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F ALL WAGNER’S OPERAS, Parsifal profiles unseen voices and offstage instruments most extensively. Invisible voices — human and instru- mental — function as integral elements of the drama in the framing acts. As Wagner planned it, two choruses sing from above the stage at different heights, and Titurel sings from the extreme background of the stage area, out of sight but as if below ground. Six trumpets, six trombones, tenor drum, and bells signal moments of religious ceremony from the wings. This call for sound produced offstage is intended in part to evoke objectively real

or phenomenal music making.1_{Locating brass instruments away from their}

orchestral partners can both signify the realistic nature of their calls and their physical distance from the locale represented onstage. Placing choral forces above the stage design of a temple can allude to the traditional prac- tice of church choirs singing from balconies. The frequent a capella nature of the unseen voices in Parsifal similarly suggests realistic or non-operatic types of performance, including secular male-voice choral singing.

At the same time, Wagner’s use of invisible sources of sound is bound up with a sense that the meaning of the Grail extends beyond the phenom-

enal level, beyond the visible and immediate realm of experience.2 _{This is}

1_{Carolyn Abbate has opened far-ranging analytical perspectives on phenomenal}

music (stage music) and noumenal music in her Unsung Voices: Opera and Musical

Narrative in the Nineteenth Century (Princeton, Princeton UP, 1991).

2_{Much earlier, in 1843, Wagner employed an invisible choir to personify an}

unnamed divine entity. This chorus sings just once in Das Liebesmahl der Apostel, a half-hour oratorio-style work: “Seid getrost! Ich bin euch nah, und mein Geist ist mit euch. Machet euch auf! Redet freudig das Wort, das nie in Ewigkeit vergeht!” (Be of good cheer, for I am near you and my spirit is with you. Rouse yourselves! Joyfully speak the word that will never pass away in eternity.) Singing a capella, the unseen chorus is tonally and harmonically distinguished by its diatonic C major music, setting it apart from the work’s chorus of youths and the 12 apostles. The work was

particularly the case in the Grail scenes, in which the vertical organization of space is aligned with a range of vocal registers and states of being. Lacking a specific physical identity, the Knaben or boys’ chorus of sopranos and altos sings as if from the top of the temple dome while the Jünglinge — youths’ chorus — of altos and tenors sings from halfway up the dome. Anchoring the spectrum of vocal registers, and grounding the communal realm of the visible earth-bound knights (tenors and basses), is the bass Titurel. This framework of unseen voices is inextricably tied to the Grail: the choral con- glomerate of voices in the dome functions as ambassador and even spokesperson for the Grail and the undisclosed redeemer with which it is associated, while Titurel, once keeper of the Grail, clings to life through its power. Wagner’s nuanced motivic, harmonic, tonal, and instrumentational strategies connect these invisible realms with the world we see onstage. The extended musico-theatrical space reveals itself by this means to be an intri- cate system of interconnected levels through which we can overcome the barrier of the Grail’s ineffability and feel its rejuvenating forces.3

The association between invisible voices and the Grail is already inti-

mated in the opera’s opening scene.4_{The curtain rises after the prelude has}

ended, pianissimo, with a gently repeating dominant seventh of A
.5_Gurne-

manz and two squires are seen sleeping at dawn. The first sound of the staged opera is not the tonic resolution of A
, but a forte F
played by offstage trom- bones, supposedly from the direction of the Grail temple (see ex. 5.1). The

premiered with massive choral forces in Dresden’s Frauenkirche, which is architec- turally remarkable for its verticality. The unseen chorus sang from up in the dome, as do the unseen choruses in Parsifal. For further details about this work see Werner Breig’s “The Musical Works: Das Liebesmahl der Apostel,” in Wagner Handbook, ed. Ulrich Müller and Peter Wapnewski, article trans. Paul Knight and Horst Loeschmann, translation ed. John Deathridge, 420–21 (Cambridge, MA: Harvard UP, 1992).

3_{The most detailed account of motivic relations in Parsifal is Hans-Joachim}

Bauer’s Wagner’s ‘Parsifal’: Kriterien der Kompositionstechnik (Munich and Salzburg: Katzbichler, 1977). For a study of Wagner’s instrumentation, see espe- cially Egon Voss, Studien zur Instrumentation Richard Wagners (Regensburg: G. Bosse, 1970). Parts of the analysis presented here are drawn from my “Altered States: Musical and Psychological Processes in Wagner” (PhD diss., University of Victoria, Canada, 1999), 156–88.

4_{We can also regard the purely instrumental prelude as preparing this relation-}

ship, featuring as it does Wagner’s invisible orchestra. More specifically, and recog- nizable only in hindsight, the opening material of the prelude prepares the recapitulated version with unseen voices in the Grail scene later in the act.

5_{Tempo and dynamic markings and stage directions (unless noted otherwise)}

are drawn from Richard Wagner, Sämtliche Werke, vol. 14, Parsifal (Mainz: B. Schotts Söhne, 1972–73).

trombones unfold the opening of the so-called Liebesmahl or Communion

theme (114–16)6 _{through a triadic ascent in F
major before continued}

motion through the octave pivots to settle on E
, strengthened by offstage trumpets. This harmonically and spatially differentiated call to prayer briefly explores the tension between F
and E
before Gurnemanz awakens and takes E
as his point of entry, with the regular orchestra making its first con- tribution as string pizzicato reinforcement. Gurnemanz wakes the squires, who spring up as the trombones and trumpets sound the Grail theme in A
major (mm.119–21). In this important expository segment, the delayed

6_{For reference purposes, measure numbers have been provided, hereafter abbrevi-}

ated as m. and mm.

resolution of the dominant seventh of A
exposes a hierarchical ambiguity between A
and E
. that will recur in the harmonic interface between the realm of the Grail and that of the earth-bound knights. As Gurnemanz com- ments on the call to prayer, woodwinds in the pit orchestra sequence the ris- ing tail gesture of the Grail theme, the “Dresden Amen” figure, emphasizing E
major. The faith theme’s characteristic plagal progression from A
major to E
major accompanies the gesture of prayer with offstage trombones and trumpets (measures 124–27). Muted strings echo the theme, extending it sequentially until its close in A
major overlaps with another offstage brass statement of the Grail theme. The woodwinds echo this theme in full, with an additional concluding plagal cadence in A
major that rises into the high- est register as Gurnemanz and the squires slowly stand up.

The trio of brass themes presented in association with the morning prayer is already familiar from the prelude, where they appear in the same order but are sequenced and otherwise varied as the purely instrumental section unfolds. A
major is tonally prominent in their initial presentation and at structurally important moments such as the beginning and the close of the prelude’s expository section. The developmental section beginning in m.78 concerns itself with various reworkings of the Communion theme, the most differentiated and complex of the three themes. However, the Communion theme is never stated in full after the exposition and the prelude unfolds without any literal recapitulation. Thus the trombone vari- ant that opens the staged part of the opera may initially raise expectations of a recapitulatory gesture, even as the harmonic disjunction and ultimate inconclusiveness signal at least momentary denial. Retrospectively, the trombone gesture can be heard as leaning into E
major, which enables Gurnemanz’s participation. In the prelude, the second and third brass entries readily offer close interaction between A
major and E
major, rendering their harmonic relation ambiguous in terms of a single tonic. Through the sequencing of the Faith theme during the actual moment of prayer, A
major emerges as the more prominent sonority. Both the closing echoed statement of the tonally-rounded unit of the Grail theme and the added plagal cadence clearly favor A
major, which envelopes all in the aftermath of the prayer. Then the stable serenity of the moment changes abruptly when Gurnemanz instructs the youths that it is time to prepare for the King’s bath. As at the beginning of this scene, the harmonic disjunction between A
. major and F
(E) major signals the shift towards differentiated musical-dramatic space, this time involving new motivic material in a new harmonic space, as the tragic character of Amfortas is introduced.

The drama is refocused on the Grail in the act’s second and final scene with its performance of the Grail service. Verbal references to time mark the transition: Gurnemanz, observing that the King’s bath is finished and that the sun is reaching its peak, notes that it will soon be time for the Grail meal. Kundry also keenly observes time but will not be taking part in the

service. Her “Die Zeit ist da” (The time has come) of mm.1067–68 links up with Klingsor’s first line in the second act; this connection causes Kundry to be overcome by sleep and initiates her tormented transition to enslavement in Klingsor’s realm. Meanwhile, the transition that Gurnemanz announces and that is enacted directly onstage involves new processional music facilitating the shift in locale to the Grail temple. Interwoven with the “Dresden Amen” cadence, first in E major and then in E
major (mm.1076–77 and 1082–83 respectively), the semitone relation that moti- vated the opening morning prayer is re-employed. The offstage trombones that first presented this semitone relation in nuce return here to cap the ensuing Verwandlungsmusik, the Transformation music bridging the first and second scenes during the elaborate scene change.

Recalling the beginning of the communion theme starting on F
(m. 1140), the offstage trombones distinctively reengage with the notion of a much-delayed recapitulation (see ex. 5.2). Dramatically, this ups the ante: the religious ceremony concerned is not morning prayer in the country- side but midday communion in the Grail temple, and a potential hero is now in the picture. The unseen instruments beckon Gurnemanz and Par- sifal as they are drawn ever closer to their acoustical source, the Grail tem- ple. Again, however, the Communion theme does not sound as first heard in the prelude. Only at the beginning of the Grail service will the theme unmistakably return in its initial thematic guise, initiating the much- delayed recapitulation in which, of course, a choral presentation replaces the purely orchestral version heard in the prelude. Towards the end of the

Verwandlungsmusik, three climactic waves involve sequences of the Heilandsklage (Savior’s lament; mm.1137–39 shows one such sequence).7

Out of a fourth climax in F
(E) major (m. 1140) emerges the Communion theme starting on F
, effectively displacing the Heilandsklage. Sounded by

7_{As William Kinderman shows elsewhere in this volume, Wagner expanded the}

original Verwandlungsmusik in March 1881, in reluctant response to requirements of the staging. As originally conceived, the anti-climax following the fortissimo D

minor sonority at the beginning of m.1123 lasted for five measures and then switched to the processional music, marked F-dur (F major) in the sketches. Rising up through the “Dresden Amen” to B
, the previous climax and diminuendo after- math was then sequenced a whole tone higher. Again passing into the processional music, Gurnemanz’s entry, varied only in its starting pitch, occurred in the first bar featuring its characteristic dotted rhythm. The subsequent music remained the same, as a variant of the previous processional stretch (with voice) that reaches up through the “Dresden Amen” to a C major cadence, the beginning of an expansive diatonic section featuring the off-stage bells. The off-stage trombones, trumpets and bells prior to Gurnemanz’s entry were part of the revisions and extensions of the passage. Consistencies between these conceptions of the transformation’s ending include: the

the full complement of six offstage trombones, with an earthshaking off- stage bass drum tremolo, the Communion theme variant is barely audible amidst the terrible tutti fortissimo. (See figure 5.1 for an overview from this moment to the end of the act. Off-stage voices and instruments are indicated in italics in the second column.) Becoming more clearly audible

Example 5.2: Act 1 Verwandlungsmusik, mm.1137–53

juxtaposition of fearful climaxes with more mundane motion-oriented music; the penultimate climax as embedded in music associated with pain and sin; and the final climax as reached through a Grail-like ascent, a gesture which aligns with the end of Gurnemanz’s introductory comments and the end of the journey, reached as C major is firmly established with a full statement of the Grail theme.

m.1140 trumpets Trumpets sound the head of the

communion theme first at m.1440 F

→ E

trombones and again at m.1148, joined D

→ C
by trombones.

1150 bells This first sounding of the bells C
dovetails with the long-held final C of

the trumpets and trombones. They ring out for four measures

before orchestral accompaniment harmonizes the pair of fourths as C
and A–. They fade out as Gurnemanz and Parsifal enter the main hall of the Grail castle.

1160 bells The Grail theme and the C
resumption of the bells (m.1162)

restore C
.

1168 knights/ As before, the bells sound in between C

bells but not during vocal passages. After each of the first two vocal phrases they support harmonic motion towards A–. The third and fourth vocal phrases modulate towards flatter keys, E

/B

, and G

/D

. An augmented fourth pivot in m.1991 leads further afield through sharp keys, en route back to the final cadence in C
.

1198 bells The Grail theme and bells reenter, C
anchoring C
and framing the

passage involving the knights, who reach their places at the feast–table.

1203 As Amfortas is carried into the hall, C→ E
– modal inflection of C
serves as a

pivot towards E
.

1204 youths Altos and tenors sing from halfway E
/E up the dome, recalling the original

act of self-sacrifice and its ongoing redemptive potential. The contrast between E
and E is explored, with an

overall shift from minor to major. E

1226 A varied statement of the Grail →(A

) theme bridges the two choruses.

1229 boys Sopranos and altos sing a capella A

→

from the top of the dome, sequencing the faith theme. Their A

cadence overlaps with

the re-entry of the orchestra in E

. E

1246 Titurel A capella, Titurel poses three questions to (D
–)/E
1259 Amfortas. Each emphasizes D
–, but, in

closing, gestures towards E

and is fol- lowed by E
timpani triplet figures. After the first two questions, the timpani figures are followed by long silences, eerily resounding Amfortas/ Titurel’s doubts. Amfortas’s entry draws

Titurel in tension between E
and F
(E). E
/E 1281 Amfortas The Amfortasklage, the only extended

solo in this scene, is the most tonally and motivically complex passage. It involves three principal sections and a concluding passage, each featuring a change in psychological state that involves the tonal area of C. The solo technically ends in m.1404, when Amfortas sinks back as if unconscious, but can be understood as extending through the entries of the choruses and Titurel to reach a more palpable level of closure at m.1421.

mm.1297–1322 E– mm.1322–56 E

/– mm.1356–92 E
–/E–

mm.1393–1404. (→ D–)

1405 boys/ Altos and tenors from halfway up the dome → (E

)

youths sing the Torenspruch (prophecy), a capella. Their consequential phrases “harre sein, den ich erkor!” yield the awaited cadence in

D, with the overlapping knights’ entrance → D–/
→ in m.1410 reinforcing its G
plagal

knights preparation. The knights’ varied form of

Titurel the Grail theme reroutes the harmonic

emphasis towards E

, secured at Titurel’s E

softly sung “Enthüllet den Gral!”.

1422 As Amfortas rises with difficulty, the E

→

Schmerzensfigur gradually takes shape.

Initially drawing attention to A, an augmented fourth above the otherwise bare E
timpani pedal, the gesture is reoriented towards A
beginning in m.1432. A

1440 boys and Altos and 1st_{tenors sing the communion} A

youths theme in its fullest and most basic form,

pianissimo. After their cadence in m.1445,

Amfortas bows devoutly in silent prayer before the chalice; the light in the Hall gradually wanes to a mere dusky glimmer. A luxurious orchestral tutti expands A

before the communion theme is repeated by trumpet, three oboes and the second half of divisi violins at m.1448. A

sounds from the theme’s close at m.1453–58 and the stage becomes completely dark as the orchestral texture thins to woodwinds and brass and the rhythmic pulse slackens.

1459 boys Sopranos and altos begin the communion C–→ theme in C minor. The sequence unfolds

unremarkably until the theme’s E minor central section is reached within the instrumental section. This climax serves as a pivot away from the theme’s regular conclusion into a modulatory section which correlates with changes in the dramatic scenario and lighting but nevertheless returns to E minor. Amfortas, with a transfigured expression, consecrates the bread and wine as modulations incline

Titurel towards A
–related keys. Titurel quietly C
→ expresses exaltation and cadences in C

(m.1478) as a striking variant of the communion theme emerges, shorn of its central section and tonally rounded form. As Amfortas sets the Grail down, and its glow fades, the theme’s opening triadic gesture reaches over to the sixth, as part of an A– sonority that yields a modulation to a third below, instead of the theme’s usual turn to the minor mediant.

cont. Continued step-wise ascent up a fourth to D, harmonized as G
, alludes to the related tail sections of the communion and Grail themes. Semi-tonal swells embrace E

then E
–, before a similar rhythmically augmented ascent reaches D

. Another semi-tonal swell, to A– and back, precedes

the final ascent to A

, the most direct A

reference to the Grail theme. Throughout

this stretch, natural daylight has gradually been restored. At m.1485, the interlocking fourths of the bell motive sound in the lower strings and timpani, reinforcing A

, which gradually settles in middle registers in the woodwinds.

1493 boys Sopranos and a few altos sing of the trans- E

formation, through divine love, of body

and blood to bread and wine. The melody is a modified and significantly expanded

youths version of the communion theme. Altos and a few high tenors immediately follow in m.1510 with a passage that continues to profile E

through its dominant and is similar in its structure and textual meaning. 1528 knights The knights sing a further modified form E

of the Communion theme, also in unison and embracing the E

tonic established by the boys’ chorus. The theme’s characteristic interior turn towards a third related minor sonority is no longer featured, and new upward-striving gestures are introduced. The first group of knights praises the bodily strength yielded by the bread. The second group, in a cadentially overlapping entry, echoes the first group, praising the energy offered by the wine. At m.1528, the first group reenters and the imitative passage is concluded in four-part choral harmony. While vocal parts imply a V–I cadence in E

, deceptive instrumental harmonization precludes closure and steers towards a V–I cadence in A

via the ascending

“Dresden Amen” figure.

1562 knights/ Knights (basses then tenors), youths, and A

youths/ boys enter successively, every two measures.

boys They complete a double statement of the Grail theme in A

, praising faith and love in a continuous registral ascent.

1574 The extended instrumental passage E

→

momentarily reasserts E
as tonic with C
soon vying for tonal prominence and capping a climax at m.1585. Meanwhile, the squires’ attention has turned towards their leader. Amfortas, who has taken no

In document ENFOQUE ECONÓMICO DEL DESEMPLEO Y SU RELACIÓN CON LA OFERTA LABORAL, UNA APROXIMACIÓN A LA TEORÍA CLÁSICA DEL EMPLEO EN EL PERÚ AÑO (página 50-54)