Nature
Wagner begins Das Rheingold with music that can be interpreted as a musical metaphor for the creation of the world in which the drama of Der Ring Des Nibelungen will unfold. Into the silence of a darkened theater two low Eb’s, an octave apart, are sounded by eight string contrabasses. Four of the basses have tuned their lowest string down a half step to produce the low Eb on an open string. Next superimposed over that sustained Eb the bassoons sound Bb to reinforce the natural harmonic of the 5th, which is the musical dominant to the Eb tonic. After establishing this elemental musical relationship we hear the first “leitmotiv” of the musical drama played by an Eb Horn.
This Primal Nature Motive, from which many subsequent motives will be developed, is itself derived from the basic physics of musical sound, i.e. the harmonic overtone series. Beginning with the low Eb produced by the retuned contrabass the subsequent overtones would be Eb, Bb, Eb, G, Bb as shown below. Starting with the first overtone (note 2) and then proceeding through to the fifth overtone (note 6), one can see how the first five notes of the basic Nature Motive is derived. The motive is completed by a simple repetition, one octave higher, of the third and fourth overtones.
As Das Rheingold’s prelude continues Wagner develops this Primal Nature Motive. Sequentially seven Eb Horns repeat this theme in a over lapping pattern, and in so doing they sound out an Eb chord. This pattern of a rising sequence based on a major chord arpeggio can be identified as one of the characteristics of musical themes that can be placed in the Nature group. This opening cannon by the horns of the Primal Nature Motive that begins the Ring is heard again at the beginning of Götterdämmerung Act III – Scene 1. This example from the score is only slightly modified from the opening sequence of Das Rheingold by a change in the key and the time signature.
Wagner’s next musical development of the Primal Nature Motive has two identifiable components. One component is played by the bassoons in the example given. The melody of what will become an independent theme, the definitive Nature Motive, is formed by filling in between notes 4, 5, and 6 of the overtone series with the appropriate intervals to form a 5 note ascending Eb diatonic scale. The Nature motive is completed by repeating the last two notes of the Primal Nature Motive that was introduced by the horn. Variations on this motive occur with both major and minor scales. These scales and their attached arpeggio will be used to derive two other independent motives that will be discussed later in this chapter. At its first appearance it is quite difficult to actually hear this theme because superimposed over it the cellos are playing the second component, which is another arpeggio pattern of the opening Eb chord with some of their notes matching the ascending seven note theme played by the first bassoon. The flowing pattern of this cello arpeggio adds musical movement and will be used with other variations to depict various activities. Here are the two motives as they first occur during the prelude of Das Rheingold.
As Das Rheingold’s prelude continues the rhythm of both the flowing component, as played by the cellos, and the scale component, now played by the clarinets, is sped up to depict an association with the Rhine river itself and has been labeled by some authors as the Rhine River Motive.
As shown in the next example, the association of this theme with the Rhine recurs in the transition music between the Prologue and Act I of Götterdämmerung, which is known in the concert hall as “Siegfried’s Rhine Journey”. As in Das Rheingold the strings play the flowing arpeggio while the winds play the scale form of the Nature Motive.
Before the orchestral interlude of Siegfried’s Rhine Journey is heard, the prelude to Götterdämmerung has music that reminds the audience of the opening music of the Ring. Here another variation on the Flowing Motive occurs in association with basic Nature Motive. After the opening chords of the prelude the variation begins. Note that in the fifth measure of the next example the violas and clarinets play a melody that begins on the third note of the diatonic scale and then descends two steps before rising. In Das Rheingold’s prelude this variation on the Nature Motive was added by the upper woodwinds as the orchestra developed the Nature themes. It will be shown that this slight variation is used to develop the motive of Freia’s Golden Apples in Scene 2 of Das Rheingold as will be discussed a bit later.
Wagner uses variations on this flowing melody in many ways. Here’s an example from Scene 1 of Das Rheingold where it reflects the motion of the Rhine Daughters through the water. In this example the violins, violas and cellos play the variation based about a diminished chord. The use of a diminished chord communicates the tension felt as the Rhine Daughters dive deeper to investigate Alberich.
Music-Rhine Daughter Swims Down
The next two examples demonstrate another variation of this flowing component used for an association with the Norn’s and their weaving of the rope of Fate. This weaving is foreshadowed in Act III – Scene 1 of Siegfried during the interchange between Wotan and Erda. The more definitive example of this Weaving Motive is from the Prologue – Scene 1 of Götterdämmerung when the Norns themselves appear. The pattern of the flowing melody, played by the strings, uses not only a diminish chord but also hints of the Ring Motive. After becoming more familiar with the sound of the Ring Motive return to this example of the Norn’s Weaving.
Music-Foreshadow Norn's Spinning
Another important motive derived from the basic Nature Motive is that of the Rhinegold itself. The Gold Motive is developed from notes 3,4,5 and 6 of the overtone series. In Das Rheingold – Scene 1, as the sunlight penetrates the river, we hear a theme played by the violins, the Shimmering Motive, that is discussed in the chapter on Representations. After this shimmering music on the violins three horns play the theme of the awakening gold. As previously mentioned one of the musical characteristics of the Nature group is repetition of a theme in a rising pattern of a chord and the three horns give another demonstration of this musical pattern. As the rhythm of the underlying shimmering quickens we next hear the definitive Gold Motive played by a solo trumpet in C.
A number of musical themes in the Nature group can be seen to have a melodic pattern that rapidly ascends and then falls back to the starting note. These are usually associated with a subgroup called Nature In Motion. This pattern is first heard in the background while the Rhine Daughters swim around the central rock that cradles the Rhinegold. The theme as it appears in the full score is shown in the Rhine Daughters chapter. However the scale form of the Nature in Motion Motive is shown here. Note the three note rising arpeggio of a chord and the slightly slower falling pattern that follows that is characteristic.
Music-Nature In Motion-Swimming
A slight variation on this Nature in Motion - Swimming music occurs at the end of Scene 1 of Das Rheingold. Alberich has stolen the Rhinegold and the Rhine itself becomes turbulent. The cellos play the scale form of the Nature In Motion Motive in rising intervals that now outline a minor chord.
Music-Nature In Motion-Troubled Waters
An arpeggio form of the Nature in Motion Motive is first heard in Scene 2 of Das Rheingold, after Loge states that no being would give up love after considering its value and woman’s worth. This arpeggio form of the motive, here played as a cannon by the strings, is the one most frequently given the definitive Nature in Motion label by other authors. Note that superimposed over the Nature in Motion Motive in the fifth measure a solo violin plays a motive that is associated with the goddess of love Freia. This motive is discussed in detail in the Love chapter.
Very similar music based on the arpeggio form of this motive is heard in Siegfried Act II – Scene 2 when the hero is sitting alone in the forest, lost in contemplation about what his mother must have been like.
There is another variation on the scale form of the Nature in Motion Motive that some consider an independent leitmotiv. The opening theme of Die Wälkure Act I – Scene 1, which depicts the raging storm that is harrowing Siegmund’s escape, uses a D minor scale and the notes are taken from the descending scale of an early form of the Spear Motive (see Spear Chapter). Yet here, this theme more closely resembles the ‘Troubled Waters’ example that was mentioned earlier. However, the subtle reference to the Spear Motive implies the true nature of the force that is driving Siegmund, i.e. Wotan.
Another wonderful blending of the Nature in Motion Motive occurs in Act I – Scene 2 of Die Wälkure when the doors of Hunding’s house fly open letting the moonlight shine in. Spring enters, following on the heels of the opening storm that began Act I. Note the combination of a variation of the Shimmering Motive (see Representations chapter), perhaps representing the moonlight, played by the flutes and clarinets and the Nature in Motion Motive played by the cellos.
A final example of a variation on the Nature In Motion Motive initially might not seem as apparent. It occurs in Act III – Scene 1 of Götterdämmerung and is associated with the Rhine Daughters excitedly swimming about in the water in anticipation of Siegfried’s arrival. The music has the rapid upsurge typical for this subgroup of motives, but then instead of a simple falling scale or chord, as in the other variations, there is a set of descending thirds that ends in a chromatic series.
The next set of themes derived from the basic Nature Motive are associated with Freia’s Golden Apples, and also her brother Froh. As mentioned earlier the melody for these motives starts on the third note of the diatonic scale. It then descends and subsequently rises as an arpeggiated fanfare. Some commentators have derogatory remarks about Froh’s music, but its derivation from the Nature Motive demonstrates his relationship to the forces of nature and the strong similarity to the Golden Apples Motive of the music played during his entrance in Scene 2 of Das Rheingold reinforces his kinship with Freia. The first example is the Golden Apples Motive. The second is Froh’s Motive with its emphasis at the end on a major 6th . The use of the major 6th and its usual association with the feeling of joy will be developed in a later chapter on the Rhine Daughters. The third example is another musical variation as Froh sings of his anticipation of Freia’s return. The fourth example, from Götterdämmerung Act I – Scene 3, is a good example of Wagner’s ability to slightly transform a motive’s melody and/or harmony to communicate a different emotion. When Waltraute informs Brunnhilde that Wotan will no longer eat Freia’s Apples the music conveys a feeling of sadness.
Music-Froh Senses Freia's Return
An important subgroup of motives are developed from the basic Nature Motive and are associated with the earth goddess Erda. As mentioned earlier this theme was difficult to hear until it was played more rapidly to represent the Rhine. In Scene 4 of Das Rheingold the motive is transposed to C# Minor and is emphasized by the low brass. This form of the Nature Motive, in the minor, can be consider the independent Erda Motive. As Erda arises from the earth the motive is played by the tubas and the bassoons.
The fundamental musical relationship of the Nature Motive with Erda’s Motive is established in this scene and reinforces the dramatic concept that the earth goddess herself is a primal force of nature. During her first appearance this nature theme is also played in a more pleasant major key when she sings of the world’s earliest beginnings and of her three daughters the Norns. At the end of her appearance in Rheingold, after she has delivered her warning to Wotan about the Ring and the inevitable end of the gods, she exits to broken fragments of her motive descending in the pattern of a minor chord. Although there is nothing new musically in the example given below, these brief lines are important in the drama because they introduce the concept about fear of the end of life. They have a profound impact on Wotan’s actions.
Two examples of music developed from the Erda Motive can be heard in Die Walküre Act II – Scene 1. One is heard before and one is heard after the confrontation between Wotan and his wife Fricka. The first gives a subtle reference back to Erda’s warning in Das Rheingold, but at the same time the key of C minor chosen by Wagner for this music is also a reference back to the renunciation of love concept that will be discussed in more detail in that chapter. The second example, which occurs after Wotan’s arguments have been sundered by Fricka and he has agreed to abandon Siegmund, conveys an even greater sense of tragedy.
Two additional developments of the Nature Motive that refer back to the very beginning of the world are given in the next two examples. The first, played by the cellos and horns, is from Act I – Scene 2 of Siegfried when the Wanderer tells of the primal World Ash Tree and how from it Wotan’s ruling Spear was made. After reading the chapters on the Spear and Valhalla return to this example and note the musical references to these symbols by the trumpet and trombones.
The second example is from the Prologue of Götterdämmerung. Here the clarinets and violas play an extension of the motive with a different harmony that seems to transmit an eerie quality to the Norns.
The last development from Erda’s Motive is perhaps the most important one of all. After an emphatic plea to Wotan that he must listen to her, she sings of the end of the gods while the violins play first the rising Nature Motive and then its inversion the falling Götterdämmerung Motive. The opening chord change of this passage from C# minor to A major has a separate significance, as does the falling octave of the melody on the word “Ende” and will be discussed in detail in the chapter All Things End. Here, Erda’s ascending music undergoes both a melodic and a harmonic change. Cooke, in his discussions, states the ascending “motive of life and growth” is transformed into a descending one of “death and decay”.
Here are two other examples of Wagner’s use of the rising Nature Motive followed by the falling Götterdämmerung Motive. The first one is associated with the Norns in the Prologue to Götterdämmerung when they sing of the withering of the World Ash. After reading about the Spear Motive return to this example and note how it is also incorporated here suggesting a dramatic relationship between Wotan’s act against Nature and the end of the gods.
The second one is when Brunnhilde make her dramatic entrance in the final scene of Götterdämmerung. The sequential rising and falling pattern of the Nature Motive and the Götterdämmerung Motive during Brunnhilde’s entrance is reminiscent of the prelude to Act III of Siegfried . It even ends with a statement of the Fate Motive (see Woe chapter).
Now there are some additional motives in the Nature group that are associated with the elements. The members of this subgroup have their melodies structured around the intervals of a chord, very similar to part of the original Nature Motive. In Das Rheingold Donner has very little music until the end of the drama in Scene 4 when he summands the mists to be dispersed with a blow from his hammer. The string accompaniment of Donner’s music will be mirrored by the accompaniment of the Rainbow Bridge Motive which will be mentioned later. Another interesting point is that some of the rhythm of Donner’s vocal line seems to be taken up into the music of the Valkyries. Donner’s music is heard again in the opening storm of Die Walküre Act I, but as it has little variation from the score representation below it is not shown.
Harmonically related to the above theme is Siegmund’s beautiful song “Winter Sturme”. Both of these themes are in the same key and like other members of the Nature group are built around the intervals of a major chord. Though Siegmund’s song is the emotional antithesis of Donner’s storm music, it seems to arise from it as the lyric suggests that Spring comes after the winter storms. Note the string accompaniment’s similarity to the Shimmering Motive. Other commentators group Siegmund’s song as an independent love motive instead of the Nature group, because it does not have a musical fit with the basic Love Motive of Freia’s music.
Another set of themes built around a major chord are those that appear in Götterdämmerung Act II – Scene 2. As the day begins to dawn (natural phenomena) on Hagen’s triumph the bass clarinet and latter the horns play a theme that will be developed into the “Vassals Song” when they sing about the change that seems to be in Hagen’s mood. In the horn music below there is an emphasis on a musical 6th which is associated with a feeling of joy (see Rhine Daughters).
Music-Horn Cannon-Nature's 6th
Earlier it was demonstrated that the Froh Motive was closely related to the theme for Freia’s Golden Apples. But Froh does have one additional theme from the Nature group that is uniquely his. His magic creates the illusory Rainbow bridge over which the Gods will pass into Valhalla. In the score the theme is played by the cellos and the horns.
The last musical theme to be developed from the Nature Motive is usually called the Sword Motive. After a falling octave the melody rises in a pattern similar to the original Nature Motive as played by the horns at the opening of Das Rheingold. Heinrich Porges, who took notes on Wagner’s preparation for the first staging of the Ring, states that although Wagner abandoned the idea of having Wotan pick up a sword and salute Valhalla, Wagner did want the actor to try and portray Wotan being taken with a “Grand Idea”. Wagner’s stage directions seem more in keeping with the broader dramatic significance of this motive than just an association with the Sword. The music associated with Wotan’s Grand Idea to preserve his rule is developed into its own separate group of musical themes and is given in the Sword Chapter. The broader significance of this motive to the drama will be discussed in more detail in the chapter All Things End.
