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Arthur Rackham's illustration to The Ride of the Valkyries. The Ride of the Valkyries (German: Walkürenritt or Ritt der Walküren) is the popular name of the prelude to the first scene of the third and last act of Die Walküre, the second of the four epic music dramas that constitute the operatic cycle Der Ring des Nibelungen (English: The Ring of the Nibelung), composed by Richard Wagner
Prelude to Act 3 - Walkürenritt (The Ride of the Valkyries) Scene 1. The Valkyries congregate on the mountain-top, each carrying a dead hero and chattering excitedly. Brünnhilde arrives with Sieglinde, and begs her sisters for help, but they dare not defy Wotan. Sieglinde tells Brünnhilde that without Siegmund she no longer wishes to live.
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A few other sketches survive from these early years. On 23 July 1851 Wagner wrote down on a loose sheet of paper what was to become the best-known leitmotif in the entire cycle: the theme from the "Ride of the Valkyries" ("Walkürenritt"). Other early sketches for Die Walküre were made in the summer of 1852.
Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four German-language epic music dramas composed by Richard Wagner.The works are based loosely on characters from Germanic heroic legend, namely Norse legendary sagas and the Nibelungenlied.
Between 1958 and 1965 the Decca record company made the first complete recording to be released of Richard Wagner's operatic tetralogy, Der Ring des Nibelungen ("The Nibelung's Ring"), comprising Das Rheingold ("The Rhinegold"), Die Walküre ("The Valkyrie"), Siegfried and Götterdämmerung ("Twilight of the Gods").
Wagner wanted a sound that would invoke Norse legends and create a better blend in the brass section. He wanted an instrument that had the sound of a lur, [5] which is an ancient Nordic natural horn. In 1797, archeologists had unearthed ancient lurs that were still in playable condition.
The Allmusic review by Scott Yanow noted "Somehow Kenton turns Wagner's music into jazz, capturing the intense emotion, pomposity and drama with daring ideas. Not for all tastes, this LP was one of Stan Kenton's last innovative recordings".