Richard Wagner: Der Ring des Nibelungen - An Introduction (2 CDs)

Der Ring des Nibelungen - An Introduction

Deryck Cooke, Birgit Nilsson, Hans Hotter, James King, Gottlob Frick, Brigitte Fassbaender, Lucia Popp, Christa Ludwig, Wiener Philharmoniker, Georg Solti

2 CDs

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

Richard Wagner (1813-1883): Der Ring des Nibelungen - An Introduction, 2 CDs

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Eine Erläuterung und Analyse von Wagners leitmotivischen Bezügen von Deryck Cooke mit insgesamt 193 Musikbeispielen.

Künstler: Sprecher: Deryck Cooke (in engl. Spr.),Birgit Nilsson, Hans Hotter, James King, Gottlob Frick, Brigitte Fassbaender, Lucia Popp, Christa Ludwig, Wiener Philharmoniker, Georg Solti
Label: Decca, ADD, 1958-1963
Erscheinungstermin: 9.3.2000

Tracklisting
Details
Mitwirkende

Disk 1 von 2 (CD)

Der Ring des Nibelungen

1 1. Of all great musical compositions Ex.1-4 (An Introduction by Deryck Cooke with musical examples)
2 2. The fundamental symbol Ex.5-11 (An Introduction by Deryck Cooke with musical examples)
3 3. Returning now to the Nature Motive Ex.12-16 (An Introduction by Deryck Cooke with musical examples)
4 4. A number of further motives Ex.17-21 (An Introduction by Deryck Cooke with musical examples)
5 5. A second, much smaller family Ex.22-25 (An Introduction by Deryck Cooke with musical examples)
6 6. So much for nature Ex.26-38 (An Introduction by Deryck Cooke with musical examples)
7 7. The cause of the deterioration Ex.39-44 (An Introduction by Deryck Cooke with musical examples)
8 8. The other transformation Ex.45-48 (An Introduction by Deryck Cooke with musical examples)
9 9. Several other motives Ex.49-52 (An Introduction by Deryck Cooke with musical examples)
10 10. Two further motives Ex.41,53-61 (An Introduction by Deryck Cooke with musical examples)
11 11. Basic motive associated with the spear Ex.62/68 Ex.62/8Ex.62/8 (An Introduction by Deryck Cooke with musical)
12 12. Along another, more complex line Ex.69-72 (An Introduction by Deryck Cooke with musical examples)
13 13. In Act 2 of "Walküre" Ex.69,73-75 (An Introduction by Deryck Cooke with musical examples)
14 14. Returning now to Act 2 of "Walküre Ex.76-79 (An Introduction by Deryck Cooke with musical examples)
15 15. Love is another of the central symbols Ex.80-83 (An Introduction by Deryck Cooke with musical examples)
16 16. Later in the same scene Ex.84-87 (An Introduction by Deryck Cooke with musical examples)
17 17. Freia's motive has 2 independent segments Ex.88-91 (An Introduction by Deryck Cooke with musical examples)
18 18. The label "Flight" Ex.92 (An Introduction by Deryck Cooke with musical examples)
19 19. When Fasolt, in Scene 2 of "Rhinegold" Ex.93-8 (An Introduction by Deryck Cooke with musical examples)
20 20. A little later in this interlude Ex.99-103 (An Introduction by Deryck Cooke with musical examples)

Disk 2 von 2 (CD)

Der Ring des Nibelungen

1 21. The other new motive Ex.104-09 (An Introduction by Deryck Cooke with musical examples)
2 22. There are several independent love-motives Ex.110- (An Introduction by Deryck Cooke with musical examples)
3 23. The characters in whose lives Ex.115-120 (An Introduction by Deryck Cooke with musical examples)
4 24. One further motive belongs Ex.121 (An Introduction by Deryck Cooke with musical examples)
5 25. The sword motive recurs Ex.122-130 (An Introduction by Deryck Cooke with musical examples)
6 26. Ironically, this phrase Ex.131-5 (An Introduction by Deryck Cooke with musical examples)
7 27. Closely associated with Gutrune's motive Ex.136-40 (An Introduction by Deryck Cooke with musical examples)
8 28. Here we come to the end Ex.141-6 (An Introduction by Deryck Cooke with musical examples)
9 29. Complementary to this symbol Ex.147-9 (An Introduction by Deryck Cooke with musical examples)
10 30. One last central symbol Ex.150-7 (An Introduction by Deryck Cooke with musical examples)
11 31. One further motive connected Ex.158-61 (An Introduction by Deryck Cooke with musical examples)
12 32. There are one or two motives Ex.162-8 (An Introduction by Deryck Cooke with musical examples)
13 33. These motives of Alberich & Mime Ex.169-71 (An Introduction by Deryck Cooke with musical examples)
14 34. Quite a number of subsidiary motives Ex.172-6 (An Introduction by Deryck Cooke with musical examples)
15 35. Besides this family of motives Ex.177-80 (An Introduction by Deryck Cooke with musical examples)
16 36. Our final example Ex.10,181-2 (An Introduction by Deryck Cooke with musical examples)
17 37. In the final scene of "Götterdämmerung" Ex.181-3 (An Introduction by Deryck Cooke with musical examples)
18 38. Even more masterly Ex.184-8 (An Introduction by Deryck Cooke with musical examples)
19 39. Now if we return Ex.189-91 (An Introduction by Deryck Cooke with musical examples)
20 40. This masterly way Ex.192-3 (An Introduction by Deryck Cooke with musical examples)