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The Ring of the Nibelung
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Musical Motifs in Richard Wagner's The Ring of the Nibelung

The Rhinegold

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[[#1]] “Primal Nature”

We gradually become conscious of the essence of uncreated Nature, which has always, and will always, be embodied by changing forms, which evolve over time into new forms.

(#1 basis of #2, #3, #53 and #57b, and perhaps #115; via #53 a basis for #71, #77, #88, #92, #95, and perhaps #152)

Prelude: “(The orchestra begins while the curtain is closed. [[ #1 ]] Greenish twilight, lighter above, darker below. [[ #2 ]] The top of the stage is filled with billowing waters that flow unceasingly from left to right. [[ #3 ]] Towards the bottom the waves dissolve into an increasingly fine mist-like spray, so that a space the height of a man appears to be left there completely free of water, which flows like scudding clouds over the dusk-enshrouded river bed.)”

 

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[[#2]] “Rhine Motion”

(#2 based on #1; basis of #3, #14, #38, #53, and by extension of #54, which is approximately #53's inversion, and #175; see #1 above for other links)

[See #1 for #2’s dramatic context]


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[[#3]] “Definitive Rhine River”

(#3 based on #2; #3’s inversion is the basis for the motif which represents the Norns (Erda’s daughters) spinning the rope of fate. see #2 above for genealogy)

[See #1 for #3’s dramatic context]

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