An Introduction to Der Ring des Nibelungen

An Introduction to Der Ring des Nibelungen

An Introduction to Der Ring des Nibelungen
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CD Details

Edition: Music CD
CD Release Date: 2005-09-13
Music Label: Decca
Soundtracks:
Music CD 1
  1. Of all great musical compositions... [Examples 1-4]
  2. The fundamental symbol... [Examples 5-11]
  3. Returning now to the Nature Motive... [Examples 6, 12-16]
  4. A number of further motives... [Examples 5, 17-21]
  5. A second, much smaller family... [Examples 22-25]
  6. So much for nature. [Examples 26-38]
  7. The cause of the deterioration... [Examples 39-44]
  8. The other transformation... [Examples 45-48]
  9. Several other motives... [Examples 49-52]
  10. Two further motives... [Examples 41, 53-61]
  11. The basic motive associated with the spear... [Examples 62-68]
  12. Along another, more complex line... [Examples 69-72]
  13. In Act Two of "Walk?re"... [Examples 69, 73-75]
  14. Returning now to Act Two of "Walk?re"... [Examples 76-79]
  15. Love is another of the central symbols... [Examples 80-83]
  16. Later in the same scene... [Examples 84-87]
  17. Freia's Motive has two independent segments... [Examples 88-91]
  18. The label 'Flight'... [Example 92]
  19. When Fasolt, in Scene Two of "Rhinegold"... [Examples 93-98]
  20. A little later in this interlude... [Examples 99-103]
Music CD 2
  1. The other new motive... [Examples 104-109]
  2. There are several independent love-themes... [Examples 110-114]
  3. The characters in whose lives... [Examples 115-120]
  4. One further motive belongs... [Example 121]
  5. The Sword Motive occurs... [Examples 122-130]
  6. Ironically, this phrase... [Examples 131-135]
  7. Closely associated with Gutrune's Motive... [Examples 136-140]
  8. Here we come to the end... [Examples 141-146]
  9. Complementary to this symbol... [Examples 147-149]
  10. One last central symbol... [Examples 150-157]
  11. One further motive connected... [Examples 158-161]
  12. There are one or two motives... [Examples 162-168]
  13. These motives of Alberich and Mime... [Examples 169-171]
  14. Quite a number of the subsidiary motives... [Examples 172-176]
  15. Besides this family of motives... [Examples 177-180]
  16. Our final example... [Examples 10, 181, 182]
  17. In the final scene of "G?tterd?mmerung"... [Examples 181-183]
  18. Even more masterly... [Examples 184-188]
  19. This masterly way... [Examples 192, 193]

Music reviews of An Introduction to Der Ring des Nibelungen

Music Review: A Must Have
Rating: 5 Stars

If you are serious about Wagner's "Der Ring Des Nibelungen" then this is a must have. I never relized how much I missed before I bought "An Intdroduction to Der Ring Des Nibelungen." My understanding of the music of The Ring has increased tenfold. This recording makes listening to "The Ring" much more enjoyable. I now hear motif's that were always there but I missed. What a great teaching tool. Buy it......

Description of An Introduction to Der Ring des Nibelungen

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

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