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Offer,Wagner's Der Ring des Nibelungen: An Introduction to the Operas

Vienna Philharmonic, Georg Solti

The reissue of Deryck Cooke's fascinating and scholarly lecture is most welcome....The discourse is riveting; the music examples, many of them specially prepared, are clumsily inserted, but this... — Penguin Guide, 2010 edition, 3 out of 4 stars More…
  • Catalogue No: 4435812
  • Label: Decca
  • Length: 2 hours 20 minutes

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Contents

Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples)

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  • Deryck Cooke (narrator)
  • Wiener Philharmoniker
  • Sir Georg Solti
  • Recorded: 1967
  • Recording Venue: Sofiensaal, Vienna

1. Of all great musical compositions (Ex.1-4)

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2. The fundamental symbol (Ex.5-11)

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3. Returning now to the Nature Motive (Ex.12-16)

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4. A number of further motives (Ex.17-21)

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5. A second, much smaller family (Ex.22-25)

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6. So much for nature (Ex.26-38)

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7. The cause of the deterioration (Ex.39-44)

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8. The other transformation (Ex.45-48)

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9. Several other motives (Ex.49-52)

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10. Two further motives (Ex.41,53-61)

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11. Basic motive associated with the spear (Ex.62 / 68) (Ex.62 / 8)(Ex.62 / 8)

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12. Along another, more complex line (Ex.69-72)

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13. In Act 2 of "Walküre" (Ex.69,73-75)

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14. Returning now to Act 2 of "Walküre (Ex.76-79)

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15. Love is another of the central symbols (Ex.80-83)

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16. Later in the same scene (Ex.84-87)

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17. Freia's motive has 2 independent segments (Ex.88-91

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18. The label "Flight" (Ex.92)

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19. When Fasolt, in Scene 2 of "Rhinegold" (Ex.93-8)

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20. A little later in this interlude (Ex.99-103)

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21. The other new motive (Ex.104-09)

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22. There are several independent love-motives (Ex.110-

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23. The characters in whose lives (Ex.115-120)

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24. One further motive belongs (Ex.121)

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25. The sword motive recurs (Ex.122-130)

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26. Ironically, this phrase (Ex.131-5)

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27. Closely associated with Gutrune's motive (Ex.136-40

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28. Here we come to the end (Ex.141-6)

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29. Complementary to this symbol (Ex.147-9)

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30. One last central symbol (Ex.150-7)

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31. One further motive connected (Ex.158-61)

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32. There are one or two motives (Ex.162-8)

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33. These motives of Alberich & Mime (Ex.169-71)

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34. Quite a number of subsidiary motives (Ex.172-6)

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35. Besides this family of motives (Ex.177-80)

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36. Our final example (Ex.10,181-2)

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37. In the final scene of "Götterdämmerung" (Ex.181-3)

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38. Even more masterly (Ex.184-8)

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39. Now if we return (Ex.189-91)

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40. This masterly way (Ex.192-3)

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