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The Ring of the Nibelung
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(She hurls the firebrand on to the pile of wood, which quickly ignites. #34: Two ravens have flown up from the rock on the riverbank and disappear in the background. She catches sight of her horse, which two men have just led in. #78?; #77?)

 

Bruennhilde: (#77/#34>>) Grane, my horse, take this my greeting!

 

(She has leapt towards it. Taking it, she quickly removes its bridle and leans towards it, confidingly.)

 

Bruennhilde: (#77; #100 Accompaniment) Do you know, my friend, (#77) where I’m taking you now? [[ #178=#93 ]] Lit by the fire, (#92) [[ #178=#93 ]] your lord lies there, (#92) Siegfried, my blessed hero. (#77; #78) You whinny with joy to follow your friend? (#35) Does the laughing fire (#78a) lure you to him? [[ #178=#93 ]] Feel how the flames burn in my breast, [[ #178=#93>>>> ]] effulgent fires seize hold of my heart: to clasp him to me while held in my arms and in mightiest love to be wedded to him! (#78/#92) Heiaho! Grane! [[ #178=#93>>>> ]] Greet your master! Siegfried! Siegfried! See! (She has leapt on to the horse and raises it to jump: #134 Vari Voc or #92c or #71 vari “Hero”?) In bliss your wife bids you welcome!”

 

[#178=#93 is the most prominent motif heard in the final moments in the apocalyptic finale of the Ring as we see Valhalla and its gods and heroes burning in the distance:]

 

“(#4/#3: A red glow breaks out with increasing brightness from the cloudbank which had settled on the horizon. By its light, the three Rhinedaughters can be seen swimming in circles and merrily playing with the Ring on the calmer waters of the Rhine, which has little by little returned to its bed. #20a in a glorious vari; #4/#178=#93/3: From the ruins of the fallen hall [Gibichung Hall burned up], the men and women watch moved to the very depths of their being, as the glow from the fire grows in the sky. As it finally reaches its greatest intensity, the hall of Valhalla comes into view, with the gods and heroes assembled as described by Waltraute in Act I. #20a; #115 repeated and developed; #59; #92; #54 as heard when Hagen called the Gibichungs to arms for the double wedding in T.2.3; #20d bass; #100 with harps as in the finale of V.3.3; #178=#93; #174a; #59a & #5)”

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