Overture to “The Flying Dutchman”
This compact and brilliantly written Overture calls for the following instrumentation: piccolo, two flutes, two oboes, English horn, two clarinets, four horns, two bassoons, two trumpets, three trombones, bass tuba, kettledrums, harp, and strings.
John Runciman once remarked about this music, “It is the atmosphere of the sea that counts; the roar of the billows, the ‘hui!’ of the wind, the dashing and plunging.... The sea, indeed, is the background, foreground, the whole environment of the drama.... The smell and atmosphere of the sea is maintained with extraordinary vividness to the last bar.”
In the construction of the Overture Wagner makes important use of the theme of the Dutchman, which appears in the opening measure by horns and bassoons, and of the up-and-down theme of Senta, the Angel of Mercy, softly and tenderly sung by English horn, horns and bassoons. This is the theme which at the conclusion of the piece rises to a triumphant sonority, indicative of redemption attained.
Overture to “Tannhäuser”
The first concert performance of this well-known Overture took place at Leipzig, on February 12, 1846, under the direction of Mendelssohn. The event was a benefit for the Gewandhaus Orchestra Pension Fund.
Wagner himself furnished a “program” for the Overture when the musicians performing it at a Zurich concert requested an explanation of the music. The “program” in a translation by William Ashton Ellis follows:
“To begin with, the orchestra leads before us the Pilgrim’s Chorus alone; it draws near, then swells into a mighty outpour, and passes finally away.—Evenfall; last echo of the chant. As night breaks, magic sights and sounds appear, a rosy mist floats up, exultant shouts assail our ears, the whirlings of a fearsomely voluptuous dance are seen. These are the Venusberg’s seductive spells, that show themselves at dead of night to those whose breast is fired by the daring of the senses. Attracted by the tempting show, a shapely human form draws nigh; ’tis Tannhäuser, Love’s minstrel.... Venus herself appears to him.... As the Pilgrim’s Chant draws closer, yet closer, as the day drives farther back the night, that whir and soughing of the air—which had erewhile sounded like the eerie cries of the soul condemned—now rises, too, to ever gladder waves; so that when the sun ascends at last in splendor, and the Pilgrims’ Chant proclaims in ecstasy to all the world, to all that lives and moves thereon, Salvation won, this wave itself swells out the tidings of sublimest joy. ’Tis the carol of the Venusberg itself, redeemed from the curse of impiousness, this cry we hear amid the hymn of God. So wells and leaps each pulse of Life in chorus of Redemption; and both dissevered elements, both soul and senses, God and Nature, unite in the astonishing kiss of hallowed Love.”
TANNHAUSER
“Wagner, inventor of the bass drum for musical bombardment, applies himself to his favorite exercise” reads the caption for this contemporary French caricature.