"The Nibelung's Ring". An Analysis of Richard Wagner's Trilogy. The Valkyrie (Continued) Author(s): F. Corder Source: The Musical Times and Singing Class Circular, Vol. 23, No. 471 (May 1, 1882), pp. 246-253

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This content downloaded from 128.235.251.160 on Thu, 26 Feb 2015 19:58:27 UTC All use subject to JSTOR Terms and Conditions 246 THE MUSICAL TIMES.-MAY I, 1882. rpertoire,which have proved more attractive perhaps be studied and encouraged here as much as it is in than any others,not, certainly, because oftheir novelty France and Italy. This is the only countryin Europe -for that is past-but in no small degree because the where opera is still regarded as something exotic, burden of effecthas not been sufferedto fall entirely and ours is the, only literature in which it is almost on the chief performers,due attention having been universally treated in a spirit of mingled flippancy bestowed upon the mise-en-sceneand the singing and and unbelief. Much of this spirit of irreverence is grouping of the chorus. During the recent season due to the old and favourite assumption that any- " The Flying Dutchman" has been given by this thing in the shape of a librettowas good enough for company with a propriety and completeness of musical treatment. Hence the degradation of the ensemble that could leave little for the composer once honoured name of opera. With the complaint himself to desire; and among other works which that opera had become degraded arises the question, have been renderedwith remarkable efficiencyshould when and by whom was the downward movement be mentioned "Tannhiuser," " Rienzi," " Mignon," towards complete degeneracy detected ? Gluck, Balfe's " Moro " and "The Bohemian Girl," and Sir Beethoven, and Weber-all three-made successful J. Benedict's " Lily of Killarney." The performances effortstowards its elevation and regeneration. The of " Lohengrin" were not equal to those of the former,particularly, not only in his remarkably dra- season before last; but in other respects the mem- matic compositions, but in his writings and letters, bers of the company have exhibited a great advance. shows a clear sense of the vastness of the unexplored Mr. Ludwig, in particular, has developed into a futurefor the music-drama. There need be no fear dramatic singer of the highest order. His Vander- that the coming composers of dramatic music in deckenis one of the most impressive and poetical of England will necessarily be dependent upon the form operatic impersonations, while his rendering of the and structureof the Wagnerian operas, although they declamatory music of Telramund in "Lohengrin " will be exponents of the so-called Wagnerian theories. abounds in fine qualities, among which is con- For the chief of these theories-those essential to spicuous the rare discrimination of his dramatic the highest development of the drama in music-were action. Excepting the especially noteworthy pro- articles of faith with Gluck and Beethoven, and duction 'of "The Flying Dutchman," it is in their were with them the recognition of certain great performance of " Mignon " that the strengthof Mr. fundamental truths, the unnecessarily clamorous Carl Rosa's troupe is most fully displayed. The annunciation of which by the followers of Wagner librettoof M. Thomas's opera is very little superior to alone has prevented their universal acceptation as that of M. Gounod's " Faust," for MM. Carr6 and truisms. The pamphleteering army, in the guise of Barbier never took greater liberties nor played pioneers, have scaled certain well-marked heights merrier pranks than they have done in these in- and taken possession of them in the name of Wagner, stances with Goethe's works. " Faust" has, of making them the headquarters of a vigorous pro- course, sufferedmore severely and lost immeasurably paganda and the base of operations in the future, more than " Wilhelm Meister's Apprenticeship"; apparently oblivious of the fact that these heights but the libretto of " Mignon " is scarcely of a nature had been previously occupied by Gluck and others, to inspire enthusiasm, and its English translation, and that Mozart was not unacquainted with them. with the reprehensible fustian of its spoken dialogue, But whatever the degree of influence to be exercised is even more depressing. In spite however of these on English Opera in the futureby the teaching and drawbacks, this charming episode of Goethe's example of the great master of modern music-drama, romance is given with so admirable an espritde corps there can be little doubt that through it a great by the Carl Rosa company, that much of the spirit stimulus is given to composers, and that a revival of the original workis retained, rendering the illusion of English Opera is no longer to be regarded as far more complete and the whole performance of far visionary. higher dramatic excellence than the interpretations of this work on the Italian stage. Miss Gaylord's impersonation of Mignon is neither that of the " THE NIBELUNG'S RING" WAGNER'S TRILOGY Op6ra-Comique nor that of the Italian Opera, AN ANALYSIS OF RICHARD both of which have their traditions which are BY F. CORDER. and followed; it is, usually carefully conventionally THE VALKYRIE (continuedfrom page igo). on the other hand, one of such originalityin concep- act is more and terrible than ever. tion as to amount almost to a creation. An operatic TIHE third stormy like this is of a Here we have the famous Valkyries' Ride, a portion representation necessarily very and different of excellence from those of the old of which forms the Prelude. In this original degree of music the wood instru- of English Opera; but even when a modern strange piece descriptive days ments execute shakes, the violins descend- English opera, like Sir J. Benedict's "Lily of Kil- continually is there is no need to fear forthe ing arpeggios of great difficulty,while the brass has larney," considered, the bass instruments futureof This work,which preserves the exultant bounding melody, English Opera. in an motive con- so much of.the simple melodic charm of the works accompanying important always of Shield and the old ballad-writers, attracted good nected with riding:- houses last season, and, indeed, there is no reason narrow limits of this should -No.33. IVN _ outside the bigotrywhy - simile. not be so. If English Opera has never known a very - .. robust and lengthy term of existence, it is because we were, as a nation, cut off from the large and vivifyinginfluence of continental art, and it is only I L Iir Igo. through the intimate and extended artistic inter- -- . ' course of the present day that the vitalising force I - -P -- _ of more liberal views of the music-drama is now -*--- . . asserting itself here. It is to be hoped that Mr. Carl Rosa will be able next season to give us " The Veiled of Mr. Villiers On a wild mountain-top eight Valkyries assemble, Prophet" Stanford-- Valhalla. that this work will prove the herald of a new to ride together with their chosen heroes to order of things, and that native dramatic music will They wait for the ninth, Wotan's favourite,Brynhildr.

This content downloaded from 128.235.251.160 on Thu, 26 Feb 2015 19:58:27 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-MAY I, 1882. 247 Presentlyshe is seen swiftlyriding towards them On the others shriekingwith horrorat such a with only a woman on her saddle. In terrorand frightfulsentence, the furiousgod drivesthem away haste she comes to seek forrefuge among her sisters. and bids them shun this mountainfor evermore, On hearingher unnecessarilyfull explanationsthe underpain of a like doom. With wild criesthe troop Valkyriesare horrifiedat her disobedienceand refuse hurtlesaway on the wings of the storm,which then to help. On her inquiringfor a place ofsafety, one subsides, and the Valkyries' ride music gradually of the sisters mentionsa dismal forest,shunned by dies away intosilence. Wotan, and haunted by Fafnir,who has changed Now a pleadingphrase- himselfinto a in whichform he lies over his dragon, No. 36. Ob. treasure-an oddway ofenjoying it. Then Brynhildr is seized witha nobleresolution. She willheroically surrenderherself to Wotan'swrath that Sieglinda may Cor.Ing. have timeto She escape. says: appears, in combination with Wotan's grief-motive, Fly then swiftly soon fades and speed to the east I No. 31, and away as Brynhildr,prostrate Bravely determine beforeher father,raises her head and-quite unac- all trials to bear-- to for hunger and thirst, companied-ventures plead humbly forgive- thorns and hard ways ness: smile through all pain Was it so shameful, while sufferingpangs, whatI have done, This only heed that for my deed I so shamefullyam scourged ? and hold it ever: Was't such dishonour, the highest hero of worlds what I have wrought, hidest thou, oh wife, that it should rob me of honour for aye ? in sheltering shrine. then,handing her the brokensword which she picked A long scene ensues, in which all the previous up- anon renewed events are recapitulated,and lengthyarguments this sword shall he swing, enteredinto by both. In vain Brynhildrhints at the and now his name I declare-- " service she has done: that she has the Siegfried "-victory's son! preserved hero of the world,Siegfried, who shall make anew To thisimportant announcement, received with rap- the sword. Wotanstill holds to his decree. ture.by the poor fugitive, we have thefirst appearance At least, let a firebe of the " Hero " Brynhildrpleads, guarding Siegfried motive-- placed round her, that none but a brave man may No.34. ridethrough it to gain her. Aftersome demur this " is conceded,and then the god's repressedemotion Wood., breaks forth. Those who have heardthis admirable - - 0-- - -O scene in the concert-roomwill rememberthe out. burstof passion withwhich it commences:- A Farewell L. O mybrave ~. .- . and beautiful child! _ . Thou, once the life -= -* and light of my heart! r- r farewell! farewell! farewell! IL/ I -Ci At the end ofthis speech, No. 36, comes in a full utteredvery distinctlyby the horns,with a simple burst of the orchestra. The boon is granted,and accompanimentof quaverchords above. the god's angerhas passed away. The figureof the On examinationthis melodywill be foundto bear a magic-sleep- decidedand intentionalresemblance to the " Curse"- No.37 motive,No. 21, forit is Siegfriedwho should release bothgods and men fromthe fatalban. As a pendantto this,Sieglinda utters her gratitude in a phrase of ecstasy, which never reappears till is then thunderedout, and sinks into a Brynhildr'sdeath, at the end ofthe wholework:-- quickly No. tranquilaccompaniment to the lovelyFarewell song 35. of Wotan :-- Thy lust - rous gaze lights on me now as my No. 38. Andante. , 1 1 * O mar - - - vel-lous say- ings! ,% Utteringblessings, the hapless woman hurries away,just as the voiceof Wotanis heardthrough the on to The tempest,calling Brynhildr stay. Valkyries lips im-printthis last fare-well! -who alwayssing in eight distinct parts-stand round I I o-" do?--j%- IL - Brynhildrin terrorand pityto screenher, but Wotan . marcheson in a toweringpassion and summonsthe -r culpritto stand forth. Tremblinglyshe advances, and herstern father loads herwith violent reproaches, finallycasting her offwith his curse:- which, after another sleep-motive,consisting of a Wish-maid,art thouno more; series of chromaticchords, is tenderlyrepeated by One time a Valkyrie, wert thou-- the orchestraas Wotanimprints the kiss of sleep Remain henceforth upon Brynhildr'sbrow and lays herunder a spreading but merely thyself. tree, shrinedin her armour and shield. Then he From heavenly clans advances to the centre of the and with his art thou excluded, stage bann'd, degraded spear (No. 9) invokesthe Fire-godLoki (No. 12) by fromthyblessed degree. strikingon a stone. A streamof firepours out and encirclesthe to a sea offlame. And here, where we stand, stage, swelling Here strikes thee my curse. all the brighttreble instruments execute No. 12, the In powerless sleep piccolo doing a variation above and the divided shalt thou be cast- violins that man shall seize on the maid, fillingin with seething,hissing, tremnolando in whose way she is seen and awaked. passages, while bells and triangleseem like shooting

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sparks. Then the restfulfigure No. 37 returns, and wood and gave her shelter; how she bore a son and Wotan speaks the charm-- died, and how all the pay her protector got was a He who my spear broken sword, which he in corroboration of in feareth produces spirit his tale. at himself not ne'er springs through this fierybar! Siegfried,overjoyed finding bound to the hateful dwarf,commands him at once while the hero-motive (34) uttered by all the brass, tells us that none but to forgethis sword anew, that he may go forthto the Siegfriedis destined to accom- world himself. He rushes off to the plish this feat. The slumber phrase continues then woods, away fromhis perplexed guardian, as he monotonously to the end; Wotan turns sorrowfully singing goes:- often As the fishfain away, looking back, while his tender farewell through the flood shoots, strain emerges once more from the orchestral flood. as the finchflies As he the flames the curtain falls to a free shore, disappears through far hence I'll flee, on this most impressive and poetical scene, ending flow like a stream: the second part and rousing eager anticipations of with the wind o'er the woods wafting away, the next day's drama. then, Mimi, ne'er will I return! SIEGFRIED. One phrase in this Song of Freedom (a) recurs in the when he leaves third section of the work is " G6tterd~immerung," his love to THIS certainly unique wander in of fresh from a dramatic of view. There are six quest adventures: point only No. characters in it, of which never more than two are on 43. the stage at the same time. Yet few people will be disposed to call it tedious, though it lasts nearly six hours. Al-(a) r The Prelude to " Siegfried" begins with a pedal- of bars on the drums. The hoard point forty-six --L ** (18) and smiths' (15) motives formthe subject-matter, together with an odd phrase which will be found Now to the disconsolate dwarf,who knows himself to his there comes already in " Rhine-gold" (Scene 3) Mimi's unequal task, a strange visitor. representing Wotan has taken cogitation :- to roam the world in the formof a Wanderer, looking out for help from his menacing No.39- doom. To a solemn theme for tubas, trombones,and ": - horns- / ?---?... No. 44. _.- ._~ -9__. _

We are introduced to a cave in a forest,where Mimi _- _ sits hammering in great discouragement at a sword -- - _- -*- - for the wild boy whom he has brought up. He knows -(5501 that Siegfriedis destined to slay the dragon Fafnir, and would fain make him a weapon, but the most he enters and greets Mimi. A rather long but un- cunning of smiths cannot satisfy the youth's require- deniably interesting scene follows, simply to explain ments. Presently Siegfried dashes in, driving a bear the events of the two previous dramas and refresh which he has caught and bridled with a rope, to the our memories with their thematic contents. Wotan great terrorof Mimi. The followingis a new motive stakes his head against Mimi's, each having to answer typifyinghis exuberant wildness-a melody which he three questions propounded by the other. Wotan's is accustomed to blow on his horn :- last question is, " Who shall forge the sword with No. 40. . which Siegfried is to slay Fafnir? " and on the dwarf failing to guess, he the answer himself as he C --4[Nv supplies departs :- He tries the new Hear, Fafnir's wouid-be undoerl sword by hacking it on the anvil, heed, thou fated dwarf: and is furious at findingit flyto pieces. Here is the none but who fear of his which this hath never felt phrase anger, pervades scene:- maketh " Needful" new. Presto. Thy head so wise Nn henceforthguard well! . . Lj5Arl.j I leave it forfeitto him -. who has learnt not yet to fear. Mimi sinks back behind his anvil in an Mimi vainly tries to soothe his ecstasy of ill-temper-various terror, in the of the forms of the smiths' figure occur in nervously dreading rustling trees always Mlimi's and of their shadows the of music-but Siegfriedsulkily strikesfrom his hand the flitting approach some The orchestra here seems to be food he proffers,and will not believe in the genuine- ghostly enemy. ness of his of love and The tryingits best to frightenhim, rather causing than protestations coaxings. his various youth demands to know who are his parents, for even illustrating terrors,combining phrases of his will not allow him to be mischievous " Loki " music, while the dragon-motive savage ignorance longer booms out in the bass. The imposed upon in this matter. His how returningSiegfried breaks song, telling fromthe thicket, Mimi almost to faint with he saw all birds and beasts enjoy love in some form, causing Unable at firstto an of has a fine rugged poetry in it. It has a very sweet fright. give account himself, theme : Mimi at last collects his wits and explains that he is A nd a nte. anxious to teach Siegfriedwhat fearing is. Siegfried -d cannot even be to understand the No.4. o : S. , brought word, so Mimi promises that Fafnir shall teach him. This brings back the question of the sword, and the smith li . declaring himself unable to do with Celli div. anything it, Siegfrieddetermines to tackle the job himself. The By dint of threats and shakings Mimi is forced into figure of the first triplet in No. 40 is his "work "- telling how he found the hapless Sieglinda in the motive, as he takes the broken sword-blade and,

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setting it in the vice, files it to powder. He sings half in jest, rouses up Fafnir and warns him of a but he and wild songs over his work, always with this refrain-- coming foe, only yawns says:- I lie in possession- " Need - ful," " Need - ful," no - ta- ble sword. let me slumber! No. 45. try tr - The Wanderer wanders away, whither, a reminis- cence of his farewell to Brynhildr tells us. Alberic resumes his secret watch, the day dawns and Sieg- fried enters, guided by Mimi, who leaves him in this --__ place to learn the art of fearing. Now ensues a most enchanting scene. Tired with i~ I ,Z~ his long night-march, Siegfried reclines under a and having melted the steel-dust to an ingot, pro- linden-tree in the bright morning light, turning his ceeds to forge a new blade, to the astonishment and thoughtson his unknown mother,while the orchestra, awe of Mimi, who is racking his brain how to escape imitating the rustling of the woods, gives us a tender, from this dilemma: if Siegfried is made to fear by melodious formof the Sieglinda's sorrow-motive(28). Fafnir the dragon will not be killed nor the hoard and Presently the voices of the birds attract the boy- Ring gained; whereas, if he quails not Mimi himself pretty,warbling phrases for flute and clarinet. He will fall by his hand, according to the Wanderer's cuts a reed pipe and vainly endeavours to imitate the fiat. Suddenly a happy thought strikes him: he will notes, with the hope of learning the language. Failing make a poison-draught and give it to Siegfriedunder in this, he blows a merrytune on his horn,comprising pretence of refreshinghim directly after he has slain not only his own motive (No. 40), but-what would the dragon. His delight at this scheme finds vent in be impossible on a natural horn-the hero-motive the followingphrases- (No. 34) as well. This wakens the dragon Fafnir, who con 8ves. crawls out to findwho is the disturber of his peace. "1 Siegfried,like the audience, is more inclined to laugh No.46. than be frightened at this object, and after some parley a rather comic combat ensues, ending, of 1 RM course, in the death of Fafnir. The dragon's blood I* has spurted on Siegfried's hand; it burns like fire. wovo,'011 He carries his hand unconsciously to his mouth, (a) when, at the first taste of the blood, he findshimself - able to understand the songs of the birds above him. I _,-A One sings :- * ** * * * Hey! Siegfried doth hold now the Nibelung's hoard! which are interwoven with the O! he'll findthe hoard ingeniously songs in the hole anon! Siegfriedcontinues to sing with increasing exuberance Were he the Tarnhelm to win as his work approaches completion, until a most it would tide him throughwonderful tasks; climax is reached. waves the com- but were he the Ring too to ravish exciting Siegfried 'twould give himtme ward of the world! pleted sword in the air, and crying-- No.4 . See, Mimi, thou smith! flaqf 1--%, So serveth Siegfried's sword I Or 0 dashes it upon the anvil, which it slices clean in half. The to which this is is in As Mimi falls to the ground in terror, Siegfried phrase sung 4-4 time, while the is in brandishes his sword with shouts of joy, and the accompaniment 3-4- Siegfried obeys the curtain falls. voice of the bird, and investigates the dragon's lair. Meanwhile and is The music of this and the following act, though Mimi timidlyreturns, pounced upon very fine,and more flowingthan that of the " Rhine- by the still watching Alberic, the two quarrelling over the of the gold " and " Valkyrie," is still not the perfectlyhomo- fiercely ownership treasure which now holds. geneous musical stream that we get in the later Siegfried The return of that unconscious with the two coveted articles works of the master. He is contented as yet with youth stops their bringing in his motives unadorned and unaltered wrangle, and Mimi pursues his intended plot. But wherever they are wanted, and does not work them again the friendlybird sings- to extent. We make an Hey! Siegfried doth hold symphonically any may now the Helm and the Ring ! exception in the case of the Nibelung smith-motive, O trust not in Mimi, which occurs in various combinations no less than the treacherous elf! times the of Heareth Siegfried but sharply 240 during course this one act. the shiftyhypocrite's words: The second act shows us another and more gloomy what at heart he means of the forest. A weird shall by Mimi be shown; part prelude, founded on vari- so booteth the taste of the blood- ous with Nibelung-motives tremoloaccompaniments, and so all falls out. Mimi tries to wheedle us forthe of the evil Siegfried, prepares presence genius Alberic. but instead of the soft flatterieshe thinks he is A wicked theme, too, here an speak- very plays important ing, he informshim of all his villainous intentions. part-the Fafnir-motive- He offersthe poisoned cup, and Siegfried lays him dead with one blow of his No. 47 sword, whereupon a grim ha !" Lento. " Ha, ha, to the Nibelung phrase (No. 15) issues fromthe rocks where Al bericis hiding. Now Siegfried, --f. after disposing of his two feels more . . - .~~.. - - - - corpses, keenly than ever his lonely condition. He appeals again to the friendlybird fora companion, and is answered:- Hey ! Siegfried has slain now the sinister dwarf! which will be seen to be founded on the giant's theme I wot for him now (No. for him who shall a glorious wife. ii). Alberic, waiting slay In guarded fastness she sleeps, Fafnir, is visited by the Wanderer, and a long fire doth emborder the spot: colloquy ensues, without other o'erstepped he the blaze, any apparent object waked he the bride, than to remind us of past events. The Wanderer, Brynhildr then would be his!

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Whereupon fervidemotion seizes the youth:-- Then the two burst into a rapturous duet on this phrase- ; No. No. ______5t. Mt 3 #1a------followedby this, whichhas fora bass the firstbar of the Siegfried-motive(34)- He is furthertold that none may waken the bride save he who knows not fear. Overjoyed, he follows the No.52. bird, which then flies before him to guide him on his way. This is the rather tame end of the second act. .In the music of the third act, writtenseveral years .. later a in is A .-.-? 5 - on, great change style perceptible. . i_ general air of savage wildness pervades the music, sometimes, but not always, in admirable keeping with and these themes are worked out at great length, the subject. A strange scene opens this act, preceded combined with many old ones. Siegfried,ardent and by a prelude, in which all the themes connected with impetuous, seeks to embrace Brynhildr, but the Wotan are employed, accompanied by the " riding " Valkyrie, as strange to love as he, is terrifiedto death figure (the bass of No. 33)- In a wild, mountainous at his approach. She tenderlypleads-to those two region the Wanderer comes to conjure up, by his spells, lovely phrases on which the "Siegfried Idyll" is the formof the mysteriousErda. He seeks for advice founded-to be left an immortal,unsullied being:- in his sore perplexity, but she can give him none. O Siegfried! Siegfried! But one new that of the " world's heirdom light of my soul phrase, "-- Love-thyself and leave me in No. peace: 50. destroy not thy faithfulslave.

No. 53. - 1-dPL- .-?At =- ._-7 occurs in this scene, and the orchestra almost seems to mad over its web of old themes in new go complex I '1? forms. On Siegfried appearing in.the distance, the - No. I Wanderer dismisses Erda, and goes to meet him. 54. i " Siegfried is, as usual, fearless and impudent, and '-9 when, aftera long parley, the Wanderer attempts to :..- - bar his way (why, is hardly clear), Siegfried strikes __..-- the spear fromhis grasp and hews it in pieces. Then Wotan knows that his power has indeed departed, But Siegfried gradually coaxes away her fears until, in a and, quietly picking up his broken sceptre, he vanishes wild, hysterical rapture, she gives herself to him. different to the away to Valhalla, there to wait the Dusk of the Gods, (A very scene, this, dignifiedchapter in the which to when Loki, the treacherous, shall fling fire into the Saga corresponds it!) One last hall and consume all the theme then enters on a long dominant pedal:- Meanwhile Siegfried is opposed.Esir. by Loki's barrier of No. 55. flame, and boldly dashes into it, winding his horn. The is worked with the fire melody ingeniously up G. Bass. - (12) and hero (34) motives into a glowing fire-sym- phony, while the scene is being changed behind the The voices join again in a duet as the climax ap- smoke and flame which fillthe stage. Gradually all proaches. We then findthat No. 55 is merely a new subsides, with delicate sweeps of the harp and faint double counterpoint to No. 51. No. 50oand 52 also allusions to the motives connected with Brynhildr. combine, and with a piling-up of the excitement A remarkable wandering passage of twenty-fourbars which no words can describe, all these themes unite forfirst violins alone here attracts notice as the smoke in one grand climax, and the drama is ended. and we see the same scene as at the end of clears, THE DUSK OF THE GODS. "The Valkyrie "-a rocky mountain, with Brynhildr lying asleep in her armour. Sweet and alluring IT is needless to say that in this final portion of the strains accompany Siegfried's exploration of this work both music and drama soar higher than ever place-Wotan's farewell (38) and a seductive melody towards the sublime. As regards the drama, Wagner belonging to Fricka in the " Rhinegold " appearing, has here, at any rate, grasped the utmost dramatic amongst others. Siegfried'sastonishment and emotion possibilities of the old legend and given us a really at beholding a woman forthe firsttime are very finely noble tragedy. portrayed: he releases the sleeper from her encum- The Prologue to " The Dusk of the Gods " opens, bering armour, and finally,after a lengthyhesitation, aftera very few bars, with the same scene as that we presses a kiss on her lips. have just left,the Valkyrie's rock. It is night, all is Now comes the opportunity for Wagner to write a shrouded in gloom, and the three Nornir (Fates) sit love-scene surpassing all his previous attempts. The weaving a golden rope and telling of the previously only question is whether he has not rather overdone shown events. The motive (No. 2 in the minor) of the thing-if one may dare to criticise this over- their mother Erda is of course prominent,and also a whelming scene. Brynhildr wakes and sits erect, slightly differentform of the same theme, represent- " greeting the sun and world in almost the words of ing the " world's ash-tree (Yggdrasil) fromwhich, the Edda:- as they tell, Wotan's spear was cut. Weird, wandering Hail, ye godsall! arpeggio passages on the muted strings also typify Hail, thou world I themselves. At the end of the scene Hail ye glories of nature! the three Nornir Unknit is now my sleep; their rope breaks, the curse (21) sounds menacingly I stand awake: and sink into the earth, their duties for ever Siegfried 'tis out, they who unwinds the spell! over.

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Now the day dawns, and as the sun rises Brynhildr He hears of Gunther'sambition with scarce a moment- and Siegfriedemerge from a rocky cave, which is her ary recollection of her to whom it refers,and, finally, chamber. Some time has passed, for he is in full even offersto win the bride in place of Gunther,who, armour, and on the point of leaving her to seek fresh in spite of his courage, feels doubtful about the fire. exploits. Each has a fresh motive, hers tender and The two heroes go through the ceremony of taking womanly-- the oath of blood-brotherhood,enunciating their vow No.56. in the form of a duet. Dropping blood from their V . U arms into a cup of wine, they sing:- . ,. 1- Breaks a bro - ther the bond, iff No.6o. I, and his a dignifiedand heroic version of his former - j I - theme (No. 40):- ---[-

No. 57- fails in faith to his friend,

___,.? -9 _d __ . - -;- - -dP There is also a love-phrase of great and melancholy What in drops we here beauty :- haste to drink of, in streams be No. 1 strained from his heart, 58. % 1 tr forfeitstern to his friend. 1_ After this, Siegfried, taking affectionate leave of Gudrun,whose hand is to be the reward of his success, sails back to the Valkyrie's rock with Giunther. Hagen, left alone to guard the hall, has a gloomy --k soliloquy. He is plotting to gain the fatal Ring. His music merges into a long and sinister interlude, while the scene once more The scene of the lovers is, in our changes back to the parting opinion, rock. Here we find con- finerthan the love-scene at the end of " Siegfried," Valkyrie's Brynhildrsitting, and her while echoes of being less wild and tempestuous. Towards the end templating kissing Ring, the love of former love-themes (54) follow the current of her phrase 43a appears, typifyingSiegfried's A sudden The hero leaves his noble mistress, thoughts. gust of thunderstormarises and wandering. her an one of having given her his famous Ring as a love-gift and brings unexpected visitor, Valtrauta, received in return her horse Grani. As he becomes her sister Valkyries. Brynhildr's delighted greetings and caresses are for the visitor lost to sight in the distance, the orchestra takes up scarcely returned, the of his horn and works it into a most is in sore trouble. She tells a long story of the sad melody up state of in movement, with a mischievous of things Valhalla. Wotan came home vigorous phrase with his broken Loki's, us that evil is at hand. The Rhine- recently spear, silently directed his showing heroes to cut down the music atd of the follow,and world's ash-tree and stack it complaint Rhine-nymphs in round the movement fades away at its conclusion with faggots Valhalla:- this time the scene menacing Nibelung.motives. By No.61. has been changed, and we are introduced to the Hall -- of the Gibichungs on the Rhine, where a great chief- _c tain, Gunther,lives with Hagen, his half-brother,and . .. . Gudrun, his sister. The followingrhythmical accent L .c. will be found everywhere in the music of these Then, all the and heroes in the Gibichungs assembling gods great :- hall, he has sat ever since, patiently awaiting his doom. Valtrauta continues: - No. ___ - " Untohis breast _- weeping I press'd me; his brooding then broke- -- and to m.. --~~- .. +-4-Y~~ .* his thoughts turned, Brynhildr, thee! d:: +. Here we have a touching reminiscence of the Farewell song (38). From the of this it dialogue scene appears that Deep sighs he uttered, Guntheris desirous of augmenting his fame by illus- closed his eyelids, for himself and sister. as were he dreaming, trious marriages Hagen (who, reded these words : it should here be explained, is the son of Alberic, his " The day the Rhine's three daughters mother been won not gain by surrender the Ring, having by gold, love) gives fromthe curse's load cunning advice on this point. He tells of Brynhildr, released are gods and men." the fairest woman on earth, waiting in her fire-girt I thought upon 't, home for a wooer brave to ride the and then I threaded, enough flame; 'mid throngs dumb-stricken, and then he tells Gudrun of Siegfried, the dragon- thence from his side; killer, the mightiest of heroes. It is decided that in haste on my horse I threw me astride, should Siegfried ever wander this way, Gudrun shall and straightway thrust towards thee. give him a magic draught of forgetfulnessto drown Then, my sister, all other interests from his mind and chain him to I supplicate- do what thou may'st, her side. Scarcely has this resolution been made if but thou hast mind- when Siegfried'shorn is heard in the distance, and he ward offthe woe of the gods! comes down the Rhine in a boat, horse and all. He Now observe the dramatic retribution! Brynhildr, lands, makes friendswith the Gibichungs, is given a having been cast off by Wotan and degraded to a cup of wine, which he drains to the memory of mere mortal, is unmoved by this tale of woe, and Brynhildr,and straightwayforgets hervery existence. would sooner die a thousand deaths than part with

This content downloaded from 128.235.251.160 on Thu, 26 Feb 2015 19:58:27 UTC All use subject to JSTOR Terms and Conditions 252 THE MUSICAL TIMES.-MAY I, I882. her Ring. Aftervain entreaties Valtrauta is obliged Ring which Gunther, as she thinks, took from her. to flyhome unsuccessful and distressed. Brynhildr, Hagen, for his own reasons, throws the attempted again alone, is surprised to find her protecting fire explanations into hopeless confusion, and it only rising fromits normal distant glow to an approaching appears to the people that Brynhildr is accusing wall of flame. Some one is tryingto cross it ! She Siegfried of having abused his situation of proxy- hears Siegfried'shorn, and rapturously starts up to bridegroom. Siegfried,on being urged, takes an oath greet her hero. Horror! It is a stranger who con- on Hagen's spear that he has been true to his brother. frontsher! Siegfried,wearing the Tarnhelm, which The maddened Brynhildr pushes him aside, and gives him Gunther'sform, advances and claims her for swears on the same spear that he has broken his his bride. Filled with horror, she resists, the Ring oath, but no one believes her save Gunther. giving her supernatural strength; a terrific struggle The marriage revellers retire to feast within the takes place, but on Brynhildr imprudentlyrevealing hall, leaving three gloomy figures brooding apart: in her triumph the secret of her strength, Siegfried Brynhildr, anguished and longing for vengeance; contrives to tear the Ring from her finger. Her Gunther,overcome by shame and sorrow; and the evil power gone, she helplessly yields, and goes to her Hagen, who now stirs up these two to wipe out their rocky chamber as he bids her. Then, drawing his injuries by Siegfried's death. Brynhildr, ere she sword, Siegfriedsays:- became his, gave all her spells and runes to the work of him invulnerable, but she now remembers Now, Needful, witness thou making that chaste my wooing is. that she set no spell on his back, knowing that he To seal my oath to my brother, would never turn it to a foe. The hint is not lost on me from his bride. separate Hagen, and he proposes that Siegfried shall go a- and as he follows Brynlzildrthe curtain falls. hunting to-morrow,and be brought home struck by a The second act brings us to exciting events, and boar. A formof No. 63, with the menacing Nibelung- the music is wild and strange beyond all description. motive above, is never absent throughout this scene, It opens with a demoniac prelude on Nibelung- ending the act, after a strange trio of the three con- motives, with a characteristic accompaniment of spirators, as the wedding revellers again come out syncopated chords. We are then shown the exterior and force Gunther and Brynhildrto join their pro- of the Gibichungs' hall, withHagen sittingasleep, and cession. Albericvisiting him in a dream, to stir up his hatred The third act affordsa charming relief fromthese against all who stand between him and the Ring. sounds of woe and bitterness. A short prelude tells Hagen assures his elfinparent of his faithfulness,and us that Siegfried (34) and the Gibichungs (62) are as Alberic's figure melts away the day dawns over hunting by the Rhine (2). We are then shown a the Rhine-a beautiful scenic effect.Siegfried, trans- lovely river valley. The Rhine-nymphs are swim- ported hither by the Tarnhelm, appears beforeHagen, ming about on the stream and singing a most exquisite wakes him, and tells him of his success. The bridal trio, in somewhat the same character as their former pair are now descending the river in the boat, and he music. A portion of the melody runs thus:- has heralded them to see that all is for the prepared No. double He into the hall with Gudrun, 64. wedding. goes - leaving Hagen to summon all the vassals and people of the tribe fromthe country round. This gathering MAP- -a of the clans is very weird. Hagen blows a huge cow- horn (in C),and is answered by othersin the distance (in Siegfried,who has strayed fromhis party in pursuit D and D flat),making togethera very nice cacophony. of a bear, accosts these nymphs in search of informa- Against a perpetual tremolo C of the violas and cellos tion. A lively, if rather coarse, scene ensues. The the following call of the Gibichungs is heard :- nymphs try to coax the Ring from him, but failing, they warn him that it will prove his death. Still less does this move him, and they leave him at last - No.62.$S-- with jeers and laughter. The hunting party now appear, blowing their discordant horn-call (62). They rm*, greet the truant, and then make a mid-day bivouac. To cheer up his brother Gunther,who is sad and It incessantly pervades the remainder of this act, the downcast (remorsefulfor the evil deed he is counte- F sharp bass against the chord of C being a character- nancing), Siegfried offers to tell the story of his istic,but we dare not say a pleasing, feature. The men youthfuldays. Hagen maliciously squeezes the juice rush wildly on by twos and threes, thinking it an of an herb into a hornof wine and offersit to Siegfried alarm, but as Hagen gradually explains his summons, to clear his memory. Then the hero sits down and their wild cries change to mirth,and they sing a sort gives us a delightfulresumrn of the preceding drama, of joyous chorus, but it is a very savage kind of telling all about Mimi, the bird and the dragon. merriment. Hagen is still giving directions when the But now forthe firsttime Guntherhears how Brynhildr expected couple arrive, and they land amid the wild was really Siegfried's bride, and he discovers Hagen's acclamations of the people. Now comes the situation deceit. As he starts up in surprise, Hagen quickly in the drama. The two bridal pairs meet, and cries to Siegfried- face to face with Brynhildr comes Siegfried, with Canst read the speech Gudrun on his arm. A crash fromthe orchestra and of those ravens aright ?- a chord is followed here a sinister long-sustained by as Wotan's two rise froma bush motive,which now clings to the wronged and tortured messengers croaking to flyto their master and warn him that all is over. Bynhildr :- Siegfriedturns to look at the birds, and Hagen stabs No. 63. him in the back. Terrible and sublime is the death of the hero. Exquisite reminiscences of Brynhildr's I-F awaking fillhis dying thoughts-he is once more him- I l 70 self and her true love. The awed ejaculations of the men, " Hagen, what hast thou done ? " and a solemn A violent and terriblydramatic scene ensues; Bryn- phrase which forms the characteristic of the suc- hildr is bewildered by seeing on Siegfried's fingerthe ceeding dirge-

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No. 65. bate in both music and libretto, that their summing- Lento. . up was: "This work is a magnificentmistake." But /, what avails the voice of the critic when it contradicts ? the The " Ring" is -- -- ' public judgment? Nibelung's now being played at every German opera-house which can affordto mount it, and the success is invariable combine to make up an unsurpassable picture of and overwhelming. In the face of this the critic has solemn dread. Hagen has gloomily stalked away only to hold his peace. over the hills, and the men now follow him with the dead hero's body; the moon shines down upon the retreating funeral procession as the orchestra breaks HEINRICH HOFMANN into the sublime Funeral March, as it is called. This BY JOSEPH BENNETT. is merely a stringof phrases connected with Siegfried, welded into one whole by the aid of our last quota- (Concludedfrom page I85.) tion (65) in Wagner's own inimitable manner. During As a composer of instrumental music Hofmann this piece the scene changes to the Hall of the is most widely known through his works for the Gibichungs, as in Act I. Gudrun is waiting by night pianoforte,which have attained great popularity on forthe returnof the hunting party. Presently Hagen account of reasons not less legitimate than obvious. comes in, rousing up all the house with wild hysterical Hofmann is no pretender to a position in advance of glee to welcome home the hunters. The people his time, nor does he aim to satisfy his ambition by come in with torches and lanterns, to meet only the figuringas the god of a small sect. He writes for funeral procession of Siegfried. Woe and terror pre- the masses, without descending to the level of com- vail. Hagen boldly defends his deed, and asserts his mon taste. The character of his pieces, their scope " booty-right" on the dead man by endeavouring and form of expression, even the very designations to seize the fatal ring. Gunther struggles with him they bear, bespeak a desire for "' the greatest happi- for it and is killed. The confusion is only quelled ness of the greatest number." Yet there is no attempt by the solemn entry of Brynhildr,who has been down to win the suffragesof the " many-headed " by appeals to the river and taken counsel of the Rhine-nymphs. to vulgar fancies. However broadly laid out to She says:- catch votes, Hofmann's pianoforte pieces are in- ChildrenI heard those of a refinedas well as an crying to their mother variably accomplished to say that milk has been spilled; musician. The composer is, therefore, doing a but nought I marked work in art. It is all well for a fittinglament specially good very for the highest hero's fate. gifted men to labour in the upper spheres. There can be no higher aim than the creation of music She bids the men to build a funeral pyre by the which exemplifiesthe sublimest powers of the human river's brink (No. 61), and meanwhile sings a noble mind, and no higher reward than its acceptance by funeral song, in the course of which all the principal those who comprehend all the greatness of such an motives of the four dramas appear, No. 35 forming achievement. But if nothing more were done than the exalted climax. It may here be noticed that this what would become of the art ? We need men some thirtylines of the libretto have been judiciously that, like Hofmann and others, are willing to take cut out by the composer in setting to the music, on upon themselves a less loftythough not less useful account of too great length. Yet these are some of mission, and, by appealing to the people in language the best lines in the whole poem. Brynhildr mounts understanded of them, to cultivate their tastes to a her horse Grani, and leaps him (at least the stage perception of higher and higher good. direction says so) into the fire,where she is consumed From the first, Hofmann has shown himself with her lover. The Rhine swells up, and washes awake to the favour enjoyed by national and charac- over the fireembers; the nymphs,floating on it, regain teristic music, with which the catalogue of his their Ring at last; and Hagen, wildly attempting its pieces for the pianoforte abounds. It is interesting rescue, is pulled down into the flood and drowned. to observe how almost exclusively he has confined During this the brass instruments intone the Val- himself, in the gratification of this taste, to nation- halla theme (8) against the undulating Rhine arpeg- alities-as Russia and Hungary-the music of gios of the strings, while the Rhine-nymphs' motive which is chiefly remarkable for strangeness of (3) and Brynhildr'sblessing (35) soar above. Louder rhythm, or-as Scandinavia-for strongly marked swells the Valhalla march as a red glow appears on and erratic forms of melody. This preference the distant horizon, and in the sky is seen a vision of may be either the result of inclination or policy, but the gods sitting round their hall, and being burnt up in any case it illustrates one of the tendencies by Loki's fire. The connection between the destruc- of the present musical age, which, in its restless tion of Siegfried and Brynhildr and that of Valhalla search after novelty, leaves no hole unexplored, is by no means clear, but it rounds offthe tragedy by no corner unswept. The great masters of eighty leaving no one of the characters alive, except perhaps years ago were satisfied to introduce a national Gudrun. melody once or twice in a lifetime,by way of compli- The exigences of space have prevented us from ment-as Beethoven-or forthe indulgence of a whim doing more than give an account of the incidents, -as Haydn. But now we have symphonies and and a list of the principal motives of this remarkable concertos named after a half-dozen countries, while work. We can only advise those interested in it to in the lower walks of Art classic themes and rhythms read through the vocal scores, and disentangle for are being elbowed out by strong and uncouth barba- themselves, by the light of our remarks, the mazes of rians. There is nothing in all this to excite alarm, the music, of which no verbal description, however but rather hope. The ancient hero who, struck to full, can give much idea. The " Nibelung's Ring" the earth, with renewed " sprang up strength gained differsfrom "Tristan and the " Mastersingers " in fromthe Great Mother, is a type of many things, the fact that while nearly all the motives or com- and every form of Art would become effete ponent musical phrases are diatonic, their treatment were it not invigorated at intervals by inoculation is chromatic. On the first production of the work with the sap of nature in its untutored naturalness. many critics, both German and English, while ad- Thus it is emphatically with music, and when, in mitting its great beauties, found so much to repro- course of time, culture has taken offthe roughness of

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