Music 271: 2/23/07 II: Richard Wagner (1813-1883): his philosophy concerning operatic expression: • Had visions of a new music drama • Based upon the clarified elements of opera as he saw them III: Wagner’s conception of the Gesamtkuunstwerk* and the role of the orchestra: (GB p.59) (Bonds p. 474) • Orchestral material must focus the attention on the characters of the opera and their dramatic situation • Orchestra must also suggest to the audience the character’s emotions even when the character has not expressed them yet A: The purposes of the Leitmotif (Plural: Leitmotiven) (Leit = to lead) • Small musical but recognizable melodic/harmonic unit with a distinct rhythm • Can be sung or played B: Representative Leitmotiven in Tristan und Isolde • The love potion leitmotif - first seen in mm. 1-40 of the prelude • Act I, Scene 5: The motiv is defined by the text: Isolde: “Ich trink zu dir” • Act II, Scene 1: Implications of the love potion’s effect on Isolde: the motiv as accompaniment *Gesamut = Complete or Total Kunst = Art Werk = Work IV: The establishment in the United States of European Art Music at the top of a musical hierarchy: “The Sacralization of European Art Music”: A: Crawford’s Discussions (Ch. 8 & 15) (Ch. 18-19) • Lowell Mason (1792-1872) • Andrew Law argued that European music was superior to the American psalmody (p. 98) B: Four major developments between the end of the Civil War and the start of WWI • The intense cultivation of European art music in America: • Establishment of conservatories of music modeled on the European style • Construction of theatres and concert halls • Formation of permanent professional orchestras (1842) (1881-1932) • Formation of academic programs in music (Music departments) (Bonds p. 389)