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date: 16 June 2019

(p. xvi) (p. xvii) List of Music Examples

(p. xvi) (p. xvii) List of Music Examples

  1. 3.1 Melody of “Tramp! Tramp! Tramp!” (George Root, 1864) and that of “Do You Hear the People Sing?” (Les Misérables, Act II). The latter has been put in the same key as the former in order to aid comparison. 64

  2. 3.2 Harmonies in “Vissi d’arte,” Tosca, Act II and “The Point of No Return,” Phantom, Act II. The latter has been raised a tone to aid comparison. 66

  3. 3.3 Melody of “Come to Me, Bend to Me,” Brigadoon, Act I and “Music of the Night,” Phantom, Act I. 66

  4. 8.1 Handel, Orlando (1733). Angelica-Orlando duet. Without changing tempo, Handel sounds two opposite affects in succession, contrasting them through melody and orchestration. 184

  5. 8.2 Berlioz, Benvenuto Cellini (1837). Act II Finale. This brief excerpt from a concertato shows the transition to the allegro assai. Here Berlioz depicts the tumult of the crowd following the assassination of the Capuchin, at the moment when time is slowed through a succession of three fermatas. 189

  6. 8.3 Wagner, Das Rheingold (1854). Gewitterzaubermotif (storm-magic motif), associated with Donner’s call for the storm. 196

  7. 8.4 Johann Sebastian Bach, St. Matthew Passion (1727). “Laßt ihn, haltet, bindet nicht!” from No. 27a “So ist mein Jesus nun gefangen.” Here we see Bach’s layering of two opposing affects between the two soloists (compassion) and the crowd (indignation). 200

  8. 9.1 Verdi’s setting of the last two verses of cabaletta text in the Jacopo-Lucrezia duet. I due Foscari, Act II, scene 2. 218

  9. 9.2 Verdi’s setting of “Nel tuo paterno amplesso.” I due Foscari, Act II, scene 3, in the autograph and his correction in the Naples copy. 219

  10. 9.3 Verdi’s setting of “Non so le tetre immagini.” Il corsaro, Act I, scene 4. 220

  11. 10.1 Louis Spohr, Faust, Overture, mm. 1–4. 235

  12. 11.1 Mozart, Le nozze di Figaro, Act I, no. 3 (“Se vuol ballare”), mm. 23–42. 252

  13. 11.2 Wagner, Die Götterdämmerung, Prelude, mm. 1–8. 258

  14. 11.3 Wagner, Das Rheingold, scene 4, Alberich’s curse on the ring. 260

  15. 11.4 Wagner, Das Rheingold, scene 4, “Tarnhelm” leitmotif. 261

  16. 11.5 Wagner, Das Rheingold, scene 4, seven measures before Donner’s “Hört, ihr Riesen!” 263 (p. xviii)

  17. 11.6 Wagner, Das Rheingold, scene 4, “Hört, ihr Riesen!” mm. 1–18. 264

  18. 11.7 Wagner, Das Rheingold, scene 4, “Hört, ihr Riesen!” mm. 19–35. 265

  19. 11.8 Wagner, Das Rheingold, Variants of the “Renunciation of Love” leitmotif. (a)Scene 1: Woglinde: “Nur wer der Minne Macht entsagt.” (b)Scene 1: Alberich: “So verfluch’ ich die Liebe!” (c)Scene 2: Loge: “Gerathen ist ihm der Ring!” (d)Scene 4: Wotan: “kehr’ uns die Jugend zurück!” 266

  20. 12.1 Francesco Cavalli, La virtù de’ strali d’amore, Act III, scene 26, trio for Amore, Venere, and Psiche, I–Vnm, It. IV, 373 [=9897], f, 119 r-v. 287

  21. 15.1 Verdi, Il trovatore, Part I, scene 2, mm. 7–33. 344

  22. 15.2 Verdi, Don Carlos (original five-act version), Act IV, scene 1; Act III, scene 1 (four-act version), mm. 58–68. 346

  23. 15.3 Wagner, Götterdämmerung, Act III, scene 1, mm. 363–387. 348

  24. 32.1 Richard Wagner, Tristan und Isolde, Act I, scene 5. Isolde: “…seine Waffen hatt’ ich geweiht…” 722

  25. 32.2 Richard Wagner, Tristan und Isolde, Act III, scene 1. Kurwenal: “Das Volk, getreu dem trauten Herrn…” 723

  26. 32.3 Richard Wagner, Tristan und Isolde. Act II, scene 3. Tristan: “Mein Freund war der…die mich gedrängt.” 724

  27. 45.1 Reduction of final four measures of Luciano Berio, Turandot: completamento (del terzo atto). Milan: Ricordi. © Casa Ricordi—Milano. 1001

  28. 46.1 Il barbiere di Siviglia, autograph, Finale Primo, mm. 394–395. 1019

  29. 46.2 Il barbiere di Siviglia (Ricordi/Kalmus, n.d.). 1019

  30. 46.3 Il barbiere di Siviglia, ed. Zedda (Ricordi, 1969). 1020

  31. 46.4 Il barbiere di Siviglia, ed. Brauner (Bärenreiter, 2008). 1020

  32. 50.1 Jake Heggie, Moby-Dick: Queequeg’s Chant (Act I, mm. 131–136). 1103