:: Der Ring des Nibelungen :: THE AWAKENING OF WOTAN

::2004-08-06
THE AWAKENING OF WOTAN
By Jorge Carrillo

Wotan is one of the principal characters of the cycle “Der Ring des Nibelungen”. As he explains in “Siegfried”, he is “the luminous Alberich”, the nemesis of Alberich. Wagner translates, of course, this mutual feature into music. This underlines the evident differences between both characters, but even provides them with some common elements. The first one is their vocal register: both are baritones.

Of course, the similarities between these two characters do not end here. Wagner shows us these similarities even before Wotan’s first appearance: the transition between the first scene (when Alberich steals the gold to forge the ring) and the second (in which Wagner introduces the gods, being Wotan the visible ruler) carries out by two recurrent themes, which are two variants of the same musical idea. Simplifying, we could say that the transition between these scenes, at the same time, shows the contrasts and similarities between the musical worlds of Alberich and Wotan (this will not be the last time along the cycle), being the listened themes intimately related to the Nibelung (the ring) and the God (Walhalla).

More concretely, we listen to how the Ring-theme transforms into the Walhalla-theme. The Ring-theme is constructed on a chord of ninth, minor in some of its appearances and major in other (and because of it more dissonant). A chord of ninth has five notes. The deepest one, which we call fundamental, and four other notes added to it: its third, fifth, seventh and ninth note (because the name of the chord). For example, if we start the chord from C, this chord would be: C, E, G, B and D.

In the last appearance of the Ring-theme before the appearance of the Walhalla-theme, the Ring-theme consists of E flat, G, B flat, D flat and F. Its distribution is, in certain sense, “forming circles”. That means that Wagner reminds us, musically, the round shape of the ring, or said otherwise how the ambition of power closes in itself. The chord of ninth is divided in its different third ones, and these closes on itself. First we listen the notes together (always starting with the deepest one): D flat – F, then B flat – D flat, G – B flat, and E flat – G, and later we hear the inverse version “closing the circle”: E flat – G, G – B-flat, B flat –D flat, and D flat – F.

The sensation transmitted by these played notes is of instability, as not having the feet well firm on the floor. A chord of major ninth, like this one, is quite unstable itself, and become still unstable with a transition of this kind, because we find it out of any solid, tonal context and, in addition, the rhythmical characteristics, of the longest notes always beginning in the weak parts of the bar, contribute to create the sensation of uncomfortableness Wagner sought. The ring is devious and tricky, like the one who forged it, being a not trustworthy object.

As soon we have listened the Ring-theme, the Walhalla-theme appears as a luminous D flat Major. Melodically, it is very similar to the previous one, but we find a clear contrast in its harmonic exposition: in contrast to the previous one, this new theme bases on a very stable harmony, consisting in the typical perfect cadence (symbol of stability). Once more, Wagner puts in music, with great ability, what the drama transmits to us: that the gods seek security and stability with the Walhalla. This theme is rhythmically much more stable than the one of the Ring. The Ring-theme has a rhythm of 4/4, being the longest notes those starting in the second part of the first bar and the last one of the second bar, remember that the Ring- and Walhalla-themes last two bars. The Walhalla-theme is a 3/4 (curiously, this rhythm was one of the attributes of divinity in the Baroque) and even if the longest note is in the second part of the first bar, the length of the first and the last notes of the theme are the same. This makes the “circle” more perfect and stable.

Likewise, the orchestration of the Walhalla-theme is more luminous than the Ring-theme because the predominance of wind-metals. The Ring-theme is of a more introspective nature.
We see on the stage the goddess Fricka observing the Walhalla, recently built and she wakes up Wotan, her husband.
Like the Walhalla-theme, the impression given by Wotan in his first appearance is of a great majesty, but not only this, even determination and security about himself. Wotan in “The Rhinegold” is an ambitious and young god, who seems to know, very sure, what he wants. To take these features of the character to the music, Wagner uses the character’s vocal line with very stable intervallic movements (this shows also a contrast with Fricka, but we will talk about this in future articles). Thus we hear that in Wotan’s singing the movements of fourth, fifth (very pure intervals according to the most physical sense of music, being the consonant ones after the eighth and the unison) and consecutive notes are repetitions of the same note (here we find a new relation between the Wagnerian musical symbology and the baroque musical symbology: in the Baroque, this figure represented the immutable thing, the stability, which is very suitable to characterize Wotan).

After this, according to the development of the dialog between Wotan and Fricka, a new theme will appear on the orchestra. A theme, which is going to be inherent to Wotan along the Tetralogy: the Agreement-theme.
The first time this theme sounds is when Fricka reminds Wotan that he promised to the giants that the payment for the construction of the Walhalla would be the goddess Freia.

Its structure consists of twelve natural notes (except B, being here is B flat) descending with joint movements. This mean note by note: B flat, A, G, F, E, D… till the following E. The presentation of the theme happens so that the theme becomes practically isolate. To be exact, Fricka is warning Wotan and he answer almost like a recitative, practically without orchestral accompaniment, and it is in this very moment when the theme appears (up to three times) on a tonal context evoking a tonality of D minor, but never completely defined, and that finally separates from the context. Another necessary observation about this theme is how it starts with short values (though its first note is a crotchet, in the first compass dominate the quavers) and how it finalizes with long duration, crotchets, giving a sensation of not being able to escape from the pact’s impositions, here represented musically.
This, united to the melodic characteristics of the theme (a descending scale, as we said), does that Wagner achieves a very important effect giving to the theme an implacable sense, and so it will be along the whole cycle. The realized pacts will always turn against those that realize them, and always fulminating: Wotan will have to kill Siegmund, he will not be able to recover the Ring by himself, the blood-oath between Siegfried and Gunther will turn against them, etc. Every time we face one of these events, the Agreement-theme will appear.