Renunciation
Whatever analysis one applies to an overall meaning of Der Ring Des Nibelungen, if that interpretation does not incorporate into it at least some focus on the relationship between Love and Power then probably that analysis has overlooked an important message that Wagner was trying to communicate with the music of the Ring. Early in Scene 1 of Das Rheingold Flosshilde chastises her two sisters for not guarding the Rhinegold more carefully, and the music changes from Eb Major to C Minor to forewarn the audience. Although her music has no special significance to the themes of this chapter its harmony sets the stage for the important motive that will follow.
The World Erbe Motive (see Ring chapter) establishes the relationship between the Rhinegold and the power to be gained if it can be forced into a ring. However, that power comes with a sacrificial cost. The music that completes the chain and makes the dramatic connection between the Rhinegold, Power and Love is given in the eight bar example below that most commentators call the Renunciation Motive. It’s melody is sung by Woglinde as she states the two conditions necessary for one to make a ring from the Rhinegold. As with other key themes in the Ring, Wagner then uses the melody and harmonic structure of this music to serve as a basis for other motives. Interestingly the first commentator on Wagner’s leitmotivs, Von Wolzogen, identified the three note fragment that begins the second measure as the Renunciation Leitmotiv. This short phrase can be demonstrated within other themes discussed in this chapter. The harmony of this music also functions as a point reference for discussing other motives in this chapter. Note the change from using basic C minor harmony (tonic, subdominant, and dominant) in the first three measures to the Ab major chord on the word “leibe”. This change from the tonic minor chord to a major chord three steps lower in itself has some significance which will be pointed out at other key points in the ring. Also note in the seventh measure of the example there is a foreshadowing of the harmony and melody of the Ring Motive.
Here is the Renunciation music as it appears in the score of Das Rheingold.
The Renunciation Motive has relatively few recurrences in Wagner’s Ring: one in the interlude between Scenes 1 and 2 of Rheingold, two with Loge (R2), one with Siegmund (WI-1) and one with Wotan (WIII-3), and one with Brunnhilde (GI-3). Wagner’s use of it in Die Walküre Act I – Scene 2 with Siegmund has generated considerable discussion. When Siegmund sings the theme just before he pulls Nothung out of the ash tree in Hunding’s house some believe there is a contradiction between this music and what is seen as Siegmund’s affirmation of love. While there can be no definitive interpretation that is universally agreed to, there are other examples of ironic contrast between the dramatic action and the music of the Ring.
Music-Highest Love's Greatest Need
Wagner’s themes not infrequently have a
complicated relationship to the dramatic action.
They do act as so called “motives of reminiscence”, but that
reminiscence can be to more than one aspect of the underlying dramatic concept.
Contrary to Wagner’s hopes, the listener’s
initial reaction to a musical dramatic association may seem removed from
their original conception about a motive, and only with reflection is that
association comprehended. Thinking
about Wagner’s use of a particular motive at a particular point in the drama
is well worth the effort and will increase one’s insight into and enjoyment of
the Ring.
However, this author argues that these two measures contain a different dramatic significance, because of the musical information contained within. First the three key notes of the renunciation music identified by Von Wolzogen are stated. The C Minor chord changes to an Ab Major (G bass) on the syllable “fluch”. As is discussed in the All Things End chapter this modulation will become associated with Erda’s notification of the inevitable end of the gods and Wotan’s rule. Its occurrence here forms a link between Alberich’s act and Wotan’s fate. The second measure has Alberich sing the interval of a falling 7th over the harmony of Fm6 (a Ring Chord) to the words “Liebe” (see Woman’s Love and The Ring chapters). Thus in just two bars Wagner musically links the dramatic concepts of renunciation, world rule, and woman’s love. Each will be shown to have a causative relation to the end of the gods. The genesis of the much admired musical complexity of Wagner’s use of his leitmotivs in Götterdämmerung can be seen as early as the first scene of Das Rheingold.
The three note fragment of the Renunciation Music will be expanded and developed into another important leitmotiv. The theme is usually labeled the Woman’s Worth Motive although another applicable label is the Loveless Motive. In Scene 2 of Das Rheingold the development of the motive and its relationship to the renunciation music is foreshadowed by Fricka when she accuses Wotan of not appreciating ‘love and woman’s worth’. The cellos play the first five notes of the melody of the Renunciation Motive and the harmony (D minor to G minor) parallels that of the original, but Fricka’s vocal line has her sing an ‘F’ on “Weib_” to form a G minor 7th harmony. The use of 7th and 9th chord harmony in association with love is discussed in the Woman’s Love chapter.
Later in Scene 2, during Loge’s narrative of his attempt to find a substitute for Freia, he sings the definitive Woman’s Worth Motive which is a descending minor scale that begins on the same 7th of G minor that Fricka sang. The initial minor 7th chord harmony on the word “Weib_” then changes to a minor 6th (Ring Chord) on the word “Won_” for a subtle musical reference to the negative inter relationship between the desire for power and the devaluation of love. Here is the definitive motive at its first appearance in the score of Das Rheingold.
Music-Woman's Delight and Worth
Now that the melody, harmony and origin of this second theme associated with renunciation has been established, some of Wagner’s uses of it in the Ring can be explored. In contrast to the definitive Renunciation Motive, the Woman’s Worth Motive has numerous recurrences, and the theme is used in multiple ways throughout the drama. Frequently it will occur at the conclusion of some dramatic point as a kind of musical comment to finish off a musical phrase. Here is such an example from Scene 4 of Das Rheingold. After Wotan has wrenched Alberich’s ring off of his finger, the dwarf states that he has been ‘crushed’, ‘defeated’, and is ‘the saddest of sad slaves’. His vocal line to this last phrase is based on the Woman’s Worth motive and reminds the audience that Alberich had renounced love for power. Now he realizes he is bereft of both.
Like the Renunciation Motive, this theme can be used with dramatic irony. Latter in Scene 4 the Nibelung Hoard is piled up to obliterate Freia from Fasolt’s sight. In the music the oboe first plays the motives that are associated with Freia and Love (see Love chapter). Fasolt exclaims that as long as he can see even one ‘wonderous’ eye, he could never willingly relinquish her. In the sixth measure Fasolt’s vocal line is a slight variation on the Woman’s Worth Motive and emphasizes his conflict
Music-Fasolt Can't Give Up Freia
Similar to Alberich and Fasolt, Wotan will come to understand his own ‘lovelessness’. In Die Walküre Act II – Scene 2 Wagner uses the harmony of a minor 7th chord and a brief descending variation of the Loveless Motive in association with Wotan’s tortured feelings of frustration at having to lose that which he loves.
They are two interesting examples from Siegfried that demonstrate a more positive association of the Woman’s Worth motive, i.e. the opposite of renouncing love. The first is from Act I – Scene 1 when Siegfried explains that what he knows of love, he has learned from observing the way birds tend their brood of chicks. The violins and then the horns play the fragment of the motive’s melody. Note the contrast between Wagner’s use of the horns here and in the example given above with Wotan. The descending scale of this example probably also has a relationship to Mime's song about all the concern and care he has tended to Siegfried (see Nibelungs chapter).
The second example is from Siegfried Act III – Scene 3. Siegfried is confused by his emotions and intimidated. Just before he bends to kiss Brünnhilde he sings that he would even risk death with this act. The music is very close to the original Woman’s Worth motive.
There is one final motive to be discussed in this chapter. Its inclusion here is not because it shares any direct derivation from the Renunciation Motive, although it does contain an indirect harmonic link as will be shown. However, it does have a dramatic relationship to the conflict between love and power. The theme is heard first as one half of two principal themes associated with the Wälsungs, who are Wotan’s pawns in his game of power. By the end of Act II Wotan forsakes them, as he did Freia in Das Rheingold. But in Act I – Scene 1 of Die Walküre, after Siegmund has told his tale to Sieglinde, he sings a theme that some commentators feel has a tragic quality about it. It begins in the major but will modulate back to the tragic key of C minor, which plays an important musical role in Scene 1. In the sixth measure, Siegmund’s melody has an emphasis on a falling half step on the word “Friedmund” that is reminiscent of the Woe Motive, but the underlying harmony of those two notes is a minor 7th chord that resolves to a minor 6th chord. This chord change is a reminder of the Woman’s Worth Motive (Fm7) and the Ring (Fm6) which can be traced back to the original Renunciation Motive. This Wälsung theme makes a dramatic reappearance in Götterdämmerung in the transition music between Scenes 2 and 3 of the last act which is known in the concert hall as Siegfried’s Funeral Music.
