第43章 THE MUSIC OF THE RING(2)

The reference of the strange little theme of the wishing cap is equally manifest from the first, since the spectator's attention is wholly taken up with the Tarnhelm and its magic when the theme is first pointedly uttered by the orchestra.The sword theme is introduced at the end of The Rhine Gold to express Wotan's hero inspiration; and I have already mentioned that Wagner, unable, when it came to practical stage management, to forego the appeal to the eye as well as to the thought, here made Wotan pick up a sword and brandish it, though no such instruction appears in the printed score.When this sacrifice to Wagner's scepticism as to the reality of any appeal to an audience that is not made through their bodily sense is omitted, the association of the theme with the sword is not formed until that point in the first act of The Valkyries at which Siegmund is left alone by Hunding's hearth, weaponless, with the assurance that he will have to fight for his life at dawn with his host.He recalls then how his father promised him a sword for his hour of need; and as he does so, a flicker from the dying fire is caught by the golden hilt of the sword in the tree, when the theme immediately begins to gleam through the quiver of sound from the orchestra, and only dies out as the fire sinks and the sword is once more hidden by the darkness.Later on, this theme, which is never silent whilst Sieglinda is dwelling on the story of the sword, leaps out into the most dazzling splendor the band can give it when Siegmund triumphantly draws the weapon from the tree.As it consists of seven notes only, with a very marked measure, and a melody like a simple flourish on a trumpet or post horn, nobody capable of catching a tune can easily miss it.

The Valhalla theme, sounded with solemn grandeur as the home of the gods first appears to us and to Wotan at the beginning of the second scene of The Rhine Gold, also cannot be mistaken.It, too, has a memorable rhythm; and its majestic harmonies, far from presenting those novel or curious problems in polyphony of which Wagner still stands suspected by superstitious people, are just those three simple chords which festive students who vamp accompaniments to comic songs "by ear" soon find sufficient for nearly all the popular tunes in the world.

On the other hand, the ring theme, when it begins to hurtle through the third scene of The Rhine Gold, cannot possibly be referred to any special feature in the general gloom and turmoil of the den of the dwarfs.It is not a melody, but merely the displaced metric accent which musicians call syncopation, rung on the notes of the familiar chord formed by piling three minor thirds on top of one another (technically, the chord of the minor ninth, ci-devant diminished seventh).One soon picks it up and identifies it; but it does not get introduced in the unequivocally clear fashion of the themes described above, or of that malignant monstrosity, the theme which denotes the curse on the gold.Consequently it cannot be said that the musical design of the work is perfectly clear at the first hearing as regards all the themes; but it is so as regards most of them, the main lines being laid down as emphatically and intelligibly as the dramatic motives in a Shakespearean play.As to the coyer subtleties of the score, their discovery provides fresh interest for repeated hearings, giving The Ring a Beethovenian inexhaustibility and toughness of wear.

The themes associated with the individual characters get stamped on the memory easily by the simple association of the sound of the theme with the appearance of the person indicated.Its appropriateness is generally pretty obvious.Thus, the entry of the giants Is made to a vigorous stumping, tramping measure.

Mimmy, being a quaint, weird old creature, has a quaint, weird theme of two thin chords that creep down eerily one to the other.

Gutrune's theme is pretty and caressing: Gunther's bold, rough, and commonplace.It is a favorite trick of Wagner's, when one of his characters is killed on the stage, to make the theme attached to that character weaken, fail, and fade away with a broken echo into silence.