. The Victrola book of the opera : stories of one hundred and twenty operas with seven-hundred illustrations and descriptions of twelve-hundred Victor opera records . Wolfram: Oh, royal maid. May I not guide thee homeward? (Tannhauser, Act III.) VICTROLA BOOK OF THE OPERA — WAGNERS TANNHAUSER return, but Tannhauser is not among is overcome with disappointment andfeebly returns to her home. Tannhauser now appears, in a wretchedplight, on his way to re-enter the Hill of tells Wolfram that he appealed to the Popefor pardon, but was told that his redemptionwas as impossible
. The Victrola book of the opera : stories of one hundred and twenty operas with seven-hundred illustrations and descriptions of twelve-hundred Victor opera records . Wolfram: Oh, royal maid. May I not guide thee homeward? (Tannhauser, Act III.) VICTROLA BOOK OF THE OPERA — WAGNERS TANNHAUSER return, but Tannhauser is not among is overcome with disappointment andfeebly returns to her home. Tannhauser now appears, in a wretchedplight, on his way to re-enter the Hill of tells Wolfram that he appealed to the Popefor pardon, but was told that his redemptionwas as impossible as that the Popes staff shouldput forth leaves. Wolframs remonstrances arein vain, and Tannhauser is about to invoke thegoddess, when a chant is heard and the Pilgrimsappear, announcing that the Popes staff hadblossomed as a sign that the sinner was for-given. Tannhauser kneels in prayer as themourners pass with the body of Elizabeth, who,overcome by her bitter disappointment, hadsuddenly passed away. Overture—Part I By Arthur Pryors Band 31382 12-inch, $ Overture—Part II By Arthur Pryors Band 31383 12-inch, GADSKI AS ELIZABE I Overture—Part I\Overture—Part II By La Scala OrchestraBy La Scala Orchestra 68205 12-inch, This overture, with its sombre opening chorus, its weird music of the Venus Mount,and the final return of the penitents, when the chant is accompanied by a striking variationfor clarinets, is one of the greatest works of Wagner. It has become quite familiar by itsfrequent repetitions in orchestra and military band concerts, and no concert piece is moreadmired. The overture depicts the struggle between good and evil, and as Liszt has said, is apoem on the same subject as the opera and equally comprehensive. The sombre religious motive appears first: *m r r r rr=r. sL SE ff beginning softly and gradually swelling to a fortissimo. Then, as it is dying away, it is sud-denly interrupted by the Venusberg motive: *UfrfH>*&g«
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Keywords: ., bookcentury1900, bookdecade1910, bookidvictrol, booksubjectoperas
