Gibichungs
At the end of the transition music of Götterdämmerung’s Prologue, which in the orchestral literature is called Siegfried’s Rhine Journey, Wagner introduces two themes whose rhythmic patterns will be incorporated into the definitive music associated with the Gibichungs: Gunther, his sister Gutrune and his half brother Hagen. The first pattern is that of two notes, the first of which is noticeably shorter than the second which follows it. The second pattern is governed by the dotted eighth-sixteenth note scale. The definitive motives of Gunther and Gutrune are more extended but, as will be shown, within those themes is the controlling two note rhythm primarily associated with Hagen. The trumpets and trombones foreshadow his motive here, while the contrabass trombone and tuba play the dotted eighth-sixteenth note descending scale. Although the intervals between the two notes of this music are varied, Wagner ends this introduction with the interval (contrabass trombone and tuba) that falls from the tonic to the augmented 4th / diminished 5th. This is the interval that was in the bass line of the Ring Motive and the tympani theme for the Giant Dragon music. Its evil sound is at the core of the definitive Hagen Motive.
This music is repeated with a little three grace note figure that also will be incorporated into Hagen’s music.
There is a second theme associated with Hagen. It is more fully developed in Act II – Scene 2 (see Combinations chapter) when the Gibichung warriors have rallied to Hagen’s call and tease him with the moniker “Hagen, der grimme”, but its melody is foreshadowed in Act I – Scene 1 on the oboe, clarinet and violin beginning in measure 3 of the example given. Note again the third horn part which plays the Hagen Motive with its fall from ‘C’ to ‘F’ sharp.
As Act I begins Gunther addresses his half brother.
The motive of Gunther, also labeled the Gibichungs Motive, begins with a
descending interval skip of a third before ascending up a dotted eighth note
scale that terminates with another interval skip of two thirds.
By listing carefully and inspecting the trumpet parts that begin in the
fifth measure of the example given, this Gibichung theme can be recognized.
The intervals of the last three notes of the Gibichung Motive are similar
to the last three notes of the Nature Motive.
This characteristic led Cooke to place this motive into a group that he
labeled ‘heroic humanity’. According to Cooke’s system this motive belongs
with the motives of the Valkyrie, the Walsung Race and Siegfried.
However this melodic relationship to the Nature Motive and its dotted
eighth note scale pattern reveals an alternative classification.
The author believes the theme can be thought of as a combination of the
motives of the Rhine (see Nature chapter) and Authority (see Spear chapter).
This interpretation is consistent with Gunther’s vocal line when he
questions Hagen if his position is truly lordly in his kingdom along the Rhine,
i.e. combining the Rhine Motive and the Authority Motive.
The are additional themes derived from the rhythmic pattern of falling intervals associated with the Gibichungs. These motives are those of Friendship and Gutrune. Note in the second measure of the example that the second violins play the basic Friendship Motive while the cellos compliment it with a more exuberant variation about the basic melody.
Gutrune’s music has two components. The basic Gutrune Motive is played by the flute and oboe in the first two measures of the example given. The second component begins with an ascending chromatic phrase played by the oboe in measure seven that is simultaneously suggestive of the Feminine Motive from Freia’s music and the Longing Motive, but still it retains the rhythmic pattern and falling intervals of the other Gibichung themes.
Music-Sweet Guntrune & Offering
Another important Gibichung theme is that of their ‘horn call’. Here is the definitive Gibichung Horn Call Motive as it appears in Act II. It plays a prominent role in the music for Gutrune’s wedding.
This next example is an example of a variation on the theme that appears in Act III – Scene 2 when Siegfried offers drink to his new brother-in-law.
There is a more sinister theme associated with Hagen’s plot to ensnare Siegfried. It is introduced innocently enough by Gutrune when she gently rebukes Hagen for his wicked jest that she could become the object of Siegfried’s desire. The motive is represented by the first three notes of Gutrune’s vocal line. This three note motive is musically developed by Hagen as he explains to Gutrune about the Potion and its key role in his plan. It is this association between Gutrune and Hagen’s plotting that has given rise to its label as the Seduction or Treachery Motive. It is interesting and ironic that this theme begins with the same falling interval that begins the Bequest Motive introduced by Wotan in Siegfried Act III – Scene 1 when he tells Erda that he will yield to the love of Siegfried and Brunnhilde (see Rhine Daughters chapter).
Music-Wicked Hagen Music-To Bind Siegfried
There are two final examples of music
associated with the Gibichungs that occurs in Act II of Götterdämmerung. The first is associated with the formal greeting that the
Gibichung warriors offer Gunther and his newly won bride as he arrives on shore
with Brunnhilde. Note the
characteristic openning two note rhythmic pattern on the horns that is countered
by the tympani.
The second example is sung by Gunther as he offers greetings to Siegfried and to his sister. It begins with a combination of the melody of the Gibichung Horn Call and Gutrune’s theme, but the independent phrase that will recur in Act II is represented in measure three on the flutes and oboe and in measure five by his vocal line and in the horn part.
