The Metropolitan Opera’s next “Ring” cycle is years away. But for local Wagnerians champing at the bitmega swerte, the New York Philharmonic offered a teaser this weekend in the form of Lorin Maazel’s 1987 distillation “The ‘Ring’ Without Words.”

The late ’80s were glory days for the classical record industry, reveling in the success of the still-new CD, and Maazel’s 70-minute arrangement, created at the behest of the Telarc label, neatly filled a single disc.

As an exercise, “The ‘Ring’ Without Words” — led at David Geffen Hall by Nathalie Stutzmann, the music director of the Atlanta Symphony Orchestra — is impressive. Maazel, the Philharmonic’s conductor in the early 2000s and by all accounts a brilliant musical mind, set himself the challenge of making a synthesis without pauses that flows through the four-opera cycle in order, using only Wagner’s notes.

The result has some arresting how-did-he-do-that moments. The crash of Donner’s hammer, from near the end of “Das Rheingold,pnxbet official” is suddenly thunder bringing us into the midst of the storm that opens “Die Walküre.” The sparks of the magic fire that encircles Brünnhilde in “Walküre” dissolve into the forging of the sword in “Siegfried.”

Maazel renders the seams in these crosscuts artfully invisible. Yet there’s a cool efficiency to the work that squares with its origins as a corporate product. Wagner’s 15-hour cycle is full of grandeur and emotion, but though the performance on Sunday rose to clanging climaxes, it barely suggested the operas’ scope from the epic to the intimate; this was merely a brisk rundown.

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