Love
One of the important dramatic themes of Der Ring Des Nibelungen concerns Love. A previous chapter discussed Wagner’s musical use of 7th and 9th chord harmonies and the melodic falling 7th in relationship music associated primarily with woman’s love. This chapter discusses motives that are initially associated with a dramatic symbol of Love itself the goddess Freia. As with most of Wagner’s motives, these themes are musically and dramatically developed as their associations are expanded to other situations and characters in the Ring. One of these themes has been identified by Cooke as “the basic love motive” of the Ring.
Freia’s themes are foreshadowed in Scene 1 of Das Rheingold, but it is easier to recognize their characteristic patterns by first discussing their appearance in Scene 2. They are heard when Friea makes her entrance in a state of distress over Fasolt’s attentions and pursuit of her. Because Freia is fleeing from the giant, her Love Music was historically labeled the motive of ‘Flight’ by Von Wolzogen, one of the earliest commentators on the Ring. Freia’s music is given in the four bar example below and contains two component themes. In the first measure the violins play an ascending phrase that could be said to be associated with the uniquely ‘feminine’ nature of woman. Two examples of it usage were briefly mentioned earlier in association with the Nature In Motion Motive (see Nature chapter). However, it is the initial four note phrase played by the violins in the second measure that is identified as the basic Love Motive. It can be recognized both by its rhythmic pattern and its general melodic shape of a single falling interval (here a half step of C to B) followed by a larger falling interval skip that reverses itself to return upward. There are multiple musical variations on this basic theme, and in fact this example shows the basic four note theme repeated in a pattern that follows a descending minor scale.
As mentioned earlier the Love Motive is foreshadowed in Scene 1 of Das Rheingold when Flosshilde mockingly offers Alberich love and pretends to be infatuated with him. The first measure of the violin part and Flosshilde’s vocal line parallel the general structure of the ascending ‘feminine’ theme of the first measure of Freia’s music given above. The four note phrase that begins on the Eb of the second measure and ends on Bb of the third measure follows the outline of the basic Love Motive. In contrast to the E minor harmony of Freia’s distress in Scene 2, here major harmony aids Flosshilde’s deception.
In response to Flosshilde’s deception Alberich introduces a variation on the musical rhythm of the Love Motive that generates several other themes. Most of these themes have negative associations similar to this one with Alberich where he feels betrayed. Frequently Wagner will use a diminished triad as the underlying musical device to communicate these negative emotions. In addition to the diminished harmony, notice the different rhythm in the second measure of the phrase. It gives a hint at what will become a major rhythmic component of the Nibelung Motive (see Nibelung chapter).
Now that the musical characteristics of the Love Motive have been demonstrated it is possible to recognize many of the theme’s musical variations and their place in the drama. Several of these variations will occur in Die Walküre since love is one of that work’s central dramatic themes, but there are other examples of note that appear in Das Rheingold, Siegfried and Götterdämmerung. The examples have been arranged into those that have essentially major harmony and those that have diminished or minor harmonies.
The first example of Wagner’s use of the Love Motive with major harmony occurs shortly after the introduction of Freia’s music in Scene 2 of Das Rheingold. In response to Wotan’s taunt that the goddess would be of little use to the uncouth giant, Fasolt sings a brief love song whose melody uses a drawn out, slower version of the basic Love Motive. The cellos initiate the ascending melody of Freia’s music and they are answered by the oboe in the third measure playing both her ‘feminine’ theme and a similar drawn out variation of the basic Love Motive in measures four through seven.
The Love Motive has its most lyrical expression in Act I of Die Walküre in music that is associated with the love of the Walsung twins. In Scene 1, after Sieglinde has offered Siegmund water and he gazes with growing interest at her face, a solo cello plays his theme (see Spear chapter). The cello’s melody ascends to a sustained note in measure one that then leads into the basic Love Motive in measure two. The theme is repeated in the third and fourth measure in a descending pattern. Then Wagner combines an ascending three note chromatic phrase, frequently associated with the emotion of longing (see Longing chapter), with the first two notes of the Love Motive (see measures three through five of the example labeled Freia’s distress).
Music-Siegmund's Love & Longing
Sieglinde reciprocates Siegmund’s love in Scene 2. The harmony of her vocalization of the Love Motive , “Du bist der Lenz”, is based on a Bb 9th chord and is complimentary to Siegmund’s F 9th harmony of the previous example. Wagner’s use of the Love Motive melody in combination with 9th chord harmony (see Woman’s Love chapter) is another example of the complex musical continuity that links Wagner’s musical and dramatic themes.
Earlier a reference was made to the ascending phrase of Freia’s music and its association with the Nature in Motion Motive. The second example of their association (see Nature chapter) was taken from the Forest Murmurs Scene in Siegfried Act II shortly after the young man’s speculation about his mother. He refers to his mother as a “menschen weib”. A precise meaning of this phrase is elusive. Perhaps ‘human woman’ would be too literal, but when the words are associated with the music under discussion, and when one recalls its previous appearances in Fasolt’s love song or Loge’s hymn to love from Das Rheingold the intangible aspect of what Wagner was trying to communicate about women with his music may become clearer to the listener. That being said one additional example taken from Act III of Siegfried of an appearance of this theme will be given. The ‘feminine’ theme begins the violin solo from the start of Scene 3 after the hero has braved the flames round Brunnhilde’s rock and reaches the tranquil heights. The solo, along with a quotation of the Fate Motive (see Woe chapter) by the trombones, prepares the audience for the love scene that follows. Note the extended variation on the Fear Motive that follows the Fate Motive.
Later in Scene 3, after Siegfried awakens Brunnhilde, he and Brunnhilde exchange a musical theme between them that has been called the Love’s Greeting Motive, but is really more a song of praise to the joy of being alive in the world and the opportunity to experience love. It’s musical relationship to the basic Love Motive is indirect. Siegfried’s vocal line in the second measure has the four note phrase, G-B-F#-E, that constitutes the melody. The notes of the basic Love Motive in this key would have been G-F#-C-E (“Du bist der Lenz”) and are suggested by Brunnhilde’s vocal repetition of the Praises Motive over the moving chords (Gmaj7,Am7) played by the oboes. The theme has other appearances and like other motives there are musical variations of it.
Latter in the same scene the motive is repeated as solos for the bassoon and the oboe when Brunnhilde praises Siegfried as the ‘joy of the world’ and tells him that he was always her concern, i.e. at the end of Die Walküre. Her introductory four note phrase, “O wüßtest du”, is also reminiscent of the basic Love Motive.Latter in the same scene the motive is repeated as solos for the bassoon and the oboe when Brunnhilde praises Siegfried as the ‘joy of the world’ and tells him that he was always her concern, i.e. at the end of Die Walküre. Her introductory four note phrase, “O wüßtest du”, is also reminiscent of the basic Love Motive.
Music-World's Joy-Brunnhilde's Care
The orchestra plays an interesting rhythmic variation of this motive in Scene 2 of Götterdämmerung’s Prologue.
A final example of yet another variation of the basic Love Motive with major harmony is taken from the end of Götterdämmerung’s Prologue. As Siegfried descends from Brunnhilde’s Rock the orchestra plays a rhythmically drawn out phrase made up of linked fragments of the basic Love Motive. This linking is similar in musical construction to the example of Freia’s music given at the beginning of the chapter, although there the theme was in the minor.
It was stated earlier that there are several variations of the basic Love Motive that have diminished or minor harmony. Their derivation can be traced back to Das Rheingold - Scene 1 when Alberich sings of his betrayal by Flosshilde (“die drite, so traut, betrug sie mich auch?”). Wagner musically develops this theme during the transition music between Scene 2 and Scene 3 of Das Rheingold. Starting in the cello part with a pick up note in measure one, the first five notes parallel Alberich’s previous vocalizations. The variation is then extended with a change in the duration of the fourth note of measure two and the rhythm of notes five, six, and seven.
These offsetting rhythmic variations rise in pitch and increase in volume until the woodwinds and strings enter playing Eb minor chords in a rhythmic pattern that will be associated with the Nibelungen dwarves (see Nibelungs chapter) and the frenetic intensity of their hammering. Arching over all of this activity, the trumpets play a plaintive variation of the basic Love Motive over several measures. Note that the trumpet’s initial sustained ‘Db’ forms a minor seventh chord, which is a subtle musical reference to the beginning of the Woman’s Worth Motive (see Renunciation chapter). Wagner will use this device again in Act II – Scene 2 of Die Walküre but the initial harmony will be that of the Ring Motive itself, a minor 6th chord, when Wotan expresses his angst with the phrase “Endloser Grimm! Ewiger Gram!”(see Combinations chapter).
It is no surprise that Die Walküre, especially its first and second acts, has several variations of the basic Love Motive developed with diminished or minor harmony. Sometimes only a brief fragment is used to compliment and offer comment on the action or dialogue, such as in the next example where the violin part in the second measure follows Sieglinde’s explanation to Siegmund that she too has felt alienated. The violin melody’s similarity to the initial presentation of Freia’s music invites the audience to make a dramatic comparison of the two women.
The prelude to Act II of Die Walküre begins with the trumpet sounding out a variation of the Sword Motive (see Sword chapter) and then the high strings launch into a variation of the Love Motive that past commentators believed is representative of the lovers taking flight from Hunding just a Freia was trying to escape Fasolt. However, if the prelude is taken as a whole in relation to the drama of the second act the interaction between the musical themes mirrors the conflict that is about to unfold.
The above music is followed by statements of the Longing Motive (not shown -see Longing chapter) that lead into a restatement of the opening octave skips of the above variation. These octave skips then are followed by music even more intense. It is reminiscent of the structure of the transition music between Scene 2 and Scene 3 of Das Rheingold, here with the woodwinds playing rhythmic chords and the strings playing a variation of the Love Motive. However, Wagner changes the rhythm and the melody to give this music a different flavor. The outline of the Love Motive occurs in the 1st violin part with notes three to six. The transition music from Das Rheingold was preparatory for Wotan’s assault on Alberich. Here even more complex forces will confront each other to a tragic outcome.
This variation is briefly heard again in Götterdämmerung Act I – Scene 3 when the Waltraute comes to Brunnhilde’s Rock to plead with her sister. As Waltraute approaches on her flying steed the violins respond to Brunnhilde’s greeting of her sister with short statements of this variation.
The conflict of Die Walküre’s second act is more than Siegmund contending with Hunding for Sieglinde. The battle of words between Wotan and his wife Fricka reveal underlying dramatic themes. Wotan thinks his plans to regain the ring from Fafner will come to fruition through Siegmund. Fricka’s arguments about the relationship of the god’s authority to upholding the sanctity of the marital oath will triumph, but before they do she pulls out all the stops with her reproach of Wotan’s infidelity and betrayal of her love. The music of her vocal line, whose beginning is reminiscent of the Maiden’s Distress theme, in the second measure uses the Love Motive to remind the audience about love, or its lack thereof, between the gods.
Wagner can do more than just alter the harmony of a motive to communicate dramatically. In Scene 4 of the second act there is an example of Wagner’s orchestration talent in selecting different instruments to convey musically what is almost inexpressible in words. Up to this point it has usually been the violins or the upper woodwinds selected to play the Love Motive or its variations. In this example, taken from the interchange between Siegmund and Brunnhilde when he tells her he would rather go to Hell than to a loveless Valhalla, Wagner has the tubas first play an ascending scale that is associated with revolt (see Spear chapter) in preparation for a harsh and bitter statement of the Love Motive in the second measure.
Music-Better Hell Than Vahalla
The last example of a theme derived from the Love Motive is taken from Siegfried Act III – Scene 1 when Wotan calls into the depths of the earth to awaken Erda. In Die Walküre Wotan explained to Brunnhilde how he had used the magic of love to conquer Erda’s pride. Here his awakening call is sung to the Love Motive with a rhythm that places emphasis on the second note of the four note motive.
