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Der Ring Des Nibelungen: Motivation
Das Rheingold: Motivation

Use of Leitmotifs
Two Orchestral Splashes

Use of Leitmotifs:

Richard Wagner developed the use of leitmotifs (leading motifs) to represent characters, objects, places and specific emotions. When each of these melodies, phrases, and sometimes just rhythms are introduced for the first time, they are usually played by the orchestra, or a single instrument in a straightforward and complete way. This way the leitmotifs can be established in the musical memory of the listener and associated with its representative character, etc. somewhat like the number on the back of a jersey identifies a particular ball player. But it gets more complex than that. Subsequent recurrences of these leitmotifs often become fragmented and altered sometimes just to give a subtle hint as to what a person is thinking, or because a particular emotion has been slightly modified. On many occasions two or more of these leitmotifs can occur at the same time or in immediate succession of each other. Repeated hearings of these musical leitmotifs can be most helpful in identifying the characters and following the story line. (It is suggested to the teacher that some of the key leitmotifs as illustrated in the enclosed musical examples be played for the class a few times until they become familiar with them. Then play them in a jumbled order to see whether they can identify them. When that occurs, these leitmotifs can be a musical road map to the continuity of the action.)

The Prelude to Das Rheingold is perhaps the most unique in all of opera. Wagner sustains one tone and one harmony (E flat major) for a total of four minutes (136 measures of music). This Prelude is nothing more than a series of rising figurations with an undulating rhythm in 6/8 time. Two of the most important musical themes in the opera, and in fact of the entire Ring cycle, begin to emerge from the murky depths of the Rhine River, so to speak, after 16 bars of sustained E flat and the added 5th, B flat. The first of these represents “nature” or the primeval elements of nature. It is nothing more than the E flat chord, filled in now completely with the root (E flat), third (G natural) and 5th (B flat) (Ex. #1).

After 32 more bars of this undulating rhythm, intermediate notes of the scale are added to represent the theme of the Rhine River (Ex. #2).



After 32 more measures of this, the theme becomes twice as fast to represent the flowing river in all of its glory. A fast flowing arpeggio underneath this melody represents the waves (Ex. #3).



Although the basic tempo and pulsation of the beat remains the same for the entire Prelude, the increasing inner rhythmic motion gives the listener the effect of a majestic river with the waters in full flow. At the peak of this flow the curtain opens to reveal the three Rhinemaidens—Woglinde, Wellgunde and Flosshilde—floating in the waters. The tonality abruptly shifts to A flat and their melody, rhythmically similar to #2, suggests an upside-down version of it (Ex. #4).



Alberich, a repulsive looking dwarf tries unsuccessfully to seize one after another of these maidens. Suddenly a bright glow of light appears, and over shimmering strings we hear the motif of the “Rhinegold” for the first time, played by a solo French horn (Ex. #5).



Soon a second horn harmonizes with it and then a third. Meanwhile the strings, first in 8th notes, then 16ths, and finally rapidly undulating 32nds provide the glowing effect, enhanced visually by a bright light as the beautiful gold shines in full splendor. The arpeggio character of the “Rhinegold” theme is similar to the theme of the Rhine itself, for it is after all, the gold of the Rhine River. The Rhinemaidens hail this gold in a soaring trio (Ex. #6) as the upper strings continue to weave a gorgeous countermelody around their three-part harmonies.



At the climax of their trio, the trumpets ring out fortissimo with the theme of the gold. One of the Rhinemaidens foolishly tells Alberich that anyone who can fashion a ring from this gold can rule the whole world. This “Ring” motif is represented by example #7.



This theme is subjected to many alterations and variations throughout the four operas of the cycle. But only one who forswears love forever will be able to possess this magic ring. This melodic motif, in a minor key, is first sung by Woglinde (Ex. #8).



Soon the same motif played in the darkest colors of the brass show us what is passing through Alberich’s mind. Since Alberich has been unsuccessful in love anyway, he chooses the gold, stretching out his hands and with a renunciation of love, he wrenches the gold from the rock wherein it is encased and disappears into the depths, as the Rhinemaidens plunge down hopelessly after their lost treasure.

The scene changes to a mountaintop where Wotan, king of the gods and his wife Fricka are asleep on a flowery bank. As the day dawns, a castle appears in the distance; it is Valhalla, the new home of the gods, as its theme peals forth majestically in the brass (Ex. #9).



Wotan admires the splendid castle that has been built for him by the giants Fafner and Fasolt—“Vollendet das ewige Werk! ” (“’Tis completed, the everlasting work”). Fricka reminds her husband that the building of Valhalla came at a cost, namely that of Freia, the goddess of youth and beauty to be paid to the two Giants for their services. This “treaty” with the Giants is represented by descending scale (Ex. #10).



This motif will occur many times in different orchestrations. But Wotan has no intentions of making good on this treaty. He just does not yet know how he will get out of this bargain.

Soon there is a quickening of the tempo and Freia rushes in to her theme (Ex. #11).



It is an impetuous, rising theme in the strings, underscored by tremolos in the harmony. She is trying to escape from the Giants who are after their reward. She calls upon her brothers Donner (god of thunder) and Froh (god of spring) to save her. An ominous theme, played fortissimo by the strings in the low register, punctuated by the trombones and tubas with heavy timpani support, brings on Fafner and Fasolt, the two giants wielding clubs, with their heavy and lumbering gait (Ex. #12).



They demand Freia as their wages for building the imposing castle as the treaty motif (#10) is reiterated. Fasolt in particular has a sweet spot for Freia and her theme (#11) is now softly played by an oboe, indicating a gentleness in this uncouth Giant. But Fafner retorts that Freia’s only value is giving eternal youth to the gods. If Freia is removed, the power of the gods will wane, and they will waste away. This “youth” motif—also known as the “Golden Apple” motif—is represented by example #13.



When he refers to the absence of this youth, the motif takes on a darker hue, in a minor key, with bassoon and horns.

We now meet Loge, the god of fire and of craft. He has been traveling all over the world searching for a substitute for Freia as payment to the Giants. His musical motif is full of chromatics (Ex. #14).



He has important news about how Alberich stole the gold from the Rhinemaidens and has forged it into a Ring with great powers. The Giants agree that if Wotan can deliver the gold by nightfall, that can substitute as payment instead of Freia. Meanwhile they are keeping her as hostage. Wotan and Loge decide to descend to Nibelheim, the netherworld below, where they will devise a plan to wrest the gold and the Ring from Alberich.

This descent into Nibelheim is swift and dramatic. The gold motif is heard and soon a rhythmic figure representing the frenzied hammering of the race of the Nibelung smiths pounds out, first in the woodwinds and strings, and soon with incessant pounding on 18 anvils (Ex. #15).



A harmonic underpinning to this rhythm in slow half notes and quarter notes represents the lament of the enslaved and subservient Nibelungs (Ex. #16).



Alberich has made himself absolute dictator of the Nibelungs. He drives them to dig for more and more gold and to fashion special objects out of them. His brother Mime, who is terribly frightened of him, has made a helmet with magic powers called the Tarnhelm (Ex. #17).



This motif is starkly and somberly played by four muted French horns, giving out an aura of mystery. At one point Freia’s motif (#11) emerges in a solo violin when Alberich admits that the beings who dwell in the upper air live, laugh and love, but he, with the power of the gold will wrench all this happiness from their grasp and make even the gods subservient to him. He has forsworn love (#8) and at his bidding, everything that has life shall forswear it too.

Wotan and Loge ask Alberich to demonstrate how the Tarnhelm works. First Alberich changes himself into a serpent. Wotan and and Loge feign fright. Loge then has a plan. He asks Alberich if he can also change himself into something small. Alberich obliges and to #17 he changes himself into a little toad. Wotan and Loge seize the “toad”, remove the magic helmet and tie him (Alberich) up. Alberich is now subservient to the gods as they drag him up from the depths of Nibelheim. Once again we hear the rhythm of #15 which has permeated much of this scene as well as the “enslaved” motif (#16). A new motif called “Arrogance of Power” (Ex. #18)—a series of sequentially rising major chords, is played alternately with the Nibelheim rhythm.



In the fourth and final scene Alberich is forced to relinquish all his gold. But as long as he can keep the Ring (#7) he is not worried. Once again the “subservient” motif (#16) is heard, but the shoe is on the other foot so to speak. Now Wotan wields all the power.. The Nibelungs to #15 are forced to bring up all the gold from Nibelheim so Wotan can pay off the Giants and ransom Freia. Wotan then tears the Ring from Alberich’s finger and puts it on his own. Alberich then places a curse on the Ring to all who ever possess it, “Wie durch Fluch er mir gerieth, verflucht sei dieser Ring! ” (“As by a curse it came to me, accursed be this Ring”) (Ex. #19).



To emphasize the importance of this line, Wagner wrote it to be sung a cappella, with the exception of a rolling timpani undercurrent. Alberich continues his curse by saying that until the Ring is returned to him, it will bring misery to its wearer, murder shall follow in its wake, and its lord shall be its slave. Before The Ring cycle is finished, this curse will be fulfilled a number of times.

It is now time for the ransom of Freia. To the Nibelheim motif (#15) the gold is piled so high as to completely obscure her When the hoard of gold is gone, the Giants say they can still see Freia’s hair. So the Tarnhelm (#17) must be used to cover her tresses. We hear Freia’s music (#11) to tell us that part of her is still visible. One of her eyes is still visible. There is only one thing that will cover it, the Ring itself. That Wotan will not part with. The Giants are ready to take Freia away and call off the deal when from a rocky clef emerges Erda, the goddess of the earth, the mother of the Norns who weave the threads of the world’s destiny. Her motif is a transformation of #1 (“nature”) and #2 (“the Rhine”), but in a minor key with a much slower tempo and darker instruments—bassoon and tuba. Erda bids Wotan to relinquish the Ring to avoid the curse that has been put on it that will only lead to disaster. Wotan, brooding over Erda’s words, agrees to give up the Ring to ransom Freia, and tosses the Ring on the pile of gold.

To the pounding of #12, the Giants Fafner and Fasolt begin to quarrel over the hoard of gold and especially over the Ring. Fafner strikes Fasolt dead with his staff to powerful incessant strokes on the timpani. The motif of Alberich’s curse (#19) now peals out in full force in three unison trombones. This curse has already claimed its first victim.

It is now time for the grand finale, known as “The Entrance of the Gods into Valhalla.” We hear the thick mist in the air in the swirling strings. Donner, the god of thunder calls out (Ex. #20) and strikes a hammer blow.



The clouds disappear and the new castle of Valhalla is seen in its full splendor. A rainbow bridge crosses from the castle to the feet of the gods as its motif rises up from the depths of the orchestra (Ex. #21).



Froh, the god of spring joins in this majestic, arching melody beckoning the gods to cross this rainbow bridge to their new home as the Valhalla motif (#9) joins in. Suddenly, Wotan has a new idea. Taking up a sword that had been left behind by Fafner, he hails this new home and the solo trumpet gives out with the “sword” motif (Ex. #22). (This motif will play a prominent role in the next three operas of The Ring.) He takes Fricka’s hand to lead her across the rainbow bridge.



Meanwhile, the chant of the Rhinemaidens is heard from the river, mourning the loss of their gold (#6). Early in the opera, this trio signaled their rejoicing over the gold. By a simple switch to a minor harmony, Wagner now shows their lament rather than their joy.

Pealing out simultaneously with the Valhalla motif (#9) and sword motif (#22) in counterpoint to each other leading to a final fff restatement of the rainbow motif (#21), the gods cross over the rainbow bridge into Valhalla.


Two Orchestral Splashes:

The remarkable Prelude of Das Rheingold is a model lesson in orchestration, cumulative scoring and tone painting. It starts with a low E flat intoned by the half of the double basses and doubled at the octave by the other half. In the fifth bar, three bassoons add the 5th of the E flat chord, a Bb, again doubled at the octave. This open fifth drone, without any rhythm or direction lasts for 16 straight bars (Ex. #23).



It is virtually impossible to hear the pulse or any rhythm until the French horns enter with the “nature” theme (#1). These horns enter in a layered fashion, with first one then two then three, until all eight have joined in individually, overlapping each other with the 6/8 pulsation of the rhythm. Soon the trombones, bass clarinet and contrabassoon reinforce the pedal E flat and B flat drone. The horns begin to play more sustained notes and the bassoons take over their rhythm as the cellos then the violas begin to undulate a wavy rhythm (Ex. #24).



Gradually the flutes join in with the horn rhythm (#1). The violins gradually take over the even-flowing undulating rhythm (#24) as the flutes continue with #1. After 32 bars, the cellos double their rhythm by halving their note values (Ex. #25) as the clarinets take over the horn rhythm.



As the violas and violins double the cellos in #25 and the oboes join with the clarinets in #1, one can sense the majestically flowing Rhine in all its glory. The total texture is about as thick as it can get with the strings undulating in rapid 16ths, the winds giving out with the “Rhine” theme (#2) and the horns, divided into 8ths provide tonal richness and increased sonority. In the last moments of the Prelude, rapidly ascending scales in the winds add fresh excitement to the texture over the undulating strings. When a final crescendo in the brass brings the tension to the bursting point, the harmony finally shifts to A flat major as the Rhinemaidens appear, swimming about and singing happily.

The concluding pages of the opera, known as “The Entrance of the Gods into Valhalla,” are even more colorful in its orchestration. Wotan has just given up the coveted Ring to ransom Freia and the gods are about to enter their magnificent new castle. Donner, the god of thunder, wants to drive away the thick mist obscuring the castle by causing a brief thunderstorm to clear the air. As the strings from the cellos to the violins begin a rapid series of sextuplet arpeggios (Ex. #26), the clouds gather before his exhortations.



The violas, 2nd and 1st violins are all divided into eight parts to individualize their respective arpeggios. He calls out and demands that the mists disperse. Four French horns in unison echo his call (#20) and after a swift upward rushing series of chromatic scales in the woodwinds and strings, he strikes a mighty hammer blow. The timpani erupt with the “thunder.” Soon a majestic rainbow appears as 6 harps (Ex. #27) add their unique color to the continuously undulating strings as the French horns, bass clarinet, bassoons and cellos sound out the “rainbow” motif (#21) while the flutes, oboes and clarinets maintain a triplet pulsation.



The brass peal out with the Valhalla motif (#9), as the strings and harp continue their sextuplet figurations. The unseen Rhinemaidens are heard lamenting their lost gold (#6). The final pages are given over to the juxtaposition of the Valhalla (#9) and Rainbow (#21) themes in the low strings, low woodwinds and brass as the upper strings and woodwinds maintain give a shiny luster to the rainbow with pulsating triplets as the gods cross over the bright rainbow into Valhalla, bringing the first opera of the Ring cycle to a majestic conclusion.