#WednesdayWagner Hoiho! Missing your weekly thread on Wagner's leitmotifs and composing strategies? Here I am! This week, we start talking on a leitmotif that appears in every Wagner's opera:
ONE LEITMOTIF TO RULE THEM ALL (part 1 out of 3)
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#WednesdayWagner Although each Wagner's creation has its own "sound world", and although leitmotif technique was not exactly exploited since the 1st one, there is a short gesture/motive that appears in ALL Wagner's operas. Don't you believe me? Keep reading ⬇️
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#WednesdayWagner This is the recurrent leitmotif: the 4-pitch gesture that can be listened to right at the beginning of Lohengrin 
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#WednesdayWagner In this first thread, let's go through the first 3 Wagner operas ("Der fliegende Holländer", "Tannhäuser" and "Lohengrin") to identify this small but powerful melody
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#WednesdayWagner Note that I would just mention the main appearances of this gesture or melodic idea, without digging bar by bar into the whole operas
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#WednesdayWagner And indeed, in these three first operas, this melodic idea is not always treated as a whole leitmotif, but as a continuation of a melodic line, a cadencial gesture, a movement in the middle of a longer melody ... 
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#WednesdayWagner But before proceeding to it, we should mention that this motive was already present in a very well known piece at that time ... Yes, the birthday guy of today! Mendelssohn's "A Midsummer's Night Dream". Listen to 2.26 at the Overture: 
https://t.co/WflBj3xVwB
#WednesdayWagner And of course, listen to the Wedding March at 0.09, just after the trumpet call: 
https://t.co/UDDVcPN7Zi
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#WednesdayWagner It seems clear that, despite Wagner's hard comments about Mendelssohn at that time, Wagner tried to absorb so much of Mendelssohn's style and mastery in composition. Indeed, Mendelssohn was one of the greatest master in counterpoints of all time
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#WednesdayWagner So let's start with "Der fliegende Holländer". Just at the beginning of 1st scene we can hear clearly this idea in the strings. Listen to it here: 
https://t.co/4EiSho02Y2
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#WednesdayWagner And you can also see them in the score (piano reduction for the sake of clarity). Amazing!
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#WednesdayWagner Let's continue with "Tannhäuser": Just within the Overture, we can listen to this melody at 1:35 in the following link: 
https://t.co/onKzHRBJ06
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#WednesdayWagner Here, the score of this moment, where you can clearly see the melodic line
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#WednesdayWagner Although there are not many other appearances in "Tannhauser", listen to the solo violin at 8.54 in the prelude. This gesture is almost the same, but with wider intervals. The direction of the movement is the same
https://t.co/o9oHReDQpq
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#WednesdayWagner Just as an anticipation of next thread, this idea would be re-used in ... "Die Walküre"!!! Yes, the first leitmotiv linked with Brünnhilde is almost this gesture, but based on an augmented 5th chord
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#WednesdayWagner Let's finish today with "Lohengrin": We already mentioned the recurrence of this idea in the prelude, the first one appearing at 0.46 in this link, but the whole Prelude is almost based on this cell:
https://t.co/sAXENCJKJC 
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#WednesdayWagner Of course, the whole opera uses some ideas derived from this leitmotif. We can mention, as an example, the wonderful fanfare in Act. 3 to receive König Heinrich ... listen to 0.34 and following. The whole excerpt is incredible!
https://t.co/TuLwbLglUw
#WednesdayWagner For those score-freaks (like myself 😂), here you can see the beginning of this excerpt with the leitmotif marked in red
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#WednesdayWagner ... And that's all for today! I hope you have enjoyed the long thread. Next week we will do the same with the whole RING CYCLE. Can you guess where this leitmotif appears in this majestic work? 🙂
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More from Culture

I just finished Eric Adler's The Battle of the Classics, and wanted to say something about Joel Christiansen's review linked below. I am not sure what motivates the review (I speculate a bit below), but it gives a very misleading impression of the book. 1/x


The meat of the criticism is that the history Adler gives is insufficiently critical. Adler describes a few figures who had a great influence on how the modern US university was formed. It's certainly critical: it focuses on the social Darwinism of these figures. 2/x

Other insinuations and suggestions in the review seem wildly off the mark, distorted, or inappropriate-- for example, that the book is clickbaity (it is scholarly) or conservative (hardly) or connected to the events at the Capitol (give me a break). 3/x

The core question: in what sense is classics inherently racist? Classics is old. On Adler's account, it begins in ancient Rome and is revived in the Renaissance. Slavery (Christiansen's primary concern) is also very old. Let's say classics is an education for slaveowners. 4/x

It's worth remembering that literacy itself is elite throughout most of this history. Literacy is, then, also the education of slaveowners. We can honor oral and musical traditions without denying that literacy is, generally, good. 5/x

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Ivor Cummins has been wrong (or lying) almost entirely throughout this pandemic and got paid handsomly for it.

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... other sources who have been trying to shine on light on this grifter (as I have tried to do, time and again:


Example #1: "Still not seeing Sweden signal versus Denmark really"... There it was (Images attached).
19 to 80 is an over 300% difference.

Tweet: https://t.co/36FnYnsRT9


Example #2 - "Yes, I'm comparing the Noridcs / No, you cannot compare the Nordics."

I wonder why...

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Example #3 - "I'm only looking at what makes the data fit in my favour" a.k.a moving the goalposts.

Tweets: https://t.co/vcDpTu3qyj / https://t.co/CA3N6hC2Lq