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There are motives which are almost wholly rhythmical, like the “Nibelung” Smithy Motive, which depicts the slavery of the Nibelungs, eternally working in the 271 mines of Nibelheim; and motives with strange, weird harmonies, like the motive of the Tarnhelm, which conveys a sense of mystery, the Tarnhelm giving its wearer the power to change his form.
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Leading Motives not Mere Labels.
Leading motives are not mere labels. They concern themselves with more than the superficial aspect of things and persons. With persons they express character; with things they symbolize what these stand for. The Curse Motive is weird, sinister. You feel when listening to it that it bodes evil to all who come within its dark circle. The Siegfried Motive, on the other hand, is buoyant with youth, vigor, courage; vibrates with the love of achievement; and stirs the soul with its suggestion of heroism. But when you hear it in the Funeral March in “Götterdämmerung” and it recalls by association the gay-hearted, tender yet courageous boy, who slew the dragon, awakened Brünnhilde with his kiss, only to be betrayed and murdered by Hagen, and now is being borne over the mountain to the funeral pyre, those heroic strains have a tragic significance that almost brings tears to your eyes.
The Siegfried Motive is a good example of a musical phrase the contour of which practically remains unchanged through the music-drama. The varied emotions with which we listen to it are effected by association. 272 But many of Wagner’s leading motives are extremely plastic and undergo many changes in illustrating the development of character or the special bearing of certain dramatic situations upon those concerned in the action of the drama. As a gay-hearted youth, Siegfried winds his horn: