The Gold of the Rhine

the Gold of the Rhine (in German Das Rheingold, Vorabend zu dem Bühnenfestspiel DER Boxing ring of Nibelungen , Prolog with the scenic festival the Ring of Nibelung) is the prolog of the three “scenic festivals” which compose the Ring of Nibelung ( DER Boxing ring of Nibelungen ), of Richard Wagner. The first took place with the national theater of the Court of Munich on September 22nd, 1869, with August Kindermann in the role of Wotan, Heinrich Vogl in the role of Cabin and Wilhelm Fischer in the role of Alberich.

Characters

Wotan , Master of the gods, husband of Fricka (Baritone-low)
To give , god of the thunder (baritone-low)
Froh , god (Tenor)
Cabin , demigod, Master of fire (tenor)
Fricka , goddess, wife of Wotan (Mezzo-soprano)
Freia , goddess of eternal youth, sister of Fricka (Soprano)
Erda , goddess-mother (Contralto)
Fasolt , giant, brother of Fafner (low)
Fafner , giant, brother of Fasolt (Low deep)
Alberich , Nibelung, brother of MIME (baritone)
MIME , Nibelung, brother of Alberich (tenor)
Woglinde , Girl of the Rhine (soprano)
Wellgunde , Girl of the Rhine (mezzo-soprano)
Flosshilde , Girl of the Rhine (contralto)
Of others Nibelungen (non-speaking parts)

Synopsis

Of four works which compose the Ring , the prolog ( Vorabend ) is closest to the Edda and the Germanic Mythologie with its gods, its giants and its dwarves, but it is also that, with Siegfried, where the influence of the Fairy tales is most notable (one will find similarities with the Cat boot of Charles Perrault in the episode of Alberich being transformed into “smaller than him”)

In the order of composition of the poem of the Tetralogy, the Gold of the Rhine comes in the last (1852-1853). The music on the other hand was made up in first, according to the “normal” order, as of the completion of the poem (1853-1854).

Formally, the Gold of the Rhine is composed of four scenes which are played without interruptions. Each scene is connected to following by an orchestral interlude near to the Symphonic poem, musical form theorized by Franz Liszt, friend and future father-in-law of Wagner which have an unquestionable influence on him from the point of view of the composition (expressive use of the Harmonie, recourse to the chromatic Gamme).
Le all is preceded by a Prélude orchestral which can be regarded as the generating musical crucible of the very whole tetralogy, of many Leitmotiv (Wagner preferred the terms Grundthema , Grundmotiv : topic, fundamental reason) being born from famous the initial agreement of E flat .

Twenty five years separate the first from the last note of the tetralogy. The musical style of the Gold of the Rhine is thus not similar to that of the Crépuscule of the Gods . Much of is still found there what Pierre Boulez calls a “interstitial fabric”. The leitmotiv, generally presented in their the least worked out form, are connected the ones to the others by a musical comment near to “récitatif accompanied” by the traditional opera: they do not constitute yet the only matter constantly worked of the musical writing. This relative apparent absence of subtlety in the treatment of the reasons could give credit to the not very flattering remarks which were sometimes made at the place of Wagnerian the “system”, roughcast “signposts”, the leitmotiv. Bruno Lussato in his work Voyage in the middle it Boxing ring seems to make justice of this prejudice, including for the Gold of the Rhine .

Scene I

Summary of the action

On the bed of the Rhine, three young people ondines are playing. Alberich, a dwarf of Nibelung, appears sudden depths of the ground and tries to make them the court. Struck by its ugliness, the Girls of the Rhine make fun of its advances, which ends up irritating the dwarf. He notices a gilded glare which comes from a close rock, and their request what it is. The ondines say to him that it is the gold of the Rhine, that their father their said to keep; that which gives up the love can make of it a magic ring, which will make it possible its carrier to reign on the world. They think of not having anything to fear of this lustful dwarf, but Alberich was very turned sour by their mockeries. Cursing the love, it seizes gold.

Comment

The prelude which precedes to raise it curtain rests on only one agreement in the Tonalité of major E flat in arpeggio to 137 measures. This prelude has at least two significances: it “is” the river the Rhine, in the best tradition of the descriptive Musique, but it is also, by the effect caused by the stamps of the orchestra which little by little seem to be torn off with the lack of differentiation of nothing, the genesis of work in becoming.

It is of this orchestral magma that is born the first identifiable leitmotiv: the Rhine. With the appearance on stage of the three ondines, the reason for the Rhine is moulted in that of the Girls of the Rhine, according to a technique of successive production of the reasons which is one of the major characteristics of the musical style of Wagner in the Tetralogy. The undifferentiated instrumental stamps of the beginning of the prelude now a lack of differentiation of the song answers: it is by strong onomatopoeias and Allitérations that the ondines are expressed. Nature and the being seem to do only one, in this song which does nothing but say the movement of the river itself, by this “W” whose C-W communication evokes in oneself the wave:

“ W eia! W aga! W ogue, of the W it! W ale zur W iege! W agalaweia! W allala W eiala W eia! ”

The otherness will come from Alberich, Nibelung, of its covetousness initially, its pain and its anger then. At its entry, the colors of the orchestra darken; the harmony becomes chromatic, the rate/rhythm breaks in figures claudicantes. It is a portrait of the dwarf, interior and outside, which Wagner makes. The physical ugliness an inextinguishable sexual desire answers, that the Girls of the Rhine will get busy to turn in derision during a cruel scene of comedy close into certain passage to the Pantomime commented on to the orchestra in a descriptive way (milked cords evoking the falls on the slipping rock, covered Bois and Cuivre S evoking the sneezes…).

Suddenly, new contrast. In reference to the exclamation of the dwarf depity Fing einer Faust sharp! (“If this fist could catch one of them! ”) a soft brass band with the horns pianissimo resounds: it is, still as in dream, pure and luminous gold symbolized by the Triad. This topic is soon taken again with the trumpets strong in a glowing orchestration (Triangle, Cymbales, drinking cups, cords in the acute one moving of ceaseless vagueness) accompanying the anthem jubilatoire by the ondines. The short reason sung on Rheingold! Rheingold! will have to play a big role in the development leitmotivic of work, evoking, after the flight of pure gold, in a modified form, the " " and the " "

Alberich is keep silent, but listening. T it does not have as soon as not taken again the word to express a doubt on the interest of the Gold of the Rhine that imprudent Naïades sells to him without mischievousness the secrecy of the treasure: gold, at the price of a magic oath - to disavow the capacity of the love, to banish the pleasure of liking can be forged in a ring which gives to its owner " Erbe" and " Maßlose Macht" (" Heritage, fortune" and " to be able without measurement, immense"). The intervention of the girls of the Rhine during this passage gives a precise example of the Wagnerian leitmotivic construction, within which harmony, orchestration and line of song are indissolubly dependant. First of all, we hear the reason for " l'" , whose sinuosity closed on itself and harmonic uncertainty evoke all at the same time the form (the circle) and the bottom (power in becoming for that which will find the use of it). Then, it is the reason for the " with the amour" who gives the key which will make it possible Alberich to perpetrate the fixed price, to steal Gold and to forge the Ring.

Alberich, in one moment, decides: it will be to be able and richness, without love. In front of the Girls of the Rhine terrorized who did not imagine that a lustful dwarf can pronounce the oath, it curses it by what it at one time suffered, not being satisfied with " renoncer". On the topic of " the anneau" , the line of song is expressed towards the acute one, with the limits of tessiture of baritone, and culminates with what is also an oath of revenge, full of consequences for the future: " schmiede den rächenden Boxing ring: denn hör' be die Flut: so verfluch'ich die Liebe!" (" I will forge the ring avenger: and that the floods hear it: thus I curse the love! ")

It is all the river which then seems to want to engulf itself in the depths with the continuation of the criminal. The Rhine fills up darkness. The topic of the waves breaks fortissimo in C minor with the violoncellos.

the orchestral interlude ( Orchesterzwischenspiel ) which succeeds this postlude watery leads us private depths of the river from now on of light towards the heights where only the gods live. This change of place is illustrated by what one would be tempted to describe as true Transsubstantiation musical. With the reason for with the love which says the mourning of the girls of the Rhine (horn and Cor anglais) are connected three exposures of the reason from which vary only by the stamp, in a more and more reduced orchestral context (cords in the acute one and wood lights). At the conclusion of this triple exposure and after a short sung transition dolcissimo by two horns, the new reason for, remains gods towards whom we are " montés" carried literally by the music, emerges from the orchestra, to take again the word of Pierre Boulez, by " court-circuit".

" Generated by analogy Intervalles and lines on kaleidoscopic slip of stamps (...) Of these progressive slips of such or such parameter of the sound will be born, as by spontaneous production, all the reasons for the Ring " (taken again quotation of guide of the operas of Wagner , Beech editor )

Scene II

Summarized action:

Wotan, sovereign of the Germanic gods, is deadened at the top of a mountain with Fricka, his wife. Fricka awakes and sees a splendid castle behind them. She awakes Wotan and shows him that their new house was finished. The giants built the castle in the name of Wotan, and in Wotan exchange their Freia, the goddess of youth offered. Fricka is anxious for his/her sister, but Wotan is convinced that they will not have to give Freia.

Freia enters, terrified, followed Fasolt giants and Fafner. Fasolt requires the pay for completed work. It highlights the fact that the reign of Wotan is controlled by the treaties engraved in its lance, of which one of them is contracted with the giants. To give (the god of the thunder) and Froh (the god of spring) are able to defend their sister, but Wotan stops them: they cannot stop the giants by the force, and acknowledges their arrangement.

With the great relief of Wotan, Places (the god of fire) made its entry; Wotan placed all its hopes in the fact that Loge can find an average crafty one to turn to his advantage the business. Place says to them that Alberich the dwarf stole the gold of the Rhine and in made a powerful magic ring. Wotan, Fricka and the giants start all to covet the ring, and Cabin implies that they can steal it in Alberich. Fafner requires it like wages of the place of Freia. The giants from go away, taking along with them Freia as an hostage.

the gold apples of Freia had kept the eternally young gods; with their absence, they start to age and to weaken. To regain the freedom of Freia, Wotan is forced to follow Loge under ground, with the continuation of the ring. '

Comment:

The topic of which opens the scene is exposed by an impressive whole of coppers (7 tubas, 2 Trombones, 4 Trompettes). Wagner however request that this topic is played in nuance very soft , as if the power which it conceals was in reserve or more dreamed than effective. certain commentators (Marcel Beaufils) underlined the weak-willed, depressive character on its conclusion of this topic, which, beyond the fortress which it symbolizes, can be looked at as the musical topic which characterizes Wotan and its vain projects. The majority of the commentators note that the relationship of this topic with " the anneau" (c.f higher comment) is not fortuitous and indicates that the evil is at the origin of any power: the later developments of work seems to confirm this interpretation.

An agreement of decreased Septième comes to break the " brutally; symphony of Walhalla". It is Fricka which intervenes with acrimony near her Wotan husband, in a sharp exchange in style Récitatif. Wotan must be justified, the price to be paid for the construction of the fortress is heavy. Freia frightened runs already, accompanied by a topic (reason known as for or, which evokes in its conclusion it) which draws a curve underlined by the cords in an atmosphere of panic. Are there. The orchestra strikes it to us with force and without subtlety (complete cords, coppers and drinking cups).

The builders claim their wages: Wotan itself T it does not have it not registered in the runes of its lance? (reason for: trombones fortissimo) But it is not a question of any wages, and orchestrates it says to us why Wotan was quite imprudent to promise Freia with the giants. It is the reason for gold, fruits which give to those which consume them eternal youth. The quarrel between giants and gods turns quickly to the disadvantage of its last, in a musical excitation which goes increasing and culminates with the topic of which sanctions the word given: one cannot force the giants to give up Freia by the force.

" Endlich Places! " (finally Cabin!): the Chromatic reason of, fire, reducing, imperceptible, exposed to the cords (the features are frightening for the instrumentalists), emerges then from the orchestra like the flame.

Scene III

In Nibelheim, Alberich controlled the remainder of the dwarves and constrained his brother MIME - a skilful blacksmith - to create a magic heaume: Tarnhelm. Alberich shows the capacity of Tarnhelm while being made invisible, for better tormenting its subjects.

Wotan and Loge arrive and meet MIME, which speaks to them then about the ring of Alberich and misery that Nibelheim under its domination knows. Alberich returns, leading its slaves who pile up an enormous gold monticule. When they finished, it drives out them and turns its attention towards its two visitors. At this point in time he praises his plans to dominate the world. Place the trap while making him show the magic of Tarnhelm by forcing it to transform itself initially into dragon, then out of clamping plate. The two gods seize then him and bring it to surface.

Scene IV

At the top of the mountain, Wotan and Loge force Alberich to exchange its richness against its freedom. They detach its right hand, and it then uses the ring to call its slaves so that they bring gold to him. After gold was delivered, he asks the return of Tarnhelm, but Loge affirms that it is part of its ransom. Lastly, Wotan requires of him to yield the ring. Alberich refuses, but Wotan tears off it from its finger and places it on his. Alberich is destroyed by its loss, and before leaving, it curses the ring: whoever will not have it, before it returns to him, will wish it, and whoever will have it will receive only misfortune and death.

Fricka, To give and Froh arrive and are accommodated by Wotan and Loge, which shows them the gold which will use to repurchase Freia. Fasolt and Fafner return, keeping Freia. Reticent to slacken Freia, Fasolt declares that there must be enough gold to hide it its eyes. The gods pile up gold on Freia, but Fasolt discovers an interstice in gold and requires of Wotan to withdraw the ring to stop the hole. This last refuses, and the giants prepare to remove Freia.

Suddenly, Erda, the goddess of the ground, appears since the ground. She warns Wotan of imminent fate and exhorts it to avoid the cursed ring. Disturbed, Wotan yields the ring and releases Freia. The giants start to share the treasure, but they dispute about the ring. Fafner strikes Fasolt to dead and flees with all the spoils. Wotan, horrified, realizes at which point the curse of Alberich has terrible capacities.

Finally, the gods prepare their entry in their new residence. To give calls upon a storm to clean the air. After the storm, Froh creates a bridge Arc-en-ciel which is stretched to the doors of the castle. Wotan the guide from one end to another of the bridge to the castle, which it names " ". Fricka questions it about this name, and he answers him that its significance will be revealed later.

Place, which knows that the end of the gods is close, hesitates to follow the others in Walhalla; and, far below, the Girls of the Rhine cry the loss of their gold.

Simple: Das Rheingold

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