HOW TO USE THIS STUDY GUIDE

Motivations

Background
Use of Leitmotifs
Two Orchestral Moments

Background:

Die Walküre is the second opera in Richard Wagner’s 4-part saga known as Der Ring des Nibelungen (The Ring of the Nibelungs). While knowledge of the first opera Das Rheingold is helpful in following the events and characters in this opera, Die Walküre can be approached as a free-standing entity on its own. Furthermore, many of the narrations, especially the very long one of Wotan’s in Act II, retell many of the events which occur in the first opera.


Use of Leitmotifs:

Although it is possible to listen to this opera by following the text of the libretto and listening to the music, it is virtually impossible to understand and appreciate the full power of this work without knowing and following the leitmotifs or leading motifs of the score. These phrases and melodies represent characters, objects, places and specific emotions. They reveal, foretell, remind and elucidate a meaning or an association that words alone cannot suggest. For example, when Siegmund describes how he searched for his father, known as Wälse, the listener would hear a majestic phrases in E major played softly by the trombones. But by knowing that this motif represents Valhalla, it tells the listener something that Siegmund himself yet does not know: that his father Wälse is really Wotan. This is just one example of the function and power of the leitmotif. Many of the leitmotifs presented here were first heard in Das Rheingold, and it is suggested that one look at those musical examples before embarking on a study of Die Walküre. Nevertheless, Die Walküre will here be treated as an entity standing alone, and any important leitmotifs which occur in this opera, even though they may have been presented previously in Das Rheingold, will also be listed here as well in a fresh numeration. (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 characters, action and emotions of the opera.)

The action in Die Walküre takes place approximately 25 years after the conclusion of Das Rheingold. During that time, Wotan, king of the gods, has sired 9 daughters with the the earth goddess, Erda. These daughters are known as Valkyries, whose main mission is to swoop down on battlefields and bring up deceased war heroes to Valhalla who are to form a guard for this fortress of the gods. Brünnhilde is Wotan’s favorite daughter and the Valkyrie after whom the opera is named. In addition, Wotan has had an affair with an unknown mortal woman, who bore him twins, a son (Siegmund) and a daughter (Sieglinde). He lived with them and their mother under the name of Wolfe and their race was called the “Walsungs.” At a young age the twins were separated when the girl was abducted and their mother killed. It is Wotan’s hope that Siegmund will some day slay Fafner who possesses the Ring and then restore it to the Rhinemaidens, its rightful owner, and thereby deliver the gods from the curse put upon the Ring by Alberich.

Act I begins as a storm is raging outside. A persistent figure in the cellos and double basses over tremolos in the violins and violas depicts this tempest (Ex. #1).

The motif of thunder, heard earlier in Das Rheingold as Donner, the god of thunder, peals out in the brass (Ex. #2).



The constant crescendi and descrescendi in the rising and falling melodic line of the basses and cellos suggest the wind and rain. As the storm begins to die down, an exhausted young warrior Siegmund enters a crude home built around a huge ash tree, which prominently grows in the center of the main room. Shortly, Sieglinde enters and takes pity on this man by bringing him a drink of water. This sympathetic and caring personality of Sieglinde is shown in the first of many tender motifs to follow (Ex. #3).



This motif, played gently in the strings, is harmonized in consonant thirds and repeated for reinforcement in sequence a bit higher. A subsequent repetition has a characteristic Wagnerian turn to it (Ex. #3A).



Very few words are exchanged by the couple. They do not recognize each other as siblings, and it is clear from their glances that they are attracted to each other. Furthermore, the orchestra provides all the clues necessary to inform the listener of what is going on in these unspoken glances. A solo cello, supported by the remaining choir of cellos, plays a motif which at first can be called “Sympathy,” but eventually blossoms into “Love” (Ex. #4).



It is an expansive, legato melody, and the last two bars, marked “4A” in the musical example, takes on an identity of its own with many subsequent repetitions. The solo cello weaves in and out of their dialogue and eventually the plaintive sound of the English horn adds a poignancy to this musical characterization.

Siegmund begins to tell his story, how he came to be at this place. He says his name is “Wehwalt” or “Woeful” and a musical motif depicts his woefulness (Ex. #5). This “Woe of the Volsung” motif is played alternately with #3, Sieglinde’s “Sympathy” or “Pity,” and then in counterpoint with it.



Suddenly an ominous figure in the French horns announces the approach of Hunding, Sieglinde’s husband and a descendent of the Neiding race. This motif is played softly twice, then more forcefully in the trombones (Ex. #6).



It is repeated many times and characterizes him as a gruff, unpleasant man. As Siegmund and Sieglinde continue to glance at each other the “Kindness” and “Love” motifs keep repeating. Hunding notices how alike they look. When Hunding asks Siegmund his name, the bass clarinet intones the “Volsung” motif (#5). Siegmund continues his autobiographical story and when he describes how the Neidings had attacked his people, we hear once again #6, the Hunding motif, telling us that Hunding is one of the Neidings, the enemy of his people. The “Valhalla” motif, heard prominently in Das Rheingold, especially at the end when the gods crossed over the rainbow to Valhalla, is now heard to tell us that Siegmund’s father Wolfe is really Wotan (#7).



As Siegmund continues his narrative, a second Volsung motif is heard in the bassoons, French horns, violas and cellos (Ex. #8).



This motif, which will be heard many more times throughout the rest of The Ring, is presented here slowly and somberly and represents the tragic Volsung race doomed to suffering. Hunding, showing traditional hospitality, invites Siegmund to spend the night, but by morning he must be prepared to defend himself. Meanwhile, Sieglinde prepares Hunding’s drink and slips a powerful sleeping potion into it. As she does so, she catches Siegmund’s eye and tries to get him to look at a particular spot in the ash tree, but before Seigmund can understand the message, Hunding notices her glances and orders her into the bedroom. The bass trumpet, however, has told the audience what she was trying to get Siegmund to notice. It is the famous “Sword” motif (Ex. #9).



It is nothing more than an ascending arpeggio played softly under tremolo strings. The dotted and doubly dotted rhythms give a special impetus to this melody. It will assert its full power and glory in due time. Meanwhile Siegmund muses on the fact that his father had promised him that in his direst need he will find a special sword. “Where is the trusty sword?” he asks. A solo trumpet then blazes forth with #9 as a flicker of light from the fire on the hearth illuminates the spot on the tree where Sieglinde had glanced. Sure enough, that is where the sword is imbedded. This theme is repeated a few times with new colorations and changes in rhythm and eventually combines in counterpoint with a new motif that of “Victory” as we get a clear premonition of what will soon develop. (See Ex. #10 which shows the “Sword” motif in the lower staff and the “Victory” motif above it.)



Sieglinde tells Siegmund that he must flee while he has the opportunity; that she has drugged her husband and he won’t awaken for some time. In her narrative she tells how an old man once came and stuck the sword deep into the tree trunk. When the “old man” is mentioned, the “Valhalla” motif (#7) tells us the old man was Wotan. The old man had stated that whoever can withdraw the sword can possess it and its power. She adds that she hopes that someday she could find a friend and hero who could bring her comfort after all her suffering. She describes how her loveless, arranged marriage with Hunding occurred. Siegmund, with great intensity, says that he is the friend for whom she has been longing.

Suddenly and magically, the doors fly open to reveal a beautiful spring night and in the closest Wagner comes to a set aria in the entire opera, Siegmund sings his “Spring Song” to a throbbing orchestral accompaniment (Ex. #11).



During this “aria” the “Love” motif (#4A) soars with a new sweetness and beauty. He is drawn to Sieglinde by love, just as spring is drawn to the earth. Sieglinde answers with “Du bist der Lenz” (“You are the spring”) (Ex. #12).



During her “aria” the “Love” motif permeates the orchestral fabric. Soon they realize the inevitable; they are brother and sister, and yet are uncontrollably in love with each other. They have a common gene—Wotan (“Valhalla” motif #7)—and they have the same father. They are both Volsungs. She names him “Siegmund” and exclaims that the sword was imbedded in the tree trunk waiting for him. A motif that was known as “Renunciation of Love” in Das Rheingold now becomes an “Assertion of Love”—“ Heiligster Minner hochste Noth” (“Holiest loves’ most highest need”) (Ex. #13).



With his hand on the hilt of the sword, Siegmund names the sword “Nothung” (“that which will save him in time of need”) and with a strong effort, he pulls it from the trunk as the trumpets blaze forth with the “Sword” motif (#9) in all its glory. Sieglinde lets out a shriek of joy, astonished at the prowess of her newly found hero. Together they flee the house which has until now enslaved her, as the orchestra concludes Act I with an impetuous and exciting peroration on a combination of the “Sword” motif and that of “Love” (#4A)

Act II opens in a wild, rocky pass in the mountains. A rhythmic variation of the “Sword” motif (#9) serves as the beginning of the Prelude. Soon a new rhythmic figure is heard which leads into the famous “Valkyrie” theme played by the trombones (Ex. #14).



Its motif is based on a dotted rhythm with ascending sequential patterns in arpeggio form. It will be heard in even greater prominence at the beginning of Act III. Soon trills in the high strings and short upward rushing passages in the woodwinds introduce Brünnhilde, the lead Valkyrie. She makes her entrance with her famous battle cry, the “Valkyrie Call” (Ex. #15).



She is a warrior-maiden and her martial-like call takes her sequence after sequence to ever soaring heights with trills and leaping octaves. She has come to warn her father Wotan that his wife Fricka is approaching and that she is angry.

Fricka has come to reproach Wotan for his infidelities and to chastise him for siding with Siegmund, for after all, he has tarnished the sanctity of marriage and the home by running off with someone’s wife and committed incest with his own sister as well. A hint of Siegmund’s “Spring Song” (#11) helps to point out where Wotan’s sympathy lies. A repetition of the “Sword” motif (#9) is heard as Wotan tries to defend Siegmund’s actions, saying that “needed is one who, free from help of the gods, fights free from the gods’ control.” Fricka demands that Wotan take back the sword (#9) so Siegmund will lose in his upcoming confrontation with Hunding who is pursuing him for absconding with his wife. As Wotan listens to Fricka’s rational and moral arguments, the motif of “Dejection” reveals the depths of his despair and ultimate resignation to his wife’s will (Ex. #16).



Note the characteristic Wagnerian turn on the first note. The fact that “Siegmund shall fall” is slowly but surely sinking in. Wotan asks what Fricka demands and she answers, “Do not shield the Volsung.” “Dejection” (#16) is now played starkly and boldly. As Wotan accedes to her wishes, it is played again three times in sequential succession, each one higher than before. Wotan makes a pledge to uphold her demands and the descending scale-like “Oath or Treaty” motif, first heard in Das Rheingold, attests to that oath (Ex. #17).



After Fricka departs, Wotan, in a lengthy monologue, tells Brünnhilde just about everything that had transpired in the Das Rheingold. There are numerous motivic references to remind the listener to whom and to what he refers. He then tells Brünnhilde that Siegmund must fall to Hunding. Sieglinde and Siegmund enter in haste, feeling from Hunding’s pursuit. The sinister Hunding rhythm (#6) is pounded out by the French horns on one pitch in the background, indicating he is not far away.

The next scene is known as the “Todesverkündigung” or the “Annuciation of Death” or “Fate.” Brünnhilde has the task to tell Siegmund that he will die, and that she has come to take him to Valhalla to join the other heroes there and as well as his father Wälse (Wotan). This all-pervasive “Annunciation of Death” motif (#Ex. #18A) and its last 3 notes (#Ex. #18A) introduces this somber scene.



It is first played by the brass, quietly, and culminates in an impressive crescendo/decrescendo dynamic. It will permeate the dialogue throughout the scene. Siegmund is accepting of this only if Sieglinde can join him, as their “Love” motif (#4B) is heard. But when Brünnhilde tells him that Sieglinde must remain on earth to bear his child, which she is already carrying, he bursts out with wrath. He rejects the notion of going to Valhalla and is ready to kill the sleeping Sieglinde with his sword. Brünnhilde tells Siegmund that Hunding will slay him, but Siegmund says he can’t for he has the magic sword (#9). Brünnhilde replies that the one who bestowed the magic power to the sword can withdraw that power. She tells him to give over Sieglinde to her so she can safeguard her. Moved by sympathy and compassion, Brünnhilde now declares that they both shall live, and that she will help him in his upcoming battle with Hunding and she rides away as the themes of “Love” (#4B) and “Spring” (#11) well up in the orchestra.

Hunding’s sinister rhythm is heard again (#6), now louder, as he is getting closer. Siegmund draws his sword (#9) and rushes off to confront his enemy. Hunding’s voice is heard offstage and the fight soon moves into view. Brünnhilde appears—“Valkyrie” motif (#15) and sword (#9), and guards Siegmund with her shield. Suddenly out of nowhere, Wotan appears and holds out his spear in front of Siegmund. His sword snaps and splinters at the magical power of Wotan as the “Treaty” motif (#17) descends in the bass instruments, reminding us that he is keeping his pledge that he made with Fricka. Hunding plunges his sword into Siegmund’s heart—“Fate” motif (#18B). Brünnhilde lifts Sieglinde onto her horse and rides away with her—“Valkyrie” motif (#15) and “Fate” (#18B) yet once again. But with a contemptuous wave of the hand by Wotan, Hunding falls dead. Act II ends as Wotan rages against Brünnhilde for defying him and he tears off her with great wrath in search of his insolent daughter.

Act III opens with what is perhaps the most well-known music of the entire Ring. It is known as “The Ride of the Valkyries.” The eight Valkyries, Brünnhilde’s sisters, rush to and fro as the famous theme blazes forth (#14), and they call to each other with the “Ho-yo-to-ho” battle cry (#15). They are supposed to be swooping up dead heroes to bring them to Valhalla. At first the music is in B minor but as the music gathers power it changes to B major with the heavy brass instruments thundering out the famous “Ride.” But one Valkyrie is missing, Brünnhilde. She enters with the exhausted and very pregnant Sieglinde. The Valkyries are relunctant to help Sieglinde for fear of arousing the wrath of their father Wotan, so they suggest that Sieglinde hide in the forest near Fafner, who has been changed into a dragon and is guarding the Ring. Brünnhilde gives Sieglinde the pieces of Siegmund’s shattered sword and tells her that in her womb she is carrying “the world’s most wonderful hero…Siegfried, who shall rejoice in victory” We hear now for the first time one of the most important motifs of The Ring (Ex. #19).



This theme represents the future “Hero Siegfried.” It is a relatively long (compared to most of the motifs) arching melody and is sung first by Brünnhilde followed by a repetition in the brass. Sieglinde responds with a soaring new theme of her own, “O hehrstes Wunder! ” (“Oh radiant wonder!”) (Ex. #20). This motif represents “Redemption” and will eventually be sung by Brünnhilde herself at the end of Gotterdammerung. Sieglinde rushes off to safety.



Wotan, full of wrath, approaches, “Wo ist Brünnhilde? ” (“Where is Brünnhilde?”) as he seeks out his favorite daughter who defied him in helping Siegmund. The “Dejection” motif (#16) is interjected after almost every phrase as he expresses his anger and disappointment in her. As he begins to spell out her punishment, he sings an expansion of the “Annunciation of Death” motif (#18). No more will Brünnhilde bring fallen heroes to Valhalla. He banishes her and declares that he never wishes to see her again. The trombones and tubas powerfully reiterate the descending scalewise “Treaty” motif (#17)—the agreement Wotan had made with his wife Fricka not to side with the adulterer Siegmund. Brünnhilde will be put into a deep sleep, defenseless, until the first man comes along who finds her and becomes her master. The eight Valkyries protest, but to no avail. As the treaty motif (#17) pounds out yet again, Wotan reiterates that their sister shall be fated “by the hearth to sit and spin, to all mockers a sport and shame.” The Valkyries recoil from Brünnhilde and they disperse amid shrieks of terror as an abbreviated and subdued version of the “Valkyrie” motif (#14) accompanies their swift departure.

Wotan is now left alone with his daughter Brünnhilde. His sentence has been harsh, perhaps unduly harsh, and he is, after all, her loving father. A new theme, representing “Volsung love” tells the audience that there is some love, some tenderness in his heart (Ex. #21). It is an expansive theme, starting in the depths of the bass clarinet and ascending through the cellos and basses and then handed off to the plaintive timbre of the English horn. (Note how measures 3—5 of #20 are similar to the “Dejection” motif (#16), but now sweetened and transformed into a new kind of emotion.) Wotan’s anger is tinged with guilt that he had to surrender Siegmund to Hunding, that he had to chastise his daughter so severely and that he will be permanently separated from her. In this Wagner’s greatest father-daughter scene, Brünnhilde begs him to look into her eyes and soften his anger. During this dialogue “Volsung love” (#21) winds its way through the orchestral fabric, mostly played by the melancholic tones of the oboe and English horn.



Brünnhilde explains why she tried to defend Siegmund, even revealing that she perceived that deep down Wotan really desired his victory, and that love filled her heart, the love of Wotan for the Volsungs. Soaring strings then expand the motif and carry it to new heights for a very powerful effect. She beseeches her father not to disgrace her for it would also bring shame upon him. She reminds him of the Volsung race that he has sired and which she preserved by saving Seiglinde, pregnant with Siegfried—“Hero” motif (#19) in the orchestra—and that Sieglinde also guards the shattered sword (#9).

Wotan pronounces his punishment: Brünnhilde will lie bound and weaponless in a deep slumber and become the wife of the first man who shall find and awaken her. She falls on her knees and begs for at least some protection so that only the strongest and fearless of heroes (#19) can rescue her. Wotan says that she asks too much. Brünnhilde embraces his knees and plead with him. She begs for a fire to surround and protect her. The “Fire” motif (#22) wells up, together with the “Valkyrie” motif (#14).



Wotan is deeply moved by her entreaties. The “Valkyrie” motif is not heard in augmentation—longer and slower notes, rising up from the brass. At its melodic apex, it turns into the “Slumber” motif (#23) as Wotan begins his famous “Farewell” (“Lebwohl”).



This “Slumber” theme will permeate the rest of the opera, a theme of comfort and repetition, conveying the security that Brünnhilde will be safe. Wotan sings the “Hero’s” motif (#19) saying that only a true hero can rescue her from the ring of fire which surrounds her. During a series of powerful orchestral climaxes as these aforementioned themes saturate the musical texture, his heart melts and he embraces his daughter for the last time while he pours out his profound love for her. It is one of the most powerful moments in all of opera; the catharsis to which the opera has been building. Wotan summons Loge, the god of Fire, whom we first met in Das Rheingold. Wotan strikes the rock three times with his spear. A flash of flame appears and brightens the stage. With his spear, he directs the flame to surround Brünnhilde. He intones the “Hero’s” motif (#19) for the last time. The brass instruments then majestically peal out with the same theme one last time, as the “Fire” (#22) and “Slumber” (#23) are heard in counterpoint. The last 15 minutes of this opera are visually and aurally some of the most moving and emotionally powerful in all of opera.


Two Orchestral Moments:

The “Ride of the Valkyries” is the most famous excerpt from any of the four operas of Wagner’s Ring. It is often played in a concert version without the eight screaming Valkyries. In Die Walküre, it opens Act III. A series of upwards swoops in the violins (Ex. #24) and rapid fortissimo trills in the woodwinds (Ex. #25) starts this wild ride.





Soon a dotted rhythmic figure emerges in the bassoons, French horns and cellos (Ex. #26).



The swoops, trills and dotted rhythm all play against each other for eight full measures when the famous theme (See Ex. #14 above) emerges in the bass trumpet and two of the French horns. Soon more trumpets and French horns join in with this theme. Rapidly descending arpeggios alternating in the first and second violins add more fury the texture. Now four trombones peal out with the melody as the curtain opens and the Valkyries are running about the stage. First one, then a second, then two more Valkyries give out with the Valkyrie war-cry, “Ho-jo-to-ho” (#15). The “Ride,” which up to this point had been in a B minor, now reasserts in B major, this time with ff dynamics. Soon four more Valkyries join in with the first four. After a final statement of the main theme, the “Ho-jo-to-ho’s” are sung in harmony and begin to overlap with each other, adding yet more weight to the overall texture. They laugh in unison in a descending chromatic scale. The arrival of their eldest sister Brünnhilde finally brings an end to this colorful and powerful orchestral tour de force, taking up 70 full pages in the full orchestral score.

The concluding pages of the opera contain another colorful and motif-laden segment known as “Wotan’s Farewell and Magic Fire Music.” Brünnhilde, having defied her father Wotan in trying to protect Siegmund, has prevailed upon Wotan to compromise in his punishement of her. As fragmentary pieces of the “Valkyrie” theme (#14) rise up from the depths of the orchestra, the “Slumber” motif (#22) rings out ff in the violins and high woodwinds as Wotan begins his “Farewell” (“Lebwohl”). This motif weaves its way through various instruments and different dynamic levels. Wotan accedes to Brünnhilde’s wishes, that she will be surrounded by fire impenetrable to all but the bravest of hero’s—the “Hero” theme (#19). The motif of “Volsung love” (#20) emerges with a soaring crescendo as Wotan’s true love for his daughter asserts itself. The bold, descending, powerful “Treaty’ motif (#17) leads into Wotan’s summoning of Loge, the god of Fire. A series of tremolo trills in the strings leads to Loge’s “Fire” motif (#21). The trills become more rapid as the harps (Wagner calls for six of them) and flutes convey the effect of the flicker of the flames. The texture thickens with rapidly falling and rising arpeggios in the violins. Wotan sings the “Hero’s” motif and this is immediately taken up by 4 French horns and the bass trumpet. The opera concludes with the flame in full blaze—via the strings and harps—while the woodwinds literally rock Brünnhilde to sleep with their incessant repetition of the “Slumber” motif (#22). She will be awakened in the final scene of the next opera, by the yet-to-be born hero, Siegfried.