Wagner: An Introduction to Der Ring des Nibelungen di Deryck Cooke, Wiener Philharmoniker, Sir Georg Solti - Musica

1

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

03:37

Wiener Philharmoniker, Sir Georg Solti

2

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

04:47

Wiener Philharmoniker, Sir Georg Solti

3

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

03:22

Wiener Philharmoniker, Sir Georg Solti

4

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

03:18

Wiener Philharmoniker, Sir Georg Solti

5

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

02:35

Wiener Philharmoniker, Sir Georg Solti

6

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

07:56

Wiener Philharmoniker, Sir Georg Solti

7

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

03:31

Wiener Philharmoniker, Sir Georg Solti

8

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

03:45

Wiener Philharmoniker, Sir Georg Solti

9

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

02:47

Wiener Philharmoniker, Sir Georg Solti

10

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

07:13

Wiener Philharmoniker, Sir Georg Solti

11

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

05:17

Wiener Philharmoniker, Sir Georg Solti

12

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

02:12

Wiener Philharmoniker, Sir Georg Solti

13

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

02:22

Wiener Philharmoniker, Sir Georg Solti

14

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

03:55

Wiener Philharmoniker, Sir Georg Solti

15

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

03:06

Wiener Philharmoniker, Sir Georg Solti

16

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

02:23

Wiener Philharmoniker, Sir Georg Solti

17

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

02:02

Wiener Philharmoniker, Sir Georg Solti

18

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

00:56

Wiener Philharmoniker, Sir Georg Solti

19

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

05:24

Wiener Philharmoniker, Sir Georg Solti

20

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

03:08

Wiener Philharmoniker, Sir Georg Solti

21

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

03:36

Wiener Philharmoniker, Sir Georg Solti

22

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

02:56

Wiener Philharmoniker, Sir Georg Solti

23

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

05:28

Wiener Philharmoniker, Sir Georg Solti

24

24. One further motive belongs (Ex.121)

01:25

Wiener Philharmoniker, Sir Georg Solti

25

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

04:28

Wiener Philharmoniker, Sir Georg Solti

26

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

02:59

Wiener Philharmoniker, Sir Georg Solti

27

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

02:27

Wiener Philharmoniker, Sir Georg Solti

28

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

03:43

Wiener Philharmoniker, Sir Georg Solti

29

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

02:14

Wiener Philharmoniker, Sir Georg Solti

30

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

04:55

Wiener Philharmoniker, Sir Georg Solti

31

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

02:52

Wiener Philharmoniker, Sir Georg Solti

32

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

03:48

Wiener Philharmoniker, Sir Georg Solti

33

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

02:08

Wiener Philharmoniker, Sir Georg Solti

34

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

02:51

Wiener Philharmoniker, Sir Georg Solti

35

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

02:31

Wiener Philharmoniker, Sir Georg Solti

36

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

03:57

Wiener Philharmoniker, Sir Georg Solti

37

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

02:45

Wiener Philharmoniker, Sir Georg Solti

38

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

04:32

Wiener Philharmoniker, Sir Georg Solti

39

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

02:48

Wiener Philharmoniker, Sir Georg Solti

40

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

04:53

Wiener Philharmoniker, Sir Georg Solti

Formati disponibili:

Compositori:

Tracklist:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

24. One further motive belongs (Ex.121)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Formati disponibili: