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BRÜNNHILDE, THE WOMAN.
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SIEGFRIED, THE MAN.
The first of these expresses very beautifully the loving, clinging nature of the transformed Valkyr. The second is a thematic development of the motive of Siegfried, the youth. The change is chiefly one of rhythm. Siegfried, the youth, is depicted musically in six-eighth measure, a rhythm buoyant and piquant. For Siegfried, the mature hero, the melodic sequence is preserved, but the rhythm is changed to a dual one. The change is one founded on the nature of music, for the dual rhythm is firm, square, and solid. The injection of minor harmony at the end is heard in the first announcement of this theme and serves to indicate approaching sorrow. This motive rises to its grandest development in the funeral march after Siegfried's death, when the orchestra passes in review, in a composition of wonderful beauty and power, the themes most closely associated with him. This theme forms the climax of the march and is pealed forth by the brass in this form:
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