Richard Wagner: Prelude to "Die Meistersinger von Nürnberg" (with orchestral score)

[@dawnlowenstein7277]

I never tire of this overture from Wagner's Prelude to Die Meistersinger von Nurnberg!

[@WinrichNaujoks]

This is not Thielemann conducting, it's Tennstedt.

[@cheesy8831]

1:29- first except 4:02- second excerpt

[@therealmaddieacid]

I just got a beautiful classic music record from 1958 with this on it :))

[@EduardPratamaSundjojo]

EXPOSITION 00:00 - 01:00 | 1st subject, 1st theme - The Mastersingers 01:00 - 01:39 | 1st subject, 2nd theme - Walther's Wooing 01:39 - 02:23 | 1st subject, 3rd theme - Mastersinger's March 02:23 - 03:37 | 1st subject, 4th theme - The Guild 03:37 - 04:02 | Transition - Yearning 04:02 - 05:15 | 2nd subject - Love Theme + Walther's Spring Motif DEVELOPMENT 05:15 - 06:28 | Development of 1st subject, 1st theme - Apprentices, Derision Motif, Yearning RECAPITULATION 06:28 - 06:44 | 1st subject, 1st theme - The Mastersingers 06:44 - 07:23 | 1st subject, 1st & 3rd theme + 2nd subject - The Mastersingers, Mastersinger's March, Love Theme 07:23 - 07:57 | 1st subject, 4th theme - The Guild 07:57 - 09:04 | 1st subject, 3rd theme - Mastersingers March + Derision Motif 09:04 - 09:46 | 1st subject, 1st theme - The Mastersingers

[@skunkclutches4179]

i wish i saw this before my gcse 😭

[@westonmarks925]

I find your analysis… interesting. This prelude has never struck me as one of Wagner’s more motivic ones, with the only ones I really hear being the opening theme and the march. Bits of it get used throughout the piece (the development to the end is basically the finale), but I’ve never picked up many leitmotifs from it. Nonetheless, I’ll be bookmarking this comment for research on this piece.

[@Delgado-Cheers]

6:43 for my own reference

[@user-sm2he8gl5b]

8:30 best part

[@westonmarks925]

Oh hands down.

[@Olivia_V932]

5:59= II Flute Solo

[@trianglearchives5776]

This piece brings back horrible memories

[@robertallen6710]

Thanks so much for sharing...

[@WinrichNaujoks]

Why?

[@joksan_gmrz]

​@@WinrichNaujoks I'll risk to guess it's because it was used by Nazi party in a record with Furtwängler conducting it, but couldn't tell for sure. To me, it brings bad memories because the day we played it in orchestra I went through several disgraces, but I still love the piece. 😂

[@thelastclassicist]

⁠@@joksan_gmrz Yea I feel like music this great can transcend politics

[@tiborvisi7438]

Perhaps it's strange but to me, the darkness comes through here as well. Great work nevertheless and thanks a lot for uploading. Kudos 😊

[@Ian24s]

Wagner's rolling in it. Why Nietzsche converted to Bizet.

[@Chutras]

1:39, 2:24, 4:01

[@zu3661]

素晴らしいホルン👏

[@pavelchenarev7215]

So I've always thought there was something off (uneven) with this epic piece, and I could never put my finger on it. I've always confused the beginning theme and the march-like-theme, one or the other would come to mind whenever I thought of this piece. Why are they so similar? I guess because both are in the same key of C major! (and triumphant) So its strange to think that a master of counterpoint, chromaticism and orchestration, decided to keep both of the main themes in the same key. (Even a basic sonata form shifts from tonic to dominant, or another key). Anyways, I'm not criticizing, the polyphonic complexity of this work, is of the highest order. I just find it so interesting that both of those themes are in the same key. I'm sure he had his reasons.

[@worldofmakam]

but you know that for Wagner convention meant nothing right? He and Liszt paved the way of musical modernism and I'm so glad they did.

[@tommot7755]

This man was unearthly in many respects. One has to admit that.

[@ws5934]

“More C! More C!” To me, that’s what this prelude sounds like to me. Really hammering that point home! Starting off an opera with a lengthy exploration of a tonality is something Wagner employed before even more strikingly in the prelude to Das Rheingold haha

[@shevek5934]

Tonality in Wagner operas particularly post-Tristan but even to a degree in earlier works doesn't function structurally in the same purely architectural way as in Beethoven (though there is that aspect on the large scale). Wagner ties specific leitmotifs (often those with characteristic orchestrations) to specific tonalities while allowing other leitmotifs to be transposed freely. This allows the audience's ears to associate specific keys with important themes within the story as well as allowing the story itself to dictate the formal structure of the music - both of which solve significant problems that arise when through-composing opera as opposed to writing discrete arias and recitatives. I think it is also relevant that Meistersinger is a comic opera. A lot of the prelude sounds to me like a parody of mediocre baroque counterpoint. It takes a brilliant composer to write a parody of mediocre music but make the parody itself musically transcendent.

[@solaawosika2986]

4:00

[@michaelshi1360]

5:11 bsyo excerpts

[@pribbin]

yooo thanks bro

[@АдамРейт]

1:00-побочная партия

[@edby263]

6:25

[@SlinkyTiger_]

06:45

[@duckduckdave7911]

Tuba 6:45

[@duckduckdave7911]

7:22 - 8:03

[@duckduckdave7911]

7:22

[@やまだたろう-h4d]

Is this really VPO?

[@minghaozhang3520]

05：15

3:34 ._.

[@georgeshelton6281]

Gauls carry spears and shields, which are weapons for warfare.🤔 😳 👀 🤣 😏 🙄 🤔 🛡 🔰 🛡

[@nowitskevin3951]

2:09 Timpani goes out of tune for one note there.

[@lotuschan55]

갓바그너

[@jameslee9614]

Dracula brought me here

[@user-vf5ui2kg1i]

정연이 요즘 뭐함

[@lemonfizz2897]

0:28

[@DominicKilgore]

6:49

[@maddiemartins8669]

6:45

[@tko5019]

6:45

[@stevenzhang4761]

4:00