GMG Classical Music Forum

Greeting, guys! I'm sure most of the Wagner fans have their own favorite leitmotives, so therefore I created this topic. In my first post I am going to mention only leitmotives from the "Ring", in later posts I continue with Parsifal, Tristan, Meistersinger, Holländer, Tannhäuser and Lohengrin.

This is very difficult, if not impossible task, since Wagner has created hundreds and hundreds of awesome leitmotives, and many of them are very complex and clever variations from others. I can't name a single bad one and it is almost impossible for me to put them in some order, so I am not going to do that, I post only few of my most favorites, not in any particular order, in case you don't want this to go on forever. And sorry, I can't include them in the poll either. Pay attention: some of these motives may not be official but are results of my own personal analysis, so if you have different point of view, please don't lynch me. So I shall dive into the awesome world of Der Ring Des Nibelungen.

Nibelungen-motiv, in its awesome monotonic hammering, has to be on this list. I think my favorite excerpt of this is heard in Siegfried's act 1, following Wanderer's words to Mime: "Nun ich's errate, wirst du verrückt" and during the words: "Gewonnen hab' ich das witzige Haupt! Jetzt, Fafners kühner Bezwinger...". It makes even more trembling effect than in Das Rheingold when Wotan and Loge descend to Nibelheim.

Some of the several motives that relate with Wotan, one of my favorite characters, and they cannot of course be ignored. First I must naturally mention Valhalla-motiv (all 3 of them), naturally, since it is one of the most solemn and maybe most frequently appearing leitmotiv in "Ring". My favorite appearances of it are most likely when Wanderer answers Mime's final question about race that dwell in cloudy heights, when Wanderer gently chastises Siegfried for his jerk-like attitude, and very last time during Götterdämmerung's Immolation scene, when Valhalla-motiv constantly appears combined with Rhinemaiden-motiv and finally the last crushingly powerful Valhalla-motiv with Fire motiv at background when Wotan finally accepts his fate and embraces it. It can hardly get more awesome than that!

Wanderer's motiv is combination of calmness and kickass and I can't help but think Howard Shore was inspired by this motiv in his music to Jackson's Lord of the rings movies (btw, I am not gonna blame Tolkien about plagiarizing Wagner, they simply used same sources such as Edda and Nibelungenlied, although I think Wagner's Ring is still superior). And of course the optimistic "Free hero"-motiv for ex. during Wanderer's words:" Er steh' oder fall', sein Herr ist er: Helden nur können mir frommen."

About Wotan-related motives I must still mention one: Wotan's wrath that plays during die Walküre's act II and III, first when Wotan storms off after warning Brünnhilde to not betray him, when he flies after Brünnhilde in end of act II, when he arrives at Valkyrie's rock, and final time when other valkyries have left, during his words "in den Trümmern der eignen Welt". No one messes with Wotan.

Rhinegold-motiv along with Shimmering-motiv, (which later also transforms into Forest murmurs, Moonshine in Winterstürme wichem dem Wonnemond and Mist swirling with Donner) fanfare-like theme in trumpets along with glittering of violins, fully demonstrates gold's great beauty, yet also tremendous power. Not everyone really thinks Shimmering-motiv as true leitmotive since it doesn't really have melody, though. Joy in Rheingold-motiv along with Rhinemaiden-motiv also kicks ass. In this context I must also mention Nibelungen Sohn-motiv, since it is slight variation of Rhinegold-motiv and perfectly demonstrates Hagen's dark yet also tragic character (note: the actual Hagen-motiv follows later).

Many fans seem to dismiss the Ring motive itself, maybe because they probably expect tremendous powerful brass theme such as Power of the Ring-motiv. But I freaking love this mysterious and sinister theme. Valhalla-motiv is D flat major variation of this motive because they are both symbols of great wealth and power. And what use is Ring if it doesn't have any power? Power of the Ring-motiv (transformation of Rhinemaiden's woe-motiv) is the very essence of coolness.

Nibelungen Hort-motiv, magnificent treasure of Nibelungs which is close to Dragon-Motiv, foreshadowing Fafner, who is about to guard it. In prelude of Siegfried act I it grows in crescendo until breaks down to Power of the Ring-Motiv causing musical orgasm. And let's not forget amazing Curse-motiv that constantly plays after another victim has fallen because of the curse. And through Nibelungen's hatred-Motiv we see how badass character Alberich is. Alberich FTW!

Rhinemaidens:  "This is madness!"
Alberich: This – is – Albe!"

All bird calls from forest murmurs, the one that begins with oboe and continues with sparkling flute motive, clarinet melody which also appears when Woodbird sings for example: "Lustig am Leid", flute melody that sounds little like cuckoo, and finally the actual Woodbird-motiv, beginning with oboe and continuing with clarinet. It is heavenly!

We all love Mime, don't we? Mime has also many awesome motives: again, I'm not gonna mention all. First is one that I like to call "Mime's true words", although played only in scene 3 of Siegfried. More frequently appearing throughout Siegfried's act I and II, "Mime's affection for Siegfried", first appearing when Mime reminds Siegfried how he has taken care of him and finally reaching its comical climax in act II during Mime's words: "Ich will dem Kind nur den Kopf abhaun!", because melody and Mime's friendly voice contrast his words so amusingly. You cannot really blame Mime, though. Siegfried was always kind of asshole to him. And of course, Mime's most crafty work, Tarnhelm. Its mysterious motive is just a slight variation of motives such as Erda, Rhein and Nature, yet it makes completely different effect. Most awesome example of Tarnhelm-motiv is in end of Götterdämmerung act I after Siegfried's last lines: Here it is played very powerfully with brass, yet still being so mysterious and also amazingly badass. Also in act II combined with Loge's magic fire-motiv playing quietly when Siegfried tells them about his success with Brünnhilde's capture.

Who doesn't love Loge? After all, he is the only character who appears in every part: although as dramatic character only in Rheingold, he appears as flame and musically once in a while in every part of tetralogy. If I had to say one Loge motive, the one that surpasses everyone else is most likely Magic fire, most effectively appearing in end of Act III of Die Valkyrie, during Mime's hallucination about Fafner in act I of Siegfried, Siegfried climbing towards Brünnhilde's circle of fire after shattering Wotan's Spear and in Siegfried's Rhine Journey.

Erda motive family has also glorious excerpts, but I must especially mention falling, melancholic, yet oddly comforting Götterdämmerung-Motiv.

Of course I must mention Hagen-motiv and his other motives such as "grim Hagen" during Vassals scene and "dawn of Hagen's day" after his conversation with Alberich. Hagen-motiv itself sounds calculating, such as Hagen himself. Grim Hagen-motiv along with Vassal-Motiv is a crown jewel of the second act in Götterdämmerung, and Dawn of Hagen's day informs audience that Hagen is indeed Chuck Norris of the opera. In conversation between Alberich and Hagen appears motiv I like to call "The being without love". It appears for example in prelude and starting from Hagen's words: "Gab mir die Mutter Mut", and black sound of low strings makes Hagen perhaps the most tragic character in "Ring", because his loveless fertilization also made him apparently loveless creature. And let's not forget the noble and solemn Gibichung/Gunther-motiv.

Valkyrie-motiv, hell yeah! I love the smell of flying horses in the morning. Siegfried's gorgeous motive reminds me of Star Wars theme by John Williams – or more like Star Wars theme reminds of this. Homage from Williams in honor of Wagner, perhaps?

Freia/Love-motiv, always reminding persistently about wonderfulness of being in love. Compassionate love, appearing first time in Walküre's act II, is love motive of so great beauty that it even surpasses those in Tristan und Isolde. First quietly sung by Brünnhilde with accompaniment of orchestra and breathtakingly passionately by full orchestra when Wotan admits his unfair treatment of Brünnhilde and says goodbye to his favorite daughter. And thus appears perhaps the most comforting leitmotive that Wagner ever wrote: Sleeping Brünnhilde, followed by gentle Wotan's farewell-motiv. Brings tears to my eyes at this very moment.

Love's enhancement-motiv sung by Fricka in Rheingold and recurring in Siegfried's act 3. And finally, beautiful, rising string melody that plays when Siegfried has reached the top and sees armored Brünnhilde. I like to call this "Love's confusion"-motiv, even though Siegfried does not yet know that it is woman.

There were some, and like I said, from all the great leitmotives it is very difficult to put all of them and pick just some. Although I think you will probably find this is more than "few" but considering how many freaking motives there is, I still consider this is nothing at all. If it appears that I absolutely have to eliminate some more in order to get more clear opinion, I am prepared to do it.
Moving on to other Wagner opera/music drama motives later, the arena is yours (unless this topic gets locked).

I whistle the Siegfried Leitmotiv every time I lose someone in a crowd or in a large supermarket and need to find them again.  ;D

If ever there was a poll which needed a banana option . . . .

; )

Quote from: Mensch on January 28, 2011, 08:37:30 AM
I whistle the Siegfried Leitmotiv every time I lose someone in a crowd or in a large supermarket and need to find them again.  ;D

Well, after reading that I had to know what that leitmotif sounded like, so I went to YouTube and  found this video:

Let their be Leitmotifs - a TV feature during the intermission of NYPO's '95-'96 season opener

http://www.youtube.com/v/bniQNm0eNeQ

Might come in handy for newbies who are looking for a simple explanation of what it means.

My favorite is actually Fafner's, but since it wasn't on there, I picked "All of Them".

Good places to find leitmotives include:

http://www.utexas.edu/courses/wagner/ringmotives/alphindex.html Contains many leitmotives of Ring.

http://www.utexas.edu/courses/tristan/motives.php Same except this contains motives from Tristan.

http://www.rwagner.net/e-frame.html And naturally this, although sound bits are in MIDI.

My favourite is that Tristan chord. So much flowed from it. But you can't whistle it.

Mike

Quote from: knight on January 28, 2011, 12:44:47 PM
My favourite is that Tristan chord. So much flowed from it. But you can't whistle it.

Mike

Ha, you think MY posts are long! ;D

Quote from: snyprrr on January 28, 2011, 12:48:51 PM
Ha, you think MY posts are long! ;D

Not long. But you compose in two styles, There are the composed-through pieces, they operate end to end with a start, middle and end. Sometimes they evince severe logic.

Then there are the playful avant garde pieces with interesting patterns on the pages and a stream of consciousness, improvisatory feel to them.

As to Tristan. The concert piece Prelude and Liebestod has been described as the biggest cut in music.

Mike

Well Parsifal's Verwandlungsmusik, while not strictly a motif, has to be a candidate.  But what about Alberich and the ring-curse motif that permeates throughout Rheingold? And adding the Nibelung motif makes the music all the more exciting.

Wagner's music is so powerful and thrilling, it's quite hard to choose only one favourite leitmotive, I love so many of them!
Maybe my favourite could be the Siegfriedsmotiv from Siegfried.

Ilaria

My favorite letimotive would be the Redemption motive from the Ring. It is first heard in Die Walküre sung by Sieglinde to Brünnhilde to the words  "O hehrstes Wunder!" (Sublimest wonder). I don't think the motive is heard again until the final pages of Götterdämmerung, where it floats over the orchestra like a benediction. Beautiful beyond belief, I'm glad Wagner didn't overuse that one!

Quote from: vivolin on September 11, 2011, 06:34:41 PM
My favorite letimotive would be the Redemption motive from the Ring.

That's one of my favorites too. Even after 40+ years it still gives me goosebumps. I love Siegfried's horn call too. My college girlfriend played french horn. She'd go up to the roof of the music building and play it as I came to class  8)

But my vote goes to The Sword (http://www.utexas.edu/courses/wagner/122.html) ...or it would if it were listed. Click the link to hear.

Sarge

Quote from: Alberich on January 28, 2011, 10:30:17 AM
Good places to find leitmotives include:
http://www.utexas.edu/courses/wagner/ringmotives/alphindex.html Contains many leitmotives of Ring.

Thanks for the link! That's a great resource. I have Cooke's Introduction to the Ring which explains each Leitmotiv and gives examples, but  the website is faster, more convenient, and can be easily shared.

Sarge

Quote from: Sergeant Rock on September 12, 2011, 06:56:30 AM
Thanks for the link! That's a great resource. I have Cooke's Introduction to the Ring which explains each Leitmotiv and gives examples, but  the website is faster, more convenient, and can be easily shared.

Sarge

I'll add my thanks! The website is probably the best presentation of the Ring Leitmotives  I have seen. I especially like the music notations and the extensive cross-referencing. I bought the Deryck Cooke Introduction on iTunes a few years ago but it wasn't nearly as helpful as I expected it would be.

Okay, I'll try narrowing it down to one motive per opera:

Holländer: Daland's motive, played during Daland's Mögst du, mein Kind-monologue.
Tannhäuser: Praise of Venus, heard during the overture for ex. and during Dir Töne Lob-monologue.
Lohengrin: Lohengrin motive.
Rheingold: Rheingold motive.
Die Walküre: Sleeping Brünnhilde.
Siegfried: Bird calls.
Götterdämmerung: Vassals motive.
Tristan: Desolation motive aka the rising figure in high strings in act III depicting barren sea with no ship bearing Isolde in sight.
Meistersinger: Midsummer eve.
Parsifal: Parsifal motive.

Of the choices given in the poll, I'd go with "Walhalla", otherwise at least the "redemption", especially in the last scene of Goetterdaemmerung; "Sword" and "love-curse" are pretty cool as well.
From Hollaender both the horn call that opens the ouverture and the cor anglais (another redemption or whatever) melody.
From Tristan I have a certain fondness for that little "happy voyage" that occurs only in the first act.

There's a gorgeous series of descending chords which occurs in all the Ring operas except Das Rheingold, including the long orchestral passage at the end of Götterdämmerung. I don't know if it has a name, but it's one of the most beautiful chord progressions I've ever heard.

Quote from: Maestro267 on April 17, 2016, 02:45:57 AM
There's a gorgeous series of descending chords which occurs in all the Ring operas except Das Rheingold, including the long orchestral passage at the end of Götterdämmerung. I don't know if it has a name, but it's one of the most beautiful chord progressions I've ever heard.

Twilight of the Gods? http://www.laits.utexas.edu/wagner/10.html (heard after the rising Erda motive)

Sarge

Damn, Sarge was faster than me! Although it does occur in Das Rheingold, too.

Quote from: Sergeant Rock on April 17, 2016, 02:59:26 AM

Twilight of the Gods? http://www.laits.utexas.edu/wagner/10.html (heard after the rising Erda motive)

Sarge

Not that one, no. I've found it now. http://www.laits.utexas.edu/wagner/156.html (http://www.laits.utexas.edu/wagner/156.html) This thing of beauty.