The Sound Cosmography of Nikolai Rimsky-Korsakov and Richard Wagner
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Abstract
The article examines the principles of interaction of the sacred
and musical texts of the operas of Richard Wagner and Nikolai
RimskyKorsakov.
The greatest amount of attention is given to the
aspect of direct interaction with the musical fabric that is studied
on the material of the orchestral introductions to the operas.
Based on the conclusions of the analysis of four contrasting
examples: the opening sections (before the raising of the curtains,
according to the composers’ instructions in the score) of the
operas “Das Rheingold,” “Götterdämmerung,” “Mlada” and “The
Snow Maiden,” both the common features and the individual
peculiarities of the myth and ritual origin in each case. The
instrumental introductions to the operas of Wagner’s “Ring” have
a similar type of expression of the myth and ritualbased
universe
in the musical fabric, whereas RimskyKorsakov’s
operas reveal
various variants of interaction, possessing traits both similar to
Wagner’s (“such as “The Snow Maiden”) and contrasting to them.
Keywords: myth, ritual, opera, Richard Wagner, Nikolai
RimskyKorsakov,
tetralogy
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