Wagner's operatic works hold many musical secrets, including Götterdämmerung:
The Götterdämmerung music guide provides answers. A brief synopsis
for each scene provides an immediate overview. Leitmotifs and the
musical design of the work are clearly explained using musical score examples.
With the help of the
audio examples, the explanations are easy to follow.
Scope
Just as Siegfried is portrayed as a differentiated character, Hagen is not simply evil either, as we learn from the prelude to Act II. The curtain opens, and we find the sleeping Hagen still in the Gibichung hall. Alberich appears to him in a nightmare: I hear thee, baleful dwarf. Hagen wrestles with his fate, and we learn what the yearning theme from this prelude is all about:
Example 32: Hagen's Lament for Love. First, the woman's worth motif is heard. It is followed by Hagen's lament for love with the hate motifs in the background. The woman's worth motif is harmonically distorted at the point where she succumbed to your craft. The audio recording is therefore extended beyond the musical score example up to his words: prematurely aged, pale and wan, I hate the happy, never know joy. There, the woman's worth motif, beginning with the tremolos, emerges clearly.
In Hagen's lament music, upward and downward striking sevenths occur, symbols of (missing) love. The woman's worth motif also appears.
Alberich has embedded himself in Hagen's thought world. Both seek to ruin Siegfried. A new motif appears, symbolizing the planned murder of Siegfried:
Example 33:
Derivation of the Murder Motif. In the recording, we first hear the renunciation motif, Hagen's lament for love, and the murder motif, each as shown in the musical score example. This is followed by a sequence from the scene between Alberich and Hagen featuring the complete murder motif.
Thus, the thought of murder can be musically explained by Hagen's lack of love.
At dawn, the elf vanishes and the sun rises. (...)
To listen to all audio examples recorded so far, click on the image