4. German Opera: Characteristics
⢠German composers began to compose
in German: Mozart (The Magic Flute),
von Weber--Der FreischĂźtz (The
Freeshooter).
⢠Librettos involved magic, mysticism, the
supernatural, distant and exotic lands
and cultures, love, and heroes.
⢠Rejected the stories of court intrigues
and farces.
5. German Opera
⢠Very different from Italian
⢠Language more guttural, music
heavier, less light-hearted
⢠Nordic gods instead of Greeks
⢠Carl Maria von Weber-Der Freischutz
â Based on German folklore
â Offers mysticism, rustic scenes,
etc.
6. Richard Wagner (1813 - 1883)
⢠The most controversial composer who ever
lived--some love him; some hate him.
⢠Controversial figure--had very questionable
character to achieve goals; an anti-Semite
who may have influenced Hitler
⢠Operas are full of social and political ideas.
⢠Rienzi-1st
success
⢠Born in Leipzig, son of police officer.
⢠Studied music of Beethoven.
⢠Held a series of positions as conductor.
⢠Career in Dresden
7. Richard Wagner (1813 - 1883)
⢠Fled Germany in 1848; first to house of Liszt, then to
Switzerland; lived there for 10 years.
⢠Failed revolution in 1849
⢠Second wife: Cosima Liszt
⢠King Ludwig II of Bavaria supported him and his art.
⢠Built a large opera house in Bayreuth--called
Festspielhaus (âa festival drama houseâ).
⢠1876-1st
Bayreuth Festival, continues today
⢠Oversaw the building of the opera house and all the
performances there
⢠Died at age 70, buried at opera house
8. Richard Wagner
Other Operas
⢠The Flying Dutchman
⢠Tannhäuser
⢠Lohengrin (Wedding Recessional)
⢠Tristan und Isolde
⢠Die Meistersinger von Nßrnberg
⢠Parsifal
9. Wagnerâs Music Dramas
R o m a n ti c O p e r a i n T h e E x t r e m e
G e s a m t k u n s t w e r k
E l a b o r a t e S t a g i n g ,
S e t s , C o s t u m e s
E x t r e m e l y L o n g ,
C o m p l e x
L i e t m o t i f
M u s i c D r a m a
ďŽ Unification of drama & music
ďŽ Musical theme represents person,
place, idea
ďŽ As long as 5 hours-intermissions
long enough to go to dinner and
return
ďŽ Expensive and sometimes garish
ďŽ The idea: a total asthetic
experience in one
10. Wagner
⢠Created âGrand Operaâ, or
Music Drama
⢠Wrote own libretto
⢠Mythological topics, appealed
best to emotions
⢠Philosophical overtones: good
vs. evil, contest between
physical & spiritual,
redemption through love
⢠Characters pawns of
uncontrollable forces
11. Wagner
⢠Grand Opera
â Longer, more instruments, more
characters
â Doubled winds, added percussion
â Not accepted at time, more after
Wagnerâs death
â Full of emotion
â Eliminated recitative, aria, chorus
to achieve unending melody
â More chromatic harmony, no idea
for tonic
â Orchestra more important, bigger
and louder
12. Der Ring des Nibelungen
⢠Greatest musical achievement
⢠Opera Cycle
⢠An opera with outstanding
orchestration and blending of
the voices with the orchestra
⢠Ring of the Nibelungs
â Das Rhiengold
â Die WalkĂźre
â Siegfried
â GĂśtterdammerung
⢠âIt ainât over till the fat lady
sings.â
13. Richard Wagner
The Leitmotif
⢠Leitmotif--a brief musical
phrase or idea that is
connected dramatically to
some person, event, or
idea in the drama
â When the leitmotif is
heard, it causes the
audience to recognize
the person, event or
idea.
â Similar to the âshark
themeâ in Jaws.
14. Wagner and Tolkien:
The Ring and Lord of the Rings
⢠Both contain 4 works; the first is a prelude to the rest of the
story; based on Nordic myths.
⢠Both emphasize the power of the ring and the grief it brings
the owner who covets the power.
⢠The plots center on peopleâs efforts to own and control the
ring.
⢠Both start with a state of purity that is corrupted later and
then restored.
⢠Both feature giants, dragons, dwarves, a riddling match, and a
shattered sword recast to be more powerful.
17. Richard Wagner The Valkyrie, Act
III
⢠Story: In The Valkyrie, the main characters are Wotan
(chief of the gods), his daughter BrĂźnnhilde (a
warrior-like Valkyrie). BrĂźnnhilde has intervened on
behalf of a human couple, and Wotan condemns her
to death. She pleads for a lesser sentence and is
stripped of her godlike powers, put into a deep sleep,
and surrounded with a ring of fire that can be
crossed only by someone who isnât afraid of Wotanâs
spear. In this scene Wotan is saying goodbye to his
beloved daughter and summons Loge to create the
circle of fire.
18. Richard Wagner The Valkyrie, Act
III
⢠Texture--Wagnerâs composition uses the voice very
differently than it is used in Verdiâs La Traviata. In Verdiâs
opera, the singer stands out above the orchestra. In
Wagnerâs opera, the singer and the orchestra have more
equal parts.
⢠Wagner wanted the music and the drama to have equal
importance.
⢠Vocal writing is more syllabic than in Italian opera with little
repetition of the text.
⢠Melodies are fluid and avoid periodic phrase structure.
19. Act III (Finale) of
Die WalkĂźre
⢠Leitmotifs:
â slumber
â magic sleep
â magic fire
â Siegfried
Wagner: Die WalkĂźre
(Listening Guide)
â In Germany, the genre Singspiel (light, comic drama with spoken dialogue) gave way to more serious works, including Richard Wagnerâs music drama, which integrated music, poetry, drama, and spectacle.
â Wagnerâs music dramas are not sectional (with arias, ensembles, and the like) but are continuous, unified by leitmotifs, or recurring themes, that represent a person, place, or idea. His most famous work is the four-opera cycle The Ring of the Nibelung.
Act III (Finale) of Die WalkĂźre
Die WalkĂźre is the second music drama of the Ring of the Nibelung. The plot of Die WalkĂźre revolves around a twin brother and sister, Siegmund and Sieglinde who are offspring of Wotan and a mortal.
The Valkyries are the nine daughters of Wotan, whose task is to circle the battlefield on their winged horses to gather up the fallen heroes and bring them to Valhalla
. Act III begins with the famous Ride of the Valkyries, an orchestral depiction of these nine warrior maidens on their way from the battlefield carrying fallen heroes slung across the saddles of their winged horses.
Listen for swirling melodic figures in the strings and woodwinds, then the famous âRideâ leitmotif that ascends and repeats many times. Battle cries ensue from soloists in call-and-response format. The melody is continual with lively dotted rhythm figures in 9/8. The leitmotif is heard in both minor and major tonaliites, the texture is polyphonicâcombining the main theme and the swirling melodic ideas. The excited mood is accomplished through huge dynamic contrasts and the battle cries of the flying warriors. The large orchestra is a variety of brass and woodwind instruments, a large percussion section, string players, and six harps.
Artwork: Ride of the Valkyries, from Wagnerâs opera Die WalkĂźre, in a design by Carl Emil Doepler (c. 1876).