#WednesdayWagner Hoihoooo! Another Wednesday to dive into Wagner 🙂Since we are now in the "Siegfried" week, prior to its premiere at @Teatro_Real under Maestro @herascasado, let's focus today in a quick and wonderful resemblance: SIEGFRIED vs. DEBUSSY! #TwitterCultural
#WednesdayWagner The always wonderful Debussy looked very much at Wagner when creating his personal style. Indeed, Debussy's harmonic suspension was previously written in "Tristan und Isolde" #TwitterCultural
#WednesdayWagner But there is a wonderful excerpt in Siegfried that was beautifully taken by Debussy in a very famous work. Don't you believe me? Let's discover it.Â
PS-Disclaimer: Maybe it was unintentional, but the resemblance is there #TwitterCultural
#WednesdayWagner Do you remember the incredible "Forest Murmurs" in Siegfried? Of course you do! Listen to the flute melody that appears at 0.11 in the following link:Â
#WednesdayWagner Now, listen to Debussy's "Arabesque no. 1" ... Focus on the melodic pattern at 0.13 in the following link:
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#WednesdayWagner Incredible! Not only the pitches are almost the same, but also the key (E Major) is chosen in both pieces and the figures and disposition of the pitches is identical (with up and down intervals all the time)! Have a look at the scores ... #TwitterCultural
#WednesdayWagner It is clear that Wagner was a true inspiration when composers wanted to use sound to depict nature. The magic of this Siegfried excerpt deserves this recognition. Enjoy it in a orchestral version under Philippe Jordan:
#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
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 WalkĂĽre: 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 BrĂĽnnhilde is one of Wotan's daughters and Siegfried is Wotan's grandson, so BrĂĽnnhilde 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 BrĂĽnnhilde (in 'Die WalkĂĽre' act 2). The motive linked with her starts at 1.53 and 2.07
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#WednesdayWagner The beginning of 'Die WalkĂĽre' 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