Introduction
In this essay I am going to be looking at Richard Wagner’s most Influential Opera’s “ Der Ring Des Nibelungen” also known as ‘The ring Cycle.' This cycle is made up of four operas.It begins with the beginning of the world and ends with the fall of the world. This piece begins as a mythic story and ends with modern humanity. This work in total is sixteen hours in length.I will be looking at the story behind the first opera or introduction entitled ‘Das Rheingold,' as well as his use of motifs and his use of development throughout the opera. The aim of this essay is to give a brief understanding of the complexity of western music in the 1800s.
Richard Wagner: Background
Richard Wagner was born in 1813 in Liepzig,Germany.Wagner, as a child had a great passion for writing poetry, but his musical interests were left aside until he was eighteen.At eighteen he began lessons with Theodor Weinlig in Leipzig Germany, for a year. His career began in 1833, when he became choral director in Wurzburg Germany. Around this time he began composing and was composing in imitation of German Romantic composers such as Ludwig Van Beethoven, who was his biggest influence at this time.
Wagner’s first opera was composed in 1833 called “Die Feen” (The fairies). This work however was not produced until after the composers death. During the years 1834 and 1836 he worked as the music director of the theatre in Madgeburg, where he composed his next work “Das Liebesverbot” (Forbidden Love).In 1837 he began working as the first musical director of the theatre in Riga, Russia, where he remained until 1839.
After this Wagner moved to Paris France, in hopes that this would be where he would make his fortune. However Wagner grew a hatred for the Fr...
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... hear the gold motif again.
There are various other new motifs that are introduced at this point, to signify the Tarnhelm etc.Each motif in this opera is used to signify the importance of certain characters,scenes,objects,feelings. No melodic phrase is without its importance or contribution to the storyline. They are used to set the scenes that are happening or that are yet to come. A number of the motifs heard in this particular opera, are also heard in the later operas with some variations.
Conclusion
The complexity of this opera is witnessed straight away with the first few leitmotifs that are introduced. The most notable thing about these leitmotifs is that they are very strong both melodically and rhythmically. Each motif serves a purpose, and there is almost no musical phrase used without context.He successfully portrays emotion through musical development.
The piece opens with a series of quick, fiery chords spanning almost the entire range of the piano, followed a by light staccato section in a scherzo style. The mood then changes with a long lyrical section, before fragments of the vigorous rhythmic opening section return and bring the music to a darker section that also echoes the theme of Rhapsody No. 2. The second half of the piece re-uses the melody of the lyrical section, only transposed up by a fourth, which provides a bigger contrast to the previous dark section.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
When the second theme plays, it’s noticeably less lighter and less higher in pitch from the strings. The third theme is done by the woodwind instruments like the oboe and clarinet, which preface the use of the opening motive again. The motive is soon followed by the violin. Next, there’s the repetition of the themes played in the piece so far, but not only are they repeated, they’re fleshed out into variations. The piece slows down and makes a quiet transition as the opening motive plays, jolting the instruments into action again. The themes continue to work counterpoint against each other. The triangle can be heard throughout certain sections, the clear ringing sound making an interesting contrast to the rest of the orchestra. When the movement nears its end, the instruments are initially soft and hesitant, but then pick up in tempo and volume in unison, finally cutting the piece off at a high and enthusiastic note. Bedächtig is a fun composition to listen to, and I admit that I preferred it over the other songs of the night. The main motive in Bedächtig honestly captivated me - I always perked up at that spirited combination of flute, sleigh bells, and clarinet that came in and out of the
It wasn't until the second time through that I watched closely to what was going on and attempted to grasp the message that was being conveyed. It begins with a man in a black robe singing to a group who appear to be his peers until a woman and another man appear. They sing to one another and appear to be declaring their love for one another while he watches. They eventually leave and he is left to alone and appears to be heart broken over their appearance. Then the couple make there way back into the act and are accompanied by many others who sing for the couple as a dancer in a red gown entertains them. The couple then drinks together until the man in the gold robe gets a letter that angers him and he rips it up. From them on the couple seems to converse back and forth until the entire group joins them and act I is finished. The piece seems very dramatic and the remaining acts I'm sure would not disappoint. The conductor does a very good job at keeping the opera lively and convey the overall tone of what is happening very
Felix Mendelssohn was brought up in a wealthy family, with a strong Jewish faith, and was one of four children. He was born in 1809, in Hamburg, Germany, and died in Leipzig, Germany in 1847. Soon after he and his sister Fanny were born, the family moved to Berlin, to elude the French troops of Napoleon. While in Berlin, the Mendelssohn family experienced some wealth; because of this Felix was able to encounter many artists, musicians, philosophers, and writes. By the young age of thirteen, Mendelssohn was an adept composer.
Mahler's early career was spent at a serious of regional opera houses (Hall in 1880, Laibach in 1881, Olmutz in 1882, Kassel in 1883, Prague in 1885, Liepzig in 1886-8, Budapest from 1886-8, and Hamburg from 1891-7), a normal career path, until he arrived as head of the Vienna Opera in 1897. Mahler ended some of the more slovenly performance pra...
Wilhelm Richard Wagner was born on May 22, 1813 in Leipzig. At six months old, Wagner lost his father Frau Karl Friedrich to typhoid, which he caught from the corpses lying unburied in the streets after the Napoleonic War in Leipzig. Less than a year later, Wagner’s mother married Ludwig Geyer, who Wagner believes is his real father, even though nothing was ever proved. Geyer, like Wagner had an artistic gift. He was an actor a painter, dramatist, and singer. As a child, Geyer was determined “to make something” of Wagner (Jacobs 3). He failed at drawing and painting. Wagner did not realize he had a talent until Geyer was on his deathbed with collapsed lungs.
Having enjoyed and investigated both operas it can be stated that between the time of Monteverdi and Glück, the innovations of Opera is obvious. The growth and development of opera in the timespan of 150 years between the earlier Baroque era to the time of the opera reform gives way to the characteristics of each different time. The two operas are model examples of how one facet in the development of music throughout the ages can change, highlighting the continuous evolution of music. The myth of Orfeo has a strong correlation with the concept of opera in general – making a lasting impression on a wide range of audiences, and ultimately displaying the power of music.
According to our textbook Music and Appreciation, written by Roger Kamien states that Berg was born in Vienna in 1885. His family was musical and they encouraged him to compose without professional help. Berg did not get too much attention until his main opera Wozzek debuted. The first place that his opera was shown was in Berlin, and then was
Richard Wagner has been touted as one of the most influential composers of the nineteenth century. However, he is also one of the most controversial. Throughout his life and even in his music, Wagner exhibited clear anti-Semitic tendencies. His beliefs, and the way that they became manifested in his music, writing, and his very life have had a profound impact on the course of history, and particularly on the persecution of the Jews by the Nazi party.
Mendelssohn was born in Hamburg in 1809. His father Abraham Mendelssohn was a banker, while his mum Lea Mendelssohn was a highly educated artist and musician. Mendelssohn first had his piano lesson from his mum, but soon he was sent to study with the best teachers at that time such as Marie Bigot and Ludwig Burger. He also took composition lessons with Karl Zelter, who was the professor of the University of Berlin. Under their proper guidance, he completely showed his music talent- he first appeared as pianist at nine and as a composer at ten. At his age of twelve, he already composed nine fugues, five symphonies for strings, two operas and a huge number of smaller pieces. When he was sixteen, the publication of his Octet in E-flat Major for strings and Overture to A Mid Summer Night’s Dream marked his full maturity.
Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...
3 is the second movement of the piece. It lasts around five minutes of the total 22 minutes of the whole Orchestral Suite. Air is written for Trumpet, timpani, oboe, violin, viola and continuo. It is written in major key. The meter is duple, and I would dare to say that it is quadruple. The texture is polyphonic. It has a slow tempo and there is no presence of accelerando nor ritardando. The harmony is consonant. Melody is conjunct and peaceful. Has a lot of repetition. The melody is consistent. The string instruments are prodminant whereas the timpani and oboe just go along with the melody. Esta es una pieza sencilla binaria; claramente no hay devolución del material melódico apertura en la segunda parte del
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.