Robert Peters wrote:
>What are some of your magic moments of music? I am very interested in
>hearing from you.
I love finale of the development of the plot in "Die Walkuere", where
Fricka as the defender of marrige has to condemn Siegmund and Sieglindes
love, against Wotans will. Wotan however realizes that he is the one who
bears the spear with the Runes after all, and that is the base of his
power, so he has to follow Frickas command. He changes his order to
Brunhilda, to kill Siegmund, but when Brunhilda hear Siegmunds brave speech
about rather die together with Sieglinde than follow her [Brunhild] to
Walhall, her heart softens for Siegmund and she protects him, according to
Wotans real will and first order. Wotan has to punish her for not having
obeyn him, and he decides that she shall sleep on a cliff, and the first
man who discovers her she has to take ("In fesselnder Schlaf/ verschliess
ich dich/ wer so die Wehrlose weckt/dem wart, erwackt sie zum Weib!"). But
Brunhilda finds the punishment too hard as she argues that she tried to do
what she knew was Wotans real wish, and asks him to arrange something so
she don't need to follow any clown that might find her ("Soll fesselnder
Schlaf/ fest mich binden,/ dem feigsten Manne/ zuer leichten Beute:/ dies
Eine muss du erhoeren/ was heilige Angst zu dir fleht!/ Die Schlafende
schutze/ mit scheuchenden Schrecken/ dass nur ein fruchtlos/ freiester
Held/ hier auf dem Felsen/ cinst mich fand!"). Wotan agrees. He sets
Brunhilda in sleep, lays her on the cliff, covers her with the shield,
and place the weapons beside her. He beats three times with his own spear
against a stone when he calls for Loke. Before he leaves he looks on her
a last time and speaks through us about love through the most wonderful
music. (The text goes: "Loke hoer!/ Lausche hierher!/ Wie zuerst ich dich
fand/ als feurige Glut,/ wie dann einst du mir schwandest,/ als schweifende
Lohe;/ wie ich dich band,/ bann ich dich heut'!/ Herauf wabernde Lohe,/
umlodre mir feurig den Fels!" ... "Wer meines Speeres/ Spitze fuerchtet/
durchschreite das Feuer nie!"). Isn't that wonderful?
It is also an interesting example on how Wagner incorporated old
folkmaterial (not only Niebelungen and the Edda) in his work. The
story about Brunhildas sleep on the Walkuerenfels is actually the old
"Dornroesschen" (The Sleeping Beauty)-fairytale in other requisita. This
fairytale about "The Sleeping Beauty" was adored already by the medieval
elite in Europe, and even Nicolo Macchiavelli took interest in it and wrote
a little study on it, hence the interest was passed on to the princes of
Italia and later on the kings of The Absolute States as well, as their
followed Macchiavellis doctrines through Mimesis, and incorporated it
in their own lifestyle, in a golden 'transcendental' world, far over the
peasant world which was so boring and grey...The Noblemen shall only have
likes as partners!
I admire Furtwaenglers 1953/54 Ring for many reasons, and this part is one
of its finest. Mcuh thanks to Ferdinand Frantz who sings Wotan. He really
catches the "getruebte" mood, and sings with great compassion. Highly
recommended.
As beautiful is of course the continuing of this story, where Siegfried,
who not is afraid of the fire, steps through it and finds and awakens
Brunhild, and their loveduet. Hackzell, the Wagnerscholar, once remarked
that he had found indications that Wagner had a similar story in his mind
before he read the Niebelungenlied, and which inspired him to choose this
one; the ancient story about "Endymion", the greek peasant who in his sleep
is kissed by the Goddess Danae, who comes down to the mortal from the
Olymp, to which among others Keats and Stagnelius set wonderful poems.
Also wonderful is of course the very end of "Goetterdaemmerung", Brunhilds
Immolation. This is I think one of Birgit Nilssons paradenumbers; the 15
minutes long soloarie take great demands on the soprano just to sing
through, and Nilsson sings with great passion and compassion all the way
through without loosing power. I refer to Soltis 64 recording for this
one. The end of "Die Gioetterdaemmerung" underwent many changes, but I
think I should provide the original source for once, as many may not know
it. It is very beautiful, here it goes (translation from Icelandic by
Martha Brown):
Brunhilds last dirge:
"I shall tell thee
True tale from my chariot,
O thou who naught wottest,
If thou listest to wot;
How for me they have gotten
Those heirs of Giuki,
A loveless life,
A life of lies.
"Hild under helm,
The Hlymdale people,
E'en those who knew me,
Ever would call me.
"The changeful shapes
Of us eight sisters,
The wise king bade
Under oak-tree to bear;
Of twelve winters was I,
If thou listest to wot,
When I sware to the young lord
Oaths of love.
"Thereafter gat I
Mid the folk of the Goths,
For Helmgunnar the old,
Swift journey to Hell,
And gave to Aud's brother
The young, gain and glory;
Whereof overwrath
Waxed Odin with me.
"So he shut me in shield-wall
In Skata grove,
Red shields and white
Close set around me;
And bade him alone
My slumber to break
Who in no land
Knew how to fear.
"He set round my hall,
Toward the south quarter,
The Bane of all trees
Burning aloft;
And ruled that he only
Thereover should ride
Who should bring me the gold
O'er which Fafnir brooded.
"Then upon Grani rode
The goodly gold-strewer
To where my fosterer
Ruled his fair dwelling.
He who alone there
Was deemed best of all,
The War-lord of the Danes,
Well worthy of men.
"In peace did we sleep
Soft in one bed,
As though he had been
Naught but my brother:
There as we lay
Through eight nights wearing,
No hand in love
On each other we laid.
"Yet thence blamed me, Gudrun,
Giuki's daughter,
That I had slept
In the arms of Sigurd;
And then I wotted
As I fain had not wotted,
That they had bewrayed me
In my betrothals.
"Ah! For unrest
All too long
Are men and women
Made alive!
Yet we twain together
Shall wear through the ages,
Sigurd and I. --
-- Sink adown, O giant-wife!"
But listen now carefully to the moments I suggested above and feel the
toutch of divine genious!
By the way - I don't think this can be of interest for many; but just
allow me to tell about a happy day in my life - but the same day I bought
my Furtwaengler Ring, I found two other excellent recordings; Bartoks
"Peacock"-variations and a Frankfurt production of Haendels "Orlando
Furioso"...both pieces the Nonesuch editions. Just in case anyone wants to
be envious. Some Klemperer Beethoven symphonies joined the collection too,
but those more in standard.
Mats Norrman
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