Sir Georg Solti. Richard Wagner. An Introduction On "Der Ring Des Nibelungen"
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Of All Great Musical Compositions (Examples 1-4),The Fundamental Symbol (Examples 5-11),Returning Now To The Nature Motive (Examples 6, 12-16),A Number Of Further Motives (Examples 5, 17-21),A Second, Much Smaller Family (Examples 22-25),So Much For Nature (Examples 26-38),The Cause Of The Deterioration (Examples 39-44),The Other Transformation (Examples 45-48),Several Other Motives (Examples 49-52),Two Further Motives (Examples 41, 53-61),The Basic Motive Associated With The Spear (Examples 62-68),Along Another, More Complex Line (Examples 69-72),In Act Two Of Walkure . (Examples 69, 73-75),Returning Now To Act Two Of Walkure (Examples 76-79),Love Is Another Of The Central Symbols (Examples 80-83),Later In The Same Scene (Examples 84-87),Freia's Motive Has Two Independent Segments (Examples 88-91),The Label "Flight" (Example 92),When Fasolt, In Scene Two Of Rhinegold (Examples 93-98),A Little Later In This Interlude (Examples 99-103),The Other New Motive (Examples 104-109),There Are Several Independent Love-Motives (Examples 110-114),The Characters In Whose Lives (Examples 115-120),One Further Motive Belongs (Example 121),The Sword Motive Recurs (Examples 122-130),Ironically, This Phrase (Examples 131-135),Closely Associated With Gutrune's Motive (Examples 136-140),Here We Come To The End (Examples 141-146),Complementary To This Symbol (Examples 147-149),One Last Central Symbol (Examples 150-157),One Further Motive Connected (Examples 158-161),There Are One Or Two Motives (Examples 162-168),These Motives Of Alberich And Mime (Examples 169-171),Quite A Number Of The Subsidiary Motives (Examples 172-176),Besides This Family Of Motives (Examples 177-180),Our Final Example (Examples 10, 181, 182),In The Final Scene Of Gotterdammerung (Examples 181-183),Even More Masterly (Examples 184-188),Now If We Return (Examples 189-191),This Masterly Way (Examples 192, 193)