@Teatro_Real

@Teatro_Real

Richard Wagner 2.0

@Wagner2_0

Merry Christmas everyone with a new #WednesdayWagner instalment. Today: TRISTAN CHORD IN 'DIE WALKÜRE'! What happens next will surprise you
#Christmas #Wagner #Tristan #Walkure #TwitterCultural

Yesterday (all my troubles seemed...). No, seriously. Yesterday, I made a discovery that blew my mind and I am so happy to share it with you. Let's start by listening to Act 2, Scene 5 of 'Die Walküre' in a superb performance by Böhm in 1949

https://twitter.com/Wagner2_0/status/1260607810032853000?s=20

The scene begins with the 'Fate' leitmotif, which was already presented in the thread below ⬇️Note that harmony goes from a minor chord to a dominant chord just 1 semitone below

https://twitter.com/Wagner2_0/status/1260607810032853000?s=20

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Richard Wagner 2.0

@Wagner2_0

For this #WednesdayWagner ... Some statistics regarding the TOP-10 Wagner Dramas survey you answers in my previous post. Thanks all of you! Let's digest the data

Population of the survey: 64 answers with a list of 10 Wagner Musical drarmas, ordered by preference. This is not exhaustive nor representative, but anyway really interesting (at least, for me)

Average positions are (1=1st pos, 10=10th pos):
- Tristan: 3.0
- Parsifal: 3.0
- Die Walküre: 3.6
- Götterdämmerung: 4.0
- Siegfried: 5.5
- Meistersinger: 6.0
- Rheingold: 6.0
- Lohengrin: 6.7
- Tannhäuser: 6.8
- Die Feen: 8.5
- Holländer: 8.6
- Rienzi: 9.3
- Das Lieverbot: 9.5

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner "Willkommen, Gast, in Gibichs Haus! Seine Tochter reicht dir den Trank!" Welcome to another weekly dose of Wagner. After the Brünnhilde and Siegfried comparison, let's move today to another Siegfried's love story: SIEGFRIED AND GUTRUNE
#TwitterCultural

#WednesdayWagner The starting point, in this case, is Siegfried's Horn Call, which appears in Act 2, and which is the basis of some interesting and beautiful developments during Siegfried and Götterdämmerung
#TwitterCultural

#WednesdayWagner This motive is formed by an initial arpeggio, starting with an ascending 5th that moves then in the opposite direction. After that, there is almost an ascending scale (with some ornament at the end) to reach again the highest pitch of the chord
#TwitterCultural

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Richard Wagner 2.0

@Wagner2_0

#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).
#TwitterCultural #LecturaRecomendada #TeamWagner

#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)
#TwitterCultural

#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

#TwitterCultural

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner Now that the summer is about to end (Sommerdämmerung), let's resume this weekly digest of my music. Today: DIE WALKÜRE'S STORM. AN EXAMPLE OF ECONOMY OF MEANS IN WAGNER.
#TwitterCultural #SummerReading #Wagner #GreatestComposerEver

#WednesdayWagner The beginning of 'Die Walküre' is an absolute slap on the face that immerses you in a different atmosphere of 'Das Rheingold'. Indeed, the world of Gods and Nibelungs is replaced by the world of humans.

#WednesdayWagner There are many elements that contribute to the tension of this beginning. Let's mention, firstly, the 'obstinato' strategy by repeating the same idea with some transformations, as this contraction at the very beginning #TwitterCultural #SummerReading

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner Since 3 days ago we celebrated the 138th anniversary of Parsifal premiere, let's explore some connections between this Bühnenweihfestspiel and Der Ring des Nibelungen. Ladies and gentleman: PARSIFAL AND THE RING (part 1).
#TwitterCultural #SummerReading

#WednesdayWagner In Parsifal Act 3, there is a really beautiful excerpt that ends with the orchestra playing a kind of ostinato: listen to the violins at 46:47 in this link:

#TwitterCultural #SummerReading

@wagners_ring

#WednesdayWagner As @wagners_ring mentions in their incredible webpage (visit it right now, please), this motive is known as the "innocence" one. Read the explanation here: monsalvat.no/motif38.htm
#TwitterCultural #SummerReading

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner Wache, Wala! Wala! Erwach’! Another thread for you, Wagner-addicts. Let's continue with the Wotan-family leitmotifs, which indeed are related to the Wotan family members. Today: WOTAN AND SIEGFRIED.
#TwitterCultural #SummerReading

#WednesdayWagner A evolution of the "Wotan's spear" leitmotif is the "Wotan's anger". It's somehow "ondulated", although keeping the downside sense, to keep the relation with Wotan. You can listen to it below:

#TwitterCultural #SummerReading

#WednesdayWagner Well, the fact is that this "Wotan's anger" leitmotif is used in a very well known Siegfried's scene: the Forging Scene (link below, featuring the amazing Siegfried Jerusalem):

#TwitterCultural #SummerReading

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner Dear friends, your favourite twitter weekly thread is here again :) Yes, I know that "Second parts were never good", but today there's a exception: "WOTAN AND BRÜNNHILDE, part 2". Let's go!
#TwitterCultural #SummerReading #Wotan #Brunnhilde #Leitmotifs

#WednesdayWagner In the previous week we presented the 'Wotan's spear' leitmotif and discovered how this was transformed into the 'Brünnhilde's lament' leitmotif, meaning that Brünnhilde is indeed getting some of the Wotan roles in the general plot
#TwitterCultural #SummerReading

#WednesdayWagner We can observe the same kind of process in 'Brünnhilde's Sleeping' Motive (or 'Brünnhilde's appeal to Wotan), which can be heard at the end of "Die Walküre", at 4.24 and also at 13:39 in the link below

#TwitterCultural #SummerReading

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner Hoiho! Finally you are going to calm down your abstinence syndrome of the best composer EVER! Let's two of the strongest characters ever: WOTAN and BRÜNNHILDE (part 1). And today with no sheet music examples, just audio excerpts. Hojotoho!!
#TwitterCultural

#WednesdayWagner Since Wotan is always carrying a spear that points down when threatening people, the spear motive is a downside scale with a peculiar beginning that reminds us about the Valhalla theme:

#TwitterCultural

#WednesdayWagner The analogy is very clear, and it even seems quite trivial ... just a scale!!! But, how can a genius use this motive, the one that kids learn on the first day at music school? That's the real question, at least for me
#TwitterCultural

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner Light stuff today for your weekly pill of Wagnerian dope 🙂 Let's go with ... "Echoes of Tristan Chord" (part 3 and last). In this case: use of Tristan Chord (as it is or slightly modified) by other composers!
#TwitterCultural #Covid_19 #StayHome

#WednesdayWagner My point is not to dismiss the work of the WONDERFUL composers mentioned below, but on the contrary: to highlight that nothing is created from the void, and that the so-called "inspiration" is a precise intellectual work
#TwitterCultural #Covid_19 #StayHome

#WednesdayWagner First use of "Tristan Chord": Debussy's amazing "Prelude apres midi d'un faune". After a first melodic line (like in Tristan), the first chord that appears (called "Fauno chord") is indeed the "Tristan chord". Listen here the masterpiece:

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner To celebrate that #OnThisDay, 155 years ago, the great "Tristan und Isolde" was premiered, let's continue with your weekly dose of your favourite composer. Today: Echoes of Tristan Chord (part 2)
#TwitterCultural #COVID19 #StayHome

#WednesdayWagner We explored the Tristan Chord at the beginning of Act 1 (in the first bars of the drama) and also in 2nd act, both in the Prelude and in the love duet ('O sink hernieder'). But this amazing chord is used along the entire piece
#TwitterCultural #COVID19 #StayHome

#WednesdayWagner Listen carefully the moment in the love duet (Act 2) when Isolde tells "Herz an Herz dir, Mund an Mund" (heart on your heart, mouth on mouth), 3.07 in the following link

#TwitterCultural #COVID19 #StayHome

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𝕬𝖓𝖙𝖔𝖓 𝕻𝖗𝖎𝖓𝖈𝖊

@AntonPrince7

Today I would like to talk about something in music which is utterly laughable, but nonetheless of such an influence that we must take it seriously, although we would want to declare it ludicrous.
This is the influence of notation on music, especially on HARMONY.

In conventional harmony, there is an assortment of chords which are treated as “chance harmonies”, as sonorities which occur because of the voice leading or as appoggiaturas, and these are not classed with traditional chords—giving rise to the notion of “added-tone chords”.

Compare the following two harmonies; neither is traditionally classified amongst the consonances.
The first is a seventh chord, and therefore has a name and description in harmonic theory. The other is, at first glance, a c major triad with a d added above it.

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Richard Wagner 2.0

@Wagner2_0

#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!
#TwitterCultural #Covid_19 #StayHome #TeamWagner

#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:

#TwitterCultural #Covid_19 #StayHome

#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:
#TwitterCultural #Covid_19

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner O nun waren wir Nachtgeweihte ... Welcome to another small but energetic Wagner's pill. Today: Night's invocation in 'Tristan und Isolde'. Let's go!
#TwitterCultural #COVIDー19 #StayHome

#WednesdayWagner This leitmotif can be listened in the 2nd Act, as the starting point of one of the most amazing love duets ever composed. If you want to listen the whole 26-min excerpt while reading, go to this link
#TwitterCultural #COVIDー19 #StayHome

#WednesdayWagner After a careful look into this melodic idea, you can surely notice these pitches are indeed the ones forming the 'Tristan Chord'. Not only they form the omnipresent 'half-diminished' chord: they are literally the same pitches
#TwitterCultural #COVIDー19 #StayHome

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner "Hoiho, Hagen! Müder Mann! Sieh'st du mich kommen?" In your weekly dose of wagnerian clues, let's face the overlaps between Hagen, Siegfried and Tarnhelm. Pardon??? Yes!!! Keep reading to know further details
#TwitterCultural #Covid_19 #StayHome

#WednesdayWagner Hagen's evil is represented by a descendent tritone (diminished 5th). One of the clearest presentation of this evil character is the wonderful "Hagen's Watch" scene. This diminished 5th appears in the bass part
#TwitterCultural #Covid_19

#WednesdayWagner Note that the presentation is done by linking this descendent interval with a slightly modified Siegfried leitmotiv. They fit together into a ... half-diminished chord! (oh man, again this chord!)
#TwitterCultural #Covid_19 #StayHome

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Richard Wagner 2.0

@Wagner2_0

#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)
#TwitterCultural #StayHome #TeamWagner #COVID19

#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:
#TwitterCultural #StayHome #TeamWagner #COVID19

#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
#TwitterCultural #StayHome #TeamWagner

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Richard Wagner 2.0

@Wagner2_0

#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!
#TwitterCultural #StayHome #TeamWagner #COVID19

#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 ...
#TwitterCultural #StayHome #TeamWagner

#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
#TwitterCultural #StayHome #TeamWagner #COVID19

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Richard Wagner 2.0

@Wagner2_0

#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
#TwitterCultural #StayHome #TeamWagner

#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
#TwitterCultural #StayHome #TeamWagner

#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)
#TwitterCultural #StayHome #TeamWagner

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner Another dose of your favourite composer! Today, we will talk about TRISTAN CHORD, the 3 bars that changed the history! This is probably the most analyzed excerpt in music [Spoiler: what happens next will surprise you]
#TwitterCultural #COVID19 #StayAtHome

#WednesdayWagner There are a lot of issues that make so difficult a proper analysis. Since we seem to be in A minor, 1st bar is a kind of I (note that harmony is undefined) and 3rd bar is a V7 with an appoggiatura. The problem is the 2nd bar!
#TwitterCultural #COVID19 #StayAtHome

#WednesdayWagner If we look carefully the pitches of 2nd bar and we order them by thirds, we have this chord: minor chord on G# with diminished 7th (F natural). Note that this is NOT a diatonic chord belonging to any key
#TwitterCultural #COVID19 #StayAtHome

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Richard Wagner 2.0

@Wagner2_0

#WednesdayWagner Another immersion into Wagner's compositional procedures! After reviewing 'Rhein', 'Ring', 'Curse', 'Valhalla' and 'Tarnhelm' leitmotifs, let's talk about the 'OBLIGATION' leitmotif, which can is depicted below
#StayHome #COVID19 #TwitterCultural

#WednesdayWagner This leitmotif appears in "Die Walküre" when Hunding receives Siegmund and offers hospitality in a "grumpy and forced" mode. Later, it would become the "vote of atonement" between Hagen and Siegfried, but this is another story
#StayHome #COVID19 #TwitterCultural

#WednesdayWagner For sure you have noticed that, again, the first 4 pitches ("Question") are the same as the upper voice in 'Ring' leitmotif and the same as in 'Curse' leitmotif, forming a half-disminished chord. See the comparison below:
#StayHome #COVID19 #TwitterCultural

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Richard Wagner 2.0

@Wagner2_0

#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:
#StayHome #COVID19 #TwitterCultural #TeamWagner

#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

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