The Prelude to Act III of Lohengrin and Crazy Horn.
The prelude to act III is suitably celebratory; the introduction to the opera's final scene is thrilling. PentaTone, as always, presents robust, impactful sounds. The recording is gratifyingly rich timbrally voices, of course, but instrumental colors as well: the low-register cello line at the outset of act II, followed by the unique sonority of English horn playing in unison with bass clarinet.
For the last time a faint echo of the flower maidens' song is heard (Klind., page 213, system 2; Klein., page 213, system 4; 214, system i), and Parsifal disappears. ACT III. The prelude to the third act announces that we are again brought to the contemplation of solemn things, of sorrow and gloom. The music opens THEME OF DESOLATION The Music.
The David Reid Hodgin Papers consists of the the faculty papers of David Hodgin, an Appalachian State Teachers College English professor from 1946 to 1965, along with copious notes and clippings associated with his areas of interest, essays, and teaching. There are also lots of audio materials, of which selected cassettes are digitized.
Listen to Solti instead to get the full power of this terrific piece! The Lohengrin preludes by Kubelik lack the dreamy mysticism and rich power of Karajan's versions on EMI. The preludes to Die Meistersinger are played by Bohm and Jochum, Bohm is too relaxed and slow in the prelude to Act 1 but Jochum finds more life in the prelude to act 3.
Dowling, Colette. The Cinderella Complex: Women’s Hidden Fear of Independence. New York: Summit Books, 1981. (Studies the debilitating effect of the myth on women who live in expectation of being saved by some prince who will come and lend meaning to their lives.
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It’s done respectfully to the music — unlike the slashing cuts that disfigured Franco Zeffirelli’s films of Verdi’s La Traviata and Otello, Syberberg’s Parsifal presents the score complete except for the excision of the Act III Prelude (probably because Syberberg didn’t want to have his movie come to a dead stop for another puppet.
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The prelude to the Third Act, the exquisite love-duet, and Lohengrin’s departure, keep up the standard of the work, and show that if Wagner discarded the older methods, he was able to substitute something better in their place. Here his music attains a freedom and an intensity of expression previously unknown.
This is the first truly interdisciplinary collection devoted to the legacy of Richard Wagner to merge insights from Musicology and Music Theory with explorations of the composer's vast socio-cultural impact from such fields as History, German, and Disability Studies.
In the year 1832, while he was in Prague, Wagner began his career as a composer of operas, and in his first attempt, as in all later ones, wrote his own libretto. His friend Heinrich Laube had offered him a libretto on the subject of Kosciuszko, but he refused it, saying that he was engaged wholly on instrumental music. But his genius was for the stage, and his boyhood had been surrounded by.
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