This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892 edition. Excerpt: ...G, then B and E; the first-mentioned notes answer to the chord of the dominant of D with a suspended third; the violins accompany these lute tones in a corresponding chord tremolo, and resolve the suspension D on--A similar resolution (of the augmented triad in the chord of the ninth) is repeated several times ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892 edition. Excerpt: ...G, then B and E; the first-mentioned notes answer to the chord of the dominant of D with a suspended third; the violins accompany these lute tones in a corresponding chord tremolo, and resolve the suspension D on--A similar resolution (of the augmented triad in the chord of the ninth) is repeated several times in the further tremolo accompaniment of the violins, which seems worthy of mention--In any case it" refers to the perplexity and anxiety of Beckmesser about the doubtful success of his serenade; once the lute and Shffemaker motives are joined with it (when Eva makes the.-Knight hide under the linden tree). When Walter recognises the town clerk a feeling of revenge is aroused in him: "I'll make it hot for him," he says, but is kept back by Eva. The instrumental accompaniment has here as passionate a figure for the violins as that when, in this Act, Walter first appeared; and, later, when he related his failure in the singing contest. In order to show the wealth of nuances which Wagner has at his disposal in the creation of such figures, even when, as h re, they all proceed from one single motive (the lyric), I place the three forms here side by side--Sachs now begins to sing the Shoemaker song about Eve in the Bible, and how the Lord allowed an angel to make shoes for her. The noisy "Tralala" at the beginning has already been mentioned in Ex. 44; the melody itself belongs to the richest treasures of musical creation--And now observe how, in the third verse of the song, that same characteristically beautiful melody is joined to it as counterpoint, with horns, clarinets, and bassoons, which gives such an exceedingly touching impress to the introduction to the third Act--the melody of the Wahn motive--of which...
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