RING OF THE NIBELUNGS

Auckland Star, Volume LX, Issue 200, 24 August 1929, Page 8 (Supplement)

RING OF THE NIBELUNGS

WAGNER'S GREATEST WORK.

ANCIENT GODS AND HEROES.

"OFT-REPEATED TALES NEWTOLD." (By RALPH HAMILTON.)

In some recent notes on Wagner's "Tristan and Isolde" I made passing reference to "The Ring of the Nibelungs" ae surely the greatest achievement of the human mind. It may be of interest to consider the work in the light of that opinion. It is generally conceded that as a work of art "Tristan and Isolde" represents Wagner's highest development, but it is the gigantic vision of "The Ring" and the succese with which this vision vras made a musical reality that places it in a clase apart. Wagner's original idea was to use tlie legends of the Norse voleung sagas in' one great music-drama, to be called the Hero." Finding it necessary to tell of Siegfried's youth, he prefixed a work dealing with that phase. Then he felt that Siegfried's origin should be explained, and so worked '—'.k to "The Valkyries," and finally to a prologue, "The Rhinegold," showing the origin of the ring. He felt that opera required further development to allow scope for hie genius, and for six years he wrote no music at all, , but perl'crted his new ideas. Finally he gave to the world ite finest dramatic story with the greatest operatic music (judged in conjunction with its subject), the two compactly welded by his use of leading themes, so that story and music are inseparably connected.

The Story of "The Ring." Here, thru, is the story as it finally crystallised in Wagner's brain, its origins the legendary stories of the Norse sagas and eddas, and the Teutonic versions lie had become acquainted with in his study of the Minnesinger Knights when working on "Tnnnhaueer." It is to be remembered that the story is in four parts, each of which takes a long evening to perform, "The Rhincgold," "The Valkyries," "Siegfried," and "The Twilight of the Gods." The fin.t shows how the ring and its curse came into being. In the dark depths of the Rhine, guarded by the Rhine-daughters, lies the gold from' which the ring is to be made. Alberich is lord of the Nibelungs, the mis-shapen dwarfs who inhabit Nibelheim, the "underworld" of the old sagas. He learns that a ring fashioned from the gold the Rhine-daughters guard will bring the lordship of the "world to its fortunate possessor. When the beautiful maidens repulse the dwarf's advances, he resolves to forswear love for power and steal the gold. Wotan, the chief of the gods, has just had Valhalla newly built by the giants Fasolt and Fafner as the abode of the gods, promising the goddess Freia in payment. Wotan's spouse is indignant, and Wotan takes the Rhinegold and the ring from Alberich to use the gold for Freia's ransom. Alberich curses the gold and all its possessors. The end of this portion of the drama ia the -Entry of the

Gods into Valhalla. In "The Valkyries" Siegmund, a volsung (as the offspring of the union of Wotaii with a human woman is called), seeks shelter in the hut of Hunding, husband of Siegiinde, also a volsung. Sieginund and Sieglinde love one another and flee together. Wotan tells the goddess Brunnhilde to aid them. Again his spouse, Fricktt, interferes, and demands that Siegmnrid, having stolen another's wife, be slain. Wotan gives way, but Brunnhilde refuses to carry out his order to kill the wifcstealer. For her disobedience Wotan punishes her by putting her to sleep on a fire-girt rock, where she must remain until rescued and wakened by the kiss, of a hero who will dare the flames. This second section has the wonderful descriptive music of the Ride of the Valkyries and the Fire Music. Jn "Siegfried" Brunnhilde is rescued by the hero Siegfried, son of Siegmund and Sieglinde. Siegfried succeeds in forging anew his father's broken sword, and with it slays Fafner, the giant, who has turned himself into a dragon to guard the ring and the gold. The dragon's blood touching him enables Siegfried to understand the song, of a bird, which tells him the story of the ring and of Brunnhilde's predicament. Having rescued her, Siegfried claims her as his bride. From the music of this section it is difficult to select any-

thing for special comment, as it all reaches and maintains a very high standard. Finally, in "The Twilight of the

Gods, , ' Brunnhilde bids her hero Siegfried go forth into the world. He leaves the ring with her and goes in search of adventure back to the Rhine. He meets Hagen, brother to the Alberich who first stole the gold and made the ring. Hagen plane to win the ring back for the Nibelungs. Gunther and Gutrune, his sister, live with Hagen. Gunther, hearing of BrunnliilfJa's beauty, desires her as his bride. So Siegfried ia given a magic potion that causes him to forget Briiiinhilde and love Gutrune, whom he wishes to marry. Gunther promises assent if Siegfried will bring Brunnhilde for him. Siegfried brings her by force, and she accuses - nim of treachery, knowing nothing of the magic potion. Hagen slays Siegfried during a hunt, and when the body is borne home Brunnhilde, who has learnt from the Rhine-daughters how her hero has been duped, desiring to live no longer, joine him on the funeral pyre. She prevents Hagen taking the ring from her dead hero's finger, telling the Rhinedaughters they will find it at last in the ashes. The Rhine rises, drowns Hagen, the ring returns to its owners, and the whole mighty drama fends with Valhalla in flames" signifying the doom of the gods overtaken a't last by the curse of the ring. Again all the music is of sustained interest, Siegfried's Journey to the Rhine and hie Funeral March being perhaps the most notable. The Use of "Motives." Even from this very sketchy outline a fair idea of the stupendous scope of "The Ring" may be gathered, and what qualifies the work as the greatest achievement of the human mind is that the music in its grandeur is so marvellously welded to the story. Throughout the four sections of this huge work there is constant interplay of the guiding themes—"motives"—little tunes that typify not only characters, but ideas and inanimate objects as well. These themes change and "develop as the story progresses, and make for a continuity that causes one commentator to refer to the work as "a continuous web of melody.'

A huge and costly work to stage, "The Rii)"" is now becoming a household word throughout the world on the gramophone, so much of it having been recorded. It is hoped that these notes, in making the complete story available (even heavily condensed) may add to the enjoyment of the records.