The Ring
The music associated with Alberich’s ring plays a key musical and dramatic role throughout Wagner’s four operas, and it is used to developed other important motives in the drama. Its harmonic basis is especially prominent in the music of Götterdämmerung. Despite the significance of Alberich’s ring and its symbolic importance, there is disagreement among the Ring’s commentators as to which of Wagner’s themes the label should be applied to. Some give the name Ring Motive to the melody in A major sung by Wellgunde in Scene 1 of Das Rheingold (shown in the example labeled “World Rule” below), while others label that melody as the motive of the Welt Erbe or ‘world heritage’ and apply the Ring Motive label to music in A minor that follows Alberich’s theft of the Rhinegold. This chapter supports the second position and will try to show that although these two themes, and their variations, are musically and dramatically related, never the less they should be considered as separate motives with their own labels. The chapter will try to clarify some of those relationships. Included in this chapter are other motives, some prominent and some not so prominent, that are not usually grouped together with the derivatives of the Ring Motive. However, they do have musical points of reference in common as will be demonstrated.
Sometimes it is helpful in an analysis to know what the conclusion is and then study the arguments that support that conclusion. Below is listed what this author identifies as the definitive Ring Motive. The two measure example gives the music as one would play it on the piano, but the notes are those of the theme played by the clarinets and bass clarinet near the end of Scene 1 of Das Rheingold. Note some of the motive’s key musical features. It’s meter, although syncopated, is essentially duple. The melody follows a pattern of descending thirds for the first four notes and then reverses course to ascend. The harmony of the first measure is base on an inverted arpeggio of an A minor 6 chord as shown in the fourth measure of the example. In the second measure, the bass moves upward from an ‘A’ to a ‘C’, and the harmony changes to a diminished chord (in the orchestra score the contrabasses sustain a low ‘A’ throughout the motive). That bass ‘C’ then falls the interval of a diminished 5th to ‘F#’. It will be demonstrated that this sinister interval falling to a diminished 5th returns later in the drama as a kind of musical signature for evil. Now that these key musical features of the Ring Motive have been noted, its musical and dramatic evolution can be discussed.
It is difficult to give an equivalent title in English for the phrase “Welt Erbe”. Some use ‘world’s wealth’ to retain Wagner’s alliteration, but other uses of the word ‘erbe’ in the Ring usually imply a ‘birthright’ or ‘heritage’. Regardless of the dramatic label applied, the Welt Erbe Motive can be thought of as a musical foreshadow of the Ring Motive. This music first appears in Das Rheingold – Scene 1 when, in response to Alberich’s questioning the importance of the Rhinegold, Wellgunde informs him that if one could make a ring from the Rhinegold the world would be his. The oboe part has the A major melody and harmony for this motive. Note its triple meter. In the third measure the ‘C’ instead of ‘C#’ changes the harmony to A minor, and in the fourth measure the notes of the arpeggio are those of the melody of the Ring Motive itself.
Alberich considers what he has been told about the Rhinegold and to what purpose it might serve him. As he reflects on this thought the melody and harmony of the World Erbe music begin to be transformed into something much darker. Notice in the fourth measure how his vocal line and the clarinet part have moved closer to the melody of the Ring Motive.
Alberich’s musical transformation of the Welt Erbe Motive into the Ring Motive is completed with his theft of the gold and escape to Nibelheim. At the end of Scene 1 the orchestra plays the definitive Ring Motive, which is shown as it appears in the orchestra score.
The Welt Erbe Motive and variations on it have other appearances. A simple restatement of the motive occurs during the music between the Prologue and Act I of Götterdämmerung usually called Siegfried’s Rhine Journey. A dramatically important musical variation on the motive occurs in Siegfried Act III – Scene 1. During this dialogue between Wotan and Erda, after he tells her that he no longer fears the end of the gods and will now gladly yield, the flutes, oboes and clarinets play this variation of the Welt Erbe Motive. Wotan sings that as Siegfried is free of envy and capable of joyful loving he is immune to Alberich’s curse. Of course this statement will prove to be untrue in Götterdämmerung.
Another example from Götterdämmerung Act II – Scene 1 of this theme has Alberich state to Hagen that Siegfried has become the master over both Vahalla and the Nibelheim. Note the triplet meter and the harmony of major thirds played by the clarinets and horns, which distinguishes this motive from the Ring Motive.
Another variation of the “Welt Erbe” Motive occurs in Götterdämmerung Act III – Scene 1 when the Rhine Daughters ask Siegfried to give the Ring to them. This music almost mirrors Scene 1 of Das Rheingold, here with modulations between F major and F minor. Then to remind us that Siegfried does not value what the Rhine Daughters are trying to tell him, in the fifth measure the orchestra plays a variation of the “Weibes Wonne und Werth” Motive (see Renunciation chapter).
Music-Rhine Daughters Ask for the Ring
As mentioned at the beginning of this chapter the Ring Motive generates several other motives. The last three notes of the theme are those of a scale in the minor. In Das Rheingold – Scene 2 Mime relates how Alberich uses his ring to find new veins of gold for the Nibelungs to mine for him. Just as the Ring serves dramatically to generate Alberich’s hoard of treasure, the last three notes musically generate the Hoard Motive, which begins with the ascending notes (here F# minor and played by the bassoons) that completed the Ring Motive and then continues with repetitions that are one note higher than the preceding measure .
A slow tempo version of the Hoard Motive, played by the contrabass tuba, is used in the prelude to the opera Siegfried. Here it is associated with Mime’s contemplation of the Nibelung hoard and its guardian the giant Fafner, who has transformed himself with the aid of the Tarnhelm into a dragon. Note the cello’s music with its run of grace notes that is a reference to the giants’ theme (see Giants chapter). Although not shown in this example at the end of the tuba’s solo the falling diminished 5th associated with the Ring Motive is also heard.
The musical relationship of the next set of motives to the Ring Motive may not be readily apparent, unless one remembers the pattern of thirds that forms the musical skeleton of the basic Ring Motive. By superimposing the thirds that make up the melody and the harmony of the Ring Motive, a kind of musical template is formed from which it is possible to trace back other motives to this basic pattern. For example, the top four notes of this template form the inversion of an A minor 6 chord, which will be referred to as the “Ring Chord” throughout this book. The bottom four notes form a diminished 7th chord, which is also associated with the harmony of the basic Ring Motive. Wagner of course is not restricted to these exact notes but as with many of the motives in the Ring he changes key, rhythm and instrumentation.
The next five examples have two elements in common. One element is a musical relationship based on thirds that fall in broken chord intervals taken from the five note template given above. The second is a dramatic relationship that is usually described as a kind of thoughtful scheming or intrigue. This pattern first appears in Das Rheingold – Scene 2 when Wotan tries to explain to the other gods the value of Loge’s intrigues and counsel. The harmony of this passage is a bit ambiguous because only two notes (doubled in octaves) are given at a time. Perhaps this is intentional and consistent with Loge’s initial pledge to Wotan that he would try to find a substitute for Freia as payment Valhalla. The notes of Wotan’s vocal line can be placed in a five note template starting with a low ‘C’ and then superimposing ‘D#’, ‘F#’, ‘A’, and ‘C#’. The bottom four notes form a diminished 7th and the upper four notes form an F# minor 6 Ring Chord.
In Das Rheingold – Scene 3, just before Mime explains to Wotan and Loge the failure of his scheme to free himself from Alberich’s control by keeping the Tarnhelm for himself, he sings a self pitying lament. His music follows the above template with falling thirds. In this example the falling thirds have an over all ascending pattern in contrast to the example sung by Wotan.
Another example of this type of motive is from Scene 4 of Das Rheingold. Here Alberich regrets the loss of the Tarnhelm to his enemy. This music is actually closer to the music sung by Wotan in the first example, which might be considered as one of the many subtle musical communications from Wagner about the similarity between Alberich and Wotan.
The next theme is frequently given the label of the Scheming Motive. The example is taken from the prelude to Act I of Siegfried, and is usually thought to be describing Mime’s brooding over the Nibelung Hoard. The Scheming Motive recurs many times throughout Act I.
There is an interesting rhythmic variation on the Scheming Motive that occurs in the prelude to Siegfried Act II. It is associated with Alberich, as he keeps watch over Fafner’s lair. Note that after the syncopated variation played by the clarinets in the first two measures of this example, in the third measure the basic Ring Motive is restated.
The next theme based on the Ring Motive takes the diminished chord from the five note template and repeats it with a syncopated rhythm as the harmony changes. Here it is labeled the Malice Motive, but it has also been named the motive of Resentment or Hatred. The motive is foreshadowed in Das Rheingold - Scene 3 when Alberich first notices that strangers have come to Nibelheim.
Later in Das Rheingold the definitive motive is heard after Alberich’s ransom has been delivered and he is told that he is now free to leave. Given what he sacrificed to make the ring and its hold on him, the dwarf realizes the bitter irony of his supposed freedom. The dramatic situation and Alberich’s sarcasm makes this music emotionally powerful. Similar to the original Ring Motive the theme is played by the clarinets.
In Götterdämmerung the motive broadens its association with Alberich’s malice to include Hagen and eventually even Brunnhilde. Its rhythms are slightly modified when it reappears in the scene called “Hagen’s Watch”. This example is taken from the opening of Act II which demonstrates again the musical association of the Ring Motive with the derivative Malice Motive.
The Curse Motive is one of the few themes that the Ring’s commentators label the same. Alberich sings the motive in Scene 4 of Das Rheingold. The melody follows a reversed pattern of ascending thirds taken from the Ring Motive. After its first four notes the fifth note falls an octave. The falling octave has a special dramatic significance which is discussed in the All Things End chapter. Note that the clarinets and bass clarinet play a kind of cadence that ends the motive on a diminished chord.
In Die Walküre there is a motive introduced by Hunding in Act I that is also based on the template of the Ring Chord. It is frequently called the motive of Hunding’s Rights. It plays a prominent role in Act II – Scene 1 of that opera during Fricka’s confrontation with Wotan over the Walsung twins’ transgression against the sanctity of marriage. Its first appearance begins in the third measure with Hunding’s vocal line, after a musical phrase that is played when he glares at Siegmund (see Woe chapter). Hunding declares that his house and hearth are sacred, thus giving warning to his uninvited guest. The use of the Ring Chord harmony here is a subtle reference to the absence of love in Hunding’s character. The foundation for this reference was laid in Das Rheingold Scene 1 during Alberich’s renunciation and curse on love. After reading the Renunciation chapter, return to this motive and note the inversion of the F minor 6 Ring Chord as sung by Alberich and the key of C Minor.
Many commentators on Wagner’s Ring link the Hunding’s Rights Motive with a second motive that plays a central dramatic role in Götterdämmerung. This second motive is associated with the vow of atonement that Gunther and Siegfried make during their oath of blood brotherhood to each other. The Atonement Motive has a rhythmic similarity to the motive of Hunding’s Rights and the similar structure of a falling chord arpeggio over the interval of a 7th. However, the harmony of the Atonement Motive begins with an E 7th chord when Gunther sings and it is expanded by Siegfried with the 9th of his first note. If one remembers that Siegfried had just promised to get Brunnhilde for Gunther if he could have Gutrune, it may be a subtle but never the less interesting dramatic point to some that the notes of Siegfried’s melody follow the Ring Chord yet retain harmony that is frequently associated with love (see Woman’s Love chapter). Each of these major chord based arpeggios is followed by a diminished 7th chord which is also in keeping with the harmony of the Ring Motive.
The final motive directly based on the template of the Ring Motive is usually called the Murder Motive. Its first occurrence is in Götterdämmerung Act II – Scene 1 when Alberich exclaims to Hagen that they must regain the Ring. The melody of the motive is played by the first violins, but it is the Eb minor 6 harmony played by the clarinets which connect it to the Ring Motive.
Music-Siegfried's Ruination/Murder
A variation of the motive recurs dramatically in Act II – Scene 3 during Siegfried’s oath on the point of Hagen’s spear. There is irony at work here, and the orchestra informs us of this by accompanying Siegfried’s words with this music. Siegfried unknowingly will provide Hagen with the justification to kill him.
The next set of themes is not typically grouped with motives derived from the basic Ring Motive. This music is primarily associated with the Walsungs and Sieglinde in particular. Sieglinde’s loving nature is the antithesis of what Alberich’s Ring symbolizes. Never the less these motives do have musical elements in common with the basic Ring Motive as will be demonstrated. The first example is from Die Walküre Act I – Scene 1 when shortly after Siegmund has collapsed before the hearth Sieglinde enters. The music begins with the cello playing a theme associated with Siegmund (see Spear chapter), and in the second measure the violins answer with the ascending thirds of the Sieglinde Motive. Note that in the second measure, over a C# bass, the violin’s paired harmony is taken from a diminished 7th and in the fourth measure the ascending thirds are from a G minor 6 chord (E bass on the cello) that hints at a C9 chord because of the resolution in measure five to C7(see Woman’s Love chapter).
A slight variation on Sieglinde’s Motive is taken from the same scene where the motive ends with a little grace note turn. Again note the harmony of a C9 chord that is associated with a woman’s love.
Sieglinde’s Motive becomes associated with another motive at the end of Die Walküre Act I – Scene 1. It is usually called the Walsung’s Bond of Sympathy because Wagner’s stage directions in the score describe Siegmund gazing at Siegliende “in calm and resolute sympathy”, but as subsequent examples will show it is primarily a reference to Sieglinde. The melody of the motive is played by the cellos and the violins answer with Sieglinde’s theme.
Music-Sieglinde's Walsung Sympathy
This motive has no direct relationship to the Ring Motive but recurs in association with the initial Sieglinde Motive. Such an example is taken from Siegfried Act I – Scene 1 when Siegfried forces Mime to tell him about his father and mother. The bass clarinet plays a variation of the Walsung Bond of Sympathy Motive with a diminished 5th in the second measure instead of the expected 6th. Instead of the usual strings here the bassoons answers with a diminished variation of the Sieglinde Motive which prepares the way for the sad tale that Mime will tell.
A poignant recurrence of the motive is heard during the Forest Murmurs music from Act II of Siegfried. Here, while the accompanying strings play a version of the Shimmering music (see Representations chapter), the bass clarinet plays a version of the motive very similar to its first appearance in Die Walküre. Siegfried’s vocal line then echoes the motive as he speculates what his mother might have looked like. This example is important because it provides dramatic preparation for its use in Act III in combination with another theme to represent Siegfried’s confusion of Brunnhilde with his mother .(see Confusion chapter).
There is one final motive that is formed more by a musical transition than a direct derivation from the Ring Motive. The Valhalla Motive is discussed in its own chapter, but the first two bars of it are given here. By shifting the Ring template up a third the top three notes now form a major triad. The first four notes of the Valhalla Motive share a rhythm in common with the Ring Motive and a descending arpeggio pattern whose harmony is primarily major thirds. It is this descending arpeggio pattern and its indirect connection to the Ring Motive via the Valhalla Motive that link the final themes to be discussed in this chapter.
In Act I of Die Walküre there is a brief theme that is called the Rapture Motive because Siegmund’s vocal line states how he gazes at Sieglinde with rapture. The melody has the initial rhythm of the Ring Motive, but the harmony is that of a descending major chord. Note that the horns play a supporting 9th chord in the sixth measure which Wagner not infrequently uses in his love music. The motive is heard again in Act II - Scene 1when Wotan tell Fricka that she should bless the Walsung twins’ bond of love.
There are two more themes that demonstrate this pattern and they occur in Siegfried. One is heard near the end of Act I – Scene 3 when Siegfried, after having remade Nothung, holds it aloft and praises the weapon. The motive’s melody follows the notes of a major chord, but note that the thirds on the trumpets occurs as an inversion.
The second theme is from Act III – Scene 3 and is one of the themes that also appears in Wagner’s Siegfried Idyll. Brunnhilde sings the motive as she describes Siegfried as a ‘world treasure’, hence the label World’s Treasure Motive. The third measure has the common element and it is based on an Ab chord.
The theme recurs in Götterdämmerung during the orchestral transition from Scene 2 to Scene 3 of Act I. Wagner’s stage directions describe Brunnhilde as sitting in silent contemplation with joyful memories of Siegfried. After the clarinets play the World Treasure Motive the horns play the Potion Motive (see Loge chapter) reminding the audience that Siegfried is unaware of his love for Brunnhilde and preparing them for the cruel scene that will follow.
Music-Brunnhilde Rembers-Siegfried's Forgotten
The final theme of this chapter shares the initial rhythm of the Ring Motive, but similar to the Valhalla motive and the two themes discussed previous its melody follows a chord instead of thirds. This example is taken from the Prologue to Götterdämmerung where the third Norn sings of the primordial World Ashtree. The World Ashtree seems to have more than one motive associated with it. In the Nature chapter an example was given that linked the tree with the natural world. With this example, the similarities of the Ring Motive, the Valhalla Motive, and this World Ashtree Motive supports a dramatic comparison between Alberich’s exploitation of the Rheingold and Wotan’s exploitation of the World Ashtree.
