#WednesdayWagner Hoiho! Missing your weekly thread on Wagner's leitmotifs and composing strategies? Here I am! This week, we start talking on a leitmotif that appears in every Wagner's opera:
ONE LEITMOTIF TO RULE THEM ALL (part 1 out of 3) #TwitterCultural
#WednesdayWagner Although each Wagner's creation has its own "sound world", and although leitmotif technique was not exactly exploited since the 1st one, there is a short gesture/motive that appears in ALL Wagner's operas. Don't you believe me? Keep reading ⬇️ #TwitterCultural
#WednesdayWagner This is the recurrent leitmotif: the 4-pitch gesture that can be listened to right at the beginning of Lohengrin #TwitterCultural
#WednesdayWagner In this first thread, let's go through the first 3 Wagner operas ("Der fliegende Holländer", "Tannhäuser" and "Lohengrin") to identify this small but powerful melody #TwitterCultural
#WednesdayWagner Note that I would just mention the main appearances of this gesture or melodic idea, without digging bar by bar into the whole operas #TwitterCultural
#WednesdayWagner And indeed, in these three first operas, this melodic idea is not always treated as a whole leitmotif, but as a continuation of a melodic line, a cadencial gesture, a movement in the middle of a longer melody ... #TwitterCultural
#WednesdayWagner But before proceeding to it, we should mention that this motive was already present in a very well known piece at that time ... Yes, the birthday guy of today! Mendelssohn's "A Midsummer's Night Dream". Listen to 2.26 at the Overture:
#WednesdayWagner And of course, listen to the Wedding March at 0.09, just after the trumpet call:
#WednesdayWagner It seems clear that, despite Wagner's hard comments about Mendelssohn at that time, Wagner tried to absorb so much of Mendelssohn's style and mastery in composition. Indeed, Mendelssohn was one of the greatest master in counterpoints of all time #TwitterCultural
#WednesdayWagner So let's start with "Der fliegende Holländer". Just at the beginning of 1st scene we can hear clearly this idea in the strings. Listen to it here:
#WednesdayWagner Although there are not many other appearances in "Tannhauser", listen to the solo violin at 8.54 in the prelude. This gesture is almost the same, but with wider intervals. The direction of the movement is the same
#WednesdayWagner Just as an anticipation of next thread, this idea would be re-used in ... "Die Walküre"!!! Yes, the first leitmotiv linked with Brünnhilde is almost this gesture, but based on an augmented 5th chord #TwitterCultural
#WednesdayWagner Let's finish today with "Lohengrin": We already mentioned the recurrence of this idea in the prelude, the first one appearing at 0.46 in this link, but the whole Prelude is almost based on this cell:
#WednesdayWagner Of course, the whole opera uses some ideas derived from this leitmotif. We can mention, as an example, the wonderful fanfare in Act. 3 to receive König Heinrich ... listen to 0.34 and following. The whole excerpt is incredible!
#WednesdayWagner For those score-freaks (like myself 😂), here you can see the beginning of this excerpt with the leitmotif marked in red #TwitterCultural
#WednesdayWagner ... And that's all for today! I hope you have enjoyed the long thread. Next week we will do the same with the whole RING CYCLE. Can you guess where this leitmotif appears in this majestic work? 🙂 #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
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
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
#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
#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
#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
#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: