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An Introduction to Der Ring des Nibelungen
ALBUM NAME
An Introduction to Der Ring des Nibelungen
Copyright
℗ 1968 Decca Music Group Limited
RELEASE DATE
January 1, 1968
TRACK
40
DURATION
2:20:31
ALBUM ARTIST
Album Track
 
1
An Introduction to Wagner's "The Ring of the Nibelung" Of all great musical compositions... [Examples 1-4]
An Introduction to Wagner's "Der Ring des Nibelungen" Of all great musical compositions... [Examples 1-4]
 
3:37
 
2
 
 
The fundamental symbol... [Examples 5-11]
4:46
 
3
 
 
Returning now to the Nature Motive... [Examples 6, 12-16]
3:22
 
4
 
 
A number of further motives... [Examples 5, 17-21]
3:17
 
5
 
 
A second, much smaller family... [Examples 22-25]
2:35
 
6
 
 
So much for nature. [Examples 26-38]
7:56
 
7
 
 
The cause of the deterioration... [Examples 39-44]
3:30
 
8
 
 
The other transformation... [Examples 45-48]
3:44
 
9
 
 
Several other motives... [Examples 49-52]
2:47
 
10
 
 
Two further motives... [Examples 41, 53-61]
7:12
 
11
 
 
The basic motive associated with the spear... [Examples 62-68]
5:17
 
12
 
 
Along another, more complex line... [Examples 69-72]
2:12
 
13
 
 
In Act Two of "Walküre"... [Examples 69, 73-75]
2:21
 
14
 
 
Returning now to Act Two of "Walküre"... [Examples 76-79]
3:54
 
15
 
 
Love is another of the central symbols... [Examples 80-83]
3:6
 
16
 
 
Later in the same scene... [Examples 84-87]
2:22
 
17
 
 
Freia's Motive has two independent segments... [Examples 88-91]
2:1
 
18
 
 
The label 'Flight'... [Example 92]
56
 
19
 
 
When Fasolt, in Scene Two of "Rhinegold"... [Examples 93-98]
5:23
 
20
 
 
A little later in this interlude... [Examples 99-103]
3:7
 
21
 
 
The other new motive... [Examples 104-109]
3:36
 
22
 
 
There are several independent love-themes... [Examples 110-114]
2:55
 
23
 
 
The characters in whose lives... [Examples 115-120]
5:27
 
24
 
 
One further motive belongs... [Example 121]
1:25
 
25
 
 
The Sword Motive occurs... [Examples 122-130]
4:28
 
26
 
 
Ironically, this phrase... [Examples 131-135]
2:58
 
27
 
 
Closely associated with Gutrune's Motive... [Examples 136-140]
2:26
 
28
 
 
Here we come to the end... [Examples 141-146]
3:43
 
29
 
 
Complementary to this symbol... [Examples 147-149]
2:14
 
30
 
 
One last central symbol... [Examples 150-157]
4:54
 
31
 
 
One further motive connected... [Examples 158-161]
2:52
 
32
 
 
There are one or two motives... [Examples 162-168]
3:48
 
33
 
 
These motives of Alberich and Mime... [Examples 169-171]
2:7
 
34
 
 
Quite a number of the subsidiary motives... [Examples 172-176]
2:50
 
35
 
 
Besides this family of motives... [Examples 177-180]
2:31
 
36
 
 
Our final example... [Examples 10, 181, 182]
3:57
 
37
 
 
In the final scene of "Götterdämmerung"... [Examples 181-183]
2:45
 
38
 
 
Even more masterly... [Examples 184-188]
4:31
 
39
 
 
Now if we return... [Examples 189-191]
2:47
 
40
 
 
This masterly way... [Examples 192, 193]
4:52
 
Album Artist
Anita Valkki
Vocals
Claire Watson
Vocals
Deryck Cooke
composer
Georg Solti
Conductor
George London
Vocals
Gottlob Frick
Vocals
Gwyneth Jones
Vocals
Hans Hotter
Vocals
Helen Watts
Vocals
Ira Malaniuk
Vocals
James King
Vocals
Jean Madeira
Vocals
Kurt Böhme
Vocals
Lucia Popp
Vocals
Marilyn Tyler
Vocals
Maureen Guy
Vocals
Oda Balsborg
Vocals
Paul Kuen
Vocals
Set Svanholm
Vocals
Vera Little
Vocals
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