. Programme . th (the crashingchords of the Death-Motive in the major mode; the full orchestra). YIII. The Siegfried-Motive (in the horns and bass-trumpet;afterwards in the trumpets). IX. The Motive of Siegfried the Hero (a rhythmic modifica-tion of Siegfrieds horn-call, in all the brass). X. The Brunnhildb-Motive (in the clarinet and English-horn). Of all these the only one which keeps constantly recurring inone form or another is the Death-Motive, either in its originalminor shape, or else in the major mode as the Motive of Glorifica-tion in Death. This music on Siegfrieds death comes to no
. Programme . th (the crashingchords of the Death-Motive in the major mode; the full orchestra). YIII. The Siegfried-Motive (in the horns and bass-trumpet;afterwards in the trumpets). IX. The Motive of Siegfried the Hero (a rhythmic modifica-tion of Siegfrieds horn-call, in all the brass). X. The Brunnhildb-Motive (in the clarinet and English-horn). Of all these the only one which keeps constantly recurring inone form or another is the Death-Motive, either in its originalminor shape, or else in the major mode as the Motive of Glorifica-tion in Death. This music on Siegfrieds death comes to no definite close inthe drama itself, but merges gradually into the third, and final,scene of the act, which ends with Briinnhildes dying speech overthe heros remains, her self-immolation, and the mystic shadowingforth of Kagnarok, or the Dusk of the Gods {Gdtterddmmerung),from which the drama takes its name. This funeral march music was played in Boston by TheodoreThomass Orchestra as early as February 19, OF MODERN DANCING Private, Individual and Class Instruction; also Classes for Children Studio conveniently situated Terms of tuition on request 409-410 NOTTINGHAM BUILDING 25 Huntington Ave. Boston, Mass. Telephone. B. B. 7988 Miss Alicia Meredith cordially invites in-spection of her studio
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