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#WednesdayWagner 'Siegfried! Siegfried! Sieh! Selig grüßt dich dein Weib!' Welcome to another pill of Wagnerian composition tips. Today: BRÜNNHILDE AND SIEGFRIED RELATIONSHIP! (in a musical way, of course).
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#WednesdayWagner I assume that everyone knows that Brünnhilde is one of Wotan's daughters and Siegfried is Wotan's grandson, so Brünnhilde is the aunt of Siegfried. They will also became lovers (yes, like Daenerys and Jon Snow, for those of you who are GoT fans)
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#WednesdayWagner Is this relationship translated (or highlighted) to the music substrate? I think so. Let's begin with the first appearance of Brünnhilde (in 'Die Walküre' act 2). The motive linked with her starts at 1.53 and 2.07
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#WednesdayWagner Here I go again ... no, not the Whitesnake song, but the weekly pill on Wagner's compositional strategies. Today: Echoes of 'Tristan chord' in "Tristan und Isolde" (part 1). Let's go!
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#WednesdayWagner One of the clearest evolution of "Tristan Chord" appears at the beginning of Act 2. Just listen the first 20 seconds of the Prelude:
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#WednesdayWagner Firstly, note that, at bar 9, the bass melody ('Isolde impatience' by some authors) is comprised by the pitches that formed the resolution of the so-called "Tristan Chord" at the start of the opera. You can see the details below:
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#WednesdayWagner Hoiho my friends! You wanted the best, you got the best ... another small talk on yours trully composition proccesses :) Today: The FATE throughout the Ring (and beyond)
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#WednesdayWagner One of the recurrent leitmotifs within the Tetralogy is the so-called 'Fate' motive: it firstly appears in 'Die Walküre', is depicted below and can be listened here:
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#WednesdayWagner Melodically, this leitmotif is built upon the 'Rheingold' one, i.e. two consecutive pitches in a descending way (see thread of some weeks ago). We can even see this configuration both in the upper voice and also in the bass
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#WednesdayWagner Hoiho! Hoiho! Another tweet-dose of Yours Trully's composition mastering techniques :) Today, a light explanation: SIEGFRIED and PARSIFAL leitmotifs. Lets go! Wehe! Wehe!
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#WednesdayWagner You problably noticed many similarities between both characters: Innocence, lack of evil, heroism, none of them knew his mother, both were destined to something big ...
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#WednesdayWagner Does the music reflect these resemblances? Of course! See below one of the Siegfried's leitmotifs, the one that can be firstly heard (at the end of 'Die Walküre', 16:03 in this link) bit.ly/2L3F219
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#WednesdayWagner Finally a new Wednesday is here! The wait to talk about the mastermind behind the best music ever written is over :) Today, lets focus on the 'Rheingold' leitmotif and its transformation along the whole tetralogy
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#WednesdayWagner As some other leitmotifs, the 'Rheingold' one is based in the half-diminished chord, which acts as Dominant resolving into the Tonic. Nothing complex. You can hear it ni this excerpt: bit.ly/2VN9fYw
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#WednesdayWagner The relation between the 'Ring' leitmotif is clear, since both leitmotifs start from this kind of half-diminished chord. Let's compare the two of them, written in the same key (C major in this case)
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#WednesdayWagner Another Wednesday, another time for Wagner leitmotifs! After talking about 'Ring' and 'Curse' leitmotifs, let's approach another related one: the 'Valhalla' leitmotif. This is the one shown below:
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#WednesdayWagner Again, the core of the idea is the same than in the 'Ring' leitmotif: a series of descending 3rds. The chord is almost the same than in the 'Ring' leitmotif, but this case the 5th of this chord (F) is a perfect 5th #StayHome #COVID19 #TwitterCultural #TeamWagner
#WednesdayWagner Note that the upper line of 'Valhalla' leitmotif is the same, from the beginning to the end, to the 'Ring' leitmotiv. Even the passing tone at the end appears in both ones. The rhythmic pattern is also quite similar #StayHome #COVID19 #TwitterCultural #TeamWagner
