It is hard to realize that when this set appeared in 1952 it was the first studio-made recording of the work (Act 2 was recorded in 1950, Acts 1 and 3 a year later). It shared attention with the Karajan set recorded live at Bayreuth in 1951 (EMI, 9/90). Both remain competitive, largely because of the (very different) contributions of their conductors. Karajan's dynamic, youthful enthusiasm contrasts markedly with Knappertsbusch's more leisurely, philosophical view of the great score. Naturally the older conductor's reading comes into its own in Act 3. Where in Acts 1 and 2 he is sometimes lethargic and occasionally overdoes the ritardandos, in Act 3 he goes right to the heart of the matter. I had forgotten how moving and long-limned is his account of the Prelude (so much more eloquent than Sawallisch's on the new EMI version, 8/94) and how unerringly he paces the whole act, wonderfully supported by the VPO. Unfortunately the etiolated sound of the strings in Decca's recording at that time vitiates the glory of the performance; indeed, in that respect it is inferior to the Karajan and even more to the earlier, 1943 Bayreuth version conducted by Abendroth (Preiser, 2/94), where the sound is astonishingly luminous and immediate, helped by the Bayreuth acoustics.
Knappertsbusch shares his Sachs with Abendroth. By 1950 Schoeffler had deepened his interpretation, but the difference is marginal and in 1943 he was in decidedly better voice, encompassing the higher reaches of the role with an ease lost in 1950-51 (try, if you can, to hear the ''Wahn'' monologue from both sets, even broader for Abendroth), and caught live at Bayreuth he is that much more involved. In either case you will hear a Sachs unequalled in other versions in nobility, poetry, tone and line, greatly superior to Sawallisch's mundane Weikl. As Eva, Gueden is welcome for her fresh tone and eager, unsophisticated approach, but she hasn't that extra conviction of Schwarzkopf for Karajan, even more, of the unsurpassed Scheppan for Abendroth. Although Treptow, as Walther, is sometimes stretched in his higher register and occasionally suspect of pitch, he possesses the authentic ring of a Heldentenor and is a markedly improved singer in Act 3, where it most matters, yet he is hardly as poetic with the text as Suthaus for Abendroth. Donch is a classic Beckmesser in the traditional mould: tetchy, meticulous, and exemplary with notes and text. Dermota is simply the best—most lyrical and appealing—David in any set, although Unger (Karajan) runs him close, and Witte (Abendroth) is also commendably alive. Schurhoff sounds too elderly as Magdalene. Edelmann, Karajan's Sachs, is an uncommunicative but rich-voiced Pogner. The smaller parts are taken by Viennese stalwarts of the day, led by Poell's exemplary Kothner.
I would not want to be without Knappertsbusch's deeply considered and thought-through reading, but among historic versions, perhaps among any, Abendroth is now the first choice. I listen to that set with ever-increasing pleasure and remain amazed at the truthfulness of the performance and recording.'