. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. en the Walkiire was to be introduced witha storm, the Siegfried with a tone-piece con-ducting us into the silent depths of NibelheimsHoard-smithy by a reminiscence of certain plas-tic motives from the previous dramas : all threewere elements from which the drama had toquicken into life. Something different was de-manded for an introduction to the Norns scene of Die Gotterdammerung; here the destinies
. Modern orchestration and instrumentation : or, The art of instrumentation ; containing detailed descriptions of the character and peculiarities of all instruments and their practical employment. en the Walkiire was to be introduced witha storm, the Siegfried with a tone-piece con-ducting us into the silent depths of NibelheimsHoard-smithy by a reminiscence of certain plas-tic motives from the previous dramas : all threewere elements from which the drama had toquicken into life. Something different was de-manded for an introduction to the Norns scene of Die Gotterdammerung; here the destiniesof the ure-world are weaving themselves intothat rope one must see the hooded sisters swingwhen the curtain rises, to understand its mean-ing : wherefore this prelude could only be briefand preparatory, though the expectant use ofmotives made intelligible in the earlier sectionsof the work allowed a richer harmonic and the-matic treatment. And it is important how onecommences. Had I used in an Overture a mo-tive cast like that which is heard in the secondact of Die Walkiire at Wotans surrender ofworld-sovereignty to the possessor of the Nibel-ungen-hoard : — -•- -•- -•- -•- -•-. according to my notions of distinctness of styleI should have perpetrated a piece of downrightnonsense. But after in course of the drama thesimple nature-motive : — had been heard at the earliest gleam of the shin-ing Rheingold; at the first appearance of theGods-burg Walhall, shimmering in the morn-ings red, the no less simple motive m T -:&EtE£: .r-Ji 91: mmm > • -L 4- -4=r and each of these motives had undergone muta-tions in closest sympathy with the rising pas-sions of the plot, — with the help of a digression 304 AL/.yuS MODERN INSTRUMEXTATIOX AND ORCHESTRATION. in the harmony. I could present them knit insuch a way that, more than Wotans words, thistone-figure should give to us a picture of thefearful gloom in the soul of the suffering , I am conscious of having alw
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