Wagner Rheingold

 
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Das Rheingold Audio and Full Score Loge, who originated the contract with the giants, and who at Wotan's command has been trying to find a suitable payment in lieu of Freia, materializes in a puff of smoke.

Das Rheingold, the first opera in Richard Wagner’s mythic Ring Cycle, begins as a distant, barely-audible rumble in the dark, murky depths of the orchestra. Entering one by one in cool, overlapping sonic currents, eight horns announce the Ring‘s expansive, rising “nature” motive. It’s a gradual, primal awakening- 136 bars and over four minutes of pure, unending E-flat major. We’re forced to confront the power and majesty of the basic, fundamental elements of sound and harmony. Rapidly-rising torrents of raw energy surge through the string section. The river is eternal.

In this production, 'the visual codes of the digital era become elemental and dazzlingly employed means of narration' (Opernwelt). Musically, the first two parts of Wagner's tetralogy 'Das Rheingold' and 'Die Walkure' are on a par with productions from historically more prestigious opera houses. Das Rheingold (The Rhinegold). The ‘Prologue’ to Wagner’s four opera cycle The Ring revolves around a gold ring, which gives unlimited power to the wearer who renounces love, and by the end. Wagner’s ingenious use of short musical themes creates a whole world of gods, heroes, dwarves and giants, and gives them their psychological and mythical depth. “Das Rheingold” begins in. “ Das Rheingold ” by Richard Wagner libretto (English German).

Music critic Barry Millington writes,

Wagner rheingold synopsis

The simple, protracted E-flat chords that open the tetralogy do more than depict the depths of the Rhine: they also suggest the birth of the world, the act of creation itself.

Near the end of the Prelude the curtain rises on Scene 1, set at the bottom of the Rhine River, and we encounter three Rhinemaidens, water nymphs from ancient German folklore.

When Das Rheingold was premiered in 1869, Wagner’s gradually developing evocation of floating underwater must have shocked audiences. At moments, the music seems as “contemporary” as the atmospheric soundscapes of John Luther Adams (compare it with pieces like Become Ocean and Dark Waves). It isn’t far from the gradually-developing minimalism we hear in the Prelude to Philip Glass’ 1983 opera, Akhnaten.

Here is Georg Solti’s 1958 recording with the Vienna Philharmonic:

Wagner Rheingold Solti

Recordings

  • Wagner: Das Rheingold, Georg Solti, Vienna Philharmonic Amazon
  • Das Rheingoldcomplete opera, Wilhelm Furtwängler, Orchestra della RAI Roma (1953)
  • Das Rheingoldcomplete opera, Herbert von Karajan, Berlin Philharmonic (1968)
  • Das Rheingold complete opera, Pierre Boulez, Bayreuth Festival (1980)
  • Das Rheingold in concert, Sir Simon Rattle and the Orchestra of the Age of Enlightenment (2004)

Thats all folks mp3. The History section comprises a series of essays prepared exclusively for wagner-tuba.com by Reverend Gregory Thompson, B.A. They are based on an extensive series of articles about the Wagner Tuba by William Melton who kindly gave permission for his articles to be summarized.

The Vision

The Wagner tuba was conceived by Richard Wagner (1813-1883) in the summer of 1853 when he was exiled in Zurich. He was working on Das Rheingold and envisaged a quartet of instruments which he called Tuben. The opera’s Valhalla motif was initially intended for trombones but then changed to Tuben in the orchestral draft. Wagner probably had in mind the ancient Bronze age Nordic horn, or lur, when he designed the Wagner tuba. The aim was to bridge the gap in timbre between the horn and trombones, and so blend the sounds of the brass section more effectively. Being a smaller sized tuba it would also integrate the sound of the new bass tuba (created in 1835) with that of the horns. The quartet of Wagner tubas would also be able to function on their own as a choir. (Below: Das Rheingold Detail)

Imslp Wagner Rheingold

The Wagner tuba came to birth against a background of European militarism and national armies which had their own wind bands. There was a concurrent development in all types of brass instruments across the continent, and there are various theories as to which of them inspired Wagner’s new instruments. He certainly had dealings with the firm of Moritz before the Munich performances of Das Rheingold and Die Walküre in 1869-70. Whatever the inspiration, the Wagner tuba undoubtedly started life as a military band horn-substitute and Wagner needed both technical and practical assistance to realize his new instruments and convert them to his requirements. Excerpts from The Ring played in concerts during the 1860s employed band instruments for what Wagner now called his tenor and bass tuba quartet. Finding the right instruments, however, sometimes proved difficult or impossible.

Wagner Rheingold Youtube

Wagner early became dissatisfied with Sax’s products, and while it is thought that the virtuoso hornist Franz Strauss (the father of Richard Strauss) helped him develop his new instruments, it was a different hornist altogether.

Wagner Rheingold Score

Next: The Apprentice