No. 34.
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Here everything is exquisitely calculated,—the harmonic alteration, the orchestral colouring (the soft mysterious tones of trumpet and trombones), the interrupted ending, and the long fateful silence that follows.
When Alberich, in his colloquy with Hagen at the commencement of the second Act of the Götterdämmerung, looks forward to the approaching destruction of the gods, the "Valhalla" motive becomes altered from the familiar—
No. 35.
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to—
