Combinations
In one sense the music of Der Ring Des Nibelungen is a continual recombination of Wagner’s themes and motives specifically selected by their composer to communicate to the audience some aspect of the drama. As the drama unfolds some of the musical combinations reappear with enough frequency that some commentators have applied a motive label to that combination. Longer combinations, such as some the preludes or interludes, have assumed a musical identity outside of the Ring, such as Die Walküre’s “Ride of the Valkyries”. Beginning with examples from Das Rheingold and proceeding through to Götterdämmerung this chapter explores several of these musical combinations and in the process will identify a few remaining leitmotivs.
The simplest combination is the recurrent sequential pairing of two motives, and one of the earliest examples of this occurs in Scene 3 of Das Rheingold. Loge flatters Alberich’s ambitions, and at the same time the music expresses a mockery of them as Loge manipulates the dwarf. This is done by pairing the opening bars of the Valhalla Motive, typically representing the rule of the gods, with one of Loge’s motives that is usually associated with deception. This sequence not only recurs during this scene, but it is heard after the prelude to Siegfried in Act I as an association with Mime’s ambitions, and again in Act II of Siegfried, with a slight variation, during the confrontation between Alberich and the Wanderer when the dwarf reminds Wotan that he hasn’t abandoned his ambitions or his plans to conquer Valhalla.
In contrast to a sequential arrangement Wagner can superimpose his motives one over the other. Some authors, when discussing Wagner’s utilization of his motives, state that in Das Rheingold, Die Walküre, and the first two acts of Siegfried, the composer would typically link his motives in a sequential or so called horizontal pattern. They assert that when he resumed his composition of the Ring beginning with Act III of Siegfried and then with Götterdämmerung his combinations of motives were more frequently a vertical superimposition of themes. A closer inspection of Götterdämmerung’s score vis a vis this thesis reveals that more often than not the motives still occur sequentially. However frequently they are so densely compressed together that they may seem to be superimposed. Early in the composition of the Ring Wagner demonstrated that he knew how to vertically superimpose his motives for dramatic effect. An excellent example of this is in Scene 4 of Das Rheingold when at Alberich’s summons the Nibelungs haul up the hoard from the depths as ransom for their ruler. The three motives are the Nibelung Motive (cello), Woe / Servitude Motive (English horn) , and the motive of Hoard itself (tuba). This vertical combination recurs in the opening prelude to Siegfried, suggesting to some simply Mime’s servitude at the forge, but to others a more complex relationship between his misery, his labors, and his obsession to possess the Nibelung hoard.
There are many times in the Ring where several bars of music are restated for dramatic effect yet the music is not usually considered a theme or a motive by most authors. For example there is music first heard in Das Rheingold that recurs almost verbatim in the prelude to Act II of Siegfried. In Das Rheingold the music builds as an ascending modulation of chords beneath Alberich’s declaration of the ultimate fate of all who become ensnared in his curse on the ring. The section concludes with a statement of the Power of the Ring Motive that was initially associated with Alberich’s control over the Nibelungs. Here the motive’s association is dramatically extended. As the plot of the Ring continues to unfold the dramatic meaning of the Power of the Ring and it associated Curse will eventually encompass all of the Ring’s major characters. The audience is reminded of this corrupting power as Siegfried Act II – Scene 1 opens outside of the dragon’s lair. Pointedly the Power of the Ring Motive is in itself a modified combination of the Rhine Daughter’s Joy in the Gold Motive, the Woe Motive and the harsh harmony of the Ring Chord (see Ring chapter).
Not infrequently Wagner will interweave two or more motives for a climax at the conclusion of an act to put an emotional finish to that portion of the drama. The finale of Die Walküre’s first act is such an example. Cooke believed that this music was a foreshadowing of the motive he labels Love’s Resolution (see Siegfried chapter) that concludes the love scene between Siegfried and Brunnhilde at the end of Act III of Siegfried. However the concluding music from Act I of Die Walküre is really a combination of motives heard prior to the end of the act. The first violins play the main theme at bar three after Siegmund describes his prior dream of Sieglinde.
The entire finale can not be shown, but in its opening bars the combinations can be demonstrated. The music begins with the basic Love Motive on the upper woodwinds and violins. It is followed by a rapid development by the violins of the theme mentioned above in the Love’s Dream example. It modulates upward suggesting restatements of Sieglinde’s Passion (see Passion chapter) and then concludes with two chords whose rhythm subtly reminds the audience of the Joy in the Gold Motive while their harmony Cm6(G) resolving to G hints at the underlying influence of the ring.
One does not have to wait till Götterdämmerung to experience how Wagner’s orchestration and combinations of his motives are used to communicate the emotional state of the Ring’s characters. There is an extended passage that occurs in Die Walküre Act II – Scene 2 that is such an excellent example of this that it is worth while to show it in full. It begins with a theme played by the bassoon and cellos that is usually labeled the motive of Wotan’s Revolt. It begins with a grace note figuration similar to the motive of Angst / Wotan’s Frustration, but instead of descending it moves upward similar to other motives of rebellion against the dramatic meaning of the Spear Motive (see Spear Chapter). This theme is answered by the Curse Motive on the bass trumpet beginning in the third bar. After a restatement of the two themes the violins and woodwinds sound out Fricka’s Motive, whose initial notes are also reminiscent of the opening storm music from Act I. As Wotan’s inner conflict crescendos he sings the basic Love Motive in its negative form - “Endloser Grim!” while the strings restate a variation of the Wotan’s Revolt Motive. The passage concludes with the Loveless Motive / Weibes Wonne und Werth Motive reminding us that once again power is prevailing over love. This musical combination recurs in an abbreviated form latter in the Ring. We hear it in the last scene of Siegfried when Brunnhilde experiences emotional conflict between the virginal warrior valkyrie maid that she was and the loving women that Siegfried desires her to be for him. Its final appearance is in the confrontation between Brunnhilde and Waltraute in Act I – Scene 3 of Götterdämmerung over the ring, which ironically has become a symbol of love for Brunnhilde.
Music-Wotan's Emotions Music-Brunnhilde's Emotions
Another important musical combination is introduced in Die Walküre Act II – Scene 2 when Wotan explains to Brunnhilde his innermost thoughts. This recurring combination is usually given the label of the Need of the Gods Motive. Its first seven notes (bassoon and cello) is a statement of the Erda Motive that is followed by an inverted form of that minor theme. Although this descending phrase suggests the Götterdämmerung Motive to some authors it does not have the harmonic change that is typically heard when these two motives are paired, but it remains based on the same minor scale of the Erda Motive. This pairing is then followed by a statement of the Wotan’s Frustration Motive, which itself is followed by an arpeggio in a series of 3rds harmonically based on a 7th and a 9th chord (see Woman’s Love chapter). This combination motive recurs many times in the Ring.
Wagner frequently will combine the Need of the Gods Motive with other themes. In two examples, one from Act III of Die Walküre and the second from Act II of Siegfried (not shown), we see how it has been combined with the so called Riding Motive (see Representations chapter). In the example shown it is Brunnhilde who is in need as she tries to escape the pursuing Wotan.
Music-Brunnhilde on Grane Music-Wotan's Riding
The Riding Motive itself was introduced in the prelude to Act III of Die Walküre. That prelude is probably the most well known of all of Wagner’s music, and it is also typically the music selected for parody or ridicule of opera, soprano opera singers and Wagner’s music. In the case of this music it is popularity and not familiarity that breeds the contempt, which is regrettable because the Ride of the Valkyries is another example of Wagner’s masterful combination of musical themes. Here are the opening bars of this most famous of combinations.
There is a brief musical passage in Act III – Scene 2 of Die Walküre that is combined with a variant of the Spear Motive (bassoon and cellos) that is usually not catalogued as a separate motive. However it could be considered one as it has its own musical identity and is repeated later in the Ring cycle. It occurs as Wotan pronounces that Brunnhilde will be placed under a spell of sleep where she will be prey to the first man who finds her. Wotan’s vocal line in the first five bars gives the motive’s melody, but the oscillating violins and violas give the music it harmonic characteristic. These falling half step chords relates the otherwise bland melody to the Woe Motive. Note also the rising arpeggio on the bass clarinet. Now with these elements in mind listen to how Wagner restates the music in Götterdämmerung Act I – Scene 3 as Brunnhilde reminds Waltraute of her punishment (score not shown).
Music-Brunnhilde's Punishment Music-Brunnhilde's Punishment II
There is a combination of motives that occurs in Act I – Scene 2 of Siegfried during the riddling contest between Mime and the Wanderer that incorporates a theme that was introduced in Scene 2 of Das Rheingold. It was sung by Fasolt to remind Wotan that he must abide by the treaty runes inscribed upon the shaft of his spear. Although the vocal line is altered this music associated with the runes is heard again just after Wotan restrains Donner in Scene 2 of Das Rheingold and again in Act II – Scene 2 of Die Walküre when Wotan states that he is both a lord and a slave because of these treaties.
As the Wanderer explains the relationship between the runes on Wotan’s spear and the god’s rule, the music begins with a dark harmonic variation of the Wander’s broad chord theme while the vocal line follows the Treaty Runes Motive. The brass respond with the harmony of the Woe Motive, and with a little auditory imagination one can even hear an echo in the music of Brunnhilde’s Punishment from the example given earlier. Notice also the triplet grace note figure that is accented.
In the score of Die Walküre and again in Götterdämmerung Wagner writes for an instrument he called a ‘steer horn’. It is not usually heard in most performances or recordings and its music is played on the trombone. However, as in most of Wagner’s Ring, its music also was intended to form dramatic associations. In the example given it represents Hunding’s Horn and plays out the rhythm of Hunding’s Motive in combination with the theme of Hunding’s Pursuit (see Alberich chapter). In Götterdämmerung the ‘steerhorn’ becomes associated with Hagen. In Act II – Scene 3 of that opera three horns can be heard. First Hagen blows his horn to rally the Gibichung clan and his call is answered by two additional horns sounding dissonant half step apart (example not shown).
Music-Steerhorn + Hunding's Pursuit
Siegfried’s Horn Call Motive has an interesting combination with the Sword Motive. A clear example of the combination can be hear on solo horn as Siegfried wakes the sleeping dragon in Act II – Scene 2. However the first appearance of this combination occurs at the conclusion of Act I after Siegfried has split the anvil in two with one stroke of Nothung. The combination occurs so rapidly that it may be hard to identify but an inspection of the trumpet part will reveal it.
Music-Sword Horn Call Music-Sword's Triumph
There another combination of music that has an dramatic association with Nothung. It is hinted at when Siegfried plunges the freshly formed hot sword into the water to cool it during his forging scene. This music takes on its definitive form as a loud chord when Siegfried plunges Nothung into Fafner’s heart. In the example given from the score we hear the tympani sound a brief variation on the Giants’ Motive that became associated with Fafner during the prelude to Act II, followed by a combination of Siegfried’s Horn Call and the Sword Motive mentioned above and then the strings rush up a scale that culminates in the chord now associated with this death dealing stroke. This dramatic musical association is heard again in Act III – Scene 2 when Siegfried shatters Wotan’s Spear with one fell stroke.
Music-Death Stroke Music-The Spear's Shattered
Many discussants of Wagner’s ability to combine his motives and themes point to the musically brilliant prelude to Act III of Siegfried. Indeed it stands out as an excellent representation of his art. The entire section from the score can’t be shown but two examples are worth pointing out. The prelude opens with a combination of Erda’s Motive and the Riding Motive The first example from the score shows how the opening combination of two motives, Erda and Riding, segue into the Need of the Gods Motive. After this we hear the Spear Motive developed and superimposed over the Riding Motive. Now for the second example, where four motives are combined in an even more amazing fashion. First, while the strings supply the driving force of the Riding Motive, the brass play the chords of the Wanderer Motive stretched out over several measures. Superimposed over that music is a form of the Nature (Erda) Motive followed by its descending variation – the Götterdämmerung Motive. As the prelude continues the music describes the forces building to a inevitable climax, as stated by the Power of the Ring Motive, the Godhead Lost music (Magic Sleep), and the Fate Motive that concludes the prelude, better than any combination of words.
Music-Riding-Nature(Erda) Music-Need of the Gods
Music-Four Combined Motives Music-Ring's Power-Sleep-Fate
There is a theme developed in Act III – Scene 2 of Siegfried that was briefly hinted at during Act II – Scene 2 of Die Walküre in Wotan's monologue and again in Act I of Siegfried during the scene between the Wanderer and Mime. It is variant of a descending scale (Spear Motive) and appears to express Wotan’s growing anger. Its melody is played by the horns, bass clarinet, and bassoons in combination with the cellos playing the Fire Motive (see Loge chapter). As the music builds the Wanderer describes a sea of fire that is pouring down from Brunnhilde’s Rock.
After Siegfried has vanquished the god he proceeds upward to Brunnhilde’s Rock. During the scene change the orchestral interlude plays a combination of the Magic Fire music with Siegfried’s horn call. This bit of music is dramatically important because when it recurs in Act I – Scene 3 of Götterdämmerung it reinforces Brunnhilde’s belief that Siegfried has return to her and sets the scene for her shock when she sees the image of Gunther coming through the flames.
There is additional music from the last scene of Siegfried that is dramatically important enough that Wagner wants his audience to recall its initial association with Brunnhilde’s awakening. It occurs at the end of the series of chords that were initiated when Siegfried kisses the sleeping maid. The horns play a compressed series of major chord arpeggios that recall their initial cannon heard back at the beginning of Das Rheingold. The music recurs with dramatic poignancy in Götterdämmerung when Siegfried’s memory of his love for Brunnhilde returns. In his dying reverie he recalls his awakening of Brunnhilde and calls on her to open her eyes.
There is a combination of musical themes that is heard during the Norns’ scene of the prologue to Götterdämmerung that is repeated frequently as the Norns pass the rope of fate back and forth between them. The harmonic background of the first theme is introduced when the first Norn suggests to her sisters that they should proceed with their weaving. Note the falling half step of the English Horn’s notes and the suggestion of the Woe Motive.
Now with this harmonic background established we can hear the first theme of the Norn’s Song as they ask each other to sing their song of fate. The second theme of the combination is the same Song of Doom that was first heard in Act II – Scene 4 of Die Walküre.
Music-Sing Sister Music-Song of Fate
After the Norn’s scene, the Prologue’s second scene is devoted to Brunnhilde and Siegfried expressions of their love and fidelity. Their duet here is more popular than in the opera Siegfried. During this scene there is a combination of themes that is an elaborate development of the descending scale of the Freedom / Adventure Motive (see flute, oboe and 1st Violin) and the Brunnhilde Motive (clarinet and Brunnhilde). This combination reveals how much music Wagner can get from a simple scale.
Music-Hail Brunnhilde & Siegfried
As the drama of Götterdämmerung unfolds Wagner doesn’t neglect the music that is assigned to his chief villain Hagen. Like much of Götterdämmerung’s music the combinations are somewhat complex. Near the end of Act I – Scene 2 Hagen is instructed to watch over the Gibichung hall while Siegfried and Gunther sail off for Brunnhilde. As he stands guard, the music usually referred to as Hagen’s Watch begins with a triple combination of Hagen’s Motive played by the contra bass tuba and the string bass, a distorted variant of Siegfried’s Horn Call, and some syncopated chords played by the violins and violas that are reminiscent of the Malice Motive (see Ring chapter). When he sings his vocal line the initial harmonic progression is that of the Tarnhelm Motive which plays such a key dramatic and musical role throughout Act I.
Music-Hagen's True Nature Music-Watch Song
As the scene concludes Hagen mocks Gunther and Siegfried newly pledged friendship. His vocal line is heard again as a trumpet solo in the prelude to Act II of Götterdämmerung.
An analysis of the above score can be
somewhat complex. The violins and
violas continue the syncopated chords that opened the scene (Malice). The general chromatic descent of Hagen’s vocal line
suggests the deceptiveness associated with Loge’s music, but the interval
skips are not those of his theme. The
falling 7th, the minor 7th chord and diminished chord
harmonies could be considered subtle reminders of renunciation and Brunnhilde
(see Renunciation and Woman’s Love chapters).
Indeed in the sixth measure of the example from the score the horns play
a variant of the Loveless Motive. The
trumpet’s ascending scale of quarter note triplets, although probably not a
leitmotiv, will also recur in the prelude to Act II.
The music of Hagen’s Watch and the prelude to Act II have an
intentional continuity.
As pointed out with the trumpet’s musical line above sometimes it can be difficult to decide what is and what is not one of Wagner’s leitmotivs. Never the less sometimes Wagner repeats a musical phrase several times within a scene which will focus attention on it. The string figuration of Siegmund’s Rebellion is such a phrase (see Woe Chapter). Another repeated string figuration recurs in Act I – Scene 2 of Götterdämmerung when Brunnhilde questions the emotional motivation that caused Waltraute to break Wotans prohibition. Note the cello’s line beginning in the second measure and how it is paired with Brunnhilde’s vocal line with its prominent falling 7th.
Music-Brunnhilde Questions Waltraute
Here is another example of its use when Brunnhilde tries to explain to her sister the justification for her own disobedience. Here the clarinet plays the falling 7th melody that has an association with the Brunnhilde Motive. Note also a statement of the Valkyrie Protests melody (see Siegfried chapter) by the English horn and clarinets at the end of this example.
Even within the complexity of Götterdämmerung’s music Wagner can still use a simple pairing of two motives to emphasize a key point in the drama. There are two such pairings in Götterdämmerung that are worth demonstrating. The first occurs during Waltraute’s narrative to Brunnhilde concerning Wotan. After Waltraute describes his behavior she tells how at one point he breaks his silence and speaks to reveal his inner thoughts. As she quotes him we hear a quiet statement of the Rhine Daughters’ Joy in the Gold Motive followed a series of chord changes from the Valhalla music. What he says is that the return of the Rhinegold would ‘redeem both the god and the world’.
Near the end of Götterdämmerung there is a poignant restatement of this pair. Although her words are intended to comfort Wotan’s distress, the music informs the audience that she is prepared to make the redemptive sacrifice. We hear again the quiet statement of the Rhine Daughters’ Joy in the Gold and, with her words of ‘rest’, the chord changes mentioned above are sounded. The pair is appropriately followed by a statement of the Need of the Gods Motive and concludes with the musical cadence associated with Valhalla.
The second pairing of themes is an interesting example of how well established motives can be used not only to recall past associations but to foretell future events. As Waltraute tells of Wotan’s command to pile the pieces of the World Ashtree about Valhalla’s hall the horns sounds the rhythmic fanfare figures from the Valhalla music and the strings play the Authority Motive.
Music-Foreshadow-Burning Valhalla
Later in Götterdämmerung when this pairing recurs it is Brunnhilde that is commanding the stacking of the firewood in preparation for the fire that will purge both the Ring and Valhalla.
All of the musical themes mentioned in the preceding examples play an important role in the last scene of Götterdämmerung, but there are a few remaining musical themes to be discussed before we come to the final music of Wagner’s Ring. As the dawn rises on Götterdämmerung Act II – Scene 2 another horn cannon on the Nature Motive is followed by a simple three note motive that initially is based on a major chord, but then changes its harmony to that of an augmented 5th. Cooke uses the metaphor for this combination that “it is Hagen’s day that is dawning”, i.e. the culmination of his plot to gain the ring.
Despite its simple melody, the Vassel’s Song does not lend itself to any obvious grouping with other motives. However the use of the augmented 5th is somewhat reminiscent of a similar battle call, i.e. that of the Valkyries from Act III – Scene 1 of Die Walküre. After Hagen rallies the Gibichung men he explains to them that the reason for which they were called is to celebrate Gunther’s marriage. The vassals find Hagen’s prank amusing and believe they can see a change in their ‘grim Hagen’, and the three note theme now is integrated into the vassals song about him and the good fortune of the Gibichung clan, hence the usual label for this theme is the Grim Hagen Motive.
In the next scene of Act II Siegfried’s deception of Brunnhilde fails, and she recognizes that it was he and not Gunther who took the ring from her. She proceeds to tell the assembly that Siegfried is the one who conquered her virginity. Thinking only of the preceding night he denies her charge and agrees to swear an oath to that effect. Hagen offers his spear’s point and Siegfried sings the motive of his oath which is shown in the next example from the score.
Brunnhilde counters Siegfried’s oath with one to the contrary, but still using the same theme. After the assembly has dispersed Brunnhilde’s spirit is crushed, and she asks metaphorically if there is anyone that can release her from her bonds. Hagen steps forward and offers to revenge her while the bassoon plays the motive of Siegfried’s Oath beneath his vocal line informing the audience of his plan to use Siegfried’s oath as a pretext to justify murder.
In Act III – Scene 2 Hagen manipulates Siegfried into telling the group of the exploits of his younger days. Secretly Siegfried is given an antidote to the Potion of Oblivion and his narrative goes on to inform everyone of how after wakening the sleeping maid he and Brunnhilde were joined. Hagen seizes the opportunity and thrusts his spear into Siegfried’s back. The vassels are horrified and ask him why he has done such a thing. At this point the orchestra plays a pair of two short sounding chords that Stone has labeled the Death Chords Motive. They are followed by a chromatic figuration on the cellos and contrabass. These last two themes will be developed for the interlude that is known in the concert hall as Siegfried’s Funeral March. When they recur at the start of that music the so called Death Chords are those of the tragic key of C minor and the string figuration is based on a C minor scale. Other authors have related the figuration to a similar figuration from Die Walküre labeled Sigmund’s Rebellion. This author finds both the rhythmic relationship of the chords and of the string figuration reminiscent of the rhythm that was played on solo tympani in association with death or its prediction. Sabor has labeled the tympani’s solos as the Crisis Motive (see discussion of the Fate Motive).
Music-Hagen-What Have You Done
The musical interlude, Siegfried’s Funeral March, is marvelous example of how Wagner can combine his motives sequentially so that they appear to form a linear narrative. Thomas Mann pointed this out and recognized the relationship of this music to the story of the Wälsungs. With this concept in mind one can listen to the interlude that begins with themes associated with the Wälsung twins and proceeds through to a triumphant statement of the Sword Motive followed by a change in the harmony of the Death Chords from the tragic minor to a more glorious major. The interlude finishes with statements of themes associated with Siegfried as a mature hero that were heard during the prologue to Götterdämmerung, but then they quietly fade and the music segues into a statement of the Curse Motive.
In the final moments of Götterdämmerung before Brunnhilde’s immolation she sings a theme, reinforced by the violins, that was only heard only once before in the Ring. It was sung by Sieglinde when she praised Brunnhilde in Die Walküre. Most authors refer to this theme as the Redemption Motive and some even say that it is the final musical theme, standing alone by itself at the close of the drama to give the work its closing dramatic theme. As mentioned in the chapter titled Woman’s Love it is now known that Wagner reportedly named this the theme of Brunnhilde’s Glorification. However Wagner did state that the meaning of the conclusion of the Ring was contained within its music, and therefore it is probably worthwhile to analyze the final bars in more depth. If nothing else the analysis should suggest some doubt that there is only one musical theme that is sounding at the Ring’s end. By the conclusion of the Ring an experienced listener has formed over a hundred dramatic associations with different musical themes, and it is difficult not to hear combinations of more than one of them.
Music-Brunnhilde's Glorification
The final music is much slower and drawn
out. The violin part plays the
Brunnhilde’s Glorification Motive, but note the ascending scale in triplets
that separates the falling interval of a 7th which, as argued by this
author, is dramatically associated with the concept of woman’s love.
Although something like this ascending scale was associated with the
Brunnhilde’s Glorification motive when it was sung by Sieglinde, in Götterdämmerung
Act III – Scene 1 the scale was more strongly associated with the Rhine
Daughters as they sang “lei, wala la la la wei-a la wala la wei” (see Rhine
Daughters chapter), and therefore the Rhine Daughters are involved in this final
music. Next look at the descending
scale of the tuba, cello, and contrabass. It
has an association with the end of the Valhalla music.
Next the horns in measures two and three play chord changes that not only
are associated with the Valhalla music, but more specifically in Götterdämmerung,
are associated with the statement of Wotan’s
that the return of the ring to the Rhine Daughters would ‘redeem the god and
the world’. The chord changes
were also associated with Brunnhilde’s statement telling the god to rest now
from his strivings. Indeed it is
through Brunnhilde’s immolation that the ring is returned to the Rhine.
So although it can be argued that the primary theme on the violins is not
that of redemption, the concept of redemption at least has to be considered in
the closing music.
Measure four of the closing bars has two, albeit more subtle, references to other motives. The first reference is to the Woe Motive with the falling half step from Bb to Bbb which also changes the harmony from a Gb major to a Gb minor chord. While the Gb minor chord sounds, the flute and the violins move through the note of Eb to their final Ab so that, at least for a brief moment, the harmony is that of a Gb minor 6th chord, which this author would argue is a reference to the Ring. So while some may hear only the melody played by the violins and use it to make their dramatic associations, Wagner might have been thinking of: the Rhine Daughters, praise for Brunnhilde’s act and her glorification by it, the end of Valhalla, redemption for Wotan, and an emotional mixture of joy and woe expressed at the end of this drama.