Leopold Stokowski was an ardent admirer of the music of Richard Wagner, and he regularly performed excerpts from the composer's music dramas in his own orchestral arrangements, following a practice initiated by several of Wagner's followers. These "symphonic syntheses," as Stokowski called them, go further than the cut-and-dried concert arrangements by such nineteenth century Wagnerians as Engelbert Humperdinck, Wouter Hutschenruyter, or Ludwig Stasny, who more or less let the music speak for itself, and added suitable ...
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Leopold Stokowski was an ardent admirer of the music of Richard Wagner, and he regularly performed excerpts from the composer's music dramas in his own orchestral arrangements, following a practice initiated by several of Wagner's followers. These "symphonic syntheses," as Stokowski called them, go further than the cut-and-dried concert arrangements by such nineteenth century Wagnerians as Engelbert Humperdinck, Wouter Hutschenruyter, or Ludwig Stasny, who more or less let the music speak for itself, and added suitable openings and endings to purely instrumental episodes. Stokowski elaborates the orchestral music from Tristan und Isolde and Parsifal into versions more akin to tone poems, and his lavish arrangements of the "Entrance of the Gods into Valhalla" from Das Rheingold, and the "Ride of the Valkyries" and the "Magic Fire Music" from Die Walküre are recognizable re-creations of the music, with incredibly lush textures and thick doublings that go far beyond Wagner's palette, and some reworkings...
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