14
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 14. Returning now to Act 2 of "Walküre (Ex.76-79)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 15. Love is another of the central symbols (Ex.80-83)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 16. Later in the same scene (Ex.84-87)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 17. Freia's motive has 2 independent segments (Ex.88-91
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 18. The label "Flight" (Ex.92)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 19. When Fasolt, in Scene 2 of "Rhinegold" (Ex.93-8)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 20. A little later in this interlude (Ex.99-103)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 21. The other new motive (Ex.104-09)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 22. There are several independent love-motives (Ex.110-
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 23. The characters in whose lives (Ex.115-120)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 24. One further motive belongs (Ex.121)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 25. The sword motive recurs (Ex.122-130)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 26. Ironically, this phrase (Ex.131-5)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 27. Closely associated with Gutrune's motive (Ex.136-40
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 28. Here we come to the end (Ex.141-6)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 29. Complementary to this symbol (Ex.147-9)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 30. One last central symbol (Ex.150-7)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 31. One further motive connected (Ex.158-61)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 32. There are one or two motives (Ex.162-8)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 33. These motives of Alberich & Mime (Ex.169-71)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 34. Quite a number of subsidiary motives (Ex.172-6)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 35. Besides this family of motives (Ex.177-80)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 36. Our final example (Ex.10,181-2)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 37. In the final scene of "Götterdämmerung" (Ex.181-3)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 38. Even more masterly (Ex.184-8)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 39. Now if we return (Ex.189-91)
Wagner: Der Ring des Nibelungen - An Introduction by Deryck Cooke (with musical examples) - 40. This masterly way (Ex.192-3)
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