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TEHEROUG-EHL TEHTE IMTUS LC
oF
FR. wAGNERs
"THE RIN R HE NIBEIJN"
(DER RING DES NIBELUNGEN)
BY
HANS VON WO LZ OG EN
TRANSLATED BY
ERNST VON WOLZOGEN
TH I R D ED 1 T | 0 N
B 0§T0N
ARTHUR F. SCHMIDT.

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THE TENOR OF WAGNER'S POEM.
Secur from covetous desire, the golden treasure in
all its pure beauty once lay at the bottom of the Rhine.
Around it the nimble folk of the Rhine-daughters' dance
and sing in playful joy — too careless guardians of the
securely slumbering treasure. But sneaking out of the
depths, a lustful Nibelung of the tribe of the dwarfs (resi-
ding in Nebelheim, the home of fog), the spiteful Alberich
fights his way through the flood. There, reflecting the first
rays of the rising sun, the radiant gold strikes his eyes.
Laughingly the jeering nymphs betray to him the accursed
importance of the metal, whose possessor should win the
world if he could resign love; for where gold reigns, love
must fly. The Nibelung forgets the charms of the merry
water-fairies for the power-promising glitter of the gold:
thus he curses love, which to him is but lust, and vio-
lently snatches the treasure from the rock, Eternal night
falls over the guiltless dephts. – Meanwhile shines out
On the Summit of a mountain in the bright Sunlight the
newly built castle of the chief-god Wotam. His mind,
since the delights of young love faded for him, was like-
Wise bent on possession and power. He therefore made
a treaty with the daring giants to build him a strong castle,
in return for which they requested what all beings long
for: sunny, warm love for their cold home, in the shape
of the fair Freia, the goddess of youth and beauty. Fa-
solt and Fafner, the giant-brothers, now demand their re-
— 4 —
ward; but the deceitful companion of Wotan, the fickle
fire-god Loge, knows how to raise greedy longings after
the cursed gold in their hearts by cunningly relating Al-
berich’s adventure. The giants now claim the gold as
Tansom for Freia. — Wotan and Loge step down into
Alberich's misty dens, where the robber forces the dwarfs,
by the power of the magic ring which he has forged out
of the X Rinegold.<, to gather together a most enormous
treasure for him. His brother Mime was obliged to pro-
cure him the tarncap (>Tarnhelm&), which has the power
of rendering invisible or transfiguring its wearer. The gods.
artfully use this and by its means catch the haughty posses-
sor: he is forced to give up the treasure, the tarncap,
and even the ring. No power is left him, save the power
of the curse, and this falls upon the gods together with the
possession of the fatal ring. — But now the giants again
demand their reward. Wotan, knowing well the magic which
dwells in the ring, tries to keep it from them, and Freia.
already fears she must fall to their lot, when the warning
apparition of Erda, the prophetess, the goddess of prime-
wal wisdom, rises out of the ground and, holding over
Wotan the curse which cleaves to the ring and the eter-
mal end it is predestined once to bring upon the gods,
induces him—but now too late—to give it up to the
giants. All too soon he recognises the truth of her
threat; for, in hastily packing up the treasure, the giants
quarrel over the ring and Fafner kills Fasolt, taking all
the riches along with him, which he is henceforth to guard
in the shape of a dragon. (>Lintwurm&.) Deepli affected,
Wotan and the gods turn their steps towards the castle,
and as he crosses the rainbow-bridge a new creative
thought arises in his mind, a thought born of the divine
necessity of the god, not af a mere creative desire: Walhall
shall be the name of his heavenly building. — These are
...the contents of the prelude: SRhinegold.<. —
In order to fill the vast halls of Walhall with valiant
champions, who should help the gods, if at any time de-
struction should threaten them through the power of Al-
berich, who is always lurking about, seeking for a chance
Fºr
*mºmº J *
of regaining his ring. Wotan begets the Walküren”), his
knightly daughters, amongst whom Brünnhilde, with Erda
herself. But of what avail are all heroes, who merely
work out his own will, unless he can find the only one,
who, himself free from the curse, may save the gods by
regaining the fatal ring? To this end a human woman
bears him the twins Siegmund and Sieglinde. Of these two
the girl was carried off and married by Hunding. The boy,
growing up amongst enemies and hardships, became a
hardy, Valiant man. And who but Wotan himself caused
all his troubles, who himself thrust the sacred sword into
the tree in Hunding's house, which only Siegmund is able
ſº draw out again? Yet even Siegmund is not the hoped-for
free hero, he is likewise under the ban of the curse.
Whilst flying from Hunding, he accidentally enters his
house and there finds his sister as well as the sword.
The Wälsungen twins, the children of Wotan, in order to
save their race from destruction, bind themselves by a
stronger tie than that of brother and sister. But Fricka,
Wotan’s wife, the protectress of marriage, cannot suffer this
outrage and forces her husband to withdraw his help from
the guilty hero; he, Wotan, now despairingly wishes for
»the end& himself, and with a most terrible curse conse-
crates the Nibelung-hero Hagen, the son whom Alberich
begot without love of the corrupt wife of the Rhine-king
Gibich, as the annihilating heir of the world. Brünnhilde,
conscious of the necessity under which the gods suffer, is to
foretell to Siegmund his death. But when she sees him flying
before Hunding with the poor despairing woman he loves
so dearly, her noble heart is deeply touched. The fight
with Hunding commences, Brünnhilde protects the Wälsung,
but upon the sacred spear of the offended god, which he
stretches beween the combatants, Siegmund’s sacred sword
breaks into splinters, and he falls beneath Hunding's blows.
— The Walküre surrenders herself to Wotan for punish-
ment, having first helped Sieglinde to escape by giving
*) Wal (Wal) means the totality of warriors killed in battle;
Kiiren means to choose. Walküren are the maidens who choose the
heroes most fit for the last combat. (Einherier.) — Note of the transl.
— 6 —
her her own mare Grane and the pieces of Siegmund's sword.
The god is forced to condemn his dearest child to slumber
on a rock, till a man shall find her by the way, wake
and win her. The maiden implores but one favour from
her offended father: to surround her during her slumbers
with a wide circle of blazing fire, in order that no man
shall Wake her, but a fearless hero, whom she hopes and
expects will be: Siegfried. — These are the contents of
the X Walküre & .
From henceforth the god Wotan roves as a Wanderer
through the world, content inactively to watch the tardy
accomplishment of his devises. In an eastern wood, where
Fafner as dragon lies in his den, Siegfried, who was brought
forth there by the dying Sieglinde, grows up. The Nibe-
lung Mime being his sly guardian, who wants to bring
him up and train him to kill Fafner and win the ring
for him. But Siegfried hates the ugly dwarf; in the free
woods he educates himself. Scarcely does he learn that
the sacred sword, whose splinters Mime is unable to forge
together rightly belongs to him, than he does the work
himself and with this new sword xNothung & he purposes,
to slay the dragon. Mime brews a poisoned potion with
which he intends to kill the vanquisher, when he shall
have done the deed. — Siegfried does indeed the valiant
act, unconscious of what spoils he had gained by it. But
a little of the dragon’s blood touches his lips and by that
he learns to understand the language of the birds. They
council him to kill the treacherous Mime and to take the
ring and the tarncap. Now he is the free owner of the
treasure; but he, the merry son of the woods, does not
care for the glittering gold. The mysterious awe of the
lonely wood fills him with longing after the hitherto sorely
missed love and in exulting joy he follows his bird-guide
to Brünnhilde's rock. — Here once more Wotan inter-
poses between his grandchild and victory; for the hero
must win what the god wishes him to win through strife
and trouble, and by his own might. His sword breaks the
spear of the god, upon which it formerly was splintered.
He wakes the maiden. He triumphs over the last re-
— 7 —
sistance—she casts away her holy fear of the husband
to whom she shall belong and Love celebrates his most
glorious victory. — Thus ends the second day of the festi-
val-play: x.Siegfried&.
But the end, the salvation of the accursed world, is not
yet accomplished, for Alberich and his son Hagen, whom
Wotan destined as heir of the world, are still living and
working, the gold is still unrestored to the Rhine and
the ring in still in Siegfried’s possession. The drama of
the X Götterdämmerung& t) is still to follow. — The hero
starts in pursuit of new deeds of valour, leaving Brünn-
hilde the ring as a token of remembrance. How shall she,
now become a devoted loving wife, give his beloved gift
‘back to the Rhine in order to save the world and the
gods? No, she too falls under the curse in the mistaken
joy and pride of her love. — Siegfried comes to the court
of Gibich : there awaits him Alberich’s son Hagen, the
half-brother of king Gunther, and throws the net of his
Nibelungish art around him. Their sister Gutrume offers
him a magic potion which makes him forget all that be-
fore was dear and sacred to him and awakens earthly de-
sires for Gutrume, this new vision of human grace and
beauty. He demands her for his wife and in return offers
to win Brünnhilde for Gunther. He assumes Gunther's shape
by means of the tarncap, struggles with Brünnhilde and
snatches the ring from her. — In despairing grief at having
been deceived, Brünnhilde openly accuses him of treachery.
Not Gunther could have overcome her, for he has not
the ring, but Siegfried, who was her husband. Thus Gun-
ther sees himself detected and in the meanwhile must
suspect Siegfried of having stained his conjugal honour.
Brünnhilde, Gunther and Hagen swear his death. He
is to be slain in the chase. — Shortly before his end he
*) >Götterdämmerungg in the language of ancient. German
mythology means the dawn of doomsday, on which the gods perish
in the combat against the evil powers, and old earth is swallo-
wed up by water and burnt by fire (Muspilli). The new world,
in which love and light are to reign, arises out of the waves. –
Note of the transl.
— 8 —
meets the Rhine-daughters and they finally warn him of the
Curse and beg him to give them back the ring. But the
fearless man laughs at their threatenings and thus wilfully
runs to his death, which he might yet have evaded. Ha-
gen’s spear hits him just as he, after the fatigues of the
hunt, is relating the various adventures of his life to his
Companions and, now no longer bewitched by the potion,
lowingly recalls his union with Brünnhilde. Full of grate-
ful love to her, his spirit takes its flight, and the two
ravens, who witnessed his death fly up to tell Wotan
of the approaching end. — Hagen tries to draw the ring
from Siegfried’s hand, and as Gunther disputes it with him,
he kills the king: but Brünnhilde, to whom the Rhine-
daughters swam to tell her everything and who now clearly
descries truth and error, guilt and expiation, draws the
ring from off the finger of the dead hero whilst her people
pile up the pyre, and throws it into the Rhine for eternal
atonement and salvation. Then she leaps on Grane's
back into the flames, the Rhine-daughters come on swim-
ming, waves fill the space, the terrified Hagen plunges
into the water and is drawn down by the deadly arms
of the fairies. The gold has found its home again, the
flame devours the sacred redeemed ones, and afar dawns
in the purple glow of the northern lights the end of the
old gods, of the old world. But Love, who had once been
cursed through the winning of the symbol of destructive
sensuality, Love, who to the farthest boundary of this
unblessed world of hate and envy sustained the heavy
tragic consequences of the curse through guilt and expia-
tion—this same Love, as soon as the accursed symbol
sinks into the guiltless primeval element of Nature, rises,
expiated and sacred, as the sum of a new world, towards
heaven.
I
THE RHINEGOLD, ...;
The prelude »Rhinegold K forms the foundation of the
whole tragic action, and we see there the principal po-
wers first opposed to each other in their original typical-
shape, whose growing more and more complicated the
following dramas contain. Also XIthinegold & includes the
fundamental forms of the musical action, which later on
are continually to repeat themselves, though partly trans-
formed and worked out, and which therefore it is ne-
cessary first to impress upon the mind in their first plastic,
clear and simple shape, in order to obtain a right com-
prehension of the whole. The very first scene of the
» Rhinegold is already of the highest importance as regards
the whole, laid, as it is, in the pure and spotless element
of the water, from which, according to the teaching of
mythology, proceeds all existence, and therefore it natur-
ally follows all dismembering, all individual breaking up
of primeval unity according to the law of appearance, and
at the same time all demands made by one individual atom
upon another and all guilt. Before any individually distinct
person is presented to our sight, before the spiritual product
of One simple human word is heard: the instrumental pre-
lude gives by the absolute art of Music the most excellently
corresponding expression to this clementary being, fo finis
sacredly serene state of guiltlessness in Nature. This pre-
lude consists of a magnificent organ-note in E flat, whose
— 10 —
&
º
tº tº
a * c &
• * * *
©
wº
tº •e
tº dº
o
e G g
long Sustained solitary tone symbolises the state of undis-
turbed unity. The upper dominant B flat combines with the
fundamental tone to form an equally long sustained conso-
nance, by and by dividing itself into its two rhythmically
Imoving tones, which ascend alternately: the Motive of the
primeval element in its simplest form. As soon as an ac-
companying figure with lively undulating movement is added
to it, the wide outlines of the motive concentrate them-
selves, with more sonorous sounds, into a more characte-
ristically worked-out plastic shape (1.), in which it now
G
© e
gº &
ſ
i.
gains some affinity to those beings, which respresent that
element in half human and individual shape: the X Rhine-
daughters «. * -
To express their merry play in the waves, the rhythm
of the motive becomes still more lively, and the ornamental
figure rolls up and down in lightly flowing sixteenths. To
this accompaniment rings out the first song of the Rhine-
daughter Woglinde with the melodious sweetness of the
human Voice. This melody becomes a motive, no longer
for an element, but for the personality of the Rhine-
daughters themselves. (2.) *
2 2.É.--FEº *H # *====== i
j9-2– ––––a–a–H–E–N–a–s—º-H-º-º-º-H-----
G ------ ~ *-tt-a-d &B –5 rt 2 2 H–
--- -------- w —I --2——
Weia Wagal. Woge, du Welle, walle zur Wiege
_--~
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5–3–2–Hº-H=N======FHi-Hºº-º-º:
#####EEEEEEER::==ºff:fff ºf
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- Waga-la-wei-a! wal-la-la, wei-a-la wei – a
$34.#–E

— 11 —
During the greater part of the scene the innocent gaiety
proper to the element, musically illustrated by the pro-
minent melody which accompanies the water-fairies' gam-
bols, prevails so much, that the representative of sensual
longing after gain, the Nibelung Alberich, cannot yet
manage to get his own distinctly characteristic motive. He
has at present to play the part of the ridiculed, powerless
fool; and whilst this mockery expresses itself in charming
melodies of song, there remains nothing for Alberich but
the musical illustration of the absurdity of his situation
and demeanour. Not until the third sister also has ro-
guishly deceived him, does he burst out with a doleful
cry of two notes, which, here only the compact expression
of his present condition of utter defeat, subsequently as-
sumes a wider and more important meaning as Motive of
a Bondage. (3.) -

+
f h. N
- l º i A g Tº
3. Hº-5-4–ECEze-à-Eſ #=::= =
Asºº 2-se TTI p y º, CA -
F ºr 5:I: : Fºr ºf
In the desperation of his weakness he makes another at-
tempt to catch the flying girls by clumsily climbing up,
and their scorn, expressed in the reiteration of their for-
mer songs drives him into a rage which produces a second,
at first only generally effective Motive of Menace, an
exquisite musical symbol of his furiously clenched and out-
stretched fist. (4.)
_ſ\ 9.a.
4. HºHºº-º-º-º:F/E
Hº-L-E-F-FF

But that, which is here abruptly introduced as a mo-
mentari affect, is in truth the essence of the whole de-
moniacal tribe, the gloomy Nibelungen, represented by
Alberich. They are the eternal threateners, the powers
of darkness, working ſo, the destruction of all that cKists.
The first desire, by disturbing the blessed peace of the
primitive condition, has already commenced the work of
— 12 —
rev
35.
destruction. The rhythm of his menace is the typical
rhythm of the Nibelungen, which we shall meet with later
on to express this underground race at work at the forge.
H | | = }
G. s. d FT. H.
Alberich's rage having reached its culminating point, his
menacing motive gradually takes a softer tone, finally dis-
solving itself into a gently moving and afterwards glistening
and quivering figure, which gives a new object to his de-
sire, and which introduces the fatal motor of the tragical
development of the entire drama. Ilike a brilliant flourish
of trumpets, ever and anon through the accompaniment of
this figure, is heard the Motive of the Rhinegold, the sym-
b0l of all desire. This its symbolical meaning for the whole
drama is always expressed by this fanfare (5.), whilst the
eº e
5. F# ===E======Ef
| \S V. vºy * I
*J . |
s=e-º-Hº-Hº-
* gº-
joxful lay with which the three fairies greet the sight of
the gold revealed by the Sunbeams is later on used also
as a motive to denote the delightful lustre of the precious
water treasure (6.). But the end of the song, which here
Leuch - ten-de Lust,





I-9– S—º
TZACI sº-º-3–ºf–g—s i
-*w- *—a º— 'C'— —º / |
ey --> * tºy 2 2 2.5
lachst du So hell und hebr. etc.
is but the merry outcry of the reckless girls, afterwards
assumes in the mouth of the demonic robber of the gold
the meaning of a triumphant shout of victory (7.). Notice-
7.
Rhein- gold ! Hei – a ja – hei – a
able is further the new accompanying figure, which ex-
presses the playing of the waves and fairies around the
cradle of the gold and lasts during the whole scene.
To these motives are added subsequently two new ones,
closely related to the Rhinegold and which are to become
of fundamental importance in the following drama. First
appears the Motive of the Ring, when Wellgunde betrays
to the questioning Alberich what world-conquering power
the gold in the shape of a magic ring might assume in
the hands of its owner. (8.)
(N 3:-air Eis-Hºº-º-N= etc.
. 8. Hé- } *=#g#EE?=2F etc.
Der Welt Er – be ge —"wänne zu ei - 'gen etc.
But the possession of this symbol of sensual power depends
on the renunciation of the ideal love. For this reason
the formula of renunciation, which Wellgunde reveals to the
Nibelung, is now introduced into the hitherto bright and joy-
ful play with its gloomily menacing flourish of tubas and
trombones. In this formula the motive of the ring is joinci
with the sorrowfully descending Motive of renunciation
of Love's power and bliss. (9.) The connection of these


— 14 —
#3
(9.) Motive of renunciation.

ſº |- | –,
9. EAEEEN=Niº-EF=Nipº-HENESE
* Hºº-º-º-Eº-E2E=EECEEP2–Cº-º-o-;
e' •
Nur wer der Minne Macht ent–sagt, nur wer der

(T). f - | f
28–o –––. -N T [2.2 I
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LS+4–C–F–––––––––2 I-L-2–2–2 -i-2–
Lie-be Lust ver-jagt, murder erzielt sich den Zauber zum
(8.) Motive of the ring. - -
ſ\ L- ~\— ------>
I V lºſſ 2 e *_ | º ſh. Lºſ
Hº-Hº-P-TFE—EFEEC
LVNVT E-º-º-º/-a. H
e/ S T. TR-

Reif zu zwin — gen das Gold
motives includes the whole tragedy of the ring of the
Nibelung in itself: henceforth all long eagerly for power
and splendour, and the holy power of Love, sold and re-
signed for these, bears the dreadful curse of that dark
demon, that transfers itself from one victim to another,
until the purest love in Brünnhilde's heart, which only be-
came sinful through an awful delusion, frees the world
from it by her own renunciation of the gold, which is
connected with her expiatory death.
Alberich heeds, no longer the mocking of the careless
girls, all his attention is given to the secrets they have
just let out; he repeats those secrets to himself, aside,
dwelling most meaningly on the motive of the ring, whose
possession he now recklesly longs for, merely making short
allusions to the motive of renunciation, of which he thinks
nothing. Once more 'sounds the fanfare of the Rhine-
gold, but this time in a mournful minor; after it the
motive of the ring announces itself and then, when Alberich
rushes up to the rock and with the curse snatches the
gold from off it, resounds the motive 9. The disappearing
of the demon in the depths, the frightened nymphs pur-
suing him in vain, the sinking of the whole undulating
element into darkness, in order to prepare the way for
the change of scene into the light fields of the upper-
world—all this is musically expressed by that lately men-
tioned accompanying figure (6.) ever descending and to
— 15 —
which finally once more sounds a low and sad reminis-
cence of the whole formula of renunciation (9.). By and
by this wavy movement becomes simpler and mounts
upward again in single periods: the mist, into which the
waves had resolved themselves, rises and gradually clearing
away, allows the aspect of the second scene to be descried:
a mountainous country. The motive of the ring in its
simple, most plastic form is repeated several times during
these periods and, by means of slight alterations and re-
versals recalling the beginning, represents the ideal con-
nection between the two scenes. For even up there among
the gods, with whom we are now to be, sensual longings
for might and splendour have been awakened, since
Loge brought the germ of it to maturity in Wotan’s
breast, by inducing him to make the treaty with the giants
for the building of his castle in exchange for the goddess
of Love. Thus the motive of the ring dying away pp.
immediately conducts to the only rhythmically changed
Motive of Walhall, which in its majestic brilliancy pic-

(8.) p£ i.
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Motive of Walhall.
tures Wotan's once merely dreamt of, but now embodied
ideal of sublime divine power in the castle of Walhall !
In this scene, in which Wotan is exulting joyfully
Over the finished work, whilst Fricka reminds him of his
unlucky treaty and of the loss of Freia, which is thereby
threatened, the motive of Walhall alternates with a new
and also very characteristic motive, whose grandly de-
Scending movement indicates the final settlement as well
as the strength of this treaty, which is inevitably to bring
6|.
16
on the decay of the power of the gods by fettering their
freedom: This Motive of the treaty (11.) appears in the
38 b. . I
- *. º * ſº as | | | I l i T
11. HºHttººi=EEEEEEE
a 1-E2 s— Pº-º-E-º H-H

M. of bondage.
form of an enlargement of the motive of bondage (3.) with
which it begins. Interpolated between the two appears a
further motive in Fricka's coaxing song which as well from
its musical form—a tender flow of softly upward and down-
ward gliding tones—as from its further use, may be called
a Motive of Love's fascination. (12.)

–9–- zº: I st == : t T zº N-T-
12. ÉÉHEiºtºzº
- ~– `-- \-—
Fricka in the solemn tune of the motive of renuncia-
tion complaims that Wotan xfor might and tyranny’s idle
toy Will Squander woman’s worth and weal.g. As Freia
flying before the giants draws near is added the Motive
of Freia, the goddes of light and love (13.), which is

-º- -69-
Ll k a • *e F . Ó- #e --
Fº H----,-ºf-F-ºf-ºf-F
13. Hºff::::Hº **- etC.
el/ **
then continued in an uncertain, descending movement,
illustrative of her flight. I will notice the motive of Freia
at Once in its completed form which, however, does not
appear until later and distinguish it from the Motive of
flight (14.) as a new and significant symbol of the god's

n || # *-* - e. ſº e
14. F: ss= i # e +:
Tel/
F-2–F–-H
ºw He—
Ef
distress, which begins here and increases throughout all
the dramas.
LºVSV. ss—l
— 17 —
The entrance of Fasolt and Fafner, coming to re-
mind Wotan of the treaty, is accompanied with coarse and
heavy steps by this Motive of the giants (15.) in its
mm
|
&T 2: ... Tº . * Tº J
E}#E 23. H
15. --> Ps =*Tºº ſº º =^T. Tº ſº 2 |
| V – —H-> | *! ; J

V
.
|
...” J. E. * Jººps. re J º 2 Jº
y
ĐĐ º ſº o ſº ſº a ==#e Ha- --- tº H
Hº-Hº-Hºº-º-º-
magnificent, although clumsy and emergetic complete form.
Of course in this scene the motive of the treaty plays the
chief part, together with the motive of Freia: but to these
are added two theme-like figures, of which the first one
is connected with the words: x bedungen ist, was tauglich
uns dinkta (>The rate we mean already is marked&)*) —
» Verträgen halte Treux (>truthful be to bonds !K) a further
with Wotan’s : y Verträge schützt meines Speeres Schaft, etc.
(>I shield the words on my weapon's shaft.<) and which is
found subsequently in the following form (16.) as a Motive

º
|-
Ø —º #2. + l *2—O Pe. l——
16. BHP BiH:2-º-EHEZ-FEº-
• Ezāº; #EEEEEH = H-
E
of the rumic wand, (Wotan’s spear with the runic cha-
racters of the treaties), whilst the other one, which appears
first with Fasolt's words: x Weisst du nicht offen, ehrlich und
frei Verträgen zu wahren die Treux (>Find I thee aught
but open and fair when faith to thy bargains is bid! K) serves
to characterise this special treaty with the giants (17.)

-O-
• + f * > . —ſº-º-º-ºr-—
*—l-— Li-º-T-º-º-º-º-º-º-º:
17. BiºHºº Hiz
Ef 7-9-i- | . r—I Il-
*) S. Formann’s translation of >The Nibelung’s ring&.
(London, Schott & Co.)
W. Wolz og en, The Ring of the Nibelung. 2
— 18 —
by its most significantly wrought out transformation of the
» motive of the treaty&.
The next motive we meet with is that depicting the
magic golden apples (18.) which Freia guards and which
l - ~e? 2–
, 4:2 .T. 232 = ... 2 ###
• * I a "Tº i_ns Ł
18. Bºž º 3– sº---- – ºr
S--—v2–
conf. bar 2 & 4
in Nr. 9. -
ensure eternal youth to the gods, who eat them. It is
therefore a musical expression of lovely blooming life and
joy. This golden symbol in undisturbed possession of the .
gods has the same meaning for them in their world as
for the Rhine-daughters to the water-world; this motive
shows therefore considerable relationship to the latter. In
close examination will be discovered in its first part the
motive of renunciation, but here in a clear, pure and
happy major.
We hear this most enchanting phrase first out of Fafner's
mouth; for whilst Fasolt only longs for the person of the
beautiful goddess herself, his brother's far more demoniacal
mind is set upon the utter destruction of the bright world
of the gods by depriving them of the magic apples of
youth : darkness shall spread over them as over the Rhine.
through Alberich’s rape; and when he confides his inten-
tion to Fasolt, the first part of the last motive is curiously
altered and sounds now in mournful and dark tones, instead
in the gentle D major mysteriously earnest in E flat as a
Motive of a growing twilight (19.) which dies away in
a chromatic descent of long melancholy harmonies (6.)
#
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º
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2
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º
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19. Biº-Hºº-Bias#
ſ | | |
b -

As a contrast to this the previous motive in its entirety
rings out in the original major key, enlarged into a sort
of merry war - song, as the gods Froh and Donner" come
to help their sister. But between them Wotan must stretch.
his spear and remind them of the Runic-writ on its shaft.
(16.) From such an awful perplexity only cleverness and
cunning, such as Loge's, can extricate. His coming is
announced by the quickly to and fro frisking, up and down
running chromatic movement which forms the individual
Motive of Loge. (20.) Thus the fickle spirit of the flame
º
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rambles through all corners of the world, as he narrates
immediately afterwards, and thus flickers and flutters his
ambiguous element, which now and then breaks out of
the tune of his motive leaping up in chromatic gusts and
exulting in wild trills. The impish magical nature of this.
element, as of its master, is further expressed by a motive,
which afterwards, at the enchantment of the X Waberlohex
(the wavering blaze) is brought into a motive, which takes
an important place in the drama, and which may be called
the Motive of the fire's spell. (21.)
S)::
*—d


a8 21.
:
The typical personifications of the principal powers
ruling in the drama have hitherto made an impression of
almost superhuman plastic art, and now the nature of the
cunning Loge, working in every direction with his scoffing
cunning, draws these powers into a game of intrigue, in
which everything assumes, in the dubiously fluttering light
of his flame, a spiritual and interesting aspect. All trough
this scene the restless chromatic motive of the god, who
now attains the secret mental dominion over all, is a
leading feature. The climax of the scene, in which Loge S.
activity is concentrated, is his wonderful narration. Al-
ready in the first part of it, in his ineffective seeking for
a substitute for Freia, he comes to the theft of Alberich,
the Rhinegold, which he mischievously suggests as a Com-
pensation, so that even the simplified undulating wave-
movement (6.) becomes ambiguous, that movement, which,
ch armingly united with the motive of Freia, accompanies
the first part as an expression of the happiness of all
beings in the peaceful enjoyment of Love's delights; whilst
the second part, and further on the greedy search of
the gods, are amply illustrated by the motive of the ring
and other themes that refer to the Rhine-daughters and

— 21 —
their treasure. With most mischievous joy Loge repeats
frequently during his narration the motive of renunciation;
he catches Fricka with the motive of fascination (12.), by
praising to her the magic power of the Rhinegold to keep a
husband’s fidelity. And at the words x den zimmernd Zwerge
schmiedenç (>which dwarfs forge etc.<) sounds for the first time
the before mentioned Forging-motive of the Nibelungen
(22.), but here with changed rhythm as: . • . JET ...
* I S.

w -º-o-º-º-º-Hº-pa-oº-o-º-
22.É) H--— ===P. ===
t —t-
After his narration the Rhinegold fanfare, surrounded by
glittering chromatic harmonies, falls like a misty veil of
delusion over the gods and the motive of the ring has a
Jike effect upon the giants; this causes Wotan’s refusal to
obtain the ring for them as a substitute for Freia and the
defiant exit of the giants with the goddess to the gra-
dually ceasing tune of their gravely stamping motive.
In the twilight, now rapidly setting in, the remaining gods
become gray and old looking, and Loge expresses his
scorn for them in the motives of the apples-of-youth and
their goddess, as well as in the now justly domineering
motive of twilight. Uttering the words: 2 verlorner Jugend
erjag ich erlösendes Gold – (>For faded youth the fresh'ner
is yet to be found !K) — Wotan, under the guidance of
Loge, starts on his descent to Nibelheim, which journey
is illustrated by Loge's chromatic motive and that of re-
nunciation. Then follows a lively elaboration of the motive
of flight (14.); for the necessity which it expresses drives
Wotan down. Upon this, at the entrance into Nibelheim,
after an energetic repetition of the Rhinegold-fanfare and
the motive of the ring, the forging-motive, partly executed
by merely rhythmical strockes on anvils, takes the pre-
dominance, accompanied by the motive of flight in an ela-
borated form, sinking deeper and deeper, till its first two
notes, rising again, show themselves at last to be the
92.De

motive of bondage: BHE We are now together
| *st!
|
— 22 —
\\
with the gods under the magic spell of Alberich’s ring,
and with the thrice repeated motive of the ring in f. the
third scene is ushered in.
The first dialogue between Alberich and Mime is ac-
companied in often changing rhythm by the motive of bond-
age, which now, in its varying form, seems to represent
the short, sharp strokes of a lash, Swinging upwards and
then down again; from this at length proceeds the so-
lemn Motive of the tarncap's spell (23.), so that the
| | | | L
*a-e, -1 *::: # = #2.
#;+4:#Ełith *i; }; *:
23. Đàº, #4 ==== #4 ### *—t *H
S. Nr. 3.
raising of the last expresses the invocation of the spell,
its downward stroke the effect of that invocation. With
the necessary rhythmical alterations this spell of a demo-
niacal deceit both in its harmonic colour and its thematic
form corresponds to the fire-spell of the great deceiver Loge.
The forging motive and that of bondage prevail through-
out this scene, especially in Mime's account of the suf-
ferings of the Nibelungen. Alberich's dominion is specially
characterised in two new motives, the first of which ap-
pears in its complete form as an appendix to the motive
of the ring at Alberich’s words : x Zittre und gage, gezähmtes .
Heer / Rasch gehorcht des Ringes Herrn.< (>Shake in your
harness, you shameful herd: fitly fear the ruling ring !g)
and shows itself to be somehow connected with the third
Rhinegold-motive (7.), being a combination of its two parts,
which meanwhile have grown into the two entirely Nibe-
lungish motives of bondage (a.) and of the forge (b.). As
a coda is now added the third new motive (c.), that of
the treasure now rising from the depths of the earth, and


— 23 —
which resolves itself into a triumphant and clear f major.
The combination of these three motives, I have named:
Alberich's triumphant cry (24.). -
a) b)
c)
24.
*
*ms.
The second motive in connection with the dominion of
the Nibelungen assumes a more distinct character in >Sieg-
friedk, whilst here it is only to be guessed at, being two
quickly carried away by the musical waves of the other
motives. It can be traced in Alberich's words: 9 Niblungen
all’, neigt euch nun Alberich ſo (>Nibelungs all, knell now
to Alberich !K) and more clearly recognised at Mime's com-
plaint about his brother's artful conquest of the ring,
With which his narrating song commences. It consists of
a repeat of two descending dark consonances in myste-
rious sequence of harmony, and hints partly at the studious
Cunning by means of which Alberich gained his dominion,
partly at the cares that come over Mime through this
dominion which, after Alberich has lost it, envelops him
in cunning and anxious thought; terefore, in my interpre-
tation of the prelude to Siegfried, I have elected to call
this very characteristic sequence the Motive of Thought-
fulness (25.). -
| [AE?” i> T] I | T
Q: 9: 2–F–33–3|H|2|−---
25. H 5 * if [22T.I.T. –H
In the scene which follows, where Alberich is ensnared
by Loge’s tricks, the chromatic motive of the latter is
Opposed in constantly changing form to the boastful pride
of Alberich, which is expressed by the restless stamping
triplets of the forging motive accompanying the Motive
of the rising treasure (26), whose heavy awful tones
[Tºº TT — —T T -] T I *
26. EAEPEPET F–––– H-H-etc.
L-r-2–5–EETEEº-I +a++*: #2; -
-- ---- - - # .
# = <= z = ### 3 # =
# = ## = H = H = F *
* *** -O-






throng upwards more and more prominently from the lowest
bass. At his mocking words: 2 die in linder Lifle Wehem
da oben ihr lebt, lacht und liebt; (xtough in listless breezes'
breath above me you live, laugh and love...) he uses the
motive of Freia and afterwards at: x auf womnigen Höhen
in Seligem Weben wiegt inr euch & — (xon sorrowless heights
in happy sway you hold yourselves&) the motive of Wal-
hall. And when he says: xvie ich die Liebe abſesagi,
Alles was lebt, soll ilir entSagen! (> As Love no more to
me belongs, all that has breath, must be without her 14)
the motive of rennnciation sounds out again with most terrible
power. This display of the Nibelung’s entire demoniacal
wrath against all that is great, good and beautiful, the
dark, menacing character of his nature and his sunless
home being concentradet in this scene, concludes with
the last and strongest rising of treasure, at his words
with most effective pertinacity all sung on B flat — » Habt
Acht vor dem nóichtlichen Heer, entsteigt der Niblungen Hort
aus stummer Tiefe zu Tag 1& (>Have heed of the night
and her host, when Nibelungs heave up the hoard from -
death and dark into day.<) The Rhinegold-fanfare follows,
and the motive of Walhall, which Alberich has entirely
approbiated and so enlarged, that in this new form it may
be called the Motive of the Nibelung’s triumph (27.),
27.
S-v- —V-
Walhall. Loge.
to which Loge further on appends his own motive, as he
in victorious irony catches the boaster with his own pride.
The motive of the tarncap’s spell leads on to Alberich's
double transformation into a snake and a toad. The dif-
ferent nature of these two animals is most exquisitely re-
produced in the music, but only one of them becomes of
value for the drama; it is the Motive of the snake (28.),
with its heavy snake-like windings. .


zºv:#-ºn I --l
tº h * º T
28. Eäſ; -N-4– | NTº |
T]. I ! s I º J CJ: |
& -O-
# N=E======
H=#H# j i | As ººl L. Hº-à-s: LTetc.
TI-II → O L U-y | l * 2. =^ • *-**-* *===
T -
Accompanied by the exultant flourish of his own
triumphant motive (27.) the fettered Alberich with his fatal
fing is dragged by the gods to the upper world, the close-
ly following motive of the ring melting with tragic signi-
ficance into the dark tones of the motive of renunciation
given out by the wind-instruments. And now, as before,
We pass the dens of the Nibelungen with their anvil-
strokes in the forging-rhythm, and then we arrive, with the
Solemn and spun-out motive of flight, into the neighbour-
hood of the giants, whose motive heavily interrupts the light
quivering figure of Loge's chromatic motive. Finally the
St0rmy gusts representing the fire element of the deceit-
ful guide lead up into the clear sunlight, and with the
motive of bondage the two gods lay their fettered prisoner
safe upon the upper earth.
Alberich is now forced to summon his Nibelungs with
the motive of the ring and de triumphant cry; they come
bringing up piles of treasure to ransom their master, du-
ring a most striking combination of the motives of forging,
of bondage and of the rising treasure. At his repeated
»triumphant cry& they disappear again. The motive of the
ring prevails in the following scene; for Alberich, after
having given away the gold and the tarmcap still hopes
to keep the ring. But this likewise is snatched away from
him, while the Rhinegold-fanfare sounds with awful threat
in j. He collapses utterly at the motive of renunciation.
One power alone is left him: the very same power by
which he won the ring and by which he may destroy
both World and gods, as he cannot rule them, the power
of his own misery, of the unrighteous gain of the ring,
recoiling in retribution upon every owner, in a word: the
power of the curse. Two themes are to he distinguished
— 26 —
2. - {1
b º Fº: ºv
\1° 29. Đà-3
stº
sº
in the terrible curse of the demon: the special Motive of
the curse (29.) and the restless syncopated movement. in
*/s time, which expresses the destroying work of the
Nibelungen (30.), which from henceforth menaces the
*. e.
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Wie durch Fluch er mir ge - rieth, ver-

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K.Y."
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flucht sei die – ser Ring !
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# --~ == ==
30 ĐĐ #EEEEE
z-Rij}–re-e—e—º-e—º- º #e-
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gods and secretly seeks to overthrow the world itself. To
these is added finally a figure running rapidly down in
triplets, which accompanies the disappearance of Alberich
into the realms of mist, of which we shall have to say
more in interpreting » Siegfriedź.
Now all is light again with the gods: the giants
restore Freia. But as the heavy and still menacing step of
their motive accompanies the double form of the motive of
the apples - of- youth, worked together in fague-like alter-
nations, it suddenly stops, to be followed by the mighty
motive of the treaty with the giants, together with the
demand for Freia's ransom, the sweetly melodious song,
with which Froh and Fricka greet their sister. To the
last motive (17.) is joined that of the giants and further
on the forging-motive, which at last remains alone, com-
bined with the motive of the rising treasure, when the
giants actively try to hide Freia from view by piling up
the treasure. Whenever the motive of Freia appears, it
is followed for the giants as well as for Wotan by the
motive of flight; for they all feel the same pain, espe-
cially Fasolt, who must give up Freia, and Wotan, who
for Freia must relinquish the treasure. And when he
– 27 —
hesitates to return the ring, Loge’s mocking tones with
the motive of the Rhinegold remind him of how it was
gained and also secretly of the guilt attached to it, which
the gods themselves can only expiate by restoring it to
the Rhine. Yet even when the giants are about to drag
Freia along with them, Wotan’s ruling cupidity clings
to the unlucky gold with the majestically descending notes
of the motive of the ring. A new and greater power must
interpose: Erda, the wise mother of earth appears and
with her the Motive of the Nornes, her daughters. (31.)

11. Ll I h.
# —H R tº e -
31. Bºž: .
-sº
-º-
-e-
|-
H:
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º
—l—
2
y
:
#
:
T
I
H
H
Its form strictly corresponds to that of the primeval
element (according to mythology the mother of earth is
also the representative of the primeval water-world, from
which every being and the earth itself originates). The
element of the primeval state of guiltlessness bears within
its breast, this state being once disturbed, a secret know-
ledge of the fate of the guilty world. The motive, which
in company with the Rhine-daughters playfully glided along
before in "|s time, here reappears in company with Erda
and the Nornes in solemn “ſ, , which is especially remark-
able in the accompanying figure of the former, in which
it represents the play of the waves, whilst here it means
the spinning of the rope of fate by the Normes. At the
words: x Ein düsterer Tag dàmmert den Göttern & — (>a
day of gloom dawns for the godsk) — the motive of the Nornes
is converted into an expressive gloomy descent, which be-
comes the Motive of the Götterdämmerung (doomsday
. … the dusk of the gods) (32.) and immediately leads

º-
Hº-É===:HºH =
32. Hºe:E*=#EEE
Fº =v-----—#—s
to the motive of the ring, which concludos Erda's warning:
» Dir rathe ich, meide den Ring! (be ruled and wince from
the ring !k) whilst at the preceding words: Shēchste Gefahr &
–?
#
—F.
– 28 —
2.0%
****
^.
— (immediate danger!&) the destroying work of the Nibe-
lungs was alluded to in the dismal syncopated notes (30.),
and the repeated x hire & (>hear!&) is heard in the form
of the motive of bondage.
With the motives of the treaty and of renunciation
Wotan surrenders the ring. As though all trouble were
now at an end, the motive of flight, happily transformed,
celebrates the return of the goddess to her kindred; but
soon the awful motive of the curse (29.) arises over the
fall of its first victim, Fasolt, whom Fafner kills to the wild
movement of the motive of the ring, as they quarreled over
the gold, and whose death first brings forth the dissonance
of the tritonus (b–f) in sharply jerking semiquavers, which
is hereafter inseparably connected with Fafner. After Fricka,
with the motive of love's fascination (12.), has invited the
gods to move into the new castle, the Walhall motive sets
im, which is to conclude the whole scene in the shape of
a majestic entrance-march; but not without interruptions;
for Wotan’s mind is still oppressed by the motives of the
Nornes, the ring and the curse. Now Donner's Storm-
charm clears up the sultry atmosphere, whose motive (33.) in

º | | R+–—C. | i - -- –
- He – da | He – da . He – do
short hammer-like notes from the wind-instruments, sounds
through the Wonderful harmonies of the musical storm,
which is most originally and exellently described by the
swelling choir of string-instruments, divided into sixteen
parts, the arpeggios rising and falling and crossing each
other, like the varying gusts of wind. After the storm is
over the Motive of the Rainbow (34.) stretches its arch

• f a * h
+-l-—l— l—D—º-L----|-2 *Il-L- |
34. B; HEHºHEsº
in ever widening span over the bright G flat-major whose
softly gliding movement seems to cool the air as with gentle

Zephyrs broken up into triplets, arpeggios and harmonious
trills on the wood-instruments, harps and violins. The hea-
venly bridge leads up to the castle: the Walhall-march
again recommences in soft persuasive tones ornamented by
glittering passages on the harps. Once more the motives
of the ring and of the Nornes dim the splendour of the
castle for its owner; a new creative thought dawns upon
his mind from the pressure of his cares, which is hinted
at by a heroic motive of trumpets, whose affinity with the
Rhinegold-fanfare is undeniable. A new power is to be
created, in order to protect the doomed and guilt-stained
symbol of sensual might and splendour from the Nibelungs
and to win it back for the gods; this power is to bring
forth the heroes and the Walküren of the next drama,
Wotan’s children. The symbol of this power is to be the
godly sword, denoted by the following motive (35.)

E-9– All T
35. Hſº Þ IL2
Hº-Hº-H
-º- i.e. e.
T | *_º T
h. | – e • F-
2N–H–C–H–H–
And now, in spite of Loge’s jeering chromatic storms
of flame, whose restless outbursts perpetually menace this
idea of the Gods, so füll of hope, also with final destruc-
tion, in spite of the last lamentations of the nymphs in
the Rhinegold-motive and its accompanying undulating
movement, as they clam in touching accents the tragic
justice of this destruction: the gods, beaming with smiles
enter the castle, to which the Walhall-march ushers them in
with the gorgeous majesty of the richest musical splendour,
increasing in resounding fanfares and rolling waves of har-
mony to a fortissimo of the whole orchestra, magnificently
concluded by the motive of the Rainbow.
t < 36. 9: E: :=====HE-H
II
THE WALKURE.
The X Walküre (, like x Rhinegold & is introduced by a
mighty organ-point (in D minor); but here it does not
picture blessed peace but on the contrary the roaring of
a wild storm. The wind blows, the thunder rolls, light-
ning flashes in the rising and falling sway of the orchestra
and the stroke of the weather-god’s hammer in the Motive
of the storm (36.). From out of the descending tune of
the thunder-storm the Motive of the tired Siegmund (36.)
1. 2.
:- -º- 1 T º , || |
=-1 :-1– 2=H
Fº" Tº -s a -s.
—’
Tune of the thunder-storm.
— —l T T
9: == H-H- —-H---—
} ſ A. i
2=e & I ºa t I N— i__
#"—w-à-º-º-º-º-2
• Siegmund's Motive,
is very soon developd, which reminds us of the motive of
the treaty (11.).
For Wotan hopes the desired Xfree hero & would be
born to him from the Wälsungen-family in order to disannul
the fettering treaty of the gods.
Another motive, tenderly attaching and sadly alluding
to that of renunciation, frequently joined with Siegmund’s


— 31 —
motive, expresses the first motion of Sieglinde's love as
compassion for the tired hero (37.). In the further
| s
| 9-HaHº-F | => -a;===
37. Hº-Hº-3; HT =#E4+: ===
ºv-H+ ====r.
comp. 9.
progress of her love returns the motive of flight (14.) which
accompanies the fate of the gods and now also of their
human offspring through the dark ways of their tragedy.
For the Wälsungen-twins the question is likewise flight or
death: out of this trouble grows their love and their love
lives by this trouble. Therefore the sadly enthusiastic
melody of their own Motive of Love is immediately joined
to the last one (3S.).
d (T)
[-ti-º-- | Tº I t III T]
38 # A Ph. s } • | | } T | | } |
e I ſaw N.V. Tº Je |Nº|| 2–'s Tº | Nº|| 1 || 1 | i T]
TVNV. tº J -TILTTº & sº Nº L_PNºe As ºf |
CW F-w- . . . . -º- yer º -C-
*— –, N-me---
Motive of flight. Motive
—”
of Love. (38.)
Soon after a fourth one is added tho these motives,
one that corresponds with Sieglinde's motive of compassion
and which at first is joined to it. It appears whenever
Siegmund in overflowing sympathy turns towards Sieglinde
and ideally combines the other motives as a symbol of the
Wälsungen-family in its love and pain. (39.) Another
.."
l— _ººl zºº
-> _º - fºLII - ~. T T }
39 • -- --L-L-L- * T 2 s. Tº a mº “
Q R zº, *As º { Iº Tºº
L. W. H- _l t L– 1–H– I
* e2
4. Yas I-I-I-I- fº L. I --
L' 22 L. : ~ I I ſ } C2 ºf sº . . . §
Ph r play sº I | | IT { T]
L_7 | n I -—L– l—2 J.
Such general motive marks the Heroism of the family in
suffering. (40. a.) It is formed out of the motive of the

* *
comp. 9.
sword with an inclination to that of Walhall. It appears
first as conclusion to Siegmund’s narration of his heroic
adventures, enlarged by a tender transformation (b.) of the
first Wälsungen-motive (39.). In this place it is introduced
and concluded by the touching phrase of recognition (c.
»Now, asking woman, thou knowst etc.<), which significantly
ends with the notes of renunciation. (9.)
Meanwhile another likewise heroic, but rether repulsive
and coarse motive, that of Hunding (41.) has been added,
39 © e ; : : * :
41.
which is kept in the giant's, or rather the Nibelungs-
rhythm, and which, very characteristic of the dark, question-
able heroism of its owner, reminds us of Alberich’s first me-
nacing motive (4.). By using it the composer gives us to
understand, that through Hunding and his family the Wāl-
sung has lost his mother, sister and house. The rhythm
of this motive further accompanies the account of the fate
of the poor maid’s sufferings through Hunding’s kindred,
and lastly the first gloomy part of Siegmund's wonderful
monologue at the fire-side of his foe's house in the awful
Solitude of night, which, dark and monotonous, dies away
on the contra-C. The motive of the sword, with which
Sieglinde warningly has left the brother goes through the
beginning of this monologue in gloomy C minor, and after-
wards, when first the hilt of the sword flashes up in the


& ) (T)
reflex of the fire it sounds in the light of C major. The
phrase of recognition leads, with its soothingly whispered
greeting, the sister back to the lonely brother. *
The now following incomparable love-scene begins
with Sieglinde’s account of Wotan’s sword, therefore the
motives of the sword and of Walhall prevail in it. As a
new one, is added the victorious call of the Wälsungs
(42.), which partly introduces the narration and then,
+
lº
42.
—º
—v-
comp. 40. a.
like the Wälsungen-theme (40. a.) grows out of the ac-
companying sword-motive. Further on the victorious call
receives an enthusiastic addition, and in this full exulting
form it drives the unlucky pair to defying resistance against
their common trouble and to the violent breach of it. In
the famous magnificant song of X Winterstürme wichen dem
Wonnemond. (>Winter-storms have waned at the wakening
Mayº). Spring consecrates this determination, this love-
feast of necessity. The motive of love (38.) is woven
through the final part of the song.
With her answer: x Du bist der Lenzá () Thou art the
Spring<) in the motive of flight Sieglinde renders herself
up to the brother for love's delight, for trouble and death.
The motive of Freia, which in the XThinegold & was first
united with that of flight, introduces Siegmund’s enthusiastic
Words: x O #: Womme! (>0 wildering sweetness! K). In
g
the following scene of their mutual recognition as brother
and sister-for the above mentioned phrase of recognition
only referred to Sieglinde’s belief in Siegmund as her
destined saviour—this melody, alternately, or in con-
nection with a second one: x Wonnig weidet mein Blick &
is used as a Motive of presentiment (43.). Again sounds
then the motive of Walhall in warning piano and fhe heroic
theme united with the sword-motive. The last one prepares
us for the mighty act of the gain of the sword. The twins,
v. Wolzogen, The Ring of the Nibelung. - 3
tº 3

a)
*º. F- WF ſº gº T. º \
45. F#EEREºe:EEEHE||
e/
O sii - se – ste Won - ne!
. |
**** Jº #: N, + → N
Ežázłf===SE: Ezº-3-Hº-Hº-Hº-
T-Tawi-T l | 2 L_ ! & T •-T-I ; LLC. §
TVSTU. º # --L- | T T |- º LLIT
ey I g `---T Tly


now knowing each other, are Wälsungs and children of
Wotan; the family whom they are going to save by their
matrimonial alliance in spite of their brother- and sister-
hood, is a godly one; and a godly Sword is given to them,
against the godly treaty, as defence in the utmost trouble
of their guilt.
But upon this criminal love falls Alberich’s curse,
who shall also break the treacherous gift of the sword that
was forged against him. Whilst Siegmund with Superhuman
force draws the sword out of the stem in order to fight
with it against fate and primeval law, he offers himself
up to death and to the tragical necessity of renunciation
to love. Therefore the motive of renunciation accompanies
this gain of the sword, which for Wotan’s hero symboli-
cally took the place of the fatal ring. But the tragic
truth of these harmonies exists at present only for the
hearers; the acting persons exult in the deed with the
motive of the sword, with the heroic theme and the victori-
ous call, after which they draw the priest of their love,
the Spring, into their victorious joy. Then increasing in
wild passion raves the motive of love, as if spurred on by
the motive of the sword, and carried away by the motive
of flight, sounding into the tune of a delightfully swinging
and stormingly waving Motive of Love's stirring in
the life of Nature (44.) that was already heard before

*C-gº-gº- -º- -º-
a *** f -4* * * * * * tº-tº-
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TZACIII | i | * | | ſ Tºlº
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. VS V. i
e/
as accompanying figure. Love and Spring are really and
wholly united but now their union is consecrated by the
curse of the guilty necessity, which fif, with the two shrill,
crashing accords of the motive of bondage ends the act.
The motive of the sword, dissolved into the lively "Is
rhythm, in which the figure of the Walküren-ride already
announces itself, opens the second act. In the prelude
the motive of flight is impetously worked out, then leads
into the congenial Walküren-shout, and both these figures,
rhythmically changed and compounded into a series of
powerful accords, accompanied in the bass by Hunding’s
rhythm and afterwards by the real, lively, jumping figure
Of the Walküren-ride—all these elements form together a
clear picture of Wotan trying to assist his outlaw Wäl-
sung in his strife. When Brünhilde has received his com-
mand in the beginning of the scene, she herself breaks
into that wanton Walküren-shout (45. a), with which
Ho - jo - to - ho!
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everywhere as formal counterpart of the Walküren-motive
(45. b) the figure of the ride is combined. Under Wild
trills and merry chromatic runs—by means of which the
mythological character of the warlike daughters of Wotan
as weather - demons is so magnificently expressed—She
hurriedly withdraws when Fricka approaches.
Fricka comes as representative of an idea, that of the
sacredness of matrimony, therefore without any individual
Q::
º)
— 36 —
motive, although two effective figures, characterising her
holy wrath are repeatedly heard in this scene, of which
the first one has already haunted the Wälsung in his flight.
After the respective return of former motives, there enters
in this scene a new and for Wotan most important Mo-
tive of the godly wrath (46. a). Developed out of the

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Motive of renunciation. (9.)
motive of the tired Wälsung (36.) it gives utterance to the
deep, painful grudge of Wotan; for through Fricka's warn-
ings he sees clearly that the hope set upon Siegmund as
the saving hero was but a self-delusion.
The motive of renunciation in its henceforth somewhat
altered form (46. b) is frequently repeated during this
scene, of which the principal tenor is the narration of the
god’s troubles to Brünnhilde. -
The motive of flight appears here likewise at the end
of the dialogue with Fricka, at the beginning of the follow-
ing scene, with Brünnhild, and at the conclusion of Wotan’s
account of the god’s troubles. Wotan’s narration (which
at the beginning is purposely kept void of musical life in
the orchestra, as the wretched god is void of consolation)
is in its details characterised by those motives that relate
to the principal moments of the related actions. But when
Wotan in his despair must confess his self-delusion and his
inability to save himself by the help of a Xfree hero & from
his fatal destiny, a new passionate transformation of the
motive of the Nornes and the 965tterdämmerung & (31. 32.)
as a more subjective Motive of the god's trouble (47.)
clings to him. It is frequently joined with that of the
godly wrath (46.). The second new motive of this scene,
31. 32.
t -
-º-º-----—º---- ==SEF
--> s—ay= &–zy E = i etc
G=-H
which marks the height of this last part and accompanies
the wild exit of Wotan is the demoniac blessing upon the
Nibelungen-scion (48.) who is destined to destroy Wal-
*— —º
–, e–
5.
hall through the power of the gold. Therefore it consists
in the Walhall-theme, darkened in harmony, instrumenta-
tion and rhythm, and in the Rhinegold-fanfare, sounding
like a war-cry for the 265tterdämmerung&.
The motive of flight goes through the whole of the
next scene between the two flying Wälsungs. The love-melody
accompanies the soft consolations of Siegmund. After it
has been repeated to Sieglinde’s self-accusation, this part
ends with the heroic theme and the sword - motive, for
Siegmund’s last consolation is vengeance upon Hunding.
The second part, introduced by Hunding's rhythm, is go-
Verned by a vehement ascending and descending move-
*se-
º



ment in the bass, a variation of the motive of the god's
trouble. The descending part of this figure is further on
used as a Motive of pursuit (49.) In this act it an-
-- IT
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nounces the menacing approach of Hunding. The love-
melody leads over to the next scene, in which the Wal-
küre as messenger of death is likewise by her compassion
to learn love's pains. Her entrance is marked by the new
and hereafter very frequently repeated Motive of the ques-
tion to fate (50. a), which is again the fundamental form
of the death-song (50. b) as which Sieglinde soon after
uses it, The change in the heart of the Walküre is pre
pared by a characteristic figure of accompaniment. More
and more she is moved, after she has in vain described
all the glorious delights of Walhall to the loving Wälsung
with all the splendour of the Walhall-theme, charmingly
attached to the motive of Freia and of the Walküren.
**=. --- –9– t
, 50. BºžHEEH
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A ſº II*P I
\, d gº º º
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etc.
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The change for the drama itself is marked by the sword-
motive, when Siegmund perceives the delusive character of
the godly gift and finds it fit only to end the lives of the
deluded ones. This tragical meaning of the motive speaks
clearly out of its repetition in minor, with which Siegmund
lifts up the sword against two lives, that of Sieglinde and
of the unborn Siegfried. Then the sword - motive ends
With a heroic figure which returns in the next act as
motive of Siegfried, who once shall be the victorious guar-
dian of the god's sword. This connection will appear in
»Siegfried & as a special Motive of the sword’s guardian
‘.
(51. b). Hereafter the death-song assumes a second al-
3.
'• • -":Tº e. .**
: *—|-|-- -º- | |- t —l |--|| º
51. BHPºžEs=#178
comp. 51 b.
b) Sgfrd. Pg. 36, l. 5.
*
tered form, more violently moved in its rhythm and most
singularly characterised by staccatos and syncopes. (50. d)
Therewith the overpowered Walküre promises Siegmund her
help and then hastily leaves him. Once again the love-
melody introduces the next scene. Sieglinde slumbers in
Siegmund’s arms. Brünnhilde's later motive of slumber
here first announces itself. Sieglinde's dreams are hinted


— 40 —
at by a reminiscence of the song of Spring, and the parting
kiss of Siegmund is accompanied expressively by the motive
of Freia united with that of flight. Then the horn-chal-
lenge in Hunding’s rhythm breaks the sweet peace; wild
fight- and storm-music rages in mighty crescendo until
the end. The motive of persecution in different forms,
Hunding’s rhythm, the motives of flight and of the sword
are mixed up together. The last one during the fight
between Siegmund and Hunding in two and when Sieglinde
throws herself between them in three voices; at last it dies
away in C minor, when Brünnhilde hastens to help under
the trilling rush of her motive and Wotan, opposing her,
under the heavy tuba-tones of the motive of treaty, suffers
his hero - son's sword to break upon his spear. With re-
peated accords of the motive of bondage, as a triumph
of the Nibelungish power (comp. 24), Siegmund breaks
down wounded to death. His heroic-theme and that of
fate celebrate the death of the hero in mournful accords.
Then the motive of the treaty accompanies also the death
of Hunding, whom Wotan sends to Fricka as evidence
of the keeping of his word. The motive of wrath shows
Wotan’s anger, and under wild chromatic volleys the god
follows after his disobedient daughter with the united mo-
tives of the godly trouble and of persecution. In the
last bars then resounds the dreadful blessing of the Nibe-
lung (48.), as the demoniac seal upon the tragical result
of the act.
The Walkürs assemble on the Walküren-stone—a
scene which in wonderful simple greatness is worked out
to an incomparable musical picture. The proud Walküren-
theme, mixed with a second motive of the ride (52.)
52.
of a more naturalistic than heroic character, leaps as
thematic basis through all that trilling and dashing, which
sounds like spirited horses neighing and merry girls
laughing. As soon as Brünnhilde and Sieglinde enter, the

— 41 –
motive of the godly trouble and the descending form of
the motive of persecution assume the dominion over the
restless course of the scene, alternating at first with the
last passionate enlargement of the death-song (50. d.) and
the motive of flight, forming the second part of it. Fur-
ther on that of the ring and of the dragon (28.) announce
themselves in order to point out to Sieglinde her asylum
in Fafner’s wood. Afterwards the rushing of the storm
and the menacing persecution recoil in order to make
room for the annunciation of Siegfried by the Motive of
Siegfried the Wälsung (53.), which sounds in a bril-
.*--- pe- Prz'
[I -º-" is " -º- 'F_+ º- F
# *—P--—- H-I T
53. Effff:HE
liant flourish of horns turning valiantly from minor to
major. The second motive, united with the concluding
figure of the first part of Siegfried's motive (53. b.) to the
motive of the sword's guardian (51.), is soon repeated in
Sieglinde's answer. Thus the sword motive is also hidden
in the start of the first part of Siegfried's motive (58. a.).
Parallel to the conclusion b is that of the second part (d.),
but in two different ways. For when the last tone is
lower then the first (d.), this phrase is later on used as
phrase of ban, by which Wotan promises Brünnhilde for
punishment to the ximperious mank, who afterwards shows
himself to be Siegfried, the deliverer from the ban. And
where the final tone is above the first one (dd.) this
phrase reminds one of the lucky deliverance from the ban

— 42 —
trough the victory of love; as it does, for instance, in this
place, at the name-giving, and still more afterwards in as-
cending sequences as theme of the eight Walküren imploring
Wotan to spare Brünnhilde. For the same reason this
figure also forms the foundation for a most important
motive of salvation through love (90.) which here ac-
companies Sieglind’s thanksgiving at the words: Xo helirstes
Wunder, herrlichste Maid4 (5.0 mastering wonder, lordliest
maid!"), and at the end of the 266tterdämmerungk returns
in order to give us the moral of the whole tragedy: X Selig
in Lust und Leid låsst uns die Liebe mur Seing (>happy
in luck or need holds you nothing but love!K).
In order to finish the number of Siegfried’s motives
On this occasion I would advert to the transformation of the
first bars in the second part of the Siegfried-motive (cc.),
which figure briskly turning upwards instead of downwards,
introduced by a rhythmical variation of the motive of the
ride (52.) and concluded merrily by the cadence dd.,
forms as a lively horn-flourish the cheerful call of the
son of the woods (54. a.) in 2Siegfried & and afterwards
a 4 *
# t T ——
54. É ====
; : ; ; # * * * =
*-v- -,- -y-
52. 53. c. 53. dd.
TH
-º-
+-
in the X Götterdämmerung & with pompous brilliant accords
and in majestic rhythm the heroic theme of Siegfried
(54. b.).
In the next scene the motive of Wrath, domineering
together with the motive of treaty, likewise is amplified by
a soaring coda, which then also is attached to the motive
of treaty. Out of this coda, gravely marked by the entry
of the wind-instruments, speaks Wotan’s wrath as direful
condemnation (55. a.); and out of the same figure de-

42.
F–B–, ſ T Isºpe =# *–
* {{#########|
• • *; ºw ^– * —
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46.
b) *
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#H#H#Hz-Hºsa–H-EEE
É ; l Ef T. + | sº-i -4- I =#|


velops itself in the following scene Brünnhilde's splendid
melody of her submissive justification (55. b.). Siegmund's
death-song, which had been so fatal for Brünnhilde, now
forms the melody for Wotan’s verdict (>No more from Wal-
hall I send thee! (), but in connection with the motive of
renunciation which again leads into that of treaty. The
same tune sounds softly from out the dying-away Wal-
küren-theme, which accompanies the flight of the eight
sisters and thus leads into the condemnation, which forms
the principal part of the last great scene between the
punishing god and his daughter imploring his righteous pity.
Her song of justification, before assuming the above men-
tioned wonderful tune (55. b.) clings to Siegmund's melody
with its first amplification (50. c.). In her account of how
she came to disobey the father’s commands are heard the
corresponding motives of the ban, the ring and of renun-
ciation. -
But Wotan must also renounce to Xend his eternal
grief in the wreck of his world itself&. The motive of
flight in its gloomy menacing form attaches itself to that
of renunciation. In vain Brünnhilde implores him to save
her Walküren-nature, by reminding him, with the motive
of the Nornes, of her own godly mother Erda; in vain she
asks for the best hero as husband with the heroic theme,
the motives of Siegfried and of the sword’s guardian.
With a short and decided figure, which keeps the middle
between the question to fate and the condemnation, Wotan
refuses: he can only punish and leave the rest to fate.
Between the heavy, gloomy accords of the motive of twi-
light (19. b.) winds a gently swinging figure, clearly sound-
ing from out the tarncap-spell, like a magic lullaby. Im-
mediately afterwards, when Brünnhildo despairingly begs to
to be sheltered by flames, begins, at first in minor, the
plai of the slumber-motive. (56.)

ſ\ # *n _l
5 6 & Ežºf:"HEEEEEEEE* o
At the end of the second part: x auf dein Gebot ent-
brenne ein Feuerg, (20 with thy word a fire awaken!g)
the motive of the fire-spell (21.) sounds out of the flutes and
hautboys, with the chromatic glittering of the violins, and
the heroic theme of the Walküren pierces through all with
clear trumpet braying, which at last after a mighty cres-
cendo turns fif. into the slumber motive (in D major).
The heroic courage of the beloved daughter breaks
the punishing father's wrath, and from out of his deepest
feelings of forgiving compassion he sings to her in incom-
parably touching melodies his parting song. In the ac-
companiment of the first part the tunes of the slumber-motive,
Walküren-shout and death-song are wound in and out with
one another: then Loge again rushes in with the flames of
the fluttering blaze, until he finds his boundary in the
motive of Siegfried, who is destined to walk unhurt through
the fiery wall. The last embrace is accompanied by the
melody of Brünnhilde's justification growing into a power-
ful symphony, and this again turns into the slumber-mo-
tive, which now accelerated, softly whispering, overwaves
the second part. The wonderful melody of Wotan’s last
words: x Zum letzten Mal letz' es mich heut mit des Lebe-
wohles letztem Kuss & (>For latest healing here I must bear
a last farewell of lingering lips.<) (57.) forms also the
postludium, after he has pressed the last partingkiss upon
Brünnhilde's forehead to the solemn tones of the motive
of renunciation, and after the motive of twilight has spread
mysterious chromatic harmonies over the sleeping Walküre
and the gently moving slumber-motive has died away.
Then with the question to fate (50.) the god turns away,
and the motive of the treaty calls Loge to the rock.
— 45 —
With a wild run through three octaves the first fire-sheaf
breaks out of the dismal chromatic and from out a long
exulting trill now flows that sprinkling, sparkling, leaping,
fluttering and flickering phantom dance of the wavering-
blaze (Waberlohe) with its theme of the fire-spell, over
which, melting into ever richer and mightier accords.
the gentle figure of the slumber-motive is soon drawn like
a rainbow of peace, whilst to Wotan’s last command:
»Who fears the spike of my spear to face, he will pierce
not the planted fire&, Siegfried's motive majestically rises
from the depths. Once again the parting song (57.)
_-

o—
Ł I º
Zum letz-ten Mal letz' es mich heut mit des
4e. ~
I tº º º: Aſh as #a
–H––5–H––––a–ſº-HE––
y # y HF # L^-- |
:=
=
~/ºf
[
Le - be - woh - les letz - tem Kuss.
heaves a sigh, and then the flames dash over the Whole
scene and flare away pp. from sight and hearing.
3.

III.
SIEGFRIED).
The prelude to Siegfried gives us again dark Niber
lungish tunes. Mime in his lonely forge in the forest sits
meditating about the gain of the ring through Siegfried
and about the sword, wich he is unable to forge for
him. Therefore at first only the motive of meditation (25.)
sounds into the long dull roll of the kettle-drum upon
the contra-F. Then the object of his meditation announ-
ces itself in the depth, by the motive of the rising trea-
sure (26.) and thereafter the forging motive (22.) which
henceforth sticks fast to Mime's person, sets in in a more
and more persevering movement. For only by means of his
smith’s craft Mime may gain the sword wich is to help
him to the object of his meditation. Whilst again the
treasure moves from below the scourge-strokes ºf the motive
of bondage drive him to his work. But this 'ame scourge
is to lead to his dominion, therefore the motive of bondage
turns at the culmination of the prelude into the triumphant
call of Alberich (24.), sounding in victorious f. The fre-
Quently repeated motive of the ring draws a lively glit-
tering and splendid picture of the hoped-for trophy. Mean-
while the motive of the dragon (28.), who watches the
treasure, begins alredy to wind itself on in the bass; and
the motive of the sword, upon which Mime's meditations
and exertions are all thwarted, rises in clear C major
above the menacing warbling of the last tone. The forging
motive and that of bondage lead into Mime's song, in which
— 47 —
his outbreaking Wrath, his musing and his dread are marked
by the different motives of the prelude, with the only ex-
ception of the triumphant call, which here is replaced by
the ambiguous motive of triumph, concluded by Loge's
mockery.
Now young Siegfried with his merry call of the son
of the Woods (54. a) enters lightly and laughingly into the
gloomy Nibelungen-sphere. With youthful impatience he
demands his sword and examines it with the first part
of the Siegfried-motive (53. a. b.). His anger at the inca-
pable Smith breaks forth stormingly with a new musical
phrase, which throughout the whole scene marks his cha-
racteristic contrariety to the tenacious and slow nature of
Mime, who is mostly accompanied by a queerly rocking,
Wabbling, tottering enlargement of the forging-motive. This
new motive of Siegfried's is indeed nothing else than that
love-stirring in nature (44.), which in the SWalkürea in-
flamed the passion of his parents, and which now cha-
racterises his own disposition so closely related to Nature,
and wich everywhere shows itself in exulting love of life,
and especially as anger and disgust opposed to Mime's
Weakness and falsehood. This Motive of love of life
(58. a) further plays as lovely whispering figure of accom-
paniment round the sweet love-melody (5S. b), which the
2-
F-G-I-b- iſ ºf: -; a r—-----
Eſº-HEf-º-º-EEEEE etc.
+---Hº-Hº-º-º:
| \\ \Z.
e/
b) _-
E-G-: h. –N
*— *— * § -
tº il H ~ || || N_j l——º--N-
| | ~ Fº T º #TTTNT IN f
- T
EğEEEEE::========Hºº |
ol/ lºw- il
L-º-;II—i--N-H-----NT—
If > i– º-s, |-4– p t— - 1–1–
- ~g - - - I NL I N
e/ w -º- # L #

— 48 —
youth has learned from the voices of Nature. This charm-
ingly entangled picture clears up into a series of light
major-accords, when Siegfried in the limpid mirror of the
rivulet sees his own picture, which is musically painted
by the combined motives of Siegfried and of the Wāl-
sungs. (40.)
The view of his image in the water has lead his mind
to the inquiry after his descent. Mime’s very touching
relation of Siegfried’s birth and his mother Sieglinde’s death,
tenderly accompanied by the Wälsungen-motives of the
first act of the Walküre (39. 37. 38. 14.) produces again
the motive of Siegfried, which rises sadly from out the
Wälsungen-motive (39.) that dies away moaningly. (>She
died—but Siegfried—he was saved 16)
Mime praises his own merits for the education of the
foundling, but Siegfried always interrupts him with this
passionatly animated Wälsungen-motive (39.), which hence-
forth clings to the recollection of the mother whose death
he caused; first he wants to know why he was called
»Siegfried& — question and answer in the Siegfried motive
—then he demands the fragments of his father's sword,
which Mime brings on with the motives of meditation and of
the sword, and Siegfried receives with the merry accords of
the motive of the sword’s guardian. In impetuous brisk-
ness and soon cheerfuly mixed with the sword-motive the
motive of love of life accompanies his demand upon Mime:
to weld a new sword out of the fragments. Then with the
gay tune of his lovely wandering-song, the middle part of
which is again formed by the motive 58, he hastens away
from Mime's den. A little phrase out of the melody of
this song (xforward I fly&) returns in the x Götterdämmerung &
in order to characterise Siegfried as the wanderer through
the world of hero’s adventures.
th. 38.
º L-9-Eb-tº-º-º-º-I-P-A-z=TE: i-Tº | A l
59. Hº-F-HEf-e-H-3–ºf–Eº-
EºP. ' [. - | II U-y Jº I__

—A/- N-
Wandering song. In the 266tter-
— 49 —
b. -
(ſ) *.
#:=====#EEE
—º -
dāmmerung. comp. 70.
For Mime, left alone with his idle meditations, the
wanderer's song changes into ring-motive, and his anxious
meditation ends in sharp f with the melody of renuncia-
tion; > des Niblungen Neid, Noth und Schweiss mietet mir
Nothung nicht. & (>The Niblung’s heat, greed and need,
serve me not Nothung to heató).
At his last Words appears already seriously and ma-
jestically Wotan’s Wanderer-Motive (60. a.) in full
3. * º º W W º W t
–E
T]
chords; followed by his noble and simple wandering melody
(60. b.) This is the musical countenance, which Wotan
keeps up troughout the whole second scene in contrast
with Mime, whose uneasiness expresses itself in a quivering,
abrupt figure. The nature of this contest between the god
and the Nibelung required a most symmetrical structure
of the scene. It begins with the migthy, imposing motive
of treaty, with which Wotan quietly seats himself near the
forge of the frightened Smith, and which Mime with
affected threatening returns in the face of the unwelcome
guest, when he says: 9 Dein Haupt pfänd' ich für den
Heerd! (NThy head hold I for my hearth.<). The three
questions which he now puts to Wotan are always accom-
panied with the motives of his special art and wisdom:
W. Wolz og en, The Ring of the Nibelung. 4


that of forging and of meditation, Wotan’s answers are
concluded by the motive of treaty.
In between, the three answers describe Nibelheim
(Dwarf's home) by the motives of forging, of the ring, of
the treasure, the triumphant call and the proud Nibelung’s
triumph; Riesenheim (Giant's home) by the motive 15. the
rhythm of the giants, the motives of the ring and of the
dragon, alluding to Fafner; Walhall, with the wonderful
Walhall-march, the theme of the Nornes and the curiously
ambiguous Motive of godly power (61.). This motive
a • ſº -º- * **.
e
I — t i- H
IT
* Pºpe.
etC.T.
1– * > 4 º' ſh.
Đºfs=Hººff:
-*- l se- TV
corresponds in form with that of the godly trouble. It
consists in firmly and heavily rising scales, which prove
to be the foundation of the motives of the Nornes and of
the treaty. Wotan is the ruler by treaty, whose slave he
is: thus the godly power became his personal trouble: it
is his fate to perish by the tragedy of his own power.
As after his answers, Mime is now likewise to solve
the questions, there is added to his motive forging a
new and most comically meandering and ducking figure,
which we may briefly call the crawling motive (62.) and
62. BiºHºff-Hits+EE===º
| ZLZ ~ sº-T-7 as H-
E*-º-º-º-º-º:
with which he slips through the dangers of the questions.
As Wotan’s question after the Wälsungen is accompanied
by the heroic theme, concluded by the farewell to Brünn
hilde (57.), thus likewise Mime's gay answer, concluded by
Siegfried’s motive. The same one combined with the Sword-
motive helps to answer the second question after the Sword
and gives, in the third question after the new forger of
the Sword, in its own tones the answer, which Mime does
not yet understand. His foster-son's motive of love of live

— 51 —
drives the poor unknowing one to desperation in the motive
of renunciation. The motive of treaty again concludes the
bet that is won by Wotan, and with the two motives of
Siegfried, with that of the sword's guardian (51.), and of
the Wälsung (53.), Wotan, after having denoted the x fear-
less hero & as the forger of the new sword and as the re-
deemer of Mime's head, now fallen due to him, leaves
the trembling, down-hearted Nibelung to the torments of
Loge, who as a true fire-spirit knows how to exite a burn-
ing fever of cowardish anxiety in Mime's veins. This pa-
roxism of Mime is musically described by a most grotesque,
fret-worked, chromatic variation of the fire-spell. The dull,
grumbling motive of the dragon forms the fundamental
bass to all this checkered play. -
All this foolish spook vanishes as Siegfried comes
home to the den with his merry wanderer's song. Now
Mime would like to teach the dauntless boy, by his chro-
matic tune of the fiery spell, to dread. But for Siegfried
the chromatic distortion, by which Mime wants to explain
the meaning of the word X dread & to him, turns into the
clear and charmingly waving slumber motive of Brünnhilde.
(56.) For only from the slumbering maid is he to learn
dread, not from the dragon, over whose body his path leads
him to her / The sword he needs for this adventure he
forges himself: with the motive of the sword’s guardian he
begins the ingenious work, the musical illustration of which
fills the rest of the act in exquisite gradation. The pre-
eminent parts of this great scene are the two airs of Sieg-
fried in swelting and in hammering the steel. In the
prelude to it, the filing of the fragments, the leaping rush
of the motive (52) jumps to and fro in wild vivacity. The
same, alternating with the scale of the treaty, gives the
musical fundameut to the energetic and gay smelting-air in
Which after mime has told the name of the sword, the
phrase of Nothung (63.) returns several times. Between

- - *...* N - -- &ſº a wº . T 2
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Nothung
— 52 —
the first and the second air Mime waves the harmonic veif
of the motive of twilight (19. b.) over his secret plan to
get rid of the dragon-killer by poison. Thereafter appears
a new motive, consisting of two parts, of which the first
one in clear and firm shape (a) signifies the success of
Siegfried’s work (the cooling of the steel) and in darkened
and contracted shape the success of Mime's work (the brewing

- « »
-— ;) -j ——
of the poisonous potion); whilst the second part (c) gaily
skipping upward, signifies the mocking Nibelung’s hopeful
expectations. (64.) But just as it drives Mime's expecta-
tions of the near triumph into the utmost exaltation, Sieg-
fried's cry of: xNothung, Nothung!& mightily resounds and
above all the vain triumphing of the malicious dwarf
swells in exulting chords, the motive of the sword’s guardian
in tempestously rising repetitions until the end of the act.
The prelude of the second act leads us again into the
deep, gloomy darkness of the forest, where the dragon is
sleeping in his den. The new individual Motive of Faf-
ner (65.) which we hear in the prelude consists in the
65.
pº
giant's rhythm, succeeded instead of the dominante (comp.
15.) by the demoniacal Tritonus (g flat-c), as in the
»Rhinegold & at Fasolt's death.
With the tune of his curse (4.) Alberich sneaks about
in Order to await the fate of the ring, whose motive throws
a magic light upon the music. The motive of the ride
Sounds into his watch-song, accompanied by the restless
syncopes of the destroying labour of the Nibelungs (30.),
and together with it the motives of the godly trouble and
of persecution come rushing on to announce Wotan’s ap-
proach. The intention of the wandering god becomes evi-
dent from the reminiscences of his farewell song to Brünn-
hilde (57.), which accompany his coming and his going.
The dialogue between the god and Alberich is again cha-
racterised by the contrast between the sublime composure
of Wotan and the wild passion of the Nibelung, which
is almost bursting with impish rage against the godly
power. Therefore the god is accompanied by his solemn
Wanderer's pace (60.) and introduced by the Walhall-theme.
With the motive of treaty he peremptorily opposes
Alberich, who, after having given went to his anger with
the same raving figure with which in x Rhinegold.< he with-
drew, bereaved of the ring, to Nibelheim, uses with devil-


ish irony the motive of his adversary und flings scornfully
his own godly wrath, the vain splendour of Walhall, both
the motives of treaty and at last the symbol of his last
hope, the sword, right into Wotan’s face. Here the mo-
tive, of treaty twice assumes a significantly transformed
mode, of which the first one resembles the motive of con-
demnation (55. a.) and in > Götterdämmerung & becomes the
Motive of Brünnhilde's vindictive fancy (66.), for she
finds her severest condemnation in this fatal fancy.
66.
J. S-
-V-
,,Götterdämmerung"
Nun er-Seh' ich
N
etc.
S. 131. 1. 2.
Der Stra — fe Sinn
The second transformation ressembles the motive of
persecution (49.); and this same obstinately repeated scale,
stepping downward with pernicious violence signifies fur-
ther on the last work of the X Götterdämmerungk, the end
of the world itself. Upon this chief effect of his scorn
Alberich sets the shrill laugther of Loge’s motive, which
in his old union with sis triumphant motive (27.), he
throws at his second still more effective speech like a flag
of victory over the broken-off motive of Walhall. But Wo-
tan calmly reminds him of the victorious quality of the
approaching young hero, by adding a proud chivalrous ca-
dence to his brisk motive of the joys of travel (59. b.). Then
the Nibelung disappears with a new repetition of the curse.
The motive of Fafner remains alone; the darkness creeps
away with windings like a giant-worm: the day breaks
when Siegfried and Mime enter.



— 55 —
Mime describes the dragon with all sorts of chroma-
tic horrors and with a distortion of the slumber-motive,
which last becomes immediatly clear again when Siegfried
laughingly answers with his heroic Wälsungen-theme. In
parting Mime tries the odd harmonies of his cooking-motive
(64. b.), hoping that his poison might tame the mind of
the defiant youth: but he ends with the dubiously rickety
forging-motive (in “ſ, time), which after his exit glides
into a softy waving figure long spun out, and clear and
lovely diving from out of the gloomy dark. We may call
it the figure of the forest’s weawing (Waldweben). It con-
tinues with few interruptions throughout the whole act, SWell-
ing into a lovely undulating flood of music, of more and
more interwoven instrumental voices, from out of which
the solitary Siegfried by and by comes to understand more
and more the secret voices of nature. The fading picture
of the ugly Mime is succeeded in his mind by that of the
beloved mother, in the touching tune of the Woe-Worn
Wälsungen kin (39.). And the idea of her awakens in
his heart the longing after the Love, which everywhere
Nature preaches unto him. Thus the Sweet love-melody
of Nature’s life (58. b.) draws him into the charmin billow-
play which in x Bhinegold & accompanied the seductive song
of 5 woman’s wonder and worth&. Now he is still more
attentive to Nature and soon distinguishes the four lovely
little tunes of the bird, which afterwards in the same tunes
is going to give him excellent advice. (67.) He fails piteously
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— 56 —
in his endeavours at imitation; he gives the bird a jolly
tune upon his horn, combining the call of the son of the
woods, with the Siegfried-motive and forcibly concluding it
with that of the sword's guardian. But in the depth the
motive of the dragon is already grumbling. After a short
dialogue, in which the motive of Fafner dominates. Sieg-
fried runs up to Fafner with the flourish of the sword's
guardian, which also ends the furious combat, during which
the motive of the dragon, entwined in restlessly hammer-
ing triplets, winds itself in the depth, whilst that of the
son of the forest carelessly leaps above and over it. With
that same flourish Siegfried, after the last speech of the
dying Fafner, in which the motives of the curse, of Sieg-
fried and of the destroying labour are significantly com-
bined, draws the sword out of the dead body.
Now in the renewel of the X Waldweben & the voice of
the bird assumes for the listening dragon-killer the clear
significance of real words, pointing out unto him the ring
and the tarncap (67. c. – d.).
A short bi-tonous figure frisking about in syncopic-
rhythm, sometimes appearing as the motive of bondage in
the Nibelheim-scene, gives to the following brangling scene
between Alberich and Mime its character of most restless
vivacity. The wild excitement with which the brothers
in quarreling dart their motives of the tarncap, of medi-
tation, of forging against each other, at last whirls up all
impatient variation of the motive of menace (4.) in leap-
ing triplets, which Mime exaggerates into a figure of con-
vulsive fury. Siegfried, returning from the den with the
ring and tarncap scares the Wranglers with the motive of
the ring and in soft pp. the charming melody of the Rhine-
daughters (6.) and the Rhinegold-flourish greet the return of
the gold from the giant's possession into daylight. -
The X Waldweben & begins again and the voice of the
bird (67. c. –– d.) warns him of the treacherous Mime;
and here again the idea of the last, by reason of contrast,
awakens that of the beloved mother, whose Wälsungen-
motive (39.) gracefully enlarged by a former longing tune
of the love-seeking son, fills the dying - away flood of
— 57 —
music with sweet melancholy. Mime approaches with a
figure that exquisitely expresses his reverential bow, and
which in the following scene is frequently repeated. The
bird at once whistles his warning. (67. C.) This warning
returns twice after Mime's blabbing out his desire for
Siegfried’s booty, with a new Motive of booty (6S. a.)
which is somewhat like that of the xvictorious joy &
a) g º y £:
68.
| *__
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—
b) Gibichungen-motive.
Albérich.
1.
(64. bib. —H e.) and which we meet in > Götterdämmerung &
in connection with the Gibichungen family, as represen-
tative of worldly power obtained in chivalrous fight.
The bird warns again and again, when Mime with his
old praise of his education, with the dusky harmonies of
the cooking-motive and with the coaxing crawling-motive,
or even with the charming tune of Nature’s life (58. b.),
tries to obtrude his poisonous brewage upon the dragon-
killer. The fanfare of the sword’s guardian and Alberich's
derisive laughter in the forging-rhythm, accompany his
death and the curse triumphs over his new victim, whilst
Siegfried rolls the dead bodies into the dungeon, with the
combined motives of the son of the woods, of forging and
of Fafner. From out of the calmness of the X Waldwebenk,
into which those sounds of nature charmingly return, the
new whistling of the bird, which calls him to the x Brümm-
hildenstein & (the rock of Brünnhilde) drives him into the






— 58 —
utmost exaltation of his love-longing. A Motive of love's
delight (69. a.) fills the rest of the act, until Siegfried
a * * —º
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40. 69 a.
triumphantly hastens away, with most affecting vivacity.
In the mean time the fiery blaze (21.) has also flared up;
the end is a lively and graceful musical illustration of the
bird’s fluttering, when he flies before Siegfried to become
his leader to Brünnhilde. (67. d.)
Amidst the wild storm of the motives of the ride
and of the godly trouble, which, with the thundering
scales of the treaty and accompanied by the wanderer’s
heavy paces as out of the clouds, leads over into the
motives of the Nornes and of the X Götterdämmerungk,
Wotan arrives at the rock of the Walküre. There he
calls forth with a mighty awaking song Erda from the
depths to tell him for the last time the future. Here
and later on the Nornes motive accompanies him; Erda
rises—and afterwards disappears also-under the softly
whizzing magic harmonies of the motive of twilight. A
most pregnant figure, which introduces the awaking song
with the words: x Wala, awake!& shows a rhythmical varia-
tion of the motive of flight, and continues throughout the
whole scene as symbol of the trouble that drives to the
last resolution. The motive of the question of fate is like-
wise heard several times. The motives of the ring and
of renunciation significantly appear, when Erda confesses
the failing of her knowledge; the Walhall-theme accom-
panies her reference to the Walküre, her child. Wotan



— 59 —
gives her a relation of the fate of the Walküre with the
melody of her justification, combined with the Walküren
motive. He concedes the dominion of the world, in ex-
pectation of the saving deed of restoration of the ring,
to the young couple Siegfried and Brünnhilde. This con-
cession is symbolically expressed by the union of the
Walhall-theme with the Motive of the Sword's guardian, whilst
a proudly rising heroic Motive of the world's heritage
(70.) assures the god of the expected effect of his will.
A
42T.e.
70.
* *=~
This grand motive, prefigured in the conclusion of the
motive of wanderer's delight (59. b.), governs in three re-
petitions the brilliant end of the sublime and solemn first
SCéIlé.
Briskly and gaily begins the following scene, the sole,
fated one between Wotan and Siegfried, whom the bir
merrily warbling_(67.) leads on. The different parts 6f
his simple relation of his former life with the respective
motives (65., 64. b., 51., 52., 22.) are always applauded
by the highly pleased god with a characteristic Motive
of his joy (71.) which every time is enlarged or va-
g mmm,
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riously arranged, and which shows the ambiguous rhythm
of the god's trouble and power.
But to what end all precaution? As Siegfried with
scorn and menace refutes the Walhall-theme which is held
up against, his impatience, there, in the second half of flie
scene, Wotan’s motive of wrath rises more and more,
and between its most urgent repetitions cites-—in vain—












— 60 —
the horrors of the fiery blaze. Siegfried’s daring answer
is accompanied by his own proud motive (53. a. b.) and
When he comes to know in Wotan the murderer of his
father, he assaults him with the mightily rising bass-
tones of the Wälsungen-motive (39.) and with the flourish
of the sword’s guardian, he smashes his spear into pieces
with the motive of treaty rushing down and interrupted
by pauses, whereafter the god disappears under the dusky
veils of the harmonies of the X Götterdämmerungk (32.).
Now the young hero throws himself exultingly into the
higher and higher flashing blaze, through the rich
chords of which at first sounds the merry horn fanfare
of the son of the forest, whilst broad and brilliantly the
harmonies of the Rhinegold are spread above. Then all
is swallowed up in the wild crackling of the blaze, until
Siegfried has approached the x Brünnhildensteink, after
which the slumber-motive again comes on soothingly and
alluringly to receive him.
His arrival is denoted by the Siegfried motive, and
under the soft Rhinegold-accords the uneasy vivid sounds
slowly withdraw before the song: y Selige Oede auf wom-
niger Höha (Wildness happy on high in the sun 14). The
last rosy clouds rise and vanish in light melodious tunes,
resembling the Freia-motive, in which also the slumber-
motive softly sinking down mixes itself. The possessor of the
ring stands aghast amidst the mysterious banlieu of sleep-
ing Love, and strangely touching his first timid utterance
Sounds in the solemn tune of the question to fate. (50.)
The third scene can be divided into three parts, of
which the first reaches to the waking of the Walküre.
First of all the motive of Love's spell (12.) assumes its old
right, in order to express the spell that takes in the youth’s
soul. It glides into the motive of Love's delight, when
he, with the sword-motive mildly leading into that of re-
nunciation, has cautiously cut off the coat of mail from
her body and sees, that xthis was not male!& As a vivid
expression of the confusion of his mind he uses a com-
bination of Sieglinde's Wälsungen-motive with that of
Love's delight, now timidly falling into soft piano and now
— 61 —
expanding to forte in the greatest excitement (69. b.). 20
mother, thy manful son: a woman sleeps by the way&—
the slumber-motive caresses away all wild excitement— »she
flusters his soul with fear!& —the Freia-motive gently in-
sinuates the nature of that ºftightful something& which the
unknowing pupil of Love in fact now only has learnt.
The same motive further leads with mightily rising sounds
to the grand alarum-cry xerwache, heiliges Weib 13 × Awake,
holy woman, awake! (50. a.) Then in f. introduces the
quickly dying-away motive of renunciation, when Sieg-
fried bends over her with the awaking kiss, at last soars
up ppp. from the dark of the bass in a long, clear, ex-
tensive flight into the highest heights, where now it ends
mightily exalted with the brilliant chords of the waking
Brünnhilde’s greeting of the world. (72. a.)
... b)
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72.
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Therewith begins the second part: Brünnhilde's bliss-
ful happiness. The grand accords first melt into soft harp-
sounds, but then they continue in a brilliant ascent,
which is followed by a graceful figure, whose model we
heard at the cutting off of the cuirass. (72. c.) This same
proudly exulting conclusion attaches itself once more to the
to and fro movement of the Siegfried-motive at the words:
»wer ist der Held, der mich erweckt?& — » Siegfried bin ich,
der dich erwecktſa (x Ware are, what hero wakens me her?&
— »Siegfried was it, who woke thee so!&) — Then both






— 62 —
burst into a rapturous duet, whose bewitching melody, as
a separate Motive of greeting Love (73.) accompanies
73.
with sweet ardour Brünnhilde's following supersensual decla-
ration of Love. With mighty exulting tones the enchan-
tingly passionate Motive of Love's rapture (74.) sounds
-º-
--
74.
ir
after the duet, and the powerful Siegfried-motive then relieves
the greeting motive with gentler motion.
Compassion with Siegfried’s unhappy parents was the
origin of her pure, holy love for the son, and thus Brünn-
hilde’s touching air ends with the reception of the death-
song (50. b. c.) and her justification-melody (55. b.). In
Siegfried’s answer the excited figure of Love’s confusion
(69. b.) soon breaks forth and grows into f., when the im-
petuous youth ardently implores her: Xbirg meinen Muth mir
nicht mehr 13 (>Unfix my manhood from might of thy fetters<),
and then longingly stops with the motive of renunciation
»gives it to freedom again!& — Therewith the third part,
the struggle of Love, is introduced. Brünnhilde sees her
horse (with the gaily jumping Walküren-motive) in the
near fir-grove, and this view makes her think sadly of her
former godship, which is now to be lost altogether in
the fervour of man’s earthly love. Again and again Sieg-
fried’s passionate wooing interrupts her meditations—all
ending in the motive of renunciation—with the animated
motives of love's rapture (74.), love's delight (69. a) and
the fluttering harmonies of the fiery blaze, which now burns
in his own bosom. After the wildest assault of the theme
of love's confusion (69. b) she once more opposes him gravely
and solemnly with the Walhall-motive: 5 Heilig schied ich
aus Walhall ! (>Holy went I from Walhall!') Then his






love Ominously takes the motive of the world's heritage into
its service and turns it from the symbol of the highest
heroism into the charming expression of sensual love's
desire: Xerwache, Sei mir ein Weib?& (x A woman awaken
to be!g) But above it the gloomy spectre of the curse
rises menacingly; the music becomes dark and confused: one
of the effective figures out of Fricka's scene, which caused
Siegmund’s death, brustles down at the despairing words:
» Schrecken schreitet und bâumt sich empor /ć (>Horror hisses
and hurls up its head!&) and with the melody of her
justification, swelling into ºff. Brünnhilde's sacred anxiety
outdoes Siegfried’s enthusiastic consolation: X Sonnemhell
leuchtet der Tag 16 (>Broad is the blaze of the sun!&) by
the cry: ºneiner Schmach /ć (> Of my harm k).
The fourth part: Love's Victory, begins in clearest
purity with the gently moved, holy peace-breathing melody
of: Xewig war ich, ewig bin ich& (>Always was I, always
am IK). For the last time Brünnhilde tries to elevate Sieg-
fried’s love into the spheres of eternal welfare; and thus from
this blissful melody of peace (75.), with low but ardent
| | I ſh- t ! *~ -
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Sounds she lets the sublime picture of Siegfried the
guardian of the world’s welfare arise. (76.)
76.

— 64 —
As both these melodies unite themselves, whereat the
slumber-motive accompanies the first one, a disturbing
wave of the sensual love-delight rolls between them, which
together with the figure of love’s confusion, passionately va-
ried in the form of a restless up and down of playing
waves, accompanies the most effective answer of Siegfried. In
the touching tune of the question to fate, the loving maid.
answers with a cry: y Ob jetzt ich dein?& (>still Brünnhild’
burns?&) and gives way to the wild flood of the bewil-
dering figure, plunging deep into the raving storm of
her elementary Walküren nature. But Siegfried, not afraid
of the fierce maid’s demoniacal outbreak of feeling, takes
up from her his own powerful motive as an irresistible vic-
torious shout amidst the tempestuous flutter of the Wal-
küren-ride: X Wie des Blutes Ströme Sich zümden, kehrt mir
zurück mein kihner Muth 13 (>Now our hearts are hot on
each other & etc.). The little bird merrily twitters upon his
branch (67. d. -- a.); Brünnhilde exultingly shouts out
the Walküren-cry and the wild chromatic descent of the
laughter of the Walkürs flows into the motive of rapture:
»lachend muss ich dich lieben, lachend zu Grunde gehem 13
(Slaughter leads me to love thee! () And now the Melody
of Love's resolution (77.), taking up on the way loves

I-9–––– TT | T
77. EAEEH
Hº-CEFTs—º-º-Hº-º-º-º-F E.g. a 2-II
-º-
greeting (73.) and the world’s heritage (70.), ushers in with
mighty, defying steps the grandest duet of the enraptured
pair, to the most significant concluding words in the mo-
tive of Love’s rapture (74.): xleuchtende Liebe, lachender. Tod!&
(>Lighting love and laughing death !K)
Brünnhilde throws herself into Siegfried’s arms; the
theme of the world’s heritage leads once more j. into the
same motive of rapture, which is accompanied by Sieg-
fried’s motive, proudly rising from the depth: and ad’ last
all exult in a long, triumphant final trill.
IV.
(30TTERDAMMERUNG.
With the 366tterdämmerung & (the dusk of the Gods)
begins for the drama a new, dark and gloomy day, which
is announced by those mighty accords of the 2 greeting of
the world&, but to which, instead of light harp sounds,
the dark harmonies of the Nornes attach themselves,
sounding throughout the whole of the first scene—the
scene of the Nornes. The two groups of the three rather
lengthy songs of the weaving sisters of fate each close
with the death-song (50. b) to the refrain: x weisst du, wie
das wird?& ( deem`st thou, why it's done?&) and the third
time with its simple original form, the question to fate.
In the third song of the first group the vigorously rising
theme of the god's power signifies the preparation for the
conflagration of the world. The third of the principal
parts of this scene consists of swiftly alternating songs,
which confusedly enhance themselves and are governed
by the restless motive of the ring, against whose curse
the power of the Nornes is ineffective. With a strong
musical effect the rope breaks. They sink into the ground
with the curse, and the harmonies of twilight vanish after
them into the depth with a last low echo of the question
to fate. An interludium of the orchestra depicts the change
of dawn into day. The two motives appear, which in the
following are divided between Siegfried and Brünnhilde:
the heroic theme of Siegfried, out of the call of the forest
son (54. b) and the new Motive of Brünnhilde (78.).
v. Wol z og en . The Ring of the Nibelung. 5
78.
73.
The impetuous son of the forest became a knightly hero;
and from out the being of the hitherto chaste godly maid
speaks now devout womanhood. The altered, humanised
character of her love is therefore expressed in the third
of the chief motives of the scene. This Motive of heroic
love (79.) is a brilliantly harmonized and clarified varia-
, - . ge N 3 e-ºº-º-º: -p | f ---
79 5E as "L3 EGEEEEEP2 – Ia H
º *="a----z-z-e-Hez g––ºf
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tion of the motive of love's confusion (69. b). At the con-
clusion of the scene, and especially as accompaniment to
the magnificent, vigorous duet of the parting lovers, the
motive of the pleasures of travel is added, to the fresh
tones of which Siegfried departs, accompanied by Brünn-
hilde's greetings in her motive, dying away out of j.
The now following symphony set leads us with Sieg-
fried up the Rhine to the court of the Gibichungen. The
horn-flourish of the forest son mingles charmingly with the
Skipping play of Loge’s motive. Thus we get through the
fiery blaze to the Rhine, whose waves now restlessly float
along with the broad undulating harmonies of the primeval
element. Soon after we hear the nymphs well-known
Songs of the Rhinegold (6.) the ring and of renunciation;
at last the Rhinegold-fanfare dies away, announcing the
Owner of the ring. The ruler's call of the Nibelung an-
SWers, and with the preparative onset of a new variable
motive begins the first act at the court of the Gibichungen.
I should briefly call it, in reference to this onset, which
frequently is used separately like an abrupt deadly stroke,
(f) the Motive of Hagen (80.). At first it appears in
Company with the splendid chivalrous motive of the Gi-
bichungen (6S. b). exquisitely expressing the quiet delight

80.
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in safe possession (S1. a). In the course of the conversa-
tion it becomes the flattering figure of the love-snare which
Hagen lays for Siegfried (81. b). But the Nibelung cannot
do without magic tricks: the spell of the tarmcap now
appears as Motive of the magic deceit (S1.). Sieg-
fried's greeting in his own haughty motive Gunter had
fr fr fr ir
--~
81.


– 68 —
answered with a futher variation of Hagen's motive, the
theme of friendship (80. c). Deeply touching is the moment
When Siegfried in sweet remembrance of Brünnhilde empties
the drinking horn with the motives of Love's greeting and
of the world's heritage and when now a long trill under
the harmonies of the magic deceit leads over to Gutrume's
greeting and love-motive, which in its clear and lovely figures
shows the same foundation as that of Hagen.
Loge's motive, which the swift hero with a merry orna-
mental conclusion assumes as expression of his own deceit-
ful delight in adventures, quickly comes to an end. The
musical culmination of the scene is the duet of the oath
of brotherhood, whose principal theme imitates the motive
of renunciation. Not gain, only loss is to be obtained
through this brotherhood; this signifies the motive of the
Curse Which introduces and concludes the oath. In this
duet we meet besides that of the joys of travel a grandly
descending figure (>breaks a brother the bonda, etc.), which
in the Walküre alredy has characterised Hunding's cold
sense of justice towards guest and outrager, and which
further on Hagen assumes as a Motive of right of ex-
piation (82.). Then they gaily depart in Siegfried's boat
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with the exulting motive of Loge; >Hagen's watch & begins,
agitated by the syncopes of the work of destruction and
chiefly accompanied by Alberich's triumphant call. On
the summit of this magnificent song of infernal triumph
proudly rises the demoniacal blessing of the Nibelung.
In the orchestral description of Siegfried’s return to
Brünnhilde the echoes of Hagen's watch are relieved by
the motive of Brünnhilde, between which at the beginning
and at the end that of the ring is heard. Out of a long
— 69 —
trill the recollection of Siegfried, the guardian of the world,
iarises in incomparable beauty and gentleness: Brünnhilde
s wrapt in loving contemptation of the ring, when she is
roused by the approaching and growing storms of the
Walküren tunes; her sister Waltraute rushes up to her
with an agitated, energetic figure out of the death-song.
Both parts of her great narration are introduced by Wo-
tan’s motive of Wrath. The first one contains a splendid
picture of the last assembly of the gods. With the accords
of the Walhall-march the proud passage of the godly
power once more rises and then descends in several repeti-
tions of the world’s destruction, closely following each
other. Her lay becomes dark and low: x Holda’s apples &
are cited in vain; gloomily the Walhalla theme dies away.
the Rhinegold (7.) slowly arises in Wotan’s resigned mind.
The second part tells what Waltraute has heard in listen-
ing to Wotan’s sighs: the parting-song, the ring, the curse.
The motive of Wrath in quick repetitions takes up the leaping
tone out of the revengeful fancy and in this new shape the
motive now ominously clings to Brünnhilde. Awful re-
sounds her deciding answer: x die Liebe liesse ich mie /ć (from
love I go not with life) in the renouncing melody of Love's
curse. The Walkürish rushing and roaring at Waltraute's
departure passes over into the flickering of blazing flame,
into which a near horn shouts the motive of Siegfried.
Siegfried, in the shape of Gunther, jumps out of the fire
with the motive of the tarncap, which immediately glides
into the form of the magic deceit with the Gibichungen
motive as heroic appendix. The heavy, oppressive atmo-
Sphere of the foregoing scene discharges itself in the wild
struggle between Siegfried and Brünnhilde in which the
motives of the ring, the curse, the Walküren, the bondage
and the murderous stroke of Hagen’s motive rage through
One another. Brünnhilde's, strength is broken: the theme
of the World’s guardian and Brünnhilde's motive die away,
mournfully sighing in the dusk of the motive of magic
deceit; with the quivering syncopes of the work of de-
struction she staggers into her chamber. Mighty octave-
strokes resound, when Siegfried draws the chastely sepe-
— 7 () —
rating sword and in the serious notes of the bond of
brotherhood swears his fidelity to it. After a painful ſº.
outcry of Brünnhilde's motive the fact ends with the as-
cending motive of the tarncap in Afff. &
Dreadful, dismal night sprends mistlike over the whole
first scene of the second act in darkly quivering syncopes.
The ghostlike Alberich provotes the half-waking Hagen
to his rash deed. Of course hereby the motive of the
ring plays the chief part. But the direct incitment to the
rape and murder assumes a new, fearfully expressive
motive of the murder (83.). With the Nibelung's bless-

Lºs [. EEEEEEEEEE?f=2=E=EE
83. EPHPE======EH
º
LTTV | E---
ing Alberich’s exhorhations come to an end; bis curse
sounds after him as he vanishes and the ruler’s call, which
had appeared already several times, dies away as motive
of bondage with his last; >Be faithful!& — We now wit-
ness the second sunrise; a new cresd. rising tune is soon
wrought out into a diabolical tri-tonous series, which
further on becomes of some significance as Motive of
Hagen's gayety (84.), and which at last flows over into
2- * > * P- * 2- -
> *

*PE=######
; : F = 3; F = 3; F =
3. + -º- #:
-Tº- 65.
the harmonies of the Nibelung’s blessing and of the tarn-
cap’s spell.
At this moment Siegfried with his well-known call
returns. His merry narration of the successful adventure
is throughout accompanied by Loge’s motive with the gay
appendix, and partly under the significant influence of the
very frequently returning harmonies of the tarncap. The
Wedding call (84.) — resulting from Gutrune’s greeting
ſ\ . – t– - —L– == z -H
85. #=====#: #EEH
* /

sºmºsºs -º- _-º- e-
sº. `-
— 71 –
(S0. d.) — with whose tender sounds she enters the scene
to welcome Siegfried by a most lovely melody, also forms
the conclusion of the same melody at the end.
The harmless gayety of scene, which so happily Con-
trasts with the gloomy background of the first one, be-
comes demoniacal by the hellish humour of Hagen in the
following scene with the vassals. Hagen's summons are
kept monotonous or in the two notes of the motive of bond-
age and accompanied unceasingly by hammering sextoles on
the tone C of his bull’s horn, whilst in the bass resounds
the figure of his gayety. At the words: 5 Noth — Noth
ist da!& (>Need! Need is now !K) this noisy roaring rushes
into the wild descent of the motive of the X Götterdämmerung K.
This the vassals take up with question: 5 Welche Noth ist
da?& (>Which need is there?& Comp. 49.). As for the rest,
their confused, impatient questioning and their wild eager-
ness for combat is characterised by an excited, vigorous
figure, much like the accompaniment to Siegfried’s forging-
song, which besides is joined by the loudly hammering
rhythm of the giants and of the Nibelungs. All this Viva-
city is only heightened by Hagen’s loftly tranquillity, and
at last all break out in loud laughter. The mighty Song
of the vassals: 2 Gross Glück und Heil lacht nun dem Rheing
(>long luck and health meets now the Rhinex) is again carried
on by Hagen's gayety and the wedding-call. Thereupon
ceases this excitement and a new lively, pompous symphonic
set begins: the entrance march for Gunther and Brünnhilde, .
simply and most effectively formed out of the motive of
the Gibichungs.
But now all mirth is come to an end. Brünnhilde’s
first look upon Siegfried unfetters the motive of the revenge-
ful fancy, which henceforth predominates. She perceives
the ring on Siegfried’s finger: and close upon its motive,
striking down ſſ., follows the curse, that opens the follow-
ing great scene. The anxious, hasty enquiries of her
hardly mastered exitement, are quivering with the syncopes
of the destruction. Siegfried, meaning no harm, answers
whilst the motive of the ring changes for him into the soft
songs of the Rhine-daughters. Out of the wild storm strug-
— 72 —
gless Brünnhilde's grand prayer in the long extended Wai-
hall-theme: ; Heilige Götter, himmlische Rather! (Gods of my
heaven, holy beholders!) And now she continues with an
incomparably touching combination of her melody of justifi-
cation with the motive of flight: x lehrt in, mich Leiden, wie
keiner sie litt u. S. w.k (>Named you sorrow unsuffered tili
now?&). The burning passion here grows to an immense
height, from which finally the motive of renunciation at the
words: xer zwang mir Lust und Liebe abó (He forced delight
from me, and love &), in keen painful irony ornamented by
trills and voleás sinks down again. Sad irony speaks likewise
out of the repetition of the motive of heroic love, with which
Brünnhilde answers to Siegfried’s justification, after having
most expressively used the motive of revengeful fancy at the
words: x du listiger Held, sieh, wie du liigstº (>Behold how
thy lips heartily lieg). Again the general excitement, into
which the vassals and the Women are drawn, commences
when the trumpets sharply peal forth the motive of the right
of atonement; thus the scene rises to its second culmination:
the oaths of Siegfried and Brünnhilde, awfully accompa-
nied by the revengeful fancy. Upon the new Motive of
the oath (86.) — reminding us of the curse — follows the

ſº
-* -Hºº---T .*. s} --I-2 -j-N-T
86. Hº-2-2–H–F2–a–C–FFE—s-4–H
| Ł T Iſ I –L T | |
Hel – le Wehr. hei - li - ge Waf-fe
motive of the murder at the sharp words: 2 wo Scharfes mich
schneidetº — » deine Schärfe segme ich & etc. (>where a blade
can bleed me& — »thy keenness I bless&). The raging
storm at Brünnhilde's oath sounds in passionate fierceness
mightily on till the frightened vassals cry out: x hilf Don-
mer, tose dein Wetter zu Schweigen die withende Schmach K
(>Help, Donner, Down with thy thunder, to deaden the shout
of this shame! &). Then Siegfried leads the terrified people
back to his own exulting gayety which expresses itself wan-
tonly in the merry wedding-call. His frolicsome exit with
Gutrune and the people accompanies that new vividly repeated
phrase of love's delight. The wedding-call sounds after
them but it dies away in the curse and in the renunciation,
with which begins the second part of the scene.
The question to fate now seriously warns us of the ap-
proaching end, whilst Brünnhilde after a long pause puts
with the motive of the vindictive fancy her ponderous ques-
tion to fate: x welches Unholds List liegt hier perschollen 2&
(>Was the hand of hell hidden behind it?&). And then
the further inquiries, with a combination of the motives
of the vindictive fancy and of bondage which goes through
the whole scene and which may be called the Motive of
the vindictive league (87.). whose sword is to carry
|
- _-
Pe. 2. • Cº-

87. BºžF#E
—º sº -º-
----5 ––
3. 66. 55.
out her revenge. Hagen offers to do the deed with the
motives of the sword and of murder, which last one is now
frequently heard.
With the trembling syncopes of the destruction, Brünn-
hilde betrays to him the vulnerable place between Sieg-
fried’s shoulders. Hagen’s words: XThere my spear shall
hit him (;, are confirmed by the motive of the vindictive
league, as well as the following ones addressed to Gun-
ther: x Siegfried's Tod — nur der siihnt deine Schnach /6
(>Siegfried's death — alone slays it thy shame<). His
final resolution is still kept in suspense by the bond of
brotherhood and the thought of Gutrune in her love me-
lody and the wedding-call, till Brünnhilde's jealousy wildly
breaks forth in the same love melody and quickly carries
everything to the end: to the grand concluding trio of
the murderous oath. It is introduced by the motive of
the vindictive league. The words 2 so shall it be are ac-
companied by the motive of bondage. Then follows the
motive of the right of expiation. ».Sühn’ er die Schnach &
(>Let him atone for the shame<). At the words 2 mit seinem
Blut bliss’ er die Schulda and > Allrauner, rächender Gott,
schwerwissender Eideshorts (,the broken bond heal with
his blood!' – ''Allrauner! Wreaker for wrong! Oath-viewer
and aid of vows!&) the most serious concluding figure
— 74 —
of the bond of brotherhood, corresponding to the phrase of
ban, is repeated and at the last mentioned ones the heavy
notes of the right of expiation. The motive of the oath
forms the conclusion (Wotan wende dich her — » Wotan,
turn hither&), after which the Walhall-theme grandly rises,
and finds its awfully piercing conclusion in the motive of
tnurder. But immediately afterwards the clear wedding-
call joins in, together with the entrance of the gay festi-
val train, surrounded by the ornamented Loge's figure,
growing with the merry flourish of trumpets and Nornes
(on the stage) to the utmost degree of splendour and
joy. But in the height of exultation the conjured power
of vengeance lifts up at last its murderous arm in the
wild hastening motive of the vindictive league, roaring in
hellish f/f.
The last act commences in unexpected gayety with the
charming and significant scene between Siegfried, having
lost his hunting companions, and the three Water-fairies
in the woodland-valley of the Rhine. From all parts of
the forest gounds the merry hunting-flourish, (consisting of
Siegfried’s >son-of-the-wood’s-calló, Gunther's wedding-call
and Hagen’s bull’s horn-call) and them begins the billow-
play and the Rhinegold-melodies sound at the commence-
ment of the whole drama, soon enlarged by new figures,
wonderfully waving and rushing up and down, as accom-
paniment to the charming songs of the three Rhine-daugh-
ters. We may call these two new motives the shout of the
fairies (88.) and the figure of the fairies’ Mockery. (89.)

ss. Éɺff:###
#--———w- l 3.
6.
#########Hººgº

The lovely chat of the girls, trying to get the ring back
from him, assumes after the first refusal of Siegfried the
most serious character in the time of the ring and the re-
nunciation. They sing: X Wahrº ihm wohl, bis du das Unheil
------ºsmºs ---sºme º --------
F-9––r –- 2=N=2~3–
89. Hº-Hºº-º-º: Fºº-H
tº as E
===e–9e -º- 3 * ºl.”
erräthst& — »froh fiſhlst Du Dich, befreien wir Dieh von den,
Fluchs (KWithold it, hero, and ward it Well, until thou
hast read the hurt thou harbour'st in the ring. Glad feel
if we come to free thee then of its curse 14) and in the
notes of the curse itself: (in fernster Zeit zu zeugen den
Tod, 9that hastens to death.<, etc). The motive of Götter-
d&mmerung, accompanies this as well as the following:
(Weiche dem Fluch, 9 fly the Curse K), after which the
gloomy figure of the Nornes spins its monotonous time
around the words: 2 Ihm ſlochten mächtlich/webende Norner,
in des Urgesetzes Seil& (> At night by working Nornes it
Was Woven in the endless coil of coungel of oldº). But
the fearless hero Siegfried does not dyead the dangers of
life – that is expressed by the bast-trumpets in a scorn-
fully, rising motive. He shows this scorn by an ancient
use, throwing over his head a clod with the quickly down-
rushing motive of the ring.
With a passionate and excited melody embracing Brünn-
hilde's Motive, the fairies swim away. By and by their
shouting dies away under soft harp-sounds, in which Sieg-
fried’s voice joins.
With low waning sounds rises the curse, and with the
harsh motive of bondage resounds Hagen's 5 Hoihola The
atmosphere of murder spreads itself over the clear and
inappy scene. Moreover the former merriness seems to
keep on for the present: front out the call of the son of
the Woods a lively, spirited musical picture of the ap-
proaching hunting-train develops itself. A merry hunting-
train forms itself of Hagen's and the Gibichungen’s Mo-
tive. Once more the whole drama is recalled to us by

— * —
fre
76 the different motives of Siegfried’s song; so we hear the
forging-motive, parts of Mime’s education Song, the flourish of
the Sword's guardian, the phrase of Nothung, the motives of
meditation and of the dragon, the X Waldwebenk accompanied
by Sieglinde's Walsung-Motive, and in rich and richer chords.
the melodies of the bird; and as at last the dark harmo-
mies of the cooking-motive remind the hero of Mime's false-
hood. Hagen Sneeringly laughs out with the forging-motive,
as once Alberich did. Out to the second part, Hagen
mixes for the hero his mischievous potion 2 dass Fernes
ihm nicht entfalleº (>that the remote may not escape him 6),
with the flattering melody of Gutrune’s love motive. Again
the tarncap’s spell changes into the magic deceit, but out of
its dusk the motive of heroic love very softly and tenderly
comes to light and flows into the long missed motive of
Brünnhilde. Siegfried, lost in his remembrances, recalls
the air of the bird on the Walküres-stone: the fiery blaze
flares up with the slumber-motive echoing round it; Freia's
sweet, melodious phrase lifts up the last veil from the
mind of the singer. Again in his fancy he awakes the
sleeping maid with the proudly rising theme of the world's
bondage, and as her arm once did, the charming figure
of the ſpreeting of the world embraces him. (72. c.) There,
with nighty chromatic gusts in fſ., Wotan’s ravens flutter
above his head; into the thunder of the curse flashes the
lightning of the motive of bondage : Hagen’s spear has hit
him. Once more the Siegfried-motive half arises; but there
the hero breaks down upon his shield with a hasty rush
of sextoles, with vanishings into breathless, hesitating pair
of syncopes (on the wind instruments), followed by the figure
of the string-instruments which gloomily echoes after like
the last groan of a dying man. As this awful voice of
death repeats itself diminuendo, Gunther and the vassals in
broken tones utter their frightened : x Hagen, was thust du?&
(>Hagen, what mean'st thou?&) But he turns away with
the stubborn motive of the right of eaſpiation : y Meineid
rächt’ ichk (>His oath is on him 13). The syncopes p. sound
after him, interrupted in pauses by the question to fate.
The horrors of destruction are surpassed by the di-
— 77 —
vine beauty of Siegfried’s farewell to life, in which the
greeting of the world with its splendid chords and light
harp sounds return. Then in the proud Siegfried motive
sound the words; der Wecker kam, er-küsst dich wach. 5the
wakener came ; with kiss he calls& , whose power and
splendour melt in the melodies of the greeting of love and
of delight (73. 74.) in the pp. of the question to fate.
(Brünnhilde bietet mir Gruss.)
It follows the funeral march. The figure of death which
sets in f., is softened dim. and its repetitions are again
and again interrupted, at last thoroughly overpowered and
drawn into the general triumph, by the separately wrought-
out motives of the Walsungs, which, all fixed into the so-
lemn rhythms of the dead-march pass before our ears as
the most noble solemnity in honour of the last offspring of
this tragical, divine family: Siegmund's heroic theme, the
Walsung-motive, the phrase of recognition, the figure of
Sieglinde's compassion, the love-melody, the sword-flourish.
This is the culmination; then comes low and wonderfully,
but soon again clear and happy the Siegfried motive and
at last in most radiant brilliancy his heroic theme: this is
the 5 Eroica & of the most glorious hero of the world.
The motive of Brünnhilde leads at last to the final scene:
Night, before the Gibichungen-Hall. The triumphant call
of Alberich joins with the evil forebodings of Gutrune.
awaiting the return of the hunters. Frightfully Hagen's
waking-call of the motive of Bondage sounds into this gloomy
awe; and now, after he has brought the disastrous message
into the clear, cold motive of the right of expiation, which
ends with the melody of renunciation, the scene, in quick
development, proceeds to the mighty end, announcing the
destruction of all. Hagen demands the ring, as heir of
the Albs, with the motive of the curse, kills Gunther with
the triumphant call growing into fff., and when he wants
to force the ring from Siegfried’s finger, the dead hero
lifts up his arm menacingly with the sword-flourish and
in this moment Brünnhilde enters with the pp. rising and
falling motives of Götterdämmerung and of the Normes. Worthier
lamentations she brings the hero with the solemn death-song.
She turns away Gutrune from his corpse by changing the
last one’s greeting motive into the sublime theme of the world’s
heritage. The poor, bereaved wife sinks down with her
dyingaway love melody. The question to fate, which frequently
and significantly is repeated, ushers in Brünnhilde's last,
great song. First she orders the pyre to be built up, whereat
the figure of the conflagration of the universe rises mightily
and the fluttering sounds of the fiery blaze begin their
lively motion. » Dem der Helden heiligste Ehre zu theilem,
verlangt mein eigner Leibº (>for amidst his holiest meed
to be with him I long in every limb & ). Then she begins
her wonderful song of reminiscence, kept in the soft mo-
tive of lore's-greeting and precipitately concluding with the
powerful octave - strokes of Nothung at the words 2 trog
keiner wie erg (>has lied never his like 13) With the solemn
question to fate ends the death-song ; then she turns to
the gods, accompanied by the sublime Walhall-chords and
with the melody of justification (55. b.). The curse, the
Rhinegold, the godly trouble and Walhall join marvellously
in the parting call » Ruhe, ruhe du Gotta (Kslumber, slumber,
thou God.<) She takes the ring under the soft harmonies of
Götterdämmerung. In lovely sweetness resound all the Rhine-
gold and Rhine-daughter melodies. Loge's chromatic motive
flares up, when she takes up the torch with the motive of
the treaty. The raven flies up and after the grand re-entrance
of the motives of Götterdämmerung, of the ring, and of Walhall,
the blaze flashes up in restless straem of flames to the end.
— Grane appears with the stormy gusts of the Walküren-
ride; and with the Walküren-call Brünnhilde exults in her
old wild boldness. But it drives the lovely woman to

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— 79 —
another death: to the expiating death of love. And thus
the melody of Salvation of love (90.) breathes through
Brünnhilde’s last words and through the waving of the
orchestral sounds, like the first breath of eternal freedom.
With the Walkuren-call she gallops on horseback into
the flaring pyre, and the blaze at once flashes up rapidly
fift. with wild bustle over the united lovers.
Hagen throws himself into the swelling waves after the
ring: these the curse suddenly breaks off never more to
return. The Rhine-daughters come swimming with their
first song (2.) which joins the motive of salvation. In the
far polar-light we see the grand tragic picture of the last
assembly of the gods. The whole wonderful structure of
the Nibelungen music borne by the pillars of the Walhall-
theme dissolves into the motive of the godly power, accom-
panied by the gigantic paces of the up and down swelling
and at last into fift. growing figure of persecution. For the
last time we hear Siegfried’s motive, but the wild rush of
the Götterdämmerung-motive overpowers it with the utmost
force: flames cover the picture of the old gods and the
melody of salvation trough love waves dim. under ethereal
harp sounds, as the freed and blessed spirit of love of the
whole world’s tragedy ascends to the eternal regions of
his heavenly home!
--—x-e-33:--t—
PRINTED BY FEODOR REINBOTH, LEIPzig.
“, 2’->~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
- { * - - - --
||||||||||||||
*
3 9015 00961 1248
NOV 12 1948
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