Album
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An Introduction to Der Ring des NibelungenVienna Philharmonic Orchestra Orchestra, Georg Solti Conductor
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2:20:30
Vera Schlosser Voice,
Dietrich Fischer-Dieskau Baritone,
Vienna Philharmonic Orchestra Orchestra,
Jean Madeira Voice,
Maureen Guy Voice,
Eberhard Wächter Voice,
Régine Crespin Voice,
Gustav Neidlinger Bass-baritone,
Vienna State Opera Choir Chorus/Choir,
Walter Kreppel Voice,
Brigitte Fassbaender Mezzo-Soprano,
Wolfgang Windgassen Voice,
Kirsten Flagstad Soprano,
Hetty Plumacher Voice,
Gerhard Stolze Voice,
Christa Ludwig Mezzo-Soprano,
Lucia Popp Voice,
Paul Kuen Voice,
Anita Valkki Voice,
Berit Lindholm Voice,
Helen Watts Voice,
Set Svanholm Voice,
Claudia Hellmann Voice,
Gwyneth Jones Soprano,
Ira Malaniuk Voice,
Claire Watson Voice,
Waldemar Kmentt Voice,
Grace Hoffmann Voice,
Helga Dernesch Soprano,
Marilyn Tyler Voice,
Birgit Nilsson Soprano,
Oda Balsborg Voice,
Joan Sutherland Voice,
James King Tenor,
Wilhelm Pitz Chorus/Choir Director,
Vera Little Voice,
Hans Hotter Bass-baritone,
Deryck Cooke Speech,
Gottlob Frick Bass,
George London Voice,
Georg Solti Conductor,
Marga Höffgen Voice,
Kurt Böhme Voice
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| 1 | Of all great musical compositions... [Examples 1-4] | 3:37 |
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| 2 | The fundamental symbol... [Examples 5-11] | 4:46 |
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| 3 | Returning now to the Nature Motive... [Examples 6, 12-16] | 3:22 |
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| 4 | A number of further motives... [Examples 5, 17-21] | 3:17 |
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| 5 | A second, much smaller family... [Examples 22-25] | 2:35 |
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| 6 | So much for nature. [Examples 26-38] | 7:56 |
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| 7 | The cause of the deterioration... [Examples 39-44] | 3:30 |
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| 8 | The other transformation... [Examples 45-48] | 3:44 |
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| 9 | Several other motives... [Examples 49-52] | 2:47 |
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| 10 | Two further motives... [Examples 41, 53-61] | 7:12 |
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| 11 | The basic motive associated with the spear... [Examples 62-68] | 5:17 |
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| 12 | Along another, more complex line... [Examples 69-72] | 2:12 |
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| 13 | In Act Two of "Walküre"... [Examples 69, 73-75] | 2:21 |
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| 14 | Returning now to Act Two of "Walküre"... [Examples 76-79] | 3:54 |
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| 15 | Love is another of the central symbols... [Examples 80-83] | 3:06 |
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| 16 | Later in the same scene... [Examples 84-87] | 2:22 |
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| 17 | Freia's Motive has two independent segments... [Examples 88-91] | 2:01 |
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| 18 | The label 'Flight'... [Example 92] | 0:56 |
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| 19 | When Fasolt, in Scene Two of "Rhinegold"... [Examples 93-98] | 5:23 |
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| 20 | A little later in this interlude... [Examples 99-103] | 3:07 |
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| CD 2 of 2 | ||||||
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| 1 | The other new motive... [Examples 104-109] | 3:36 |
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| 2 | There are several independent love-themes... [Examples 110-114] | 2:55 |
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| 3 | The characters in whose lives... [Examples 115-120] | 5:27 |
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| 4 | One further motive belongs... [Example 121] | 1:25 |
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| 5 | The Sword Motive occurs... [Examples 122-130] | 4:28 |
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| 6 | Ironically, this phrase... [Examples 131-135] | 2:58 |
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| 7 | Closely associated with Gutrune's Motive... [Examples 136-140] | 2:26 |
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| 8 | Here we come to the end... [Examples 141-146] | 3:43 |
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| 9 | Complementary to this symbol... [Examples 147-149] | 2:14 |
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| 10 | One last central symbol... [Examples 150-157] | 4:54 |
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| 11 | One further motive connected... [Examples 158-161] | 2:52 |
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| 12 | There are one or two motives... [Examples 162-168] | 3:48 |
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| 13 | These motives of Alberich and Mime... [Examples 169-171] | 2:07 |
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| 14 | Quite a number of the subsidiary motives... [Examples 172-176] | 2:50 |
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| 15 | Besides this family of motives... [Examples 177-180] | 2:31 |
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| 16 | Our final example... [Examples 10, 181, 182] | 3:56 |
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| 17 | In the final scene of "Götterdämmerung"... [Examples 181-183] | 2:45 |
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| 18 | Even more masterly... [Examples 184-188] | 4:31 |
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| 19 | Now if we return... [Examples 189-191] | 2:47 |
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| 20 | This masterly way... [Examples 192, 193] | 4:52 |
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