. The life of Richard Wagner . ^%k PP PP m A FAUST-OVERTURE. 33. a tempo -E?^ ¥ m gs>- -<9- dim. . I • . /?« p 4- pp ^ etc. # Save for the last two bars before a tempo—which remind us ofthe end of the Rienzi example, and may therefore be viewed asthe original transition to the next subject—the whole atmosphereis Tristanesque, in style of harmony and all; a point to be re-membered four years hence, when we come to charges of likenature with that advanced against the Blickmotiv. But whatof the insufficient image of his longing, destroyed by Faust inhis despair, according to Wagners explana
. The life of Richard Wagner . ^%k PP PP m A FAUST-OVERTURE. 33. a tempo -E?^ ¥ m gs>- -<9- dim. . I • . /?« p 4- pp ^ etc. # Save for the last two bars before a tempo—which remind us ofthe end of the Rienzi example, and may therefore be viewed asthe original transition to the next subject—the whole atmosphereis Tristanesque, in style of harmony and all; a point to be re-membered four years hence, when we come to charges of likenature with that advanced against the Blickmotiv. But whatof the insufficient image of his longing, destroyed by Faust inhis despair, according to Wagners explanation of two years priorto the revision ? Here is no trace of such a climax, nor can thereever have been if this cadenza is merely an unfolding, orelaboration, of the older passage. On the contrary, it drops to apoint of perfect rest, as if our Faust were yielding to the entry ofa blissful day-dream. Yes, and that triad of F major, which roundsoff our example, is in reality the starting-point of motive 2 (p. 29sup.)^ which had hitherto been absent f
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectwagnerrichard1813188
