. Programme . ^m^. AN INTRODUCTION LEADS TO EVERLASTSNG FRIENDSHIP ^■i^iiiiiliiMiM. ^il^l/cliJycmZ ^^4i:fn/£4x^ SiilillilBiwiiB ON SALE AT THE BETTER STORES 773 more in the double-basses, bass-clarinet, bassoons, and bass andcontra-bass tubas, against the running triplet figure from the Death-Motive in the violins.) *VT. The SwoRD-MoTivE (in the trumpet). VII. The Motive of Glorification in Death (the crashingchords of the Death-Motive in the major mode; the full orchestra). YIII. The Siegfried-Motive (in the horns and bass-trumpet;afterwards in the trumpets). IX. The Motive of Siegfried the H
. Programme . ^m^. AN INTRODUCTION LEADS TO EVERLASTSNG FRIENDSHIP ^■i^iiiiiliiMiM. ^il^l/cliJycmZ ^^4i:fn/£4x^ SiilillilBiwiiB ON SALE AT THE BETTER STORES 773 more in the double-basses, bass-clarinet, bassoons, and bass andcontra-bass tubas, against the running triplet figure from the Death-Motive in the violins.) *VT. The SwoRD-MoTivE (in the trumpet). VII. The Motive of Glorification in Death (the crashingchords of the Death-Motive in the major mode; the full orchestra). YIII. The Siegfried-Motive (in the horns and bass-trumpet;afterwards in the trumpets). IX. The Motive of Siegfried the Hero (a rhythmic modifica-tion of Siegfrieds horn-call, in all the brass). X. The Brunnhildb-Motive (in the clarinet and English-horn). Of all these the only one which keeps constantly recurring inone form or another is the Death-Motive, either in its originalminor shape, or else in the major mode as the Motive of Glorifica-tion in Death. This music on Siegfrieds death comes to no definite close inthe drama itself, but merges gradually into the third, and final,scene of the act,
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Keywords: ., bookcentury1800, bookdecade1880, bookidprogramme192, bookyear1881
