Two other new themes heard in "Götterdämmerung" are worthy of note. They are that of Gutrune and that of Brünnhilde's Despair, the former appearing in the third scene of the first act and the latter in the second act:
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BRÜNNHILDE’S DESPAIR.
There are also themes for Gunther, the Gibichung (already quoted), and for Hagen. But "Götterdämmerung" is most wonderful, musically, for the manner in which the themes of the earlier dramas are repeated in it. The expressiveness of the system is nowhere more forcibly illustrated than in the hero's narrative of his youthful days, when the most significant themes of "Siegfried" pass before us, bringing the whole story back in all its vitality. And in the death of the hero and the wonderful apostrophe of Brünnhilde again we find that the recapitulation or development of familiar themes knits for us the substance of the long tragedy into a perfect texture of poetry. And with the use of the many-voiced orchestra Wagner weaves these motives into a glittering web of counterpoint, which cannot be copied even faintly by the piano arrangement. Several motives are sometimes heard at once, and by the aid of the device of instrumental colouring their expressiveness is greatly heightened.
Thus the orchestra becomes an actor in the drama, continually commenting on the passing action, revealing to us the hidden well-springs of emotion, explaining thoughts to us and flooding the whole drama with the light of its eloquence. Not by the mere cataloguing then of these themes are we to arrive at a full understanding of the composer's intent, but by a careful study of their repetitions and developments. The knowledge thus gained will add immeasurably to the intellectual pleasure of the hearer; but, as I have already said, Wagner's music makes the right mood pictures even for him who does not know the guiding themes. And that is one of the most satisfying proofs of his greatness.