Richard Wagner His Life and His Dramas / A Biographical Study of the Man and an Explanation of His Work

by W. J. Henderson

THE SEA.

This theme belongs to what Mr. Krehbiel has well described as the music of the scene, or scenic music. It deals with the externals of the drama, not with its emotions. The next significant motive to appear is that of Death, which is first heard when Isolde exclaims, "Death-devoted head! Death-devoted heart!"

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DEATH.

Closely associated with this in meaning is the Fate motive, which is first heard in the harmonic scheme of the prelude.

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FATE.

We have now before us nearly all the significant thematic material of the first act. Most of the other melodic features are freely composed and do not figure in the subsequent episodes. The repetitions of the motives quoted will explain themselves to the most casual observer. The re-entrances of the Death and Fate motives are unmistakable in purport, while the reappearance of the Love and Glance themes after the drinking of the potion brings back the opening of the prelude with its story of desire insatiable, love immeasurable.