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Home , Das Rheingold, Marek Janowski, Maria Radner, Nibelung, Rheingold (train), Tomasz Konieczny

RICHARD

Tomasz Konieczny Vermillion Günther Groissböck Jochen Schmeckenbecher Andreas Conrad Rundfunk-Sinfonieorchester Berlin

Live recording of the concert performance in the Berlin Philharmonie on November 22, 2012 (1813-1883) Disc 1 (5186 431) Das Rheingold / Rhinegold WWV 86a 1 Vorspiel (Prelude) 4. 14 2 Weia! Waga! (Woglinde, Wellgunde, Floßhilde, ) 2. 25 Vorabend des Bühnenfestspiels “” 3 Garstig glatter glitschiger Glimmer! 4. 57 Eve of the scenic festival “Ring of the ” 4 Wallala! Lalaleia! Leialalei! 2. 22 5 Lugt, Schwestern! Die Weckerin lacht 5. 44 6 Der Welt Erbe gewänne zu eigen 1. 47 Wotan , 7 Orchesterzwischenspiel / orchestral interlude 3. 45 Donner Antonio Yang, baritone 8 Wotan, Gemahl, erwache! (Wotan, Fricka, Freia) 1. 50 Froh Kor-Jan Dusseljee, 9 Nur Wonne schafft dir,was mich erschreckt? 6. 18 10 Sanft schloss Schlaf dein Aug’ (Fasolt, Fafner, Wotan, Freia) 7. 02 Loge Christian Elsner, tenor 11 Zu mir, Freia! (Froh, Donner, Fafner, Fasolt, Wotan, Freia, Fricka) 1. 37 Fricka , mezzo- 12 Endlich, Loge! (Wotan, Loge, Fricka, Froh, Donner, Fafner, Fasolt) 3. 27 Freia Ricarda Merbeth, soprano 13 Immer ist Undank Loges Lohn! (Loge, Wotan, Fasolt, Fafner) 5. 29 Erda , 14 Taugte wohl des goldnen Tandes (Fricka, Loge, Wotan, Donner, Froh, Fafner) 4. 15 Fasolt Günther Groissböck, 15 Hör’, Wotan, der Harrenden Wort! Fafner Timo Riihonen, bass (Fafner, Fasolt, Wotan, Freia, Froh, Donner, Loge) 4. 37 Alberich Jochen Schmeckenbecher, baritone 16 Jetzt fand’ ich’s (Loge, Fricka, Wotan, Donner, Froh) 3. 50 Mime Andreas Conrad, tenor 17 Verwandlungsmusik / transformation music 2. 37 18 Hehe! Hehe! (Alberich, Mime, Wotan, Loge) 4. 07 Woglinde Julia Borchert, soprano Disc 2 (5186 432) Wellgunde Katharina Kammerloher, mezzo-soprano 1 Wer hälfe mir? (Mime, Loge, Wotan) 3. 34 Floßhilde Kismara Pessatti, contralto 2 Mit eurem Gefrage (Mime, Loge, Wotan, Alberich) 2. 27 3 Was wollt ihr hier? (Alberich, Wotan, Loge) 4. 35 4 Habt acht! Habt acht! 4. 41 5 Riesenwurm winde sich ringelnd! 3. 34 Rundfunk-Sinfonieorchester Berlin 6 Verwandlungsmusik / transformation music 3. 18 (Radio Symphony Berlin) 7 Da, Vetter, sitze du fest! (Loge, Alberich, Wotan) 3. 10 Wolfgang Hentrich, concertmaster 8 Wohlan, rief ich mir nah’ 3. 15 9 Zu deiner Lösung musst du ihn lassen 4. 36 Engelen, assistant conductor 10 Bin ich nun frei? (Alberich) 4. 02 11 Lauschtest du seinem Liebesgruß? conducted by Marek Janowski (Loge, Wotan, Froh, Donner, Fricka) 3. 07 Live recording of the concert performance at the Berlin Philharmonie 12 Halt! Nicht sie berührt! (Fasolt, Fafner, Wotan, Loge, Froh) 3. 18 13 Nicht so leicht und locker gefügt! on November 22, 2012 (Fafner, Loge, Wotan, Fricka, Donner) 2. 01 14 Freia, die Schöne Executive producers: Stefan Lang, Maria Grätzel, (Fasolt, Fafner, Loge, Wotan, Freia, Fricka, Froh, Donner) 2. 40 Trygve Nordwall & Job Maarse 15 Weiche, Wotan! Weiche! (Erda, Wotan, Fricka, Froh) 5. 29 16 Hört, ihr Riesen! (Donner, Freia, Wotan, Fafner, Fasolt, Loge) 3. 21 Recording producer: Job Maarse 17 Furchtbar nun erfind’ ich des Fluches Kraft! (Wotan, Loge, Fricka) 2. 27 Balance engineer: Jean-Marie Geijsen 18 Schwüles Gedünst schwebt in der Luft (Donner) 2. 44 Recording team: Wolfram Nehls, Henri Thaon, Johanna Vollus, Maxim Gamov, 19 Zur Burg führt die Brücke (Froh, Wotan, Fricka, Loge) 4. 23 Susanne Beyer & Kay Riedel 20 Rheingold! Rheingold (Die drei Rheintöchter, Wotan, Loge) 3. 04

Editing: Ientje Mooij Total playing time disc 1: 70. 33 Design: Netherlads Total playing time disc 2: 69. 54 Total playing time: 2. 20. 27x GOD KNOWS?

“The three maidens (from the depths): ... fresh errors. After all, gods are only human, too. Apart from the unparalleled egotism in which Wag- From one horizon to another false and faint-hearted are those who revel above! ner indulges here, much of the Nazi ideology, right (While the gods stride towards the draw-bridge of The plenipotentiary of doom is serious about it up to the “scorched earth” tactics, finds its roots With an arrest warrant out for him for the part he the castle, the curtain falls.)” here – partly accurate, partly misapplied. At the end played in the uprisings in during the 1848 A lot more is announced here than simply “The Ring is a massive artistic vision of the emer- of Wagner’s tetralogy, Brünnhilde – prepared as she revolution in those troubled days in German history, wounded pride, when the twice-robbed Rhine maid- gence and decline of a world; a vision of a human is for death at the stake – demands of those who Richard Wagner began drafting an about the ens are given the final word at the end of Rheingold, catastrophe triggered by blind greed and the lack remain behind: “Stack strong logs around me ...”. Nibelung myth. He condensed and blended various calling out to the proud gods as the latter smugly of love.” This startlingly topical sentence forms the But this request was not at all necessary. The failed medieval text sources (including the Edda Lieder, take possession of “their” castle. The beginning introduction to the chapter dealing with the Ring in outlooks on life held by both man and god con- the Völsunga , and the Nibelungen-Lied) with of the end is prophesied, the Götterdämmerung Erich Rappl’s Wagnerian opera-guide dating from stitute all by themselves the gigantic funeral-pile, the essence of ancient Greek drama in order to form (= twilight of the gods) foretold. Yet the music is 1967. Peter Wapnewski – to quote another major in which the last Pure Soul voluntarily renounces a new and complex working idea, a parable about celebratory, as if everything is just fine. What is 20th-century writer on Wagner – classifies the Ring her future, in the ancient sense of the phrase. God and the world, about the blessing and cursing going on here? in his book entitled Weißt du, wie das wird…? as fol- To quote Peter Wapnewski again: “Nature, dis- of man, about love. From the outset, he avoided any A god – a representative of the ancient ways, lows: “The significance of this work can be defined turbed from its symmetry and equilibrium, has external time reference, despite the specific subject of that which he has created and ruled – in other in measured keywords, and any attempt to do it come into the world, and this world has grown involved. The themes remain valid whether applied words, Wotan dares to attempt to breathe the justice through descriptions and analysis remains, old; everything has already been done and thought; to Germanic or romantic cultures, to the expanses principle of love into his world, in which trade of necessity, incomplete. It is the ambition of every life has abolished itself by boundlessly abusing the of America or Siberia, to the fortresses of the Middle and war mutually destroy each other in an end- conductor to conduct this work, the ambition of gift it has received from Creation; time is out of Ages, to the capitalist of industry, or to the less series of plundering raids. The social utopian every singer to sing in it, and the ambition of every joint. The divine-human mind, which is destined Vanity Fairs of modern times. Richard Wagner asks how it would be, if the people director to direct it – and this has been the case to control the chaos, has denied its own rationale Richard Wagner – the only opera composer of the world were to base their lives and princi- now for the past 120 years. An awe-inspiring social through the limitless pursuit of power, and thus ever to consistently write his own libretti – ap- ples on ethics and love, rather than on possession utopia, the performance of which does not shun through the criminal repression of love. The ar- proached the colossal work, so to speak, back to and violence? The attempt fails: first Siegmund, sensational devices. A message of liberation with bitrariness of male violence, of male domination front; naturally, without being aware of it at first. then – the chosen ones – succumb to the intention of destroying the power of gold and failed by means of its own hand, of the restless He began drafting Siegfried’s Death (later renamed the political intrigues of the ancient society. The violence in favour of the prerequisite of love. A cos- constitution and inconsistency of the man-god tem- Götterdämmerung [= Twilight of the Gods]) in 1848. only positive heroine, Brünnhilde, a pure symbol mology and theology, the founding of which is based perament that, when striving for excessive change During the course of the work, he realized that of love, is spurned and betrayed. Twice she en- on the resources of ancient and songs, as and variation, dominates the female element and the drama would have to be preceded by one de- ters the fire; and in the end, the world goes up in well as on the reverberation of historical develop- cripples its protective, shielding, and static power. scribing the earlier years of the hero: he drafted flames with her. Is this how love finally triumphs, ments. A parable that experiences many elements Thus chaos, once disciplined by the ordered clas- The Young Siegfried (later renamed Siegfried) in the love that was meant to constitute a new world, of the subconscious and man’s persistent desire sification of the mind, prepares to transform back 1851. Gradually, he added a further two works in accordance with Wotan/Wagner’s intentions? for redemption, while yet conscious of violence and to its former self – thus the supreme god (as the of evening-filling duration to hisWeltendrama (= law, and the progression of the mechanization and supreme projection of the opportunities gifted to world drama): (1852) and Rheingold (1853) The god himself is the problem. Wotan is as industrialization of all human activity. A parable of a man) once again, for one last time, attempts to put completed his plans for a cycle that provides a to- much or as little of a god as are his creatures: philosophy of history that attempts to abolish man’s an end to the evil of falling into the crushing wheel tal of more than 13 hours of opera. “In between the humans. As does his Greek counterpart Zeus, self-alienation through the conquest of a recovered of fate. In order to recognize at last that the new creating the first drafts for the poems and begin- this northern god who appears at all times and state of natural innocence. ...” presupposes the overthrow of the old, that it implies ning the actual composition work, he also wrote in all situations with a spear (what a profound According to an entry in ’s di- the self-abandonment of the old, corrupted as it is his major theoretical essays and symbol!) has issued rules to deal with the chaos ary, Richard always saw himself in the role of a by its involvement in failure and guilt. Then, after The Artwork of the Future. But this gives us all the in the world; however, he is always one of the “plenipotentiary of doom”. This dangerous self- creation once again renews itself, the game can more reason to marvel at the colossal tenacity first to break them once again. He cannot fore- incrimination signifies nothing other than “the start anew in accordance with the idea of a​​ cyclical and the phenomenal power of faith with which the see the consequences of his actions, and continu- destruction of the existing world and the creation pattern of the hustle and bustle of the world. ...” artist clung to a project, of which the actual stage ally attempts to rectify his errors by committing of a new, personal one” (Manfred Wagner, 2009). production must have seemed – even to himself – Rheingold Synopsis to be quite inaccessibly idealistic.” (Rappl, 1967) The symbol of happiness has now, in the rever- then Wotan is ready to snatch the gold back from To return to the chronology, Wagner began working Act 1 sal of its original meaning, become the symbol Alberich. For the Rhine maidens? For the giants? on the composition of the music while in exile in Zu- of a disastrous desire for power.” (Rappl, 1967) No, for himself! rich in 1853: in 1853 Rheingold, followed by Valkyrie After the Prelude – which will be dealt with later – in 1854, and Siegfried in 1856. By no means was the very first action in the “Weltendrama” (= world Act 3 this simply a matter of setting previously written drama) is seemingly almost bursting with libido. Act 2 texts to music. No, the design of the dramas was It begins with an extremely charming seduction In the subterranean Nibelheim, all are busy, either based from the outset on the way Wagner thought scene. The Dark Alberich, a solitary Nibelung, And what takes place under the water also occurs hammering away or at the forge. There, too, once about music. He developed the entire idea of ​​the lusts after the Rhine maidens. Previously, the three “in the cloudy heights”. Wotan, the Light Elf, also upon a time, when love between people still existed, tetralogy purely based on the music, already writing lovely maidens have respectfully encircled and en- cherishes dreams of power, but not at the expense gold was a “wondrous trinket”. Mime, Alberich’s the entire libretto (and stage directions) in terms snared the misshapen . Now they mock and of love. On the contrary, being a god means being brother, wistfully recalls those times. An upright of its future function; namely, to become music spurn him, one after the other. His lust increases free in the choice of playmates, of fathering chil- character, such as all fellow-sufferers in Alberich’s “clotted” into words and images. This, in fact, is to the level of a violent fantasy: “If this fist could dren, wherever appropriate. That is how Zeus had industrial army of slaves, he has made a helmet the fundamental and magnificent difference be- seize one!” Just at that moment, the newly dazzled dealt with it in the past. But the liberal desires of for his brother, so that the latter can transform tween his work and all previous – as well as most elf is once again dazzled, this time by the shimmer Wotan, perhaps the most bourgeois of all gods, himself into his own “secret police force”, in or- subsequent – music-theatre works! Likewise, this of gold underneath the waters of the Rhine. The incur domestic wrath. His no less bourgeois god- der to exert even better control over his Nibelung is the no less inexhaustible source of gigantic mis- Rhine maidens, who moments earlier had been dess wife Fricka cunningly attempts to retain him slaves. Later, in Siegfried’s hands, the understandings of Wagner’s work and influence! disingenuously intent on preserving their virginity, by the lure of an impressive home. Wotan reacts (= camouflage helmet) is “promoted” in order to For the justification of the much-courted concept now guilelessly tell Alberich – who swiftly changes like a flattered paterfamilias: he enters blindly into become the fatal instrument of falsehood and de- of Richard Wagner’s “” (= total from fool to astute questioner – the secret of the an agreement, orders the building of the “hut”, falls ceit. With regard to the subterranean work-ma- artwork) can be found only in his unique personal gold: “He who from the Rhinegold fashioned the hopelessly into debt, and does not have a clue on nia, images from the Saxon ore-mining industry combination of composer, poet, and artist. ring that would confer on him immensurable might, how to ever repay this. The contractors, two “gi- come to mind – they must have been familiar to Drastic events in his personal life led him could win the world’s wealth for his own.” They are ants of the trade”, Fasolt and Fafner, erect the Wagner from childhood onwards, thanks to the to put aside his “life’s work” whilst still in the far too confident that Alberich would definitely not building and subsequently hold out their hands. widespread tradition of the “Buckelbergwerke” (= middle of Siegfried. Under the influence of his be able or willing to meet the conditions attached, Wotan had recklessly offered as a pledge his wife’s hump/hunchback mines) – likewise, images from passion for , he gave as: “Only he who forswears love’s power, only he sister, the lovely Freia, trusting somehow that he the subsequent adaptation of the scene in Fritz priority to Tristan and Isolde (1857-59) and who forfeits love’s delight, only he can attain the would be able to come up with the enormous wages Lang’s Metropolis, or the horror of a coal mine in The Mastersingers of Nuremberg (1861-67). magic to fashion the gold into a ring”. involved. Loge, a shady character, was supposed central England in the 19th century, or of a Nazi Wagner returned to his Ring only after a “fateful But Alberich renounces, in all earnestness, to help him achieve this. Well now, good advice is V2-workplace in , or of a Soviet gulag, or... stroke of luck” in the form of King Ludwig II of love in favour of power: this will provide him with literally expensive. For Freia cannot be sacrificed. “Allured by gold, for gold alone shall you hun- . In 1869, he resumed work on Siegfried, the means to express his all-encompassing an- The beautiful goddess is the guarantor of eternal ger!” Alberich is aware of the power of gold. He and subsequently completed the composition of ger, to take terrible revenge on all those who live youth, and thus of the immortality of the gods. But who owns it, wants to keep it and multiply it. He Twilight of the Gods between 1869 and 1874. Fol- and love for untold past humiliations. He breaks the giants are as reluctant to relinquish sweet love who does not, wants to gain it. Thus it forces each lowing the advance individual performances given the love spell of three pure Rhine maidens, steals as are the gods. Once again, libido steps into the and every person into its servitude, as long as love – much to Wagner’s sorrow – of Rheingold and the gold – to date simply worthless trinkets in the foreground: according to Loge, “...in the whole wide – God – remains silent in man. Valkyrie in 1869 and 1870 respectively, the entire maidens’ hands (compare this with the role gold world, nothing is so rich that a man will accept it in In order to outwit the boastful Alberich, Loge Ring was performed for the first time under his plays in the Inca culture!) – and thus plunges into lieu of woman’s beauty and delight,”. successfully uses an ancient trick. Puss in Boots overall direction in four consecutive evenings from the depths of the earth. “This is what is meant by In fact, it is only when Loge casually tells of in Grimm’s Fairy Tales knew it well: “The cat soon August 13-17, 1876, on the stage of the newly built the ‘fall of man’ in the metaphorical language of Alberich and the Rhinegold, that giants and gods came to the magician’s castle, and went in boldly “Festspielhaus” in Bayreuth. Wagner’s Ring: a seeker has posed the question alike fall into the “money-trap”. Wotan announc- to stand in front of him. The magician looked at him regarding insight, and insight has been duly gained. es: “I must have the ring!” Fafner returns: “...for contemptuously, and asked him what he wanted. The bliss of paradise has now been lost, the sun eternal youth he gains who commands it by gold’s The cat made a low bow and said, ‘I have heard that robbed of its intensity and its warmth extinguished. magic.” Just one further sharp reminder is needed, you can transform yourself into any animal. But ... can you also transform yourself into a lion?’ – ‘Huh, even to the Rhine maidens. to the naiads, nymphs and undines, these creatures mares during his nocturnal “activities”. Wagner is that is nothing,’ said the magician, and appeared to “The giants return with Freia, the fateful ex- of nature play with one another and with the gold probably also playing around with the significance the cat in the form of a lion. The cat pretended to change is carried out in an allegorical scene: in given them to guard by Father Rhine. In their in- of the German word “albern” (= foolish), when he be frightened and cried out: ‘That is incredible and accordance with the giants’ demands, Freya’s figure nocence, these daughters of the primordial earth endows his Alberich with malicious and comical unheard of, not even in a dream would I have imag- is to be measured against the gold, in such a way mother Erda (and half-sisters of the ) flirt Rumpelstiltskin-like characteristics. After all, the ined this; but it would be even more incredible if you that it is completely covered with the treasure. The with anyone who comes by. Furthermore, they are nominalisation of the word “Albe-rich” highlights could transform yourself into an animal as small treasure-hoard stacked in front of her appears to not interested in the gold, or in any power stem- (apart from the Old High German translation of as a mouse. I am sure that you are capable of more satisfy this condition. But then Fasolt, consumed by ming from the gold. However, Wotan’s wife Fric- “-rich” as “rich”) the significance of the formula- than any other magician in the world, but that would the love he feels for the beautiful goddess, discovers ka, who is always “concerned over my consort’s tion contained in “Dingerich”, taken from the Saxon surely be too hard, even for you.’ The magician re- that he can still glimpse Freia’s eye through a tiny constancy”, is all too aware of the kind of danger dialect: “a strange, unsavoury human being = that is acted in quite a friendly manner to the sweet words, crack. In exchange for this final waiver, he demands emanating from such creatures: “I wish to know a true ‘Dingerich’. In Saxony, one says: what more replying: ‘Oh, yes, dear kitten, I can do that too.’ And the ring worn by Wotan on his finger, which the nothing of that watery brood: many a man – to does the ‘Dingerich’ want, then? The fellow. A hide- he jumped around the room in the form of a mouse.” god is not prepared to give up for ‘all the world’.” my sorrow – have they lured with their seductive ous ‘Dingerich’ (Jacob and Wilhelm Grimm, German ... And the rest is history, as is the miserable end (Rappl, 1967) sport.” Therefore, among other reasons, it is no Dictionary, 1854). of Alberich as a toad, after previously having made Then Erda emerges from the earth, with the surprise at the end of Rhinegold that the defrauded Wotan and Loge titter in fear as a snake. authority of the final judgment, as the primordial Rhine maidens feel like wishing the gods to hell. Wotan mother representing the earthly counterpart to Fa- Act Four ther Rhine, and warns Wotan earnestly of the curse. Alberich Mythologically derived from , the chief god He buckles under and shortly afterwards experi- of the Northern European epic poem Edda, the Wotan proves himself to be a true “strangler”. Once ences the fulfilment of the curse for the first time: Alberich feels like a victim of the seductive games southern-German name of Wodan/Wotan refers again humiliated and literally exposed, Alberich is in blind greed, Fafner-Cain kills his own brother, staged by the Rhine maidens. As if remotely con- to the Middle and Old High German word “wuot”, forced to hand over everything to the gods: first all, Fasolt-Abel. Wotan suspects that he has become trolled by his lust, he continues to grab at them, and the New High German word “Wut”, meaning his entire hoard of gold – meanwhile observed by his part of an inexorable process in which he will be but to no avail. None of his actions does he begin “anger”. This explains a good deal about the nature subjects, shamefully bound and gagged – then the forced to use his spear time and again. voluntarily. When he realizes he cannot satisfy his and conduct of Odin/Wotan. “The path of the father Tarnhelm, and finally the ring. Alberich – ignoring The eve of the Nibelung drama ends with re- lust, he falls back on the next best thing, the gold. of the gods is also lined from the very beginning the fact that he has committed a crime not only sounding fireworks. Donner and Froh stage an But the dubious pleasure does not last long, the with deeds of arbitrary injury and violence. He has against himself, but also against the and eerily beautiful thunderstorm, which includes a Light -Gods (= Lichtalben-Götter) advance sacrificed one eye in order to win wisdom ... And the Rhine maidens – curses the ring and predicts rainbow. The “god-citizens” traipse over the bridge boldly before him and take everything from him; in order to win the spear, his symbol of power, he Wotan’s fate to the heavens: “Take heed, haughty to move into their now “paid-for” home. Wotan re- and now the last thing he loses – and justly so, ... was forced to pristine nature, he broke god! If I sinned, I sinned only against myself; but you, names the castle “”. Rising up from the considering the injustice – is the respect he had off a branch from the World Ash Tree ... – but due immortal one, sin against all that was, is and shall depths, the voices of the Rhine maidens are heard to for them, due to the selfish manner in which they to the wound, the tree wastes away.” (Wapnewski, be, if recklessly you seize my ring!” And: “Whoever complain: “Now only in the depths is there tender- are acting. His hatred is total. By cursing the gold, 1995). Of course, Wotan is also bound by his ver- possesses it shall be consumed with care, and who- ness and truth: false and faint-hearted are those he spoils the treasure that he begrudges the oth- bal agreement, which is carved into the spear and ever has it not, be gnawed with envy! Each shall itch who revel above!”. ers. By renouncing love, he brings into play one of preserved in , making him a “vassal to his to possess it, but none in it shall find pleasure!”. Wagner’s basic themes, used by the composer time own system of rule” (Wapnewski, 1995). “The power By virtue of his office, one might say, Wotan puts PEOPLE AND RELATIONSHIPS and again, in highly differing forms in the characters struggle of this so very human, unwise and blindly the stolen ring on his finger and finally feels – in TO STRIVE WHILST ERRING, TO ERR WHILST of Tannhäuser, Klingsor, Tristan, and Hans Sachs. covetous god certainly differs to that of Alberich: STRIVING contrast to Alberich, “of wretches the wretchedest However, Wagner’s Alberich is not an Albert. he longs to dominate the world, not as one who slave” – like “the mightiest of mighty lords!”. He has Woglinde, Wellgunde, Flosshilde While the name Albert can be retraced to the Old has been scorned may desire revenge, but rather gained power, without having to sacrifice love. In High German name of Adalbert (“adal” = noble; “be- as a result of the excess of blissful love he has his vain delusion, he reminds one unfortunately of The three Rhine maidens with the fanciful rath” = bright, shining), the Black Elf (=Schwarzalb) enjoyed.” (Rappl, 1967). Although initially Wotan is the magician in Puss in Boots. Of course, he does names given to them by Wagner represent the pri- stems from the Nordic sagas, is related to both the able to force Alberich to cede him, item by item, the not think of handing the ring over to the giants, or mordial peace of pure love. Mythologically related gnome and the troll and, like them, can cause night- treasure, the Tarnhelm, and the ring, thus later on the god is also forced, equally unwillingly, to hand hesitation, like a common pimp, to the first avail- his favourite daughter. Thus, Walvater Wotan dwarf, how on earth can his little brother, “this over everything again, item by item. able punter; in fact, to two at the same time, physi- unites with Urwala (= the first ancestress), in or- tragi-comic, grotesque character in the tetralogy, Fricka always enjoys calling upon Wo- cal giants of their trade, uncouth, rough fellows. der to choose his true heiress in the form of the lacking in any creativity or devilry?” (Rappl, 1967), tan to be faithful, yet in the end he remains (Later on, he also dooms his favourite daughter, the Valkyrie. From this perspective, Wotan’s naming of be expected to survive in the world? Long before he faithful only to his restless nature, to his Valkyrie Brünnhilde, to the same fate.) The giants the castle of the gods as Valhalla is a highly sym- becomes Siegfried’s foster-father, he grasses on Al- ill-adjusted volatility. Not even the primal are content: “Freia the fair, Holda the free, it was bolic act, and a consequence of both secret and berich to the gods. The blacksmith whines and licks mother Erda is safe from Wotan; he fathered agreed we should take home.” When it appears that genuine family ties. No wonder that Wotan’s “room- his wounds, following his beating by his ungrateful Brünnhilde on her. (It remains unclear who were the horse-trading can no longer be halted, Freia mate” Fricka is given only a vague answer when older brother. A “Mime” is a Thespian, not a poet the mothers of his other Valkyrie offspring – one denounces herself as “Holda”, in order to save her she asks what the name of Valhalla is all about! or a composer. Moreover, one can also hear in the thing is for sure, it was not Fricka!) Later on, Wotan, skin. The image of True Love sticks to her, when name “Mime” echoes of terms such as “Mimose” the supreme god and Walvater, gads about with she is finally measured against the gold. Fafner and Fasolt (= oversensitive person) and “Memme” human females as “Wälse”, and fathers Siegmund For Wagner ( and likewise the Brothers Grimm) (= cry-baby). Mainly, the name Mime also contains and Sieglinde. had no doubt that the German pagan goddess Hol- Wagner’s giants are industrious fellows. They may Wagner’s unpleasant characterization of the Jews da, who was responsible for both rain and snow well stamp their feet vigorously while insisting on as imitators, unable to create anything by them- Fricka (Frau Holle!) and for growth and prosperity, was their wages, but in every other matter, they are selves. Mime’s only semi-independent deed (un- no other than the (similarly pagan) goddess of an- more like the Seven Dwarves: they are skilful and der Alberich’s strict supervision) was creating the The female paragon of virtue at Wotan’s side pays tiquity, Venus. The opera Tannhäuser manages to hard-working. And at least one of them falls in love Tarnhelm (= camouflage helmet), a mask which strict attention to discipline and order. She is the sing many a lusty song about Venus-Holda! with Freia, the Snow White in the tale. enabled one to hide one’s true face. To the image of embodiment of his (guilty) conscience, forcing him Fafner, the mythological son of Hreidmar, plays the eternal runner-up is added that of the coward. first to make a promise, and then to abide by it. Erda an important role in the Edda songs as “” Wagner endows the woman with all the trappings (= the hugger). Wagner borrowed the name and Donner and Froh of a peevish, jealous, narrow-minded nag, who of Erda, the primordial Earth Mother, a natural being bear-like strength of the ancient Nordic giant. He course at the crucial moment cannot resist ask- stemming from a time before the existence of the invented the character of his brother Fasolt: the Old How does that disdainful proverb put it? Among ing Loge the covetously childish question: “Would gods, is for the time being the only one who can High German name “Faselave” can be translated as the blind the one-eyed man is king. With his one the golden trinket’s glittering gems equally serve actually halt Wotan in his tracks. Her knowledge “wild gestures” and “confused talking”. Accordingly, remaining eye, Wotan has command of many such as fair adornment for women too?” Even if Wag- is all-encompassing. She gives no reasons for her it is logical for Fasolt to babble on when he speaks. persons, including two peripheral figures from ner may have been inspired by the mythological decisions, she provides no evaluations, she takes no In areas where Low German is spoken, a linguistic “high society”. They are examples of good-for- goddess (or Frij, often identical to Freya) to sides. Her prophetic words “All that is, shall come to link remains to the word “Vasel” (= breeding pig, nothing free-loaders, prove to be inflated braggarts, use the name Fricka, the vowels and the syllables an end. A dark day dawns for the gods...” completely unfattened pig). “Vasel” became the official term outdo one another in their simplistic blabbering, contained in the word Fricka are similar to those of invalidates Wotan’s rage, “the masculine, creative used to describe a pig farmer; or when used in a and in the best case provide entertainment that Minna, Wagner little-loved wife at the time he wrote principle” (Rappl, 1967). He follows her advice un- figurative manner, it has the negative meaning of distract from the problems, when they conjure up Rheingold. However, the consonants in the name conditionally, as he suspects that she represents “vermin”, “reject”, or “riff-raff” (taken from: Hans thunderstorms and rainbows at the end. “To Wag- Fricka do still sound somewhat colder and harsher. his better half, as it were. When the curse that rests Bahlow, Deutsches Namenlexikon, 1967 (= Ger- ner, Donner means the Germanic god Donnar/; on gold first makes its presence felt, as Fasolt is man name lexicon); Richard Wossidlo / Hermann and Froh (= cheerful) is not meant to represent Freia - Holda - Venus slain by Fafner, Wotan has only one wish: “Dread Teuchert, Mecklenburgisches Wörterbuch, 1937- a god of cheerfulness, but more, in the sense of and fear fetter my mind; how to end it Erda must 1992 (= Mecklenburg dictionary); Josef Karlmann the Old High German word ‘Frô’ = Lord, the Nor- Her sister Freia appears to be far more accessible. teach me: I must go down to her.” What a surprise Brechenmacher, Etymologisches Wörterbuch der dic god of fertility, ‘Freir’, who was the brother of Basically, a passive “luminous figure”, to whom “in that Fricka is not happy to hear this! “(Snuggling deutschen Familiennamen, 1960 (= etymological ‘Freia’.” (Wapnewski, 1995). Wagner ridicules the the realm of the gods is apportioned the same sym- up to him in a flattering manner) Why do you tarry, dictionary of the German surname). petty bourgeois narrow-mindedness of these two bolic significance as the Rheingold, when it shines Wotan? Does the noble fair fort not beckon you, as by having Loge remark the following: “Donner and down on the playing of the Rhine Maidens” (Rappl, it waits to welcome its owner to its shelter? Mime Froh, they are dreaming of food and shelter! When 1967), Freia appears in Wagner’s opera simply as Erda is the only real woman in the tetralogy, they want to wed, a house would gladden them.” an object of desire. Wotan barters her away without with whom Wotan later has a child: Brünnhilde, Considering that Alberich is already a misshapen The beaten dogs bark back, did one ever hear the gods curse so? Froh: “Your name is Loge, but I call To the music which provide amplitude and structure to the in- completely free of the water that flows like clouds you liar!” Donner: “Accursed fire, I’ll quench you!” Prelude. Excess in E flat. creasingly powerful flowing waves. Finally, as a scudding over the ground in the stillness of the Loge, quick as you please: “To cover their disgrace, fifth layer, the remaining soundscape is filled with night. Everywhere, sheer cliffs loom up from the the fools revile me!” In the beginning was the note. A contra E flat, wel- “running scales, shooting up over several octaves depths, bordering the actual stage area; the entire ling up from the primordial depths. A second note in the violins and the woodwinds. Each layer has its floor of the stage consists of a wild tangle of jagged Loge enters – the fifth above – followed by the horns phases of genesis, development, and culmination; peaks, without any area that is perfectly flat, and in canon continually repeating the first, then the afterwards, it moves aside, like a kind of perpetuum suggests deeper abysses on all sides hidden in the Nevertheless, Lüge (= lie) and Lohe (= raging second note. Finally, they dare to play a third tone, mobile, remaining partially in the background, so densest darkness. (One of the Rhine daughters can flames): this is Loge, which says something about the third above. The triad is born. Richard Wagner that the next sound layer can take over in the relay be observed, circling in a graceful swimming move- the shady character of the “” within the dedicates a whopping 136 bars to the sole cele- race... The layering cannot simply be divided into ment a reef in the middle of the stage, which rises Ring tetralogy. The demi-god, lord of fire, remains bration of the E-flat major triad, which adds up a foreground-background relationship, although projecting its slender tip into the denser, brighter at a critical distance from the gods, yet he always to about four minutes of music. This beginning to the relative equality between the layers demands dawning flood of water.)” Music is translated into helps them, and in particular Wotan, to benefit from the Rhinegold, to the entire tetralogy of the Ring of a number of changes in dominance, so that no one the media of space, into light, colour, movement, a situation. Like his mythological relative , he the Nibelung, made history in the world of music. layer ‘outcries’ the next” (Rienäcker, 2001). and finally – by introducing the singing of the Rhine brings about both good and evil. “He is never sub- The anecdote that Wagner came up with the Although blurred, sequences of notes, different maidens – into language. The transitions are fluid, jectively committed, and he towers above everyone inspiration to write this E-flat signature at the be- note-lengths, and combinations of timbres emerge thus Woglinde can smoothly begin her well-known, else thanks to his omniscient intelligence. He is the ginning during an afternoon nap is as romantic as and solidify unmistakeably within the E-flat ma- preconscious babbling: ‘Weia! Waga! Waft your embodiment of ‘natural knowledge’: a fundamental it is untrue. Sketches prove that a lengthier work jor chaos. This gives birth to figures leading up to waves, ye waters! Carry your crest to the cradle! creature, who is subservient to all and none, who process was involved, containing many changes and the themes, which spatialize rest and movement Wagala weia! Wallala weiala weia!’.” is hated, feared and despised, because the simple corrections, crystallizing at the end – not even at according to simple principles: such as standing truth of the advice he is constantly ready to give is the beginning – into the incredible prelude. The still and circling, vibrating and centrifugalizing. Verse-melody and alliteration imbued with the irony of a dispassionate superior- prelude is full of atmosphere, tranquillity and noise, The musical progression arises from pulsation, ity. The danger of his advice is that it contains no surging and gliding, a flowing conquest of space. from “development and withdrawal” (Rienäcker, Wagner’s art is literally comprehensible during the warnings” (Rappl, 1967). Loge also reminds one, Yet, it is all composed according to the rules of the 2001), not from a simple advancement. “The fact prelude, and it is easy to understand what he means of course, of that Mephistophelean “force, which art. “Five layers of music” (Rienäcker, 2001) can that, in all the outlined procedures and principles, by his famous words that his plays were “musical always desires the evil, yet always creates the good. be identified. First of all, Wagner installs a pedal time transforms into space, or – to be more precise actions become apparent”: subsequently, there I am the spirit that always denies! And rightly so; point in the double basses and cellos on the note – into various spaces, is literally demonstrated in are at once numerous examples that allow one to for everything that comes into being, deserves to of E flat. Bassoons create the fifth above. Quantity every dimension; at the same time, in defiance of experience how his music can express thoughts perish”(’s Faust I, 1808). In this, he seems is added to the primordial sound, and “the timbre all spatialization, time is not at all obliterated; it without the added benefit of spoken text. Wagner to prepare the ground, in accordance with Wotan’s is roughened up and thickened after 44 bars, as comes into its own, as change can be perceived in implements, for example, the “level” of the differ- later desire, for the all-encompassing end, almost the contrabass tuba takes up the tonic note and the long run” (Rienäcker, 2001). ent keys. Throughout his oeuvre, various keys have bringing about the Götterdämmerung... two trombones take up the fifth above” (Rienäcker, Significantly, the stage direction to open the special connotations: thus, love is represented by Fittingly, “Loge, the wily intellectual, the disillu- 2001). The second layer consists of eight horns that curtain does not appear until bar 126 of the prel- the of E major, whereas the end of the gods is sioned realist and bustling organizer”, (Wapnewski, take it in turn to enter with broken triads, which ude. As an experienced man of the theatre, only linked to D flat major. (Thus, it is highly significant 1995) remains behind, pondering, while the gods rise over two-and-a-half octaves and produce a now does Wagner permit the eye to experience that that Flosshilde’s is heralded in triumphantly enter their castle, and tells them as shimmering, yet – at the same time – solid sheen which the ear has already perceived: “At the bottom D flat major.) clearly as had done Erda earlier, and subsequent- in E flat. This is joined in a third layer by oscillating of the Rhine. Greenish twilight, lighter towards the However, wherever he works with sung text, ly the Rhine Maidens: “They hasten to their end, triads in the woodwinds, which gradually develop surface, darker towards the bottom. The vertical he replaces end-rhymed verses with alliteration. though they think themselves strong and enduring. I a rhythmic melody in their high notes. This is also space is filled with an undulating body of water Much fun has been made of the alliterations “nei- am almost ashamed to share their doings; my fancy taken up after bar 49 by the string groups, of which ceaselessly flowing from right to left. Towards the dlichen Nicker” (= enviable nymph), the “garstigen lures me to transform myself back into flickering the lower strings have by now been released from depths, the flooding water dissolves into an in- Gauch” (= loathsome fool), the “schäbigen Schuft” flames.” Finally, only the creatures of nature survive the pedal point. As a fourth layer, the woodwinds creasingly finer wet fog, so that the space from (= shabby scamp), but Wagner does not call upon the Götterdämmerung... reinforce the highest notes into striking signals, the ground up to the height of a man appears to be alliteration as an arbitrary caprice. The art form of alliteration “is, although lapsed in present-day that Wagner’s musical language – with its forward- in the finale of Mozart’s Jupiter Symphony, based motif, the Götterdämmerung motif. language awareness, the poetic form of bonding looking, progressive, graphic and expansive dynam- on a fragment of a theme. Nevertheless, the as- The anguish and tragedy of love are expressed between Germanic languages, thus also including ics – is more closely related to epic ‘prose’ than to sociation can be heard continuously while listening in a downward spiral that admittedly does try to German itself, appropriate to the intonation. For the contained unity of aria-like ‘lyrical’ verses... In to the music. Wagner proceeds according to a very persist in dotting the notes, yet is forced in hesitant this language group is determined by the initial Wagner’s way of thinking, drama demands dialogue similar philosophy. He takes short concise motifs semitones to submit to the inevitable. This motif accent; in other words, by the initial emphasis of the rather than blissful melodic duets; it demands the as well as longer themes elaborating these motifs, runs through the entire Ring in all kinds of variants. word, which fundamentally scans speech. Thus, it through-composed act rather than the mechani- and assigns them to certain characters, to their In Rheingold, Alberich is one of those who resorts is only natural to link each of the significant words cal addition of individual numbers; it demands the mutual relationships, and also to functional stage to it – for he, as the character lacking in creativity, by repeating the same sound at the beginning ... unbroken flow of the ‘endless melody’ rather than situations. Drama arises only from the friction of is not allotted a motif of his own! Even Freia, in her of each word. (On the other hand, a weakening of standard schematic recitative. An endless melody such musical events, from their wanton distortion fear of the giants, makes use of it; the enslaved the emphasis on the final syllable of the word in that is not permitted to string together piece to in the conflict, from the struggle for supremacy, Nibelungs include it in their work songs; and later the Germanic languages has made this syllable piece, separated by senseless intervals, but that or even from the subtle, “semi-conscious” aside. on, in the Valkyrie, it shapes the love between the increasingly less important; to an extent, in which complies with its ‘law of endlessness’ aided by a Perhaps “nothing has prevented an adequate Wälsungs, and marks them out from the start as its sounding rhyme with multisyllabic words allows refined ‘art of transition’ (Wapnewski, 1995). understanding of Wagner’s music to such a degree tragic creatures. the unstressed element to merge into the next.) as the supposed short cuts of the ‘thematic leitmo- The idea of power​​ manifests itself straight away ... Certainly, alliteration arouses a degree of at- Motifs and associations tifs’.” (Werner Breig). Therefore, the reader will not in a variety of motifs. All have in common that they tention and stimulated interest that ensures that find a catalogue of leitmotifs here, but rather some start with an imperious rising phrase, often a “fire- any statement is removed from the routine fluency Whereas on the one hand it is the altered text-struc- music-architectural clues to help him understand engine siren” fourth. These include the Rheingold of everyday language” (Wapnewski, 1995). In his turing and through-composed music that trans- the “associative memory-network” (Wapnewski, motif (a nature motif from the prelude), the thunder use of old-fashioned terms such as “Mißwende” (= form the principle of alternating recitative and aria 1995), by means of which Wagner performs his motif “Heda! Heda! Hedo” (which Emperor William misdeed), “Harst” (= advance guard) and “Friedel” into a continual dramatic flow, on the other hand “associative magic” (Thomas Mann) on us. This II chose to use for his car horn), and the sword (= sweetheart), Wagner is not trying to flirt coquet- novel organizing principles were required in order also corresponds quite well to the answer that the motif (which symbolizes Wotan’s “major thoughts” tishly with history, even though his idiosyncratic to facilitate, or even permit, the ‘through-listen- composer himself found for the hardest question in Rheingold). Even the giants make use of the pow- coinage of words and his at times strange syntax ing’, especially in a cycle of work such as the Ring, of all: how, in such a gigantic work, to safely and erful fourth interval. do not entirely spring from the joy of storytelling. which contains almost 14 hours of music. Wagner feasibly draw a fine line between that which is com- However, the spear motif, however, Wotan’s Rather, this represents to him a musical substance, thinks in a strictly musical manner, and equips plex in simple situations, and that which is simple “power-insignia”, is not only a consistently de- even before any note has been sung. The verse- his musical dramas with trappings derived from in complex situations? Whereby “he developed the scending melodic line (how symbolic, apart from melody of Wagner’s texts does not reveal its signifi- symphonic music – in particular, from Beethoven’s motivic diversity that he required from a few basic the musical idea!), it turns as it were against nature cance when it is read or recited; yet its “logic and orchestral music. If this results in orientation and motifs” (Carl Dahlhaus). and directly from its melodic substance stems the legitimacy” become apparent the moment it is sung, stabilization thanks to musical motifs and other Götterdämmerung theme. The Rheingold motif and right up to “the so often-parodied expressions of subsequent themes, then this is nothing more than the Valhalla motif are the only firmly established the call of the ‘Hojotoho’ – where speech what typically occurs in a classical Romantic sonata Direction, interval, movement motifs throughout the Ring. But the Valhalla motif is transformed into tone, tone into music – of the or symphony. On the one hand, the unfortunate term presents itself in D flat major. The iron law, it has babbling of the Rhine Maidens ‘Wagalaweia’ (inci- “” does depict such a composition; yet, on A key moment of Wagner’s use of the motif – and lost its centre. It hovers, so to speak, above the dentally, “wâc” is the word for the other hand, it leads one – and that is why it is most certainly in terms of the 17th-century mu- harmonic abyss. Which is exactly where it will land, wave) ... Wagner’s musical syntax, his rejection of unfortunate – to make a gross oversimplification, to sical doctrine of the affections – is the direction in the end. the isolated pieces of music in traditional opera per- hold a “paperchase” within Wagner’s oeuvre. With of the development. The symbol of becoming, as Musically speaking, Loge, the god of fire, is the formances in favour of the through-composed flow the help of sign-posting, one may find one’s way developed in the ascending melodic peaks of the most difficult phenomenon to pin down inRheingold . corresponds to the linguistic syntax of word usage, through the forest. But does that mean that one has above-mentioned prelude, generates the entrance He literally haunts the sonic space, not deigning the sentence structure, the metric of alliteration. truly seen the forest, that one has perceived nature motif of the primordial earth mother, Erda, after to rest on any particular note value, and always As is the case with the listener – whose prosody in its diverse beauty and complexity? No one (other being transposed to the key of C-sharp minor: “All suddenly turns up somewhere unexpected. He appears to be closer to prose than to the lyrical than perhaps a meticulous music analyst) would that is, shall come to an end.” On cue, the subject is accompanied by chromaticism in the sense of structure of end-rhyming verse – so it also seems ever think to delve into the origins of each interval changes into its opposite, and becomes the death dazzling colour, but also in the sense of indefin- able oscillation between mockery and seriousness, strengthen it, if necessary. Wagner summons up al- between deception and trickery. Various motifs (e.g. most biblical dimensions when the gods enter their Valhalla motif) are mirrored on him, becoming gro- castle: no less than six harps accompany the full tesque. His blazing musical apparition provokes sound of the brass. Psalm 150: “Praise God in his Wotan’s diatonic major-third dogmatism, as well sanctuary; praise him in his mighty heavens! Praise as Alberich’s harmoniously diminished hate and him for his mighty deeds; praise him according to curse motifs that both draw their grandeur as well his excellent greatness! Praise him with trumpet as their penury from the sword motif. sound; praise him with lute and harp! Praise him with tambourine and dance; praise him with strings Orchestra and cast and pipe! Praise him with sounding cymbals; praise him with loud clashing cymbals! Let everything that The workers remain underground. They trudge has breath praise the Lord! Praise the Lord!” What along in the eternal grind of the “working man” blasphemy, basically! During the unveiling of the (so often copied from Wagner by later composers) grail in , this is used to even more oppres- in a distinctive motif. It rises up slowly yet power- sive effect. fully. From this motif, the giant dragon derives its The real power of Wagner’s orchestra reveals cumbersome yet threatening movement in Rhein- itself in the very gentlest scenes, those that do not gold (and later also in Siegfried). Added to this, is deal with power. When only love is smiling. the Nibelung working music. Dusty, sweaty hard work, and when 18 on stage begin to create Steffen Georgi English translation: Fiona J. Stroker-Gale an infernal racket, the mind’s eye visualizes early industrial scenes. By now, it is clear to any listener that operatic act and orchestral music have entered here into a completely new association. In order to rightly celebrate Wagner’s brand new approach to text and drama, then one should not forget these literally “tangible gestures” immediately produced by the orchestra. Wagner’s “orchestral melody” (Dahlhaus) is one that bulldozes over all that has been before (including Berlioz and Weber, although influenced by them), that writes in music in the firmament exactly where Wagner’s musical thinking differs from Beethoven. It is by no means only the sheer quantity that is so amazing (although this is also the case!), but also the expansion of the orchestral timbre, and the innovative orchestral combinations. Sixteen first and 16 second violins form the tip of the iceberg; and in the depths lurk a bass trumpet, contrabass tuba and contrabass trombones. Wagner literally invented the use of narrow tubes with a horn mouthpiece, the so-called Wag- ner tubas. They diversify the sound of the horn, and