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Scruton/Heise Ring motif lists compared: Part 2

PostPosted: Sun Jul 30, 2017 1:56 pm
by alberich00
H#101 = S100 = D#99 (Wotan’s farewell to Bruennhilde) I’ve noted elsewhere that Wagner’s dramatic/conceptual model for Wotan’s separation from Bruennhilde is Lohengrin’s separation from Elsa. I’ve also noted that Wagner’s dramatic/conceptual model for Bruennhilde’s status as both Wotan’s and Siegfried’s unconscious mind is Wagner’s description in “A Communication from my Friends” of Elsa as Lohengrin’s involuntary, unconscious mind, and as Lohengrin’s redeemer.

H#102 = S101 = D#100 (Loge’s ring of magic fire). A variant of D#35 = S32.

H#103 = D#101 - S omits (this is the “Siegfried” variant of the Scheming Motif, whose genealogy is D#27 = S24A, D#36 = S33, D#44 (S omits), D#101 (S omits), and D#116 = S 116.

H#104 = D#102 - S omits (Scruton should include this motif. It’s heard several times in S.1.1, and perhaps S.1.3. It is associated with Mime’s conviction he isn’t able to use his Nibelung skill to reforge Nothung: Mime: (D#102:) “… yet I can’t forge it, Nothung, the sword!” Dunning suggests it incorporates D#37, the so-called Woman’s Worth Motif, which Scruton notes is also linked conceptually with powerlessness. It can be detected as a key influence on one of the motifs associated with the oath of bloodbrotherhood Siegfried and Gunther swear, D#158 = S161B. As I’ve stated elsewhere, Mime is a metaphor for what Wotan loathes in his own nature, his lower Nibelung nature [remember that Wotan is Light-Alberich, and the Ring Motif D#19 was transformed into the first two parts of the Valhalla Motif D#20ab], and Mime’s lack of authentic unconscious inspiration, his inability to re-forge Nothung due to his too great consciousness, and Mime’s inability to bring up the hero Siegfried to love him and obey him, parallels Wotan’s inability to create a free hero, and the need for Siegfried to actually forge his own sword, rather than Wotan providing a sword ready-made to Siegmund.

S102 - D omits (Crafty Mime; three motifs extracted from S9 = D#5, and from S14AB = D#15 and D#13.) I would need the libretto context to identify this music specifically.

H#105 = S104 = D#103 (Siegfried’s [youthful] horncall)

H#106 = S105 = D#104 (Frustration, associated with both Siegfried and Mime) It represents Siegfried’s rage and anger at, and loathing for, his foster-father the Nibelung Mime. In my allegorical interpretation, since Siegfried is Wotan reborn minus conscious knowledge of his true identity - which Bruennhilde knows for him, and Mime represents Wotan’s prosaic nature while Siegfried represents Wotan’s ideal nature, Siegfried’s loathing for Mime is actually Wotan’s self-loathing, his subliminal wish to purge his lower nature in order to be reborn purified as Siegfried. Wotan repressed his lower nature, and his conscious knowledge of his lower nature, in Bruennhilde, his unconscious mind and womb of his wishes, in his confession to her. It’s perhaps no accident that the first, descending portion of D#145 = S144, which brings Siegfried’s love duet with Bruennhilde - Wagner’s metaphor for Siegfried’s unconscious artistic inspiration - to a climax, seems to be based on D#104 = S105, since thanks to Bruennhilde’s love Siegfried has been redeemed from all that Wotan loathes in himself [his Mime nature] by the climax of “Siegfried,” as if Siegfried’s anger against Mime, Wotan’s self-loathing, has been transformed into Siegfried’s triumph, in Wotan’s self-overcoming. It’s also noteworthy that the name Mime, the mime or imitator, is echoed in Wotan’s critique of his conventional wife Fricka in V.2.1 that she only knows what’s been done before but not the new, and in Alberich’s critique of his brother Mime in S.2.3 that Mime is incapable of inventing anything, having gotten the idea for the Tarnhelm from Alberich.

H#107 = S107 = D#105 (False sentiment. Mime’s ‘altes Starenlied.’) This is the motif which expresses Mime’s insistence on all that Siegfried owes him for his upbringing, and its variant D#111 = S111 expresses Siegfried’s feeling of joy in freeing himself from his alleged debt to Mime.

H#108 = S108 = D#106 (The voice of nature in Siegfried. Reminiscences of S100 = D#99 and S22B = D#25.) I believe D#106 is primarily associated with parental, perhaps specifically maternal love; at its initial occurrence Mime is answering Siegfried’s question re why Siegfried always returns to Mime though Siegfried despises him, and Mime answers: “My child, that makes you understand how dear to your heart I must be.” It also has a preternaturally mother-like feeling about it.

H#109 = D#107: S omits: Mime: “Whimpering, young things long for their parents’ nest: love is the name of that longing.”

H#110 = D#108 - S omits: Speaking of the loving animal mothers and fathers Siegfried has seen caring for their young in nature, Siegfried says of them: “They dallied so fondly, not leaving each other but building a nest and brooding inside it: young fledglings then would (#Bird Calls:) flutter out and both of them tended the brood.” D#108 is a continuation of D#107, but both are heard as independent motifs multiple times. Dunning evidently identifies these two related motifs by number because after their inception they’re both heard again distinguished in this way.

S109 - D omits (The first suggestion of birdsong, accompanied by S22B = D#25 and woven into S108 = D#106.) It is of course in response to Siegfried’s longing to see his mother that he experiences the forest murmurs and ultimately the Woodbird songs. I’d need to know the precise libretto context for this. I’ve noted previously there are hints of woodbirdsongs prior to their occurrence as the culmination of forest murmurs. Wagner noted that D#106 = S108 is - at least in certain contexts - a reminder of Sieglinde, and that the Woodbird whose song Siegfried finally understands can be understood as Sieglinde’s reincarnate spirit. However, even this reading authorized by Wagner can’t fully account for all the Woodbird tells Siegfried, since her revelations include the instruction to take possession of Alberich’s Ring, Tarnhelm, and Hoard, including information on the powers Siegfried would possess in obtaining them. This is the sort of thing Wotan would have told Siegfried, and which Siegfried can learn from Bruennhilde, but not something which would have concerned Sieglinde, since she was ignorant of it.

H#111 = D#109 - S omits: A synthesis of D#57, Wotan’s great idea/sword motif, and D#103, Siegfried’s horncall, the product of Siegfried’s extreme excitement after Mime reveals he possesses proof of the story Siegfried forced him to tell of Siegfried’s true father and mother, in the broken pieces of Siegfried’s father’s sword: Siegfried: “And these fragments you shall forge for me: then I’ll wield my rightful sword.”

H#112 = S110 = D#110 (Freedom, Wanderlied.) Dunning recorded several instances of #110 in the score in scenes from the “Ring” after S.1.3, but I can’t hear the instances he recorded. On one occasion, Siegfried’s Rhine Journey, Dunning seems to misread D#110 with D#145, which does indeed occur in the Rhine Journey, a reminiscence of the climax of Siegfried’s S.3.3 love duet with Bruennhilde. This needs to be checked against the score.

H#113 = S111 = D#111 (Freedom, second motif.) D#111’s origin is Mime’s D#105 = S107.

H#114 = S112 - D omits giving it its own number, but S112 = D#2/D#53 in a 3/4 time variation (One candidate for the World Ash Motif) It definitely deserves status as a distinct motif.

H#115 = S113A = D#112 (The Wanderer, first motif) I believe Cooke traced D#112 to a Loge motif.

H#116 = S113B = D#113 (The Wanderer, second motif) Dunning suggested D#20b = S18B, the Valhalla motif’s second segment, may be an embryo for D#113 = S113B.

H#117 = D#114 - S omits: Wotan’s Contest of Knowledge with Mime Motif: Wotan: “… (D#114:) my head is yours to treat as you choose, if you fail to ask what you need to know and I don’t redeem it with my lore.” Scruton should include this in his list, since it’s repeated and carries much conceptual weight.

H#118 = S114 = D#115 (The Power of the Gods Motif, which Scruton says is associated with the World Ash when in conjunction with S114’s inverted form, the S19 Spear Motif.)

S115 - D omits (“Nun, ehrlicher Zwerg … .” The Wanderer claiming a temporary home/hospitality from Mime. It’s a variant of S63 = D#68, Hunding’s Honor, and related to the Oath of Atonement S163 = D#159.) I recall hearing this in association with Mime’s cave in S.1.2, but couldn’t identify this previously, and didn’t recognize its significance.

H#119 = S116 = D#116 (Hallowed contracts guarded by the spear) Dunning construes D#116 as part of the family that includes D#27, D#36, D#44, D#101, and D#116.

H#120 = S117 = D#117 (Mime’s glee. Prolongation of S37 = D#41, the Nibelung Forging Motif.)

H#121 = S118 - D omits, but it’s basically a variation on a fragment from #103, Siegfried’s horncall (Siegfried’s labour)

H#122 = D#118 - S omits (Wanderer: “(D#118:) Only he who never knew fear (D#57) will forge the sword anew.” Scruton should include this motif, because it’s repeated and has conceptual weight.

H#123 = S119 = D#119 (Nothung. Octave drop on Siegfried’s cry “Nothung! Nothung!,” based on S51 and S52 via S66.)

H#124 = S120ABCD: S120A = D#120; S120C = D#121 (Siegfried’s smelting song, four semi-motifs.) S120A = D#120 seems to be a variant of D#105 = S107 and D#111 = S111, sometimes called “Siegfried’s Mission.”

H#125 = S121 = D#122 (Associated with Mime’s craftiness.)

H#126 = S122 = D#123 (Extension of S121 = D#122) I note that D#123 is especially associated with Mime’s intent to give Siegfried a potion which will put him to sleep so Mime can chop off Siegfried’s head and steal Alberich’s Ring once Siegfried has killed Fafner and won it for him. While Mime brews his potion Siegfried re-forges Nothung, and this ironic simultaneity is captured by D#123, which also includes an oscillation related particularly to the potion Mime is brewing. Curiously, we hear D#30b and D#97, the second segment of the Godhood Lost Motif sung by Fafner in R.2, and Bruennhilde’s magic sleep motif D#97, which is based on D#30b, as Mime says: “From herbal juices I’ve gathered, I’ll brew a drink for him; he’ll need to drink only very few drops before sinking, senseless, into sleep … .” Mime represents Wotan’s loathsome, prosaic motives hidden beneath his august, divine veneer, and Wotan’s hidden intent is that the Volsungs, and Siegfried in particular, must sacrifice themselves to Alberich’s Ring curse in order to preserve the gods from it. This allusion to music we’ll hear when Siegfried approaches the waking Bruennhilde recalls that throughout Siegfried’s interactions with Mime we hear motival allusions to Loge’s Ring of fire, Fafner as fear, and Bruennhilde’s motif D#98 as Mime is describing how he’ll teach Siegfried fear by leading him to Fafner. Wagner conflates the fear Fafner would teach Siegfried with the fear Bruennhilde will teach Siegfried. In both instances the fear arises from Alberich’s/Light-Alberich’s hoard of fearful knowledge, which sleeps with Bruennhilde until Siegfried wakes her. The rising segment of D#123’s upper line has a curious resemblance to S173 = D#169, Gutrune’s welcome, though the latter has no harmony. Also, this motif has a curious resemblance to D#135 = S135, Wotan’s teasing of Siegfried. Scruton suggests S135 may be a satirical memory of S134 = D#134. D#135 also has a resemblance to Siegfried’s forging music D#124 = S122. Gutrune, unlike Mime, actually manages to administer a fateful potion to Siegfried. And Wotan is indirectly luring Siegfried, just as he did Siegmund, into becoming his unwitting proxy, who will die for Wotan’s sake just as Siegmund did. Wagner draws numerous musical and dramatic parallels between Wotan and Mime. The point is, there’s some deep underlying conceptual connection between the two potions of the “Ring,” Mime’s and Hagen’s, and Bruennhilde, in whose initially fearful embrace Siegfried figuratively dies in order to be reborn, and this concerns the link between Wotan/Light-Alberich and Alberich, and the Volsungs’ unwitting implication in Wotan’s futile quest to redeem gods, man, and world from Alberich’s Ring Curse. This is also linked conceptually somehow to Nothung’s status as a metaphorical phallus which plants a seed in the womb of unconscious artistic creation, Bruennhilde, who holds self-knowledge for Siegfried which would be fatal to him were he to become conscious of it, as he does in T.3.2 at the culmination of his song narrating how he came to grasp the meaning of birdsong.

H#127 = S122 = D#124 (Siegfried’s forging song) A possible influence on D#135 = S135?

H#128 = S123 = D#125 (Siegfried’s praise of Nothung. This is one of the “Siegfried Idyll” themes.) I note that D#75, which Scruton omits, first heard during Siegmund’s love song in V.1.3, may be an embryo for D#125.

H#129 = S124 = D#126 (Fafner as Dragon. Transformation of S23 = D#26, the Giants’ Motif)

S125AB: S125A = a variation of D#48 = S41. (Fafner motifs) S125B looks almost like a variant of D#82, which is an inversion of Wotan’s spear motif D#21, and associated with Wotan’s explosion of despair in V.2.2 to which Bruennhilde responds with such sympathy that he confesses to her knowledge he dare not even confess to himself.

H#130 = S126 = D#127 (Siegfried the free hero) Wotan tells Alberich Siegfried stands on his own. Scruton says S126 is derived from S110 = D#110, but Dunning thought, and I agree, that it’s a D#111 = S111 variant. Of course D#110 and D#111 are paired at their inception, both conveying Siegfried’s joy at being liberated from Mime by his newly gained knowledge of his heroic parents and the sword he inherited from his father, which he’ll wield in the outer world once he leaves Mime.

S127 - D omits, but considered S127 a variant of D#11 = S12 (Forest Murmurs)

S128AB = D#128a and D#128c (Woodbird Motifs) So far as I know, these are heard only on this occasion and not repeated, unlike more significant portions of S128 and S130, Woodbird songs which carry future conceptual weight.

H#131 = S129 = D#128b (A Woodbird motif) with more conceptual significance than D#128ac, heard repeatedly later in the “Ring.”

H#132 = S130 = D#129ab (Woodbird motif derived from Woglinde’s lullabye D#4 = S4)

D#130 - S omits: Expresses Mime’s anger that Alberich won’t share the spoils from Siegfried’s killing of Fafner with him. Only heard in that context in S.2.3. Perhaps not worthy of motif status.

H#133 = S131 = D#131 (Crafty Mime/False flattery. Variation of S102) I detect possible embryos for some music associated with the Gibichungs, particularly Gunther’s motif D#152. Scruton left out of his musical notation a continuation of S131 into music resembling that of Gunther’s D#152. Gunther and Gutrune and Hagen, like Mime, offer false friendship to Siegfried and conspire behind his back to administer to him a nefarious potion, but unlike Mime, successfully administer this potion to Siegfried. There is other music associated with Mime that doesn’t rise to the level of identifiable motifs but which seems embryonic to the family of Gibichung motifs which includes False Friendship D#155, Gutrune #156, and the Gibichung Horncall Motif D#171, which Cooke noted have a relationship on the basis of particular intervals.

H#134AB = S132 = D#132AB (Siegfried’s joy) in learning of Bruennhilde from the Woodbird.

H#135 = S133 = D#133 (Wotan’s summons to Erda. Based on S22B = D#25) and thus part of the love motif family which includes D#25, D#39, D#40, D#64, and D#140.

H#136 = S134 = D#134 (World Inheritance Motif: Wotan’s second bequest. Porges calls it the redemption theme, which seems to have been Wagner’s own term for it.) I note it’s the only motif in the “Ring” which Wagner verbally associated with the idea of redemption. D#93, Sieglinde’s blessing on Bruennhilde, often called the redemption motif, Wagner at different times called Bruennhilde’s glorification and a hymn to heroes. Wagner also stated that upon its first occurrence in S.3.1 S134 = D#134 should sound like the herald of a new religion, and Wagner, following Feuerbach, considered his artwork of the future the new secular religion.

H#137 - A motif both Scruton and Dunning omit, but which is heard three times in association with the following libretto texts in S.3.2 during Wotan’s confrontation with Siegfried: “Siegfried: (H#137Voc:) My woodbird’s flown away; - with fluttering flight and sweet-sounding song it blithely showed me my way (:H#137Voc); now it has fled far away from me. (D#57 = S51 variants:) It’s best if I find the rock by myself: I’ll follow the path that my guide pointed out.” .” (…) “Siegfried: (#D66 = S61:; H#137voc:) Are you laughing at me? No more of your questions, old man; don’t keep me here talking any longer (:D#66 - S61; :H#137Voc) (D#66 = S61 Definitive:) If you can show me the way, then tell me; if you’re unable, then hold your tongue (:D#66 = S61). (D#66 = S61 Strongly emphasized!!!)” (…) “Siegfried: (H#137Voc:) Let me see what you look like! Why are you wearing so huge a hat (:H#137Voc)? (D#66 = S61:) Why does it hang down over your face (:D#66 = S61). Wotan: (D#112 = S113A variant:) That is the Wanderer’s way when he walks against the wind (:D#111 = S113A).” This poignant and suggestive motif seems to resonate with the notion that Wotan can’t show Siegfried the way to the redemption by loving union with Bruennhilde, that Siegfried, thanks to the Woodbird whose voice he can grasp only by virtue of his fearless heroism and alleged independence of Wotan, alone can show himself the way. The irony is that Wotan, by virtue of having confessed his futile desire for a free hero who could redeem the gods from Alberich’s curse to Bruennhilde, has made his hidden intent available to Siegfried subliminally by virtue of storing it in Wotan’s own unconscious mind (the collective unconscious), Bruennhilde, where Siegfried can access it. The Woodbird, whose songs are Wagner’s metaphor for the unique music and musical motifs of the “Ring,” are actually the voice of Bruennhilde. Wagner once stated that Sieglinde, Siegfried’s mother, is reincarnate in the Woodbird, but Bruennhilde is Siegfried’s metaphysical mother, and Siegfried will confuse his blood mother with Bruennhilde after waking Bruennhilde. Bruennhilde knew Sieglinde was pregnant with Siegfried before Sieglinde knew it, and Bruennhilde took it upon herself to name Siegfried without consulting Sieglinde. The secret hidden in all this is that Wotan metaphysically gave birth to Siegfried by planting the seed of his desire for him in the womb of Wotan’s wishes, his unconscious mind Bruennhilde, by confessing it to her. God’s word became flesh in Siegfried. All this seems to be behind the peculiar resonance of this motif limited to a few of Siegfried’s vocal lines from S.3.2.

H#138 = S135 = D#135 (Wotan teasing Siegfried: satirical memory of S134 = D#134) Scruton’s notion that the fascinating motif D#135 is a satirical memory of D#134 is intriguing, but I’m having trouble hearing any real link between them. I do recall that from my earliest experience of the “Ring,” D#135 had the most suggestive effect upon me, as if it is carrying some remarkable motival resonance, as if something very meaningful is hidden in it. I could easily understand why Thomas Mann described this scene S.3.2 as of the highest poetry. Teasing doesn’t quite go far enough; what Wotan is doing is determining whether or not Siegfried is sufficiently independent of him to be his free hero of redemption, and as we hear variations of D#135 Wotan is asking Siegfried if he can trace his motives back to their original source in Wotan himself, and Siegfried can’t, so this delights Wotan. He wants to insure Siegfried is unconscious of Wotan’s influence. Wotan influences Siegfried subliminally through Bruennhilde, who knows for Siegfried what Siegfried doesn’t know, his true identity and prehistory and unwitting role in Wotan’s destiny.)

D#136 - S omits: A figure describing the rolling of Loge’s ring of fire down toward Siegfried, as Wotan threatened. So far as I know it only occurs at one or two moments in S.3.2 for that purpose and carries no conceptual weight. It can probably be dismissed as a motif.

H#139AB = S136 & S136A = D#137 (Siegfried’s fear [of waking Bruennhilde]. The first bar is derived from D#66 = S61, the sorrow of the Volsungs) caused by Wotan’s implication of them in his futile bid for redemption from Alberich’s ring curse. D#137 stems from Wotan’s Spear motif via D#81, Wotan’s Frustration Motif, according to Cooke, and in turn gives birth to D#164, associated with Bruennhilde’s recognition that what she had taken for bliss in her loving relationship with Siegfried was Wotan’s ultimate punishment of her for living for the love he’d given up on, which Bruennhilde realizes once she’s been betrayed. Many commentators accept the facile notion that Siegfried’s fear of Bruennhilde stems from a youth’s trepidation before his first sexual experience, but the genealogy of D#137 indicates it stems from Siegfried’s subliminal awareness that Bruennhilde knows for him what he doesn’t know, that he’s the unwitting agent of Wotan’s futile quest for redemption, exemplified by Wotan’s Frustration Motif D#81. The fact that Siegfried’s fear of waking Bruennhilde stems from Wotan’s own fear is proved when Bruennhilde, having been woken by Siegfried, goes into spasms of fear of him as we hear the same complex of motifs which accompanied Wotan as he exploded in anguish just prior to his confessing his hoard of unbearable knowledge to Bruennhilde in V.2.2, namely the curse motif D#51, Wotan’s Revolt Motif D#82, etc. Kitcher and Schacht entirely misread this mutual fear in their “Finding and Ending.”

H#? = S137, including S137A - D omits (Bruennhilde’s beauty/devotion motif. Both versions end in a D#37 = S34 variation, the Woman’s Worth Motif) which is derived from the second half of the so-called renunciation motif D#18 = S17. I’d need to know the libretto context for this. I’m not sure it’s a true motif.

H#140 = S138 = D#138 (Bruennhilde’s awakening)

H#141 = S139 = D#139 (Siegfried stands before Bruennhilde.) Dunning regards this as a harmonically enriched variant of D#24, the first half of Freia’s motif.

H#142 = S140 = D#140 (Siegfried’s and Bruennhilde’s love salute.) Part of the love motif family stemming originally from D#25, the second segment of Freia’s motif.

H#143 = S141 = D#141 (Bruennhilde’s maternal love for Siegfried, associated with S137) It’s first heard in the orchestra expressing their ecstasy as they look into each other’s eyes just after Siegfried woke her and they hailed each other to D#140. One of S141’s first significant conceptual associations is with Bruennhilde’s remark that she is Siegfried’s self if he but love her in his bliss, which is followed instantly by her remark that what he doesn’t know she knows for him, accompanied by the Fate Motif D#87. So the notion of Bruennhilde representing a key component of Siegfried’s own identity (unknown to him but known to her) is captured early by D#141.

H#144 - S & D omit: This compound motif might usefully be called something like “Bruennhilde’s rising alarm at the vehemence of Siegfried’s longing”. Here’s its initial context: “(#? - 2 strong notes in the bass; #37 frag; D#81 frag; D#77 frag: He [Siegfried] remains in a state of great agitation, gazing at her [Bruennhilde] with an expression of yearning desire. Bruennhilde gently turns her head aside and looks towards the pinewood. #? Two strong notes in the bass; D#81 frag; D#77 frag; D#40 in a sad variation on oboe)” The contents of this compound motif vary somewhat with each repetition, but it’s always preceded by the strongly pronounced two-note phrase, possibly a fragment of a motif.

H#145 = S142 = D#142 (Bruennhilde’s sense of her unsullied nature/immortal beloved. Inversion and adaptation of S99 = D#98, with S98 = D#99 in the bass.) The first of several “Siegfried Idyll” themes in S.3.3. In my interpretation, Bruennhilde is seeking to insure that Siegfried will preserve her sanctity as his holy of holies, Wotan’s unconscious mind, the religious mysteries contained in Wotan’s confession of his secret hoard of knowledge to her which will remain forever unspoken in words, but which is expressed in music, so Siegfried feels it but doesn’t think it.

H#146 = S143 = D#143 (Siegfried as “Hoard” and life of the world. The world’s treasure motif.) Another “Siegfried Idyll” motif. This motif is extremely significant because it captures the notion of Siegfried as having, by virtue of waking and winning his muse Bruennhilde, fallen heir to Wotan’s and Alberich’s fearful hoard of knowledge of the world, but being protected by Bruennhilde’s love from suffering the wound of consciousness of this knowledge, which Bruennhilde knows for Siegfried so he need not know it consciously. Cooke stated it’s a basis for D#150 = S151, which confirms this reading, because D#150 is introduced in T.P.B in association with Bruennhilde informing Siegfried that she imparted the gods’ (i.e., Wotan’s) hoard of runes to Siegfried. This conceptual/motival set of associations is one entre into a key thread of meaning in Wagner’s “Ring” missing from virtually every other interpretation than my own.

D#144: S omits: I marked D#144 originally in my paperback copy of Stewart Spencer’s translation of the “Ring” as occurring first at this point in S.3.3: Siegfried: “(D#137b:) A glorious floodtide billows before me; with all my senses I see only it - (D#144:) The wondrously billowing wave (:D#137b): though it shatter my likeness, I’m burning myself now to cool raging passion within the flood … .” I don’t think this descriptive musical trope, whatever it is, deserves status as a motif, since in my recent close listening I couldn’t even distinguish it, and at any rate if it occurs it’s only at this moment, with no conceptual weight.

H#147 = S144 = D#145 (Bruennhilde and Siegfried united/love’s resolution.) D#145’s first, descending half seems to be a triumphant variant of Siegfried’s loathing for and anger at Mime captured in D#104 = S105. As I’ve explained elsewhere, Wotan wished to purge himself of his prosaic, mundane Mime-nature. Remember that Wotan is Light-Alberich, and that the Valhalla Motif’s first two segments, D#20ab, are produced by a transformation of Alberich’s Ring Motif D#19 in the transition R.1-2, while the gods are sleeping and Valhalla is being built by the giants while the gods sleep. By virtue of storing his hoard of unbearable self-knowledge in Bruennhilde (the knowledge Wotan told Bruennhilde he dare not say aloud lest he lose the grip sustaining his will), Wotan’s unconscious mind and womb of his wishes, Wotan could be reborn as the ideal Siegfried, purged of all that Wotan loathed in his own nature, and minus consciousness of his true identity, knowledge of which is held for Siegfried by Bruennhilde. It is this self-knowledge from which Bruennhilde’s love offers Siegfried/Wotan redemption, which is perhaps why D#104, Siegfried’s contempt for Mime, is transformed into a heroic and triumphant variant to close “Siegfried” at the climax of Siegfried’s and his muse Bruennhilde’s figurative sexual union (a metaphor for Siegfried’s ecstatic, unconscious artistic inspiration), which has restored Siegfried’s fearlessness.

H#148 = S145 - D omits, but S145 = D#3 inversion (The rope of destiny: Norns’ spinning. Scruton sees it as a variant of his S6, Rhine waves), but not specifically S2.

H#149 = S146 possibly? = D#146 (Motif associated with the World Ash Tree.) But Scruton’s musical notation doesn’t match Dunning’s. Here’s D#146’s initial occurrence: (D#2; D#146 vocal:) At the world-ash once I wove (D#3 variant:) when, tall and strong, a forest of sacred branches (:#D3 variant) (D#20d vocal:) blossomed from its bole (:D#20d vocal).

S147AB - D omits, but S147A recalls S85 = D#88, and S147B recalls S101 = D#100. (Norns. According to Scruton S147AB recalls the Annunciation of Death Motif and the Magic Fire music), which stems from Loge’s D#35, which is related in turn to the Tarnhelm motifs D#42 and D#43 and Hagen’s Potion Motif D#154. The Norns remember the old days of Loge nostalgically, and of course he continues to burn above them on Bruennhilde’s mountaintop.

H#150 = S148 = D#147 (The Norns sing of fate.)

H#151 = S149 = D#148 (Siegfried’s manhood. A broader version of S104 = D#103)

H#152 = S150 = D#149 (Bruennhilde’s womanhood.) Conceptually, D#149 is associated with Bruennhilde understanding her love’s purpose is to inspire Siegfried to undertake new adventures in the outer world beyond their protective ring of fire, which in my allegorical reading means creating/performing inspired works of redemptive art.

H#153 = S151 = D#150 (Love’s Delight. Cooke relates this to S143 = D#143), which underlines Bruennhilde’s description of Siegfried as the “Hoard of the World,” i.e., as the heir, by virtue of winning her love, of Wotan’s/Alberich’s hoard of secret knowledge, of which Bruennhilde became the repository after Wotan confessed it to her in V.2.2. In T.P.B, it is associated with the following key passages: Bruennhilde: “(D#150:) What gods [Wotan’s confession] have taught to me, I gave to you: a bountiful hoard of hallowed runes,” and Siegfried: “You gave me more, o wondrous woman, (D#150 = S151:) than I know how to cherish [i.e., keep, or guard] (:D#150 = S151) (D#150 = S151) (D#149 = S150:) Chide me not if your (D#150 = S151:) teaching has left me untaught (:D#149; :D#150).” Both D#143 and D#150, musically related, clearly underscore Siegfried’s status as heir, through Bruennhilde, of Wotan’s forbidden hoard of fearful knowledge, a secret which Siegfried has just unwittingly admitted to Bruennhilde he may not keep. This gives us the entire plot of “Twilight of the Gods,” and therefore also of “Tristan and Isolde,” which Wagner stated is mythically identical to the plot of “Twilight,” in which the allegorical artist hero unwittingly betrays his muse of unconscious inspiration by giving her and her secrets away to his audience (i.e., Siegfried and Tristan give Bruennhilde and Isolde away to Gunther and King Marke, respectively).

S152AB - D omits (The Gibichungs. A family of motifs built around these two strains of music.) I would need the libretto context to identify this music specifically, especially S152B.