Alberich reflects on the words of the Rhinedaughters. The Ring Motive occurs both in voice and orchestra in mysterious pianissimo (like an echo of Alberich's sinister thoughts), and is followed by the Motive of Renunciation. Then is heard the sharp, decisive rhythm of the Nibelung Motive. Alberich fiercely springs over to the central rock. The Rhinedaughters scream and dart away in different directions. Alberich has reached the summit of the highest cliff.
"Hark, ye floods! Love I renounce forever!" he cries, and amid the crash of the Rhinegold Motive he seizes the gold and disappears in the depths. With screams of terror the Rhinedaughters dive after the robber through the darkened water, guided by Alberich's shrill, mocking laugh.
There is a transformation. Waters and rocks sink. As they disappear, the billowy accompaniment sinks lower and lower in the orchestra. Above it rises once more the Motive of Renunciation. The Ring Motive is heard, and then, as the waves change into nebulous clouds, the billowy accompaniment rises pianissimo until, with a repetition of the Ring Motive, the action passes to the second scene. One crime has already been committed—the theft of the Rhinegold by Alberich. How that crime and the ring which he shapes from the gold inspire other crimes is told in the course of the following scenes of "Rhinegold." Hence the significance of the Ring Motive as a connecting link between the first and second scenes.
Scene II. Dawn illumines a castle with glittering turrets on a rocky height at the back. Through a deep valley between this and the foreground flows the Rhine.
The Walhalla Motive now heard is a motive of superb beauty. It greets us again and again in "Rhinegold" and frequently in the later music-dramas of the cycle. Walhalla is the abode of gods and heroes. Its motive is divinely, heroically beautiful. Though essentially broad and stately, it often assumes a tender mood, like the chivalric gentleness which every hero feels toward woman. Thus it is here. In crescendo and decrescendo it rises and falls, as rises and falls with each breath the bosom of the beautiful Fricka, who slumbers at Wotan's side.
[[Listen]]
As Fricka awakens, her eyes fall on the castle. In her surprise she calls to her spouse. Wotan dreams on, the Ring Motive, and later the Walhalla Motive, being heard in the orchestra, for with the ring Wotan is planning to compensate the giants for building Walhalla, instead of rewarding them by presenting Freia to them as he has promised. As he opens his eyes and sees the castle you hear the Spear Motive, which is a characteristic variation of the Motive of Compact. For Wotan should enforce, if needful, the compacts of the gods with his spear.
Wotan sings of the glory of Walhalla. Fricka reminds him of his compact with the giants to deliver over to them for their work in building Walhalla, Freia, the Goddess of Youth and Beauty. This introduces on the 'cellos and double basses the Motive of Compact, a theme expressive of the binding force of law and with the inherent dignity and power of the sense of justice.
