boehm – SideB.wav
DR15 -0.50 dB -21.46 dB Die Walkuere Boehm – SideC.wav
DR14 -0.80 dB -20.40 dB Die Walkuere Boehm – SideD.wav
DR15 -0.42 dB -21.84 dB Die Walkuere Boehm – SideE.wav
DR16 -0.19 dB -19.66 dB Die Walkuere Boehm – SideF.wav
DR14 -0.66 dB -21.09 dB Die Walkuere Boehm – SideG.wav
DR15 -0.53 dB -20.59 dB Die Walkuere Boehm – SideH.wav
Number of files: 8
Official DR value: DR15
- Performer: Theo Adam, Birgit Nilsson, Helga Dernesch, Dorothea Siebert, Anja Silja, Annelies Burmeister, Ruth Hesse, Vera Soukupová, Hermin Esser, Erwin Wohlfahrt, Martti Talvela, Kurt Böhme, Gustav Neidlinger, Gerd Nienstedt, Wolfgang Windgassen, Liane Synek, Gertraud Hopf, Elisabeth Schärtel, James King, Sieglinde Wagner, Leonie Rysanek, Sona Cervena, Danica Mastilovic, Erika Köth, Marga Höffgen, Josef Greindl, Martha Mödl, Ludmila Dvoráková, Thomas Stewart
- Orchestra: Bayreuth Festival Orchestra
- Conductor: Karl Böhm
- RCM: Okki Nokki
- TT: Clearaudio Champion Level II
- System: Special Edition Denon DL 103
- Phono stage: Pro-Ject Phono Box II
- Pre Amp: Unison Research Unico Pre (Tube)
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
- Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
- Light de-Clicking with ClickRepair, significant clicks manually removing, no De-Noising
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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