@@WinrichNaujoks I'll risk to guess it's because it was used by Nazi party in a record with Furtwängler conducting it, but couldn't tell for sure. To me, it brings bad memories because the day we played it in orchestra I went through several disgraces, but I still love the piece. 😂
So I've always thought there was something off (uneven) with this epic piece, and I could never put my finger on it. I've always confused the beginning theme and the march-like-theme, one or the other would come to mind whenever I thought of this piece. Why are they so similar? I guess because both are in the same key of C major! (and triumphant) So its strange to think that a master of counterpoint, chromaticism and orchestration, decided to keep both of the main themes in the same key. (Even a basic sonata form shifts from tonic to dominant, or another key). Anyways, I'm not criticizing, the polyphonic complexity of this work, is of the highest order. I just find it so interesting that both of those themes are in the same key. I'm sure he had his reasons.
“More C! More C!” To me, that’s what this prelude sounds like to me. Really hammering that point home! Starting off an opera with a lengthy exploration of a tonality is something Wagner employed before even more strikingly in the prelude to Das Rheingold haha
Tonality in Wagner operas particularly post-Tristan but even to a degree in earlier works doesn't function structurally in the same purely architectural way as in Beethoven (though there is that aspect on the large scale). Wagner ties specific leitmotifs (often those with characteristic orchestrations) to specific tonalities while allowing other leitmotifs to be transposed freely. This allows the audience's ears to associate specific keys with important themes within the story as well as allowing the story itself to dictate the formal structure of the music - both of which solve significant problems that arise when through-composing opera as opposed to writing discrete arias and recitatives. I think it is also relevant that Meistersinger is a comic opera. A lot of the prelude sounds to me like a parody of mediocre baroque counterpoint. It takes a brilliant composer to write a parody of mediocre music but make the parody itself musically transcendent.
I never tire of this overture from Wagner's Prelude to Die Meistersinger von Nurnberg!
This is not Thielemann conducting, it's Tennstedt.
I just got a beautiful classic music record from 1958 with this on it :))
1:29- first except
4:02- second excerpt
This piece brings back horrible memories
Thanks so much for sharing...
Why?
@@WinrichNaujoks I'll risk to guess it's because it was used by Nazi party in a record with Furtwängler conducting it, but couldn't tell for sure. To me, it brings bad memories because the day we played it in orchestra I went through several disgraces, but I still love the piece. 😂
So I've always thought there was something off (uneven) with this epic piece, and I could never put my finger on it. I've always confused the beginning theme and the march-like-theme, one or the other would come to mind whenever I thought of this piece. Why are they so similar? I guess because both are in the same key of C major! (and triumphant) So its strange to think that a master of counterpoint, chromaticism and orchestration, decided to keep both of the main themes in the same key. (Even a basic sonata form shifts from tonic to dominant, or another key). Anyways, I'm not criticizing, the polyphonic complexity of this work, is of the highest order. I just find it so interesting that both of those themes are in the same key. I'm sure he had his reasons.
but you know that for Wagner convention meant nothing right? He and Liszt paved the way of musical modernism and I'm so glad they did.
This man was unearthly in many respects. One has to admit that.
“More C! More C!” To me, that’s what this prelude sounds like to me. Really hammering that point home!
Starting off an opera with a lengthy exploration of a tonality is something Wagner employed before even more strikingly in the prelude to Das Rheingold haha
Tonality in Wagner operas particularly post-Tristan but even to a degree in earlier works doesn't function structurally in the same purely architectural way as in Beethoven (though there is that aspect on the large scale). Wagner ties specific leitmotifs (often those with characteristic orchestrations) to specific tonalities while allowing other leitmotifs to be transposed freely. This allows the audience's ears to associate specific keys with important themes within the story as well as allowing the story itself to dictate the formal structure of the music - both of which solve significant problems that arise when through-composing opera as opposed to writing discrete arias and recitatives.
I think it is also relevant that Meistersinger is a comic opera. A lot of the prelude sounds to me like a parody of mediocre baroque counterpoint. It takes a brilliant composer to write a parody of mediocre music but make the parody itself musically transcendent.
Perhaps it's strange but to me, the darkness comes through here as well. Great work nevertheless and thanks a lot for uploading. Kudos 😊
Wagner's rolling in it. Why Nietzsche converted to Bizet.
5:59= II Flute Solo
素晴らしいホルン👏
6:43 for my own reference
1:39, 2:24, 4:01
6:49
4:00
06:45
5:11 bsyo excerpts
yooo thanks bro
EXPOSITION
00:00 - 01:00 | 1st subject, 1st theme - The Mastersingers
01:00 - 01:39 | 1st subject, 2nd theme - Walther's Wooing
01:39 - 02:23 | 1st subject, 3rd theme - Mastersinger's March
02:23 - 03:37 | 1st subject, 4th theme - The Guild
03:37 - 04:02 | Transition - Yearning
04:02 - 05:15 | 2nd subject - Love Theme + Walther's Spring Motif
DEVELOPMENT
05:15 - 06:28 | Development of 1st subject, 1st theme - Apprentices, Derision Motif, Yearning
RECAPITULATION
06:28 - 06:44 | 1st subject, 1st theme - The Mastersingers
06:44 - 07:23 | 1st subject, 1st & 3rd theme + 2nd subject - The Mastersingers, Mastersinger's March, Love Theme
07:23 - 07:57 | 1st subject, 4th theme - The Guild
07:57 - 09:04 | 1st subject, 3rd theme - Mastersingers March + Derision Motif
09:04 - 09:46 | 1st subject, 1st theme - The Mastersingers
i wish i saw this before my gcse 😭
05：15
1:00-побочная партия
0:28
Gauls carry spears and shields, which are weapons for warfare.🤔 😳 👀 🤣 😏 🙄 🤔 🛡 🔰 🛡
Tuba 6:45
7:22 - 8:03
7:22
3:34 ._.
갓바그너
2:09 Timpani goes out of tune for one note there.
Dracula brought me here
정연이 요즘 뭐함
6:25
6:45
6:45