. A guide to Parsifal, the music drama of Richard Wagner; its origin, story, and music. Wagners works; they will find Hans Sachsquoting from Tristan und Isolde in the third act of Die Meis-tersinger — just as they will find Mozart quoting from Le Nozzedi Figaro, in the last act of Don Giovanni. [53] A Guide to Parsifal zeleide, his mother, who called him many namesthat he cannot now recall (page 54, system 2). XIV. HERZELEIDE nip dolce ^ Its tender strains accompany the first entranceof compassion into this ignorant wights heart, aslater they accompany Kundrys well calculatedassault upon his f
. A guide to Parsifal, the music drama of Richard Wagner; its origin, story, and music. Wagners works; they will find Hans Sachsquoting from Tristan und Isolde in the third act of Die Meis-tersinger — just as they will find Mozart quoting from Le Nozzedi Figaro, in the last act of Don Giovanni. [53] A Guide to Parsifal zeleide, his mother, who called him many namesthat he cannot now recall (page 54, system 2). XIV. HERZELEIDE nip dolce ^ Its tender strains accompany the first entranceof compassion into this ignorant wights heart, aslater they accompany Kundrys well calculatedassault upon his feelings in the second act. Gurnemanz escorts the young man to the GrailTemple, and as they proceed, the scene shifts,gradually moving past as time is changed tospace. This transformation is accompanied byan indescribably rich and varied orchestral pas-sage, based chiefly on the Bell Theme — the notestolled by the bells of the Grail Castle heard firstfrom afar, then louder and louder, as follows(page 63, system 2): XV. BELL THEME This is elaborated in the accompanying figurethus:. The Music Many of the other themes are woven into thistonal fabric, especially the Grail Theme. A newand important theme enters before the great hallis reached, a theme that presages the scene of an-guish about to be witnessed there. It is entitled,in the thematic analyses that have the authorityof Wagner behind them, the theme of the SavioursLament. It is used, however, largely to depictthe anguish of Amfortas and his sufferings, mentaland physical, resulting from his sin and the hurtof soul and body that came to him therefrom. Itis a theme of poignant, searching quahty, withdrastic dissonances and syncopations, the veryembodiment in music of the suffering it repre-sents. Here it is (page 66, system 2): XVI. THE SAVIOURS LAMENT
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectwagnerr, bookyear1904
