Leitmotif or "Leading Musical Motif" is a term for a series of ever-recurring, ever-changing musical themes that appear in the Ring cycle and are associated with narrative elements such as characters, places, objects, events, and ideas.
In theoretical essays such as "Opera and Drama" which predate the proper composition of the Ring, Wagner had posited the use of "malleable natural musical motives" and "basic musical motives" that will serve as "emotional moments of memory or of presentiment" - i.e. they either make us remember earlier appearances, or set-up future appearances. He also called them "melodic elements", "fundemental themes" and "principal motives."
Wagner's intention was that these motives and their variants would comprise the entirety of the score of the Ring, rather than having one or two "reminiscence themes" as was the practice in previous operas, such as Wagner's own Lohengrin, which has only a couple of themes that appear sporadically through the opera, and which do not undergo any major change.
Wagner will have sketched a couple of these themes on their own, before he got into the scoring process, what with the theme of the Valkyries having first been used in early drafts to score the Norn scene. Some of the sketches bear names like "Fafner" and "Woodbird." Wagner originally designated the motives to appear in the vocal line, first, but during the composition a great many of them ended up appearing in the orchestra, and often early on in hidden "embryonic" forms that presage the first definitive appearance of the motive.
The term "leitmotiv" had become popularized during Wagner's lifetime, first by August Wilhelm Ambros in an 1860 article about Tannhauser, and later in analyses of individual themes by Gottlieb Federlein and then by Hans von Wolzogen, who created a complete guide of leitmotives ahead of the Ring's premiere. Wagner would later begrudingly refer to them as "my so-called 'leitmotives'." Nevertheless, he did make indications as for the naming of a few of them, including the "redemption motive", "renounciation motive" and pointing out the development of what he described as the "Rhinedaughters' motive" to Bulow. He also told Cosima that the theme he gave to Sieglinde singing the praises of Brunhilde was concieved as "Glorification of Brunhilde" and "hymn for fallen heroes."
The definition of the leitmotif varies: where one commentator may list a single leitmotif, another comentator can break the same melodic phrase into several discrete parts and list them as individual motives, as well as several variants to create a much longer list of motives. Some commentators deem some of the motives to be "incidental." Therefore, the number of leitmotives identified in the score varies from some 67 motives (as identified by Millington), through 120 (as identified by Monte Stone) to as many as 261 (as identified by Stefan Mickisch). Most recent lists, such as those compiled by Paul Heise or Roger Scruton, sit at around 180 leitmotives.
The use of the motives is highly varied and becomes more sophisticated as the cycle continues into its second half, beginning with act three of Siegfried. The theme of Wotan's Spear is also used to denote the sanctity of contracts which Wotan's spear ensures, and also to denote the will of Wotan. They are also used to create parallels or make connections: the sword theme is used for Wotan being seized by the thought of a name for his new castle, not because it has anything to do with the sword, but so that we connect the sword back to Wotan as we hear its theme in the first act of the subsequent opera, Die Walkure. The Renounciation motif appears for Siegmund's pulling Notung out of the tree so as to create a parallel and thereby contrast with Alberich from the previous evening.
Indeed, some the motives subtly change their associative meaning in the second half of the Ring: the theme that was associated specifically with the Rhinegold, becomes in the Third Act of Siegfried a more generalized "joy" theme, recalling the joyous call of the Rhinedaughters for the gold. Occasionally, too, the themes seem to be used purely for affect: like the use of the Tarnhelm motive when Waltraute tells Brunhilde that Wotan returned home with the spear in splinters.
The leitmotives are interconnected and can be divided into sets and subsets of related and contrasting themes. All themes to do with nature, for instance, are related; and they oppose the themes associated with the Ring and the world of corruption, which are all related as well. As the Ring cycle continues, the motives become interwoven and confused with one another. They are also associated with certain orchestral colours, with the Valhalla motive closely associated with the Wagnertuben, while the sword is closely associated with the trumpet.
Leitmotif families[]
- Nature Themes: All the themes based on diatonic chords are related to Nature. These also encompass the themes of the Godly, Human and Nibelung characters of the cycle. Nature envelopes a large number of motives including the Rhine music, all of the Rhinedaughter material, all the music associated with the magic gold, descriptive music associated with both the Rhine and the forests around Neidhole, etc...
- Corruption: This family of themes is associated with the Ring and the world of corruption and tyranny, and directly opposed the nature themes. Its based on the diminished ninth chords that characterize the Ring theme.
- Law: Based on the falling scale that forms the theme of Wotan's Spear, which is a tool of authority and pacts. It spans many themes including some of Hunding's material, Wotna's frustration, but also Wotan's love of his children and even some of the later love music in the cycle.
- Magic: Based on the Mediant chord relationship first introduced in Loge's fire music, but especially in the music associated with the Tarnhelm.
- Woe: All the motives based on a minor second (falling halfstep) are associated with woe, including the motif of the power of the Ring.
- Joy: All the motives based on a major second (falling fullstep) are associated with Joy, namely the Rhinedaughter's call for the Rhinegold.
- Antagonistic Forces: all the themes prominently featuring a falling fifth are associated with antagonistic forces: Fricka in her confrontation with Wotan, Brunnhilde in her reluctance to give-in to Siegfried, and finally the Gibichungs.
- Manhood: All the themes featuring a prominent falling sixth are associated with manhood and the deeds of Man, including many of the heroic themes of the Ring but also the "Renounciation" theme.
- Womankind: A couple of themes in the Ring, beginning with Fricka's desire for domestic bliss, feature a falling seventh interval which becomes associated with women and also forms Brunhilde's theme and the final redemption theme of the cycle.
- Heroism: All the themes featuring an octave-leap are associated with heroism, most notably with the sword.
- Action: all the themes characterized by dotted rhythms in The Ring are associated with action and movement.
- Love themes: Based on a three-note cell that becomes associated with Freia, the goodess of love. It appears in many variations and extensions, and also forms the love theme of Siegfried and Brunhilde's.
List of Leitmotives[]
| Walkurepedia | Wagner | Mikisch | Everett | Heise | Scruton | Cooke | Holman | Stone | Calzaretti | Dunfee | Wolzogen | Collingwood | Donnington | Lavignac | Sabor | Mann | Newman | Burghold | Millington | Winestock | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Accounted | Accounted | Accounted | Accounted | Accounted | Accounted | Accounted | Accounted | Accounted | Accounted | Accounted | Accounted | Accounted | Accounted | ||||||||
| 1 | Primal Nature | Primal Nature | Primal Nature | ||||||||||||||||||
| 2 | Nature | Nature Variant | Rhine | ||||||||||||||||||
| 3 | Rhine | Rhine River | Waves | ||||||||||||||||||
| 4 | Rhinedaughter Sprightly Theme | Woglinde Lullaby | Woglinde Lullaby | ||||||||||||||||||
| 5 | Flosshilde’s warning | ||||||||||||||||||||
| 6 | Anguish | Alberich's Woe | Alberich’s distress | Bondage | |||||||||||||||||
| 7 | "Sie Dritte so Trout" | Liebesnot | |||||||||||||||||||
| 8 | Rhine Wave | Rhine Wave | |||||||||||||||||||
| 9 | Alberich's Lurching | Alberich Clumsiness | Alberich | ||||||||||||||||||
| 10 | Alberich's Futile Wooing | Alberich's Futile Wooing | |||||||||||||||||||
| 11 | Wellgunde’s taunt | Wellgunde Leads Alberich On | Wellgunde’s taunt | ||||||||||||||||||
| 12 | Alberich's Threat | ||||||||||||||||||||
| 13 | |||||||||||||||||||||
| 14 | Mockery | Mockery | Rape Taunt | Mockery | |||||||||||||||||
| 15 | "‘Fing’ eine diese Faust!" | Threat | |||||||||||||||||||
| 16 | Alberich's Will | ||||||||||||||||||||
| 17 | Shimmering Sunlight | Shimmering Sunlight | Nature Motion | Nature Motion | |||||||||||||||||
| 18 | Gold Fanfare | Rhinegold | Rhinegold | ||||||||||||||||||
| 19 | Rhinedaughter Call | "Heiajaheia!" | |||||||||||||||||||
| 20 | Swimming | Swimming | Swimming | ||||||||||||||||||
| 21 | Rhinegold/Joy | Rhinedaughters | Rhinedaughters' call | "Rhinegold!" | "Rhinegold!" | Joy in the Gold | |||||||||||||||
| 22 | Praise of the Gold | Praise of the gold | |||||||||||||||||||
| 23 | World Mastery | World Mastery | World Mastery/Ring | ||||||||||||||||||
| 24 | Renounciation of Love | Renounciation | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | Renounciation of Love | ||||||
| 25 | Ring | Ring | Ring | Ring | Ring | Ring | Ring | Ring | Ring | Ring | Ring | Ring | Ring | Ring | |||||||
| 26 | Valhalla | Valhalla | Valhalla | Valhalla | Valhalla | Valhalla | Valhalla | Valhalla | Valhalla | Walhalla | Walhall | Valhalla | Valhalla | Valhalla | Valhalla | Valhalla, First Segment | |||||
| 27 | Valhalla, Second and Third Segment | ||||||||||||||||||||
| 28 | Hail to Walhalla | Crisis | Valhalla, Final Segment | ||||||||||||||||||
| 29 | Spear | Spear | Spear | Spear | Spear | Spear | Spear | Spear | Spear | Spear | Spear | Spear | Spear | Spear | Spear | ||||||
| 30 | Fricka, Godess of Wedlock | longing for fidelity | |||||||||||||||||||
| 31 | Fidelty | Valhalla's domestic bliss | "herrliche Wohnung" | Domestic Bliss | Love’s enchantment | Love’s enchantment | Women | ||||||||||||||
| 32 | Freia, Goddess of sensuous love | Freia/sensuous love | |||||||||||||||||||
| 33 | Freia/higher love | Freia/higher love | |||||||||||||||||||
| 34 | Giants | Giants | |||||||||||||||||||
| 35 | Giant's Authority | ||||||||||||||||||||
| 36 | Deception | ||||||||||||||||||||
| 37 | Irrevocable law | ||||||||||||||||||||
| 38 | Treaty | Treaty | Treaty | ||||||||||||||||||
| 39 | Promises | ||||||||||||||||||||
| 40 | Power of the Gods | Power of the Gods | |||||||||||||||||||
| 41 | Fasolt's Love Song | ||||||||||||||||||||
| 42 | Golden Apples | Golden Apples | Golden Apples | ||||||||||||||||||
| 43 | Withering | Godhead Lost | Godhead Lost | Ageing | |||||||||||||||||
| 44 | Froh | Froh | Froh | ||||||||||||||||||
| 45 | Donner | ||||||||||||||||||||
| 46 | Loge, Demigod of Fire | Loge | Loge | Loge 1 | |||||||||||||||||
| 47 | Flames | Flickering Flames | Loge's Flames | Loge 2 | |||||||||||||||||
| 48 | Magic Fire | Loge's Transformations | Magic Fire | Loge 3 | |||||||||||||||||
| 49 | Loge 4 (Loge 1B) | ||||||||||||||||||||
| 50 | Loge 5 ("In Tiefen und Hohen treibt") | ||||||||||||||||||||
| 51 | Loge 6 (3 variant) | ||||||||||||||||||||
| 51 | Loge, demigod of Deception | Loge's Deceptions | Loge’s art | ||||||||||||||||||
| 52 | Woman's Worth | Woman's Worth | |||||||||||||||||||
| 53 | Nature Weaving | Nature Weaving | |||||||||||||||||||
| 54 | Rhinedaughter Lament (embro) | ||||||||||||||||||||
| Power of the Ring (embro) | |||||||||||||||||||||
| The Ring (variant) | |||||||||||||||||||||
| Fricka's Lament to Wotan | |||||||||||||||||||||
| 54 | Descent into Nibelheim | Alberich's loss of love | Descent into Nibelheim | ||||||||||||||||||
| Servitude | |||||||||||||||||||||
| 55 | Tragic Love | ||||||||||||||||||||
| Forging (embro) | |||||||||||||||||||||
| 56 | Forging | Forging | Smithing | ||||||||||||||||||
| 57 | Mime's Wail | Mime's Wail | |||||||||||||||||||
| 58 | Tarnhelm | Tarnhelm | Tarnhelm | ||||||||||||||||||
| 59 | Tarnhelm's Transformations | ||||||||||||||||||||
| 60 | Servitude | Subjugation | |||||||||||||||||||
| 61 | Scheming | Mime's Scheming | |||||||||||||||||||
| 62 | Power of the Ring | Rhinedaughters (variant) | Power of the Ring | Power of the Ring | |||||||||||||||||
| 63 | Arrogance of Power | ||||||||||||||||||||
| 64 | Loge Taunting Alberich | ||||||||||||||||||||
| 65 | Hoard | Hoard | Nibelheim | ||||||||||||||||||
| 66 | Alberich's Victory Cry | ||||||||||||||||||||
| 67 | Alberich's Rebellion | ||||||||||||||||||||
| 68 | Serpent | ||||||||||||||||||||
| 69 | |||||||||||||||||||||
| 70 | |||||||||||||||||||||
| 71 | Loge’s sarcasm | ||||||||||||||||||||
| 72 | Resentment | Resentment | |||||||||||||||||||
| 73 | The Curse | ||||||||||||||||||||
| 74 | Death Curse | Death Curse | |||||||||||||||||||
| 75 | |||||||||||||||||||||
| 76 | Erda | ||||||||||||||||||||
| Erda (definitive) | |||||||||||||||||||||
| 77 | Twilight of the Gods | ||||||||||||||||||||
| Freia released | |||||||||||||||||||||
| 78 | "Heda, hedo!" | ||||||||||||||||||||
| 79 | Rainbow Bridge | ||||||||||||||||||||
| 80 | Sword | Sword | Wotan's Idea | ||||||||||||||||||
| 81 | Wotan's Anxiety | ||||||||||||||||||||
| 82 | Purpose of the Sword | Wotan’s defiance | |||||||||||||||||||
| 83 | Rhinedaughters’ lament | ||||||||||||||||||||
| 84 | Wotan's Storm | ||||||||||||||||||||
| 85 | Donner's Lightning | ||||||||||||||||||||
| 86 | Siegmund | ||||||||||||||||||||
| 87 | |||||||||||||||||||||
| 88 | Sieglinde | ||||||||||||||||||||
| 89 | The Drink | ||||||||||||||||||||
| 90 | Love Motif (Definitive) | ||||||||||||||||||||
| 91 | Siegmund's Ill-fortune | Siegmund's Chivalry | |||||||||||||||||||
| 92 | The Walsungs | ||||||||||||||||||||
| 93 | Hunding | ||||||||||||||||||||
| 94 | Hunding's Honour | Respect | |||||||||||||||||||
| 95 | bride's weeping | ||||||||||||||||||||
| 96 | Hunding's Suspicion | Hunding's Suspicion | |||||||||||||||||||
| 97 | Sieglinde | Sorrow of the Walsungs | |||||||||||||||||||
| 98 | The Walsung Race | ||||||||||||||||||||
| 99 | "Walse!" | ||||||||||||||||||||
| 100 | Siegmund destined to win Wotan's sword | Triumph of the Walsungs | |||||||||||||||||||
| 101 | Spring Song Aria | ||||||||||||||||||||
| 102 | Walsung love-longing | Sieglinde's Tenderness | |||||||||||||||||||
| 103 | delight | ||||||||||||||||||||
| 104 | Siegmund's and Sieglinde's Remembrance | ||||||||||||||||||||
| 105 | Ride | ||||||||||||||||||||
| 106 | Valkyries | ||||||||||||||||||||
| 107 | Brunhilde's War-Cry | ||||||||||||||||||||
| 108 | Fricka's Rams | ||||||||||||||||||||
| 109 | Fricka's Indictment | Anger | |||||||||||||||||||
| 110 | Fricka's Dignity | ||||||||||||||||||||
| 111 | Fricka's Indictment of Wotan | ||||||||||||||||||||
| 112 | Wotan's Frustration | ||||||||||||||||||||
| 113 | Wotan's Frustration 2 | ||||||||||||||||||||
| 114 | Wotan's Revolt | ||||||||||||||||||||
| 115 | Need of the Gods | Agitation | |||||||||||||||||||
| 116 | Wotan's Anger | ||||||||||||||||||||
| 117 | Nibelung Son | Wotan's First Bequest | |||||||||||||||||||
| 118 | Wotan's Anger | ||||||||||||||||||||
| 119 | Wotan's Second Anger Motif | ||||||||||||||||||||
| 120 | Hunding's Pursuit | ||||||||||||||||||||
| 121 | Fate | ||||||||||||||||||||
| 122 | Brunhilde's Annunciation | ||||||||||||||||||||
| 123 | Crisis | Crisis | |||||||||||||||||||
| 124 | Siegmund's Resistance | ||||||||||||||||||||
| 125 | Brunhilde's Compassionate Intervention | ||||||||||||||||||||
| 126 | Sieglinde's Nightmare | ||||||||||||||||||||
| 127 | Wotan's Grief | ||||||||||||||||||||
| 128 | Valkyrie Ride | ||||||||||||||||||||
| 129 | Siegfried | ||||||||||||||||||||
| 130 | Glorification of Brunhilde/Hymn to Fallen Heroes | Sieglinde's Blessing of Brunhilde | Redemption | Assurance | |||||||||||||||||
| 131 | Wotan's Intent to Punish Brunhilde | ||||||||||||||||||||
| 132 | Wotan's Reproach to Brunhilde | ||||||||||||||||||||
| 133 | Wotan's Punishment of Brunhilde | Wotan's Judgement | |||||||||||||||||||
| 134 | The Valkyries' Plea | Valkyrie Fugue | |||||||||||||||||||
| 135 | Judgement of Brunhilde | ||||||||||||||||||||
| 136 | Brunhilde's Love of Wotan | Brunhilde's Plea to Wotan | Brunhilde's Purity | ||||||||||||||||||
| 137 | Brunhilde's Appeal to Wotan | Brunhilde's gentle reproach | |||||||||||||||||||
| 138 | Brunhilde's Reproach Variant | ||||||||||||||||||||
| 139 | Brunhilde's Magic Sleep | ||||||||||||||||||||
| 140 | Brunhilde's Sleep | ||||||||||||||||||||
| 141 | Annoucement of New Life | ||||||||||||||||||||
| 142 | Brunhilde's Plea | ||||||||||||||||||||
| 143 | Wotan's Praise of Brunhilde's Radiant Eyes | ||||||||||||||||||||
| 144 | Wotan's Love of Brunnhilde | Wotan's Farewell to Brunhilde | |||||||||||||||||||
| 145 | Magic Fire | ||||||||||||||||||||
| 146 | Mime's scheming (second version) | ||||||||||||||||||||
| 147 | Mime's Brooding | ||||||||||||||||||||
| 148 | Siegfried's Youthful Horncall | ||||||||||||||||||||
| 149 | Siegfried's Contempt for Mime | ||||||||||||||||||||
| 150 | Filial Love | ||||||||||||||||||||
| 151 | Mime's Mercenary Nibelung Nature | ||||||||||||||||||||
| 152 | Siegfried's debt to Nature | ||||||||||||||||||||
| 153 | Mime's Starling Song | ||||||||||||||||||||
| 154 | Siegfried's Longing for his parents | ||||||||||||||||||||
| 155 | A child longs for its Parents' Nest | ||||||||||||||||||||
| 156 | Siegfried Taunt of Mime | ||||||||||||||||||||
| 157 | Siegfried's Walsung heritage | ||||||||||||||||||||
| 158 | Siegfried's Emancipation from Mime | ||||||||||||||||||||
| 159 | Siegfried's Mission | Siegfried's Strength | |||||||||||||||||||
| 160 | |||||||||||||||||||||
| 161 | Wanderer | ||||||||||||||||||||
| 162 | second Wanderer motif | ||||||||||||||||||||
| 163 | Contest of Knowledge | ||||||||||||||||||||
| 164 | First World-Ash Tree Motif | ||||||||||||||||||||
| 165 | Power of the Gods | ||||||||||||||||||||
| 166 | Hallowed Contracts' Binding Runes | ||||||||||||||||||||
| 167 | Mime's Conspiracy | ||||||||||||||||||||
| 168 | Mime's head forfeit to the hero | ||||||||||||||||||||
| 169 | Siegfried as Smith | Siegfried's Heroic Labor | |||||||||||||||||||
| 170 | Siegfried reclaims the sword | ||||||||||||||||||||
| 171 | Siegfried's Smelting Song | ||||||||||||||||||||
| 172 | Siegfried's Invocation of his Bellows | ||||||||||||||||||||
| 173 | Nothung as Siegfried's Fiery Phallus | ||||||||||||||||||||
| 174 | Mime prepares Siegfried's death potion | ||||||||||||||||||||
| 175 | Siegfried's Forging Song | ||||||||||||||||||||
| 176 | Siegfried's Triumph in re-forging Nothung | ||||||||||||||||||||
| 177 | Fafner as a dragon | ||||||||||||||||||||
| 178 | More Fafner | ||||||||||||||||||||
| 179 | Revenge | ||||||||||||||||||||
| 180 | Siegfried stands on his own | ||||||||||||||||||||
| 181 | Forest Murmurs | ||||||||||||||||||||
| 182 | First Woodbird's Song | ||||||||||||||||||||
| 183 | Second Woodbird's Song | ||||||||||||||||||||
| 184 | |||||||||||||||||||||
| 185 | The Dying Fafner Speaks | ||||||||||||||||||||
| 186 | Mime's False Friendship for Siegfried | ||||||||||||||||||||
| 187 | Lonely Siegfried appeals to the Woodbird | ||||||||||||||||||||
| 188 | Yearning for Love | ||||||||||||||||||||
| 189 | Wotan wakes Erda | ||||||||||||||||||||
| 190 | Redemption | World Inheritance | |||||||||||||||||||
| 191 | Ravens | ||||||||||||||||||||
| 192 | Siegfried's ignorance of his kinship to the Wanderer | ||||||||||||||||||||
| 193 | Wanderer questions Siegfried | Wanderer Teasing Siegfried | |||||||||||||||||||
| 194 | Wotan invokes Loge | ||||||||||||||||||||
| 195 | Walsung Blood Stirring | Siegfried learns fear from sleeping Brunhilde | |||||||||||||||||||
| 196 | Brunhilde's Beauty | ||||||||||||||||||||
| 197 | Devotion | ||||||||||||||||||||
| 198 | Brunhilde's Awakening Arpeggio | sleeping Brunhilde opens her eyes | Darkness | Decision to Love | |||||||||||||||||
| 199 | Brunhilde Wakes to the Sunlight | ||||||||||||||||||||
| 200 | Siegfried stands before Brunhilde | ||||||||||||||||||||
| 201 | Siegfried's and Brunhilde's Loving Salute | ||||||||||||||||||||
| 202 | What Siegfried doesn't know, Brunhilde knows for him | Brunhilde's Maternal Love | |||||||||||||||||||
| 203 | Bruennhilde's rising fear of consummation | ||||||||||||||||||||
| 204 | Idyll | Siegfried's Immortal Beloved | |||||||||||||||||||
| 205 | "Hoard of the World" | ||||||||||||||||||||
| 206 | |||||||||||||||||||||
| 207 | Love's Resolution | ||||||||||||||||||||
| 208 | Rope of Fate | ||||||||||||||||||||
| 209 | Second World Ash Tree Motif | ||||||||||||||||||||
| 210 | Norns | ||||||||||||||||||||
| 211 | The Norns' Song of Fate | ||||||||||||||||||||
| 212 | Mature Siegfried's Horncall | ||||||||||||||||||||
| 213 | Brunhilde | ||||||||||||||||||||
| 214 | Siegfried unwittingly guards Wotan's Hoard of Runes | ||||||||||||||||||||
| 215 | Treachery | ||||||||||||||||||||
| 216 | Hagen | ||||||||||||||||||||
| 217 | Gibichungs | Gunther | |||||||||||||||||||
| 218 | Gutrune First Motive | ||||||||||||||||||||
| 219 | Seduction | Gutrune Second Motive | |||||||||||||||||||
| 220 | Hagen's Potion | Forgetting | |||||||||||||||||||
| 221 | Siegfried rows up the Rhine | ||||||||||||||||||||
| 222 | Gibichung Hospitality | ||||||||||||||||||||
| 223 | Gunther's False Friendship to Siegfried | ||||||||||||||||||||
| 224 | Gutrune | Guturne's Seduction | |||||||||||||||||||
| 225 | Justice of Expiation | ||||||||||||||||||||
| 226 | Blood-brotherhood Oath | ||||||||||||||||||||
| 227 | Siegfried's/Gunther's blood mixes | ||||||||||||||||||||
| 228 | Oath of Atonement | ||||||||||||||||||||
| 229 | Siegfried and Gunther drink faith to each other | ||||||||||||||||||||
| 230 | Hagen's Watch | ||||||||||||||||||||
| 231 | Hagen's Envy of Gunther and Siegfried | ||||||||||||||||||||
| 232 | Brunhilde questions Waltraute | ||||||||||||||||||||
| 233 | Brunhilde's longing to be reconciled with Wotan | ||||||||||||||||||||
| 234 | Funeral Pyre | Logs of the World Ash Tree | |||||||||||||||||||
| 235 | Betrayal | Brunhilde reinterprets Siegfried's love as Wotan's punishment | Brunhilde's Anger | ||||||||||||||||||
| 236 | Wotan redeemed if Bruennhilde restores the Ring to the Rhine | ||||||||||||||||||||
| 237 | Honour | ||||||||||||||||||||
| 238 | Hagen's Anguish | ||||||||||||||||||||
| 239 | Murder | ||||||||||||||||||||
| 240 | Hagen's Day | Dawn on the Rhine | |||||||||||||||||||
| 241 | Gutrune's Festive Welcome to Siegfried | ||||||||||||||||||||
| 242 | Hagen's Rallying Cry to the Gibichungs | ||||||||||||||||||||
| 243 | Gibichung Horncall | ||||||||||||||||||||
| 244 | Vassals' Song | Gibichung Vassals | |||||||||||||||||||
| 245 | Gibichung chorus celebrating the expected arrival of Gunther with Brunhilde | Wedding March | |||||||||||||||||||
| 246 | Vassals' Greeting | ||||||||||||||||||||
| 247 | Betrayal | ||||||||||||||||||||
| 248 | Hagen, Brunhilde's agent of vengeance | ||||||||||||||||||||
| 249 | Siegfried and Brunhilde swear oaths against each other | ||||||||||||||||||||
| 250 | Brunhilde protects Siegfried's front from wounds, not his back | ||||||||||||||||||||
| 251 | Rhinedaughters' Second Lament | ||||||||||||||||||||
| 252 | Rhinedaughters' second motif of jubilant swimming | ||||||||||||||||||||
| 253 | Siegfried Has Lost His Way | ||||||||||||||||||||
| 254 | Siegfried's Motif of Remembrance | ||||||||||||||||||||
| 255 | Siegfried's Death-Stroke | ||||||||||||||||||||
| 256 | Truest of Traitors | ||||||||||||||||||||
| 257 | Rest | "Rest, you god" | |||||||||||||||||||
| 258 | Finale |
Bibliography[]
http://www.laits.utexas.edu/wagner/ringmotives/alphindex.html
https://www.wagnerheim.com/forum/phpBB3/viewtopic.php?t=453
https://www.monsalvat.no/RingList.htm
https://pjb.com.au/mus/wagner/
https://dl1.cuni.cz/mod/resource/view.php?id=344155
https://brebru.com/musicroom/musicians/wagner/motif.html
https://web.archive.org/web/20041213083646/http://www.rwagner.net/opere/e-t-ring.html