Confusion
Many commentators make light amusement over Siegfried’s initial confusion of Brunnhilde with his mother, and some launch into psychoanalytical explanations forgetting that in the youth’s solitary upbringing his only knowledge of male and female was based on his own observations of animals in the forest. Wagner uses this dramatic point to foreshadow a theme that will play an important musical role in Act II of Götterdämmerung . The motive can be recognized by its pattern of three descending chromatic notes followed by an upward skip of the interval of a 6th . This pattern can be repeated on the same notes or its repetitions may continue down chromatically. The motive is introduced in Siegfried Act III – Scene 3, as Siegfried looks upon the sleeping maiden and is unsure how to proceed. Wagner attaches this motive to the end of a musical phrase primarily associated with Sieglinde (see Ring chapter), as can be seen in the violin part beginning on the sixth note of the first measure and proceeding through the second note of the second measure.
As the scene progresses Wagner places his musical emphasis on the chromatic nature of this theme. However a careful inspection of the violin part reveals that this variation on the music given above retains the association with an upward interval skip of a 6th , ‘C’ to ‘Ab’ .
In Götterdämmerung the motive is reintroduced by Waltraute in Act I
– Scene 3 as she explains to Brunnhilde the confusion that Wotan’s actions
have wrought among Valhalla’s residents upon his return. The violas and cellos begin the Angst Motive but in the
third measure of the example Wagner tacks on the four note Confusion Motive.
Music-Foreshadow-Angst Variant-Calamity
Some commentators give this motive a different name depending on where
in Götterdämmerung they discuss its dramatic content. For example, the theme has been labeled “Calamity” when
they begin its associations with Waltraute’s narration about Wotan and
Valhalla as mentioned above. The
definitive Confusion Motive is played by the viola and cello beginning in
measure three.
Sabor has labeled the theme the Revenge Motive because of the prominent
role it plays in Götterdämmerung Act II – Scene 2. Interestingly, at the beginning of Scene 2, a brief fragment
of the motive forms an under lying accompaniment on the contrabass tuba, cellos,
and string contrabass for Hagen’s rallying of the clans.
Note the underlying harmony of a diminished 5th / augmented 4th
(C-F#) that is so strongly associated with evil in the Ring and the relationship
of Hagen’s melody to the Woe
Motive.
Here is an example with Hagen from Act III – Scene 3 that is related to the above music. When he makes his entrance the theme now appears in its full form in this association with the villain’s call.
Returning to Act II of Götterdämmerung two excellent examples of Wagner’s use of this motive can be demonstrated. The first is taken from Scene 4 when Brunnhilde questions the gods as to the meaning of what has happened to her with Siegfried’s betrayal of her love. Note that the music includes some of the Valhalla music. After Brunnhilde’s vocal line follows the Confusion Motive in measure eleven the clarinets answer with the Malice Motive (see Ring chapter) which could represent Hagen’s plotting or signal a change in Brunnhilde’s feelings toward Siegfried.
Music-Brunnhilde Calls on the Gods
The second example is from Scene 5 when Hagen exploits Gunther’s confusion over whether or not Siegfried has betrayed him. With the Confusion Motive Hagen states that only Siegfried’s death can settle the matter. Hagen entices Gunther into his conspiracy to murder Siegfried as a means to gain the ring. Soon both Brunnhilde and Gunther are ready to sanction murder as a means of revenge and resolution.
As the act proceeds to its conclusion Brunnhilde and Gunther join Hagen in a trio (example not shown) into which Wagner weaves combinations of the Woe Motive, the Confusion Motive, the Oath of Blood Brotherhood and the final phrase from the Power of the Ring Motive. Some critics have chastised Wagner for this “revenge trio” as a return to standard operatic formula, however one is hard pressed to validate this charge given the dramatic complexity and musical quality of this trio.