Wien 1959-1963 An Introduction Solti | CD Richard Wagner Wagnerportal Oper International Auszüge Der Ring des Nibelungen Wien 1959-1963 Sir Georg Solti An Introduction

Richard Wagner (1813-1883)

Der Ring des Nibelungen

Wien 1959 - 1963 - Eine Einführung -

An Introduction (in engl. Sprache)

Decca 2 CDs  ADD, 1958-1963

Dirigent: Sir Georg Solti
Wiener Philharmoniker
 
Eine Erläuterung und Analyse von Wagners leitmotivischen Bezügen von Deryck Cooke mit insgesamt 193 Musikbeispielen.

Sprecher: Deryck Cooke (in engl. Sprache.)

Besetzung:

Brünnhilde - Birgit Nilsson
Wotan - Hans Hotter
Siegmund - James King
Hagen - Gottlob Frick
Waltraude - Brigitte Fassbaender
Lucia Popp
Christa Ludwig

Inhalt:

1. CD

 [1]   1. Of all great musical compositions (Ex.1-4)
 [2]   2. The fundamental symbol (Ex.5-11)
 [3]   3. Returning now to the Nature Motive (Ex.12-16)
 [4]   4. A number of further motives (Ex.17-21)
 [5]   5. A second, much smaller family (Ex.22-25)
 [6]   6. So much for nature (Ex.26-38)
 [7]   7. The cause of the deterioration (Ex.39-44)
 [8]   8. The other transformation (Ex.45-48)
 [9]   9. Several other motives (Ex.49-52)
[10]   10. Two further motives (Ex.41,53-61)
[11]   11. Basic motive associated with the spear Ex.62/68) Ex.62/8) (Ex.62/8)
[12]   12. Along another, more complex line (Ex.69-72)
[13]   13. In Act 2 of "Walküre" (Ex.69,73-75)
[14]   14. Returning now to Act 2 of "Walküre (Ex.76-79)
[15]   15. Love is another of the central symbols (Ex.80-83)
[16]   16. Later in the same scene (Ex.84-87)
[17]   17. Freia's motive has 2 independent segments (Ex.88-91
[18]   18. The label "Flight" (Ex.92)
[19]   19. When Fasolt, in Scene 2 of "Rhinegold" (Ex.93-8)
[20]   20. A little later in this interlude (Ex.99-103)
 
2. CD

 [1]   21. The other new motive (Ex.104-09)
 [2]   22. There are several independent love-motives (Ex.110-
 [3]   23. The characters in whose lives (Ex.115-120)
 [4]   24. One further motive belongs (Ex.121)
 [5]   25. The sword motive recurs (Ex.122-130)
 [6]   26. Ironically, this phrase (Ex.131-5)
 [7]   27. Closely associated with Gutrune's motive (Ex.136-40
 [8]   28. Here we come to the end (Ex.141-6)
 [9]   29. Complementary to this symbol (Ex.147-9)
[10]   30. One last central symbol (Ex.150-7)
[11]   31. One further motive connected (Ex.158-61)
[12]   32. There are one or two motives (Ex.162-8)
[13]   33. These motives of Alberich & Mime (Ex.169-71)
[14]   34. Quite a number of subsidiary motives (Ex.172-6)
[15]   35. Besides this family of motives (Ex.177-80)
[16]   36. Our final example (Ex.10,181-2)
[17]   37. In the final scene of "Götterdämmerung" (Ex.181-3)
[18]   38. Even more masterly (Ex.184-8)
[19]   39. Now if we return (Ex.189-91)
[20]   40. This masterly way (Ex.192-3)