Wagner's Tannhauser

An excerpt from Chapter V. Music and Story - Side by Side: THE fine overture, so frequently heard in the concert-room, consists of a compilation of the chief themes in the opera. Well contrasted with the grave Chorus of the Pilgrims, with which it opens, is the lascivious charm of the Venusberg music. Then, after the Hymn to Venus (worked up from a trumpet call to a symphonic fulness), the music drifts back to the Pilgrim's Chorus again, aided by a strenuous...
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An excerpt from Chapter V. Music and Story - Side by Side:

THE fine overture, so frequently heard in the concert-room, consists of a compilation of the chief themes in the opera. Well contrasted with the grave Chorus of the Pilgrims, with which it opens, is the lascivious charm of the Venusberg music. Then, after the Hymn to Venus (worked up from a trumpet call to a symphonic fulness), the music drifts back to the Pilgrim's Chorus again, aided by a strenuous passage on the strings, and finishes with a brilliant display in orthodox overture form.

The alteration in the overture, which was made for the Paris version, consisted in prolonging the Venusberg music until the rising of the curtain.

With the exception of Die Meistersinger, this was the last of Wagner's overtures. His next opera, Lohengrin, contained the first of his preludes, which are made either to strike the note for that which is to follow, to carry on the action to the succeeding act, or to bring back to the memory (as in the prelude to the third act of Siegfried) something which has passed before.

The scene, as the curtain rises, takes us into the enervating atmosphere of unholy passions. It is the interior of the abode of Venus ; and, reclining on a raised couch, the goddess of love caresses the head of Tannhæuser. In the water of the lake which extends into the distance, are groups of Sirens and Naiads, while nymphs and Bacchantes dance here and there to the seductive strains. By the side of the lake groups of lovers are to be seen.

Although the leading motive, in its accepted significance, is not found in Tannhæuser, theVenusberg theme, however, partakes of the nature of a motive.

We shall hear it later when Tannhæuser is about to join in the Song-contest, and again when he is being tempted from his purpose of repentance and amended life in the last act.

In voluptuous abandonment the Sirens sing of love's delights as the dance rapidly develops into a wild orgy.