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3rd/final revision of online "Ring" book underway

Posted: Mon May 29, 2017 10:21 am
by alberich00
Dear members of, and visitors to, the discussion forum:

For those of you who may have been waiting for many years to buy a briefer, more accessible, well-edited hardcopy version of my online book "The Wound That Will Never Heal," Volume I (about RW's "Ring"), posted here at, I'm glad to announce that, having finished my 2nd revision of this online book some weeks ago, I've now begun the final stage in preparing it for the publishers, my final and third revision. I hope to be done and to submit it to publishers sometime this autumn. The final version (if accepted by publishers) will be shorter, have tighter, simpler, more cogent arguments, will be rid of some of my more arcane and difficult arguments, and will benefit from hundreds of corrections of the motifs originally embedded in the libretto identified by their number in Allen Dunning's motif list.

On this last point, though I can't read music I've had the advantage, for the first time, of being able to watch and listen to my Metropolitan Opera dvd of the "Ring" (James Levine conducting), while simultaneously being able to listen to the mp3's of Allen Dunning's list of 178 motifs for comparison, as I correct each of the questionable examples of motifs I or Allen Dunning originally embedded in the libretto at those points where they can be heard in the score. I've added perhaps 6 motifs which Allen Dunning didn't distinguish as numbered motifs in his list, presumably because they are compound motifs comprised of motifs whose already identified by number. An example is the so-called "Arrogance of Power Motif," comprised approximately of #20b/#35. The final version of the libretto I'll be presenting in my prospective publishable book will be my best shot at making these corrections. However, I could still use the advice of a professional musicologist, or at any rate someone fluent in the "Ring" score, to settle some arguable points. Let me know if you're interested in helping settle some questions in the score about what motifs are in play at certain moments.

I'll let everyone know when I'm done and am prepared to submit my briefer version of "The Wound That Will Never Heal," Volume I, to publishers, and will be glad to hear some advice on how to proceed.

Thank you all for your interest in my lifetime Wagner research project.

Your friend from,

Paul Brian Heise