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And finally, as in the Lohengrin Vorspiel, the surcharged moment came when the violins, though pushed to their utmost, could go no further, and the clashing cymbals took up the bursting tale. The last clouds rolled away, the Ultimate Effulgence was revealed, and Preciosa McNulty was vouchsafed a vision of herself as the central figure in a blinding apocalypse: she was pouring tea at one of Mrs.
This Vorspiel, like that to "Lohengrin," is short and delicate. It begins ravishingly with flutes and clarinets and four violins, pianissimo, followed by a blare of brass.
A white dove flies through the air and takes the place of the swan, and Lohengrin sails away as Elsa dies in the embrace of her newly found brother. The Vorspiel, or prelude, to the opera takes for its subject the descent of the Holy Grail, the mysterious symbol of the Christian faith, and the Grail motive is the key to the whole work.
To Cairns and Bedient there was something deep and heady to the picture, as they followed the eyes of Healy and then his yell that filled the gorges for miles: "Come down here you scenery-lovin' son of " That was just the vorspiel. Mother Nature must have fed color to Healy. He did not paint, play nor write, but the rest of that curse dropped with raw pigment, like a painting of Sorolla.
The first of these motives is of the same general character as the Grail motive in the "Lohengrin" vorspiel; the second is an impressive phrase for trumpets and trombones, which will be heard again when the Knights of the Grail are summoned to their duties; and the third is a broad, dignified melody in the chorale form.
In the test there were thirty-three faults to be guarded against; and whenever the marker had chalked up seven against the candidate, he was declared to have oversung himself and lost the coveted honor. The vorspiel is a vivid delineation of mediæval German life, full of festive pomp, stirring action, glowing passion, and exuberant humor. The first act opens in the Church of St.
The vorspiel is based upon three motives connected with the mystery of the Grail, which forms the key-note of the opera, though in a different aspect from that which the Grail assumes in "Lohengrin," where it can only be visible to the eye of faith, while in "Parsifal" it distinctly performs its wonders.
As examples of this one might cite the Bach Choral Vorspiel, Nun Freut euch, of which I have made an arrangement, and such a composition as the Chopin Prelude Opus 28, No. 3, with its running accompaniment in the left hand. "It is often perfection in little things which distinguishes the performance of the great pianist from that of the novice.
When the Vorspiel to Parsifal breaks upon the ear it is as if all other music were inadequate and incomplete as if a voice called from the confines of eternity, in the infinite spaces where no time is, and rolled onward to the far-off ages when time shall be no more.
The vorspiel to the drama is based upon a single motive, which is worked up with consummate skill into various melodic forms, and frequently appears throughout the work. It might well be termed the motive of restless, irresistible passion. The drama opens on board a ship in which the Cornish knight, Tristan, is bearing Isolde, the unwilling Irish bride, to King Mark of Cornwall.
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