Longing
There is an ascending chromatic phrase that recurs in the Ring with enough dramatic similarity such that it probably qualifies as a leitmotiv. It usually appears as three ascending notes that is expanded to a four note phrase on occasion. As with many of the motives in the Ring it is foreshadowed in Das Rheingold. In the example below the phrase begins the second measure of Fricka’s vocal line when, in response to Wotan’s chiding that she too desired the building of Valhalla, she replies that what she longed for was something that would keep her roving husband at home.
The four note form of the Longing Motive is used extensively in Act I of Die Walküre. For its first appearance Wagner inserts it after the basic Love Motive (see Love chapter) in Scene 1 of Die Walküre. During this beautiful cello ensemble, the solo cello in the fifth measure plays a three note ascending phrase followed in the next measure with a two note falling half step reminiscent of the Woe Motive so that the entire passage seems to associate both Siegmund’s desire for love and his general state of distress.
Music-Siegmund's Love & Longing
In Scene 2 of Act I Sieglinde responds to Siegmund’s song “Winter Sturme” that he was the spring that she longed for in the winter of her loveless existence (see Love chapter). Her next phrase uses the Longing Motive to describes both her longing for him and her apprehension.
Wagner’s masterful ability to communicate complex emotional drama with his musical themes is frequently demonstrated at the end of an act. This practice begins in Die Walküre and the end of Act I is the first demonstration of this ability. The next example is a combination of three different themes. Siegmund’s opening notes proclaiming that the Walsung bloodline shall flourish are sung to a fragment of the Renunciation Motive, and his declaration is followed by a rapid development of the Longing Motive by the flute and violins in combination with the Sword Motive played by the trumpets. Although the finale of Act I does include joyous statements of the Love Motive and ends on a major chord, its beginning with statements of the above motives in the minor casts a shadow of doubt for any truly happy ending.
In Act III – Scene 3 of Die Walküre there is a poignant appearance of the Longing Motive when Wotan sings that for one last time, before he seals her fate with a farewell kiss, he wants to experience the love expressed in Brunnhilde’s eyes. Note that the violins and cellos are playing a variation of the Fear Motive as an accompaniment to his vocal line. In Götterdämmerung during Waltraute’s narrative (Act I – Scene 3) we hear this music of Wotan’s parting from Brunnhilde, and again it recalls the emotion of their previous separation, just as Wotan himself recalls it with sadness.
A variation of The Longing Motive makes several appearances in the orchestra in Siegfried. Most often it is associated with his longing for knowledge of who he is, his parentage, and love. Note the falling half interval of the Woe Motive that completes the music.
