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Introductory Talk

Sir Georg Solti, Wiener Philharmoniker, Deryck Cooke (Speaker)
℗ 1968
    • 1. Of all great musical compositions (Ex.1-4)
      03:37
    • 2. The fundamental symbol (Ex.5-11)
      04:47
    • 3. Returning now to the Nature Motive (Ex.12-16)
      03:22
    • 4. A number of further motives (Ex.17-21)
      03:18
    • 5. A second, much smaller family (Ex.22-25)
      02:36
    • 6. So much for nature (Ex.26-38)
      07:56
    • 7. The cause of the deterioration (Ex.39-44)
      03:31
    • 8. The other transformation (Ex.45-48)
      03:44
    • 9. Several other motives (Ex.49-52)
      02:48
    • 10. Two further motives (Ex.41,53-61)
      07:13
    • 11. Basic motive associated with the spear (Ex.62/68) (Ex.62/8)(Ex.62/8)
      05:17
    • 12. Along another, more complex line (Ex.69-72)
      02:12
    • 13. In Act 2 of "Walküre" (Ex.69,73-75)
      02:22
    • 14. Returning now to Act 2 of "Walküre (Ex.76-79)
      03:55
    • 15. Love is another of the central symbols (Ex.80-83)
      03:06
    • 16. Later in the same scene (Ex.84-87)
      02:23
    • 17. Freia's motive has 2 independent segments (Ex.88-91
      02:02
    • 18. The label "Flight" (Ex.92)
      00:57
    • 19. When Fasolt, in Scene 2 of "Rhinegold" (Ex.93-8)
      05:24
    • 20. A little later in this interlude (Ex.99-103)
      03:08
    • 21. The other new motive (Ex.104-09)
      03:37
    • 22. There are several independent love-motives (Ex.110-
      02:56
    • 23. The characters in whose lives (Ex.115-120)
      05:28
    • 24. One further motive belongs (Ex.121)
      01:25
    • 25. The sword motive recurs (Ex.122-130)
      04:28
    • 26. Ironically, this phrase (Ex.131-5)
      02:59
    • 27. Closely associated with Gutrune's motive (Ex.136-40
      02:27
    • 28. Here we come to the end (Ex.141-6)
      03:44
    • 29. Complementary to this symbol (Ex.147-9)
      02:14
    • 30. One last central symbol (Ex.150-7)
      04:54
    • 31. One further motive connected (Ex.158-61)
      02:53
    • 32. There are one or two motives (Ex.162-8)
      03:48
    • 33. These motives of Alberich & Mime (Ex.169-71)
      02:08
    • 34. Quite a number of subsidiary motives (Ex.172-6)
      02:51
    • 35. Besides this family of motives (Ex.177-80)
      02:32
    • 36. Our final example (Ex.10,181-2)
      03:57
    • 37. In the final scene of "Götterdämmerung" (Ex.181-3)
      02:45
    • 38. Even more masterly (Ex.184-8)
      04:32
    • 39. Now if we return (Ex.189-91)
      02:48
    • 40. This masterly way (Ex.192-3)
      04:53

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