The Spear
The motive associated with Wotan’s spear, which some consider a symbol
of his rule or his will to power, is introduced in Scene 2 of Das Rheingold. The
significance of that symbol at any one point in the drama has considerable
variation which in the past has led other commentators to apply different names
to the theme giving it a connotation associated with agreements, oaths or law.
The melody of the Spear Motive is a descending scale that usually begins
with a sustained note and then has
a brief syncopation on the third and fourth notes of the descending scale before
continuing downward. However,
Wagner initially varies which notes of the scale have the syncopated pattern
before establishing the more definitive Spear Motive.
In the first example the motive is foreshadowed when Fricka reminds Wotan
of his agreement with the Giants, and it begins on the 6th of a D
minor scale by the cellos and contrabass with the syncopation occurring on the
fourth note of the descending scale instead of the more typical third note.
This abbreviated D minor scale form of the motive also serves a role in
combination with the Nature in
Motion Motive to form the Storm Motive that is heard at the opening of Die Walküre
(see Nature chapter).
A little later in that same scene the Spear Motive is developed further,
both musically and dramatically, when Fasolt confronts Wotan’s refusal to give
them Freia, whom he had pledged as payment for Valhalla.
The giant insists that Wotan comply with the agreement between them as inscribed on the god’s spear shaft. Note in the proceeding example the descending and then ascending rapid scales, played by the strings, that build up to a forceful statement of the Spear Motive beginning on the second beat of measure five of the cello and bass part. The motive is repeated by the horns again at measure twelve. As the scene progresses Wagner introduces two more musical themes that will form a dramatic association with the Spear Motive and Wotan’s rule. However before discussing them we will jump ahead in Scene 2 to a definitive statement of the Spear Motive when Wotan holds forth his spear to prevent Donner from attacking the giants. Here the trombones play the definitive Spear Motive with an extended downward scale.
Now to illustrate two musical ideas mentioned earlier we must return to
the dramatic confrontation between Fasolt and Wotan. When Fasolt informs Wotan that the god’s power and
authority are derived from his agreements, the horns and bassoons play a series
of pulsating chords whose rhythm was briefly played by the tubas in measure
eleven of the second example. This triplet accompaniment will recur in other
associations with the power of the god. Note
in the second measure of the example below that
Fasolt’s vocal line introduces an ascending scale that has a syncopated
rhythm. This too will recur and be
developed further by Wagner. There
is one last subtle musical dramatic association in this example.
It is the harmony of the first three measures and the falling octave at
the end of Fasolts’s first vocal phrase.
The significance of this chord progression (Ebm to Cb) and the falling
octave melody will be discussed later (see
All Things End chapter).
In Act II – Scene 2 of Die Walküre Wagner uses the pulsating triplet horn accompaniment and a slow descending scale derived from the Spear Motive to reinforce Fricka’s demand that Wotan must use his power to uphold her divine honor and the sanctity of the marital oath.
The second example, which has the Spear Motive and the pulsating
accompaniment, is taken from Siegfried Act I – Scene 2 where the Wanderer (Wotan)
responds to Mime’s third riddle about the race that lives on the heights with
music associated with Valhalla and Wotan. Specifically,
Wotan reminds Mime who still rules the world with a vocal line that places
emphasis on the spear’s point, which will play a central dramatic role in Act
II of Götterdämmerung . Note
in the third measure that the cellos and basses play a theme that was
foreshadowed by the syncopated ascending scale of Fasolt’s vocal line given in
the Das Rheingold example above. This
has been labeled the Power of the Gods Motive or the Authority Motive.
The Authority Motive plays an important musical role in Götterdämmerung.
It is heard during its prologue as the Norns narrate the past events that
preceded the drama about to unfold. The
Authority Motive, here followed by a descending variation of it, is played by
the cellos and basses. the vocal
line reminds us of the runes of divine law and their relationship to Wotan’s
rule. The dotted eighth note rhythm
of the ascending scale serves as the rhythmic template for another motive in Götterdämmerung.
It is the theme that is associated with Gunther and his authority as king
of the Gibichungs (see Gibichungs chapter).
The descending scale of the Spear Motive is used to develop other
individual motives in the Ring. In
Scene 2 of Das Rheingold when Fasolt reminds Wotan of his obligation to keep his
agreement with the giants the cellos and string basses play a theme derived from
the Spear Motive that is directly associated with the compact between them.
The Agreements Motive or the Treaty Motive are appropriate labels for
this derived theme. It is heard
again in Scene 4 of Das Rheingold as the Nibelung treasure is piled up by Froh
and Loge to block Fasolt’s view of Freia.
In the opening scene of Die Walküre the Spear Motive is modified to a
slower , hesitant, and slightly chromatic descending scale that is to be
associated with Siegmund. Unknown
to him is Wotan’s scheme that his son act as the agent of the god’s will to
retrieve Alberich’s ring and thus the Siegmund Motive’s
derivation from the Spear Motive. Also
from Scene 1 is another variant of the descending scale associated with Siegmund
when he tells Sieglinde of his injuries.
Wotan’s ‘Grand Idea’ (see Sword chapter) and his hopes for
Siegmund come to ruination in the second act of Die Walküre when Fricka
sucessfully argues that the god can not openly repudiate his law and the
marriage oath lest his act serve as an instigation for mankind to repudiate his
devine rule. Wotan’s emotions
begin to sink as Fricka’s arguments bore
in on him, and Wagner introduces another motive.
Some commentators label this the Frustration Motive, because it is
Wotan’s will that is being frustrated by Fricka, but given the intensity of
Wotan’s emotions as Scene 1 progresses into Scene 2 (and at other subsequent
appearances of the motive) the “frustration”
label seems insufficient. The
concept of angst seems a better match and so the label Angst Motive is applied
by the author. The theme is
introduced by the bass clarinet and the bassoons with a quick triplet grace note
figure before the melody descends. Along
its descent there is a brief retreat upward before continuing downward.
The melody ends with another reverse of two upward steps.
An interesting pairing of a foreshortened and harsher Angst Motive with
the Fate Motive occurs in Act III – Scene 2 of Die Walküre just after Wotan
has chastised Brunnhilde’s sisters for their sympathy. The linkage of the two motives seems to refer back to Act II
and suggests a complex relationship between Wotan’s prior angst and the fate
that is about to befall Brunnhilde.
Sometimes Wagner uses just the beginning of the Angst Motive to convey a
sense of unease or anxiety. An
example of this usage is taken from Siegfried Act III – Scene 3 when
Brunnhilde begins to realize that she is no longer a Valkyrie and that her
situation with Siegfried is unknown to her.
The violins and the violas play just the opening turn of the Angst
Motive. Note that the last two
measures of the oboe part has a statement of the basic Love Motive in its
diminished form (see Love chapter)
The second motive derived from the Angst Motive displays a
modified inversion of the descending scale of the Spear Motive.
It is associated with the dramatic concept of revolt.
The musical idea that two themes with opposing melodies can be
dramatically complimentary one to the other was first discussed when explaining
how the Götterdämmerung Motive was derived from Erda’s Motive.
That concept as applied to the Spear Motive was introduced back in Das
Rheingold and mentioned earlier when Wotan stated that Freia was not to be
delivered as per his original agreement with the Giants.
In that example the opposing scales served as a build up to a statement
of the Spear Motive. Here the
beginning of the Angst Motive serves as a launching point for a theme that is
associated with the internal conflicts raging within Wotan, hence the label
Wotan’s Revolt.
The use of an ascending scale to represent revolt is not limited to Wotan’s emotions. In Scene 3 of Das Rheingold Alberich’s boasting about his hoard of treasure reveals a plan that has as its aim the over throw of the gods themselves. The example labeled Hubris (just the cello melody is given from two different locations in the score of Das Rheingold) seems most appropriate.
Brunnhilde herself has a musical theme associated with her decision to revolt against Wotan’s decree that Hunding will be victorious and slay Siegmund in the impending fight. This music is heard on the violins when Brunnhilde exclaims to Siegmund the Sieglinde shall live and that Siegmund will live with her despite Wotan’s original declaration.
There is another derivative theme from the Spear Motive that has an association with Brunnhilde in Die Walküre. It is first heard softly played by the bass clarinet at the end of the transition music between Scene 2 and Scene 3 of Act III. After the orchestra has quieted down Brunnhilde’s vocal line quietly rebukes Wotan for the severity of her punishment. The melody of the motive starts down a descending scale like the Spear Motive, but instead of continuing down the scale it skips up an octave before proceeding down again.
Wagner increases the intensity of music and it builds up to a sub climax
when Brunnhilde explains that it was a feeling of love she had actually learned
from Wotan himself that led to her disobedience.
This more developed statement of the Brunnhilde’s Reproach is sometimes
labeled as the separate motive of Brunnhilde’s Compassionate Love.
Wagner continues to develop the theme to an emotional climax just before
Wotan sings his farewell to Brunnhilde.
Music-Brunnhilde's Compassion Music-Compassion's Rapture
A similar variation on the motive is heard in Siegfried Act III – Scene 2 when Wotan and Erda have their final confrontation.
Music-Brunnhilde's Reproach II
There are two final musical themes derived from the pattern of the Spear Motive’s descending scale. The first one is heard in Siegfried Act III – Scene 3 (although there is a hint of it in Die Walküre Act II – Scene 2 and again in Siegfried Act I - Scene 2) when the hero begins to get angry because the Wanderer (Wotan) is obstructing his way to Brunnhilde’s rock. Wotan responds in kind with a loss of his temper and the two face each other in a fateful confrontation that will end when Siegfried shatters Wotan’s Spear with Nothung.
The second and last theme is derived from just the opening fragment of the Spear Motive. It is given in the first two measures of Siegfried’s vocal line in the example below taken from Act I – Scene 2 of Götterdämmerung. The theme has been called the Blood Brotherhood Motive because of the lyric. After the oath has been sworn between them the definitive Spear Motive is heard to place a seal on their oath.
There is a slight modification of the Blood Brotherhood theme which involves the actual pledge of loyalty between Siegfried and Gunther. This brief Troth Motive is heard again near the end of Act I - Scene 3 when Siegfried asks Nothung to bare witness that he has been loyal to his oath of blood brother hood and that his suite of Brunnhilde was chaste. It is their rhythms and general descending scale patterns that link these related themes to the Spear Motive and the dramatic concept of a consecrated oath.
