. A guide to Parsifal, the music drama of Richard Wagner; its origin, story, and music. ungoverned impetuosity; it contains the implica-tion of her curse, driving her through the worldwithout rest, and of her demoniac laughter —these may be heard in the furiously descendingchromatic passages of minor thirds and semitones,through three octaves, as it is employed here, [48] The Music though afterwards it is often used in a briefercompass. (Page 14, system 3.) As Kundryhands the vial to Amfortas there is heard a motivein descending diatonic thirds signifying Kundrysservice as a helpful messenger
. A guide to Parsifal, the music drama of Richard Wagner; its origin, story, and music. ungoverned impetuosity; it contains the implica-tion of her curse, driving her through the worldwithout rest, and of her demoniac laughter —these may be heard in the furiously descendingchromatic passages of minor thirds and semitones,through three octaves, as it is employed here, [48] The Music though afterwards it is often used in a briefercompass. (Page 14, system 3.) As Kundryhands the vial to Amfortas there is heard a motivein descending diatonic thirds signifying Kundrysservice as a helpful messenger of the Grail, andreappearing in the third act, where she penitentlycomes forth again for service. It may be calledthe motive of Kundrys service: (page 15, system 2.) IX. KUNDRYS SERVICE As a pendant and a contrast to the distressfultheme of Amfortass suffering comes now themotive that accompanies his contemplation of themorning glory of the forest; it may be called themotive of the Glory of the Dawn: (page 17, sys-tem 4.) X. THE GLORY OF THE DAWN. /\ ^^ * ^ -^ 1 1 —~~^~ \l<. J j J ^=^ H 1 11 J J JIJJ \^ ^ j-i^?^ fc 3 U„..J,J t ir-d:^ r 3rj. jj^^;t- -^rrffltr ^^°^^ ^—pJ \^V :^ \ = 1^ [49] A Guide to Parsifal It is employed with exquisite skill in the beauti-ful passage that follows, m connection with themotive of suffering and wdth fragments of theFaith theme, the motto of Promise and Kundrysthemes, in elaborating the succeeding scene be-tween Amfortas, Gurnemanz and Kundry. (Pages17-23.) The curious may find here some ofWagners effective contrapuntal subtleties, as forinstance where Amfortass theme and that of theGlory of the Dawn are combined in double canon.(Page 23, system i, and again, page 34, system 2.) Amfortas passes on, and Gurnemanz, left alonewith the esquires and Kundry, gives the long ex-planation of what has gone before, setting forththe dramatic situation. In this narrative thestyle is remarkably varied, and those whose earsare attuned to the art with
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectwagnerr, bookyear1904
