cooke

Deryck Cooke's Introduction to I Saw the World End

Click on the controller below each example to hear it.

Deryck Cooke is considered one of the leading scholars on Wagner and the Ring cycle. Before his death, he embarked on the daunting task of systematically detailing the many different aspects of Wagner's monumental work. Unlike many Wagner scholars before him, Cooke approached the work objectively and resolved not to shade the meaning of the Ring with his own personal agenda. Unfortunately, Cooke died in 1976 and never got to the second volume of his analysis. However, the detailed study of the music, sources, texts, and action of the Ring that Cooke left behind has challenged many common conceptions and introduced profoundly original ideas. This web site is intended to assist in the understanding of Cooke's ideas by including aural examples to correspond with the visual musical examples Cooke includes in his analysis.

Example 1

This example has been labeled the 'Renunciation of Love' theme. It is the theme's original form as sung by Woglinde to Alberich in Scene 1 of Das Rheingold. Cooke identifies the problem of placing absolute labels on the themes in Wagner's Ring by comparing this original form of the 'Renunciation of Love' theme to a later occurrence of the same theme. The use of the theme in the next example does not correspond with the label that has been provided by scholars, thus illustrating the problem with providing absolute labels for these motives.

Example 2

This example comes from Act I, scene 3 of Die Walküre. Siegmund sings this version of the 'Renunciation of Love' theme as he prepares to remove the sword from the tree in Hunding's home. As he invokes 'Holiest love's deepest need', he sings this theme, which does not fit within the context of this scene. Through this example, Cooke identifies the problem of labelling the individual lietmotifs in the Ring; many times the original thematic label does not match future uses of the theme.

Example 3

Wagner emphasized the sheer brutal aggression of Wotan's decree through his music, but also concentrated on the motivation of compassionate love behind Brünnhilde's disobedience. This soaring theme, first introduced on woodwinds, later glorifies the reconciliation between Wotan and Brünnhilde. Here, in Brünnhilde's passionate outburst, the motivation behind her disobedience is illustrated in both the text and the sweeping melodic line.

Example 4

Cooke criticizes Baron Hans Paul von Wolzogen's use of the word 'leitmotive' to designate main musical ideas of the Ring. The term 'motive' means the shortest significant musical idea; most of Wagner's thematic ideas do not have the necessary brevity to be considered a 'leitmotives.' However, this 'Nibelung Motive', is a rare example of a theme brief enough to be considered a 'leitmotive.' The first occurrence of this motive is in Scene 3 of Das Rheingold, although it occurs at many other points throughout the Ring.

Example 5

This segment is misinterpreted by Wolzogen as a 'leitmotive,' when it is actually a thematic phrase. This thematic phrase appears in association with the Ring at the end of Scene 1 of Das Rheingold.
*Note: In Cooke's book, he mislabels Examples 5 & 6. He says that Example 5 indicates the presence of the Rheinmaidens, when in fact it represents the ring. He identifies Example 6 as being associated with the ring, when it is actually the Rheinmaiden's opening theme.

Example 6

This symphonic theme indicates the presence of the Rheinmaidens in Scene 1 of Das Rheingold. Cooke points out that many of the motives which appear in critical commentaries are the first phrases of extended symphonic themes, with the remainders left unquoted. Cooke explains that "only with this composer do we talk exclusively of 'motives', never of themes or phrases."
*Note: In Cooke's book, he mislabels Examples 5 & 6. He says that Example 5 indicates the presence of the Rheinmaidens, when in fact it represents the ring. He identifies Example 6 as being associated with the ring, when it is actually the Rheinmaiden's opening theme.

Example 7

This chord sequence is associated with the Wanderer in Act I, Scene 2 of Siegfried. This segment was falsely identified in Wolzogen's book as a 'leitmotif'. Cooke points out that the misuse of the term 'leitmotif' by Wolzogen and his followers "adds to the impression of bittiness, and is also responsible for the faintly comical character that attaches to all Wagner exegesis."

Example 8

This example, which appears in Scene 2 of Das Rheingold, is the cadence which is the second of two ideas associated with the 'Renunciation of Love'. Wolzogen labels this as a 'leitmotif', which is entirely inaccurate. This cadence does not have the melodic substance to be termed a 'leitmotif'.

Example 9

Cooke identifies another failing in Wolzogen's book; his actual tally of 'motives' was far from complete. Cooke explains that "much of the apparent space between the appearances and reappearances of the 'motives' is in fact occupied by the appearances and reappearances of 'motives' which Wolzogen overlooked. This is an example of a 'motive' that Wolzogen clearly overlooked. This descriptive 'Rainbow-Bridge motive' occurs near the end of Scene 4 of Das Rheingold. Although it clearly does not function as a 'leading motive' since it is never heard again, it is a 'motive' that Wolzogen completely ignored.

Example 10

Wolzogen failed to identify some of the important recurring motivic ideas found throughout the Ring. Examples 10, 11, and 12 are all connected with the aggressive nature of Alberich. These motives were ignored in Wolzogen's book and remained unidentified by his followers. This example comes from Scene 1 of Das Rheingold as Alberich climbs up into the Rhine.

Example 11

This example comes from Scene 1 of Das Rheingold when Alberich scolds Wellgunde.

Example 12

This example comes from Scene 3 of Das Rheingold when Alberich drags Mime along by his ear, exhibiting his dominance over his brother.

Example 13

Examples 13, 14, and 15 are all related to the purpose of the sword. Wolzogen ignores these descriptive 'motives' in his book. The omission of these important ideas highlights a major weakness in Wolzogen's analysis. This example occurs in Scene 4 of Das Rheingold when Wotan hails the fortress with his sword.

Example 14

This example occurs in Act I, scene 3 of Die Walküre when Siegmund remembers the sword his father promised him.

Example 15

This example is from Act I, Scene 3 of Die Walküre when Siegmund remembers his father's promise as he goes to draw the sword from the tree in Hunding's home.

Example 16

Examples 16, 17, and 18 are all connected with the emotion of fear, which Siegfried finds so hard to learn. Wolzogen fails to mention these themes in his book. Cooke states that by ignoring these and other motives, the "outcome has been to make the score seem of even less thematic density..." This example comes from Act I, Scene 1 of Siegfried when Mime is thinking about Fafner's fearful size.

Example 17

This example occurs in Act I, Scene 2 of Siegfried when The Wanderer, or Wotan, is explaining to Mime what type of man is capable of forging the sword.

Example 18

This example comes from Act I, Scene 3 of Siegfried when Mime is telling Siegfried that he can learn fear from Fafner.

Example 19

According to Cooke, another weakness in Wolzogen's book is "its neglect of all but the most obvious cases of interrelationship between the 'motives'. Wolzogen largely ignored Wagner's continual transformation of existing 'motives' into new ones." Wolzogen did notice the transformation of the Rhinemaidens' cry into the theme associated with the tyrannical power of the ring, but neglected many other important transformations throughout the cycle. Wolzogen explains this particular transformation, saying that Example 20 "shows itself to be formally related to the third Rhinegold motive (Example 19), being a combination of its two parts, which meanwhile have grown into two entirely Nibelung-like motives of Servitude (Example 21) and Forging (example 22). Example 19 occrs in Scene 1 of Das Rheingold.

Example 20

While Wolzogen did indeed recognize the transformation of the third Rhinegold motive into the Servitude and Forging motives, he failed to recognize the subtle transformation of the ring motive (Example 20) into the theme associated with Hagen's determination to possess the ring during his Watch Song (Example 23) in Act I of Götterdämmerung. Example 20 occurs in Scene 3 of Das Rheingold.

Example 21

Example 22

Example 22 is found in Scene 3 of Das Rheingold.

Example 23

Example 24

Of all the commentators, Robert Donington is the only one to have attempted a full account of the thematic relationships found within the Ring. However, Cooke believes that "many of the similarities which he indicates are beside the point, having nothing to do with the actual process of the symphonic transformation of themes whereby the drama's meaning is conveyed; and in any case, his list is less comprehensive than most." Donington falsely includes Example 20 under the same heading as Example 24 instead of relating it back to its manifest source, Example 19. Example 24 occurs in Scene 1 of Das Rheingold when Alberich cries out after being rejected by the Rhinemaidens. This is obviously an extension of the theme introduced by the Rhinemaidens in Example 19, a fact which Donington did not recognize.

Example 25

Cooke elaborates upon Donington's neglect of many of the thematic transformations, stating that "If Donington, for example, had built on Wolzogen's discovery and, starting from the bright innocent song of the Rhinemaidens in Scene 1 of Das Rheingold (Example 19), had traced its progressive distortion through Scene 2 (in Loge's narration) into the baleful theme connected with the power of Alberich's ring in Scene 3 (Example 20); moreover if he had noticed the grotesque motive hinting at the aggressive nature of Alberich in Scene 1 (Examples 10 and 11), and its ferocious reappearance when he drags Mime along by the ear in Scene 3 (Example 12); if he had noticed the motive of Alberich's self-pitying cry 'Die dritte so traut', after being rejected by the third Rhinemaiden in Scene 1 (Example 25), and its violent sequential development as an expression of his burning lust for revenge in the interlude between Scenes 2 and 3 (Example 26); -- if he had dealt as meticulously with these crucial musico-dramatic elements as he did with the mytho-psychological connotations of dwarfs and water-nixies, he might have found it less easy to turn this whole aspect of Wagner's overt meaning inside out -- to ennoble Alberich into some kind of hero, by playing down his sheer brutal malevolence, and to degrade the Rhinemaidens into representatives of 'escapist infantile fantasies', by playing up their roles as seductive enchantresses."

Example 26

Example 27

Cooke points out another critic, Bernard Shaw, who neglected many important musical transformations throughout the cycle. Shaw focused more on the social and political aspects of the cycle, many times failing to look into the music for clarification. An important example of this misinterpretation occurs within his analysis of the final scene of Die Walküre. By looking solely at the political and social ideas set forth in the scene, Shaw neglected the important motivation of compassionate love behind Brünnhilde's defiance of Wotan. Shaw did not take into account the eventual transformation of the reproachful theme she sings when she defies Wotan (Example 27) into the love theme that "accompanies her avowal of the revelation of love which led her to disobey his orders" (Example 3). Example 27 occurs in Act III, Scene 3 of Die Walküre. Neither Example 27 nor Example 3 appears in Shaw's book.

Example 28

The final and most fatal defect of Donington's book is that he mislabels a very important 'motive' in the Ring. The label 'Fluchtmotiv' (Flight Motive) was attached to the "swift agitated minor theme first heard when Freia runs on in Das Rheingold pursued by giants. Much like Loge's music, Freia's theme splits into component parts, which appear separately. While Wolzogen does notice this, he used the title 'Freia Motive' for the first part (Example 28A) and gave the title 'Flight Motive' to the second half (Example 28B). The first part of the theme "soon (in Loge's narration) loses its agitated character and takes on a slow sinuous major form (Example 29); this is associated with love in its sexual aspect, returning later in connection with Siegmund and Sieglinde (Example 300 and with Siegfried when he climbs to the mountaintop to find Brünnhilde (Example 31). But, in fact, exactly the same thing happens to the second part of the theme. It soon (when Fasolt imagines Freia as his wife) takes on a slow sinuous major form (Example 32); and this is associated with love in its totality, later becoming attached to Siegmund and Sieglinde as their main love theme (Example 33) and to Siegfried and Brünnhilde (Examples 34, 35, and 36). In both cases, it would seem obvious, an idea first associated with Freia as goddess of love in Das Rheingold recurs quite naturally throughout the Ring in connection with lovers, one idea representing sexual love, the other love in its totality."

Example 29

Example 30

Example 31

Example 32

Example 33

Example 34

Example 35

Example 36

Example 37

This example represents love's longing and appears in Act I, Scene 1 of Siegfried when Siegfried longs to love like the birds and beasts. The idea representing love is one of the central ideas of the Ring. It occurs often, in more different forms than most, and undergoes a great deal of symphonic development as is seen in examples 37-40.

Example 38

This example is another development of the central idea of love. In this example, which occurs in Act I, Scene 1 of Die Walküre, Siegmund despairs of possessing Sieglinde. This version of the theme represents love's frustration.

Example 39

This example occurs in Act I, Scene 3 of Die Walküre and represents love's fulfillment. This is another incarnation of the central theme of love.

Example 40

This example represents yet another aspect of the love theme found throughout the Ring. It occurs in Act I, Scene 3 of Die Walküre when Siegmund embraces Sieglinde with furious ardor. This example illustrates love's ecstacy, another version of the central theme of love.

Example 41

Wolzogen was probably mislead in his interpretation of Freia's theme due to the fact that the second part of the theme, unlike the first, often occurs "in its original agitated swift minor form, in various rhythmic guises, as a basis for symphonic development portraying lovers in a state of agitation and/or distress." This example, which appears in Act II of Die Walküre, occurs when Siegmund and Sieglinde are embarking on their journey away from Hunding's home. This is the first example of the theme being utilized by Wagner for fleeing characters; Wolzogen obviously interpreted this as "flight" instead of looking at the true underlying motivation of the theme, which is love.

Example 42

This version of Freia's original theme accompanies Sieglinde as she runs madly in a state of shame and remorse in Act II, Scene 3 of Die Walküre. Wolzogen's label of this motive (the second half of Freia's motive) as the 'Flight Motive' has caused many problems in the analysis of other occurences of the theme throughout the Ring. Many times, Wolzogen had to dream up very unlikely reasoning to justify his label. Cooke points out that this theme has "an intensely emotional character, which lifts it far above the level of mere 'hurry music'." Finally, and even more to the point, the idea itself, in all possible forms, is a basic term of Wagner's musical vocabulary, which he used throughout his whole life's work exclusively in association with love and lovers.

Example 43

In this example, from Wagner's substitute ending to Marschner's opera Der Vampyr, Wagner first uses the musical idea he used throughout his life as the basis of much of his operatic love music. This reinforces Cooke's belief that the second half of Freia's motive in the Ring should not be labelled as the 'Flight Motive' as Wolzogen would have us believe, but be viewed as an extension of the original love theme.

Example 44a

This example is from one of Wagner's early operas, Lohengrin. This is one of the most notable appearances of the love motive that Wagner used consistently throughout his life. Although this example occurs as one of the phrases attached to the theme attached to the Holy Grail, it has been developed since its first appearance in association with Lohengrin's love for Elsa (Example 44b). Cooke explains the relationship between the two appearances of the theme by stating that "the holiness of human love emerges from the holiness of divine love, in the form of Wagner's basic love-motive, slow, soft, and in the major."

Example 44b

Example 45a

Wagner's love motive occurs in Tristan und Isolde and Die Meistersinger von Nürnberg, two of his mature operas. The theme, as shown in this example occurs very fast and soft in the major and is developed up to the climax just before Isolde extinguishes the torch as a signal to Tristan to come to her. This theme utilizes Wagner's love motive, as later seen in Freia's motive in the Ring.

Example 45b

The love motive, as seen in Tristan und Isolde, is detached from the theme and developed on its own. Clearly the intent behind this motive, as illustrated in this example, is that of love, not flight.

Example 46

This example shows Wagner's love motive as used in Die Meistersinger von Nürnberg. This motive forms part of Walther's Prize Song, which is about his love for Eva. The use of this motive as indicating the theme of love reinforces Cooke's belief that the motive (the second half of Freia's motive) should not be labelled 'Flight Motive'.

Example 47

At this point in Die Meistersinger von Nürnberg, Hans Sachs approaches his beloved Eva with the question 'Sweet Eva, are you trying to ensnare me?'. After these words the love motive "strikes in immediately, spinning itself out at great length as a troubled melodic line-flowing uneasily and quietly, mingling major and minor inextricably." This example helps to justify Cooke's view that the motive's label should suggest love, not flight.

Example 48

This is the thematic material associated with the Rhine. Donington mistakenly related the sexual love theme that appears in Loge’s narration (example 29) with this material instead of with its true originator – Freia’s original theme (example 28A).

Example 49

This is the music that represents the twilight of the gods. Cooke explains that Donington correctly relates the mislabeled flight-motive (example 28B) to its slow major form in Act I of Die Walküre, which is labeled ‘love of Siegmund and Sieglinde’ (example 33). Cooke complains that Donington goes one step further and fabricates a relation of these two musical ideas to the twilight of the gods theme, which in Cooke’s opinion is not a valid connection.

Example 50

This descending scale represents Wotan’s spear. Cooke describes the scale as authoritarian, and it does take on a powerful quality during most of its occurrences in the Ring. It is frequently heard at a forte dynamic with the brass instruments punching out each note of the scale. This theme, along with that of the ring, symbolizes “repressive, unloving political power,” which struggles for supremacy in a battle against love that permeates the entire Ring cycle.

Example 51

This cyclical, dissonant tune, which is dominated in movement and composition by the minor third, is the ring motive. This theme, along with that of Wotan’s spear, symbolizes “repressive, unloving political power,” which struggles for supremacy in a battle against love that permeates the entire Ring cycle.

Example 52

This is an inverted form of Wotan’s frustration (see Example 53). Its occurrence here in Act II, Scene 2 of Die Walküre is part of a larger idea that Cooke explores in example 55.

Example 53

This theme represents Wotan’s frustration. It occurs in Act II, Scene 1 of Die Walküre, as Fricka forces Wotan to realize that he has aided Siegmund. This renders Siegmund to not be the free hero that Wotan needs to recapture the ring from Fafner and keep it away from Alberich.

Example 54

This is the music associated with the curse that Alberich has put on the ring. It is an inverted form of the ring motive. Its occurrence here in Act II, Scene 2 of Die Walküre is part of a larger idea that Cooke explores in example 55.

Example 55

This musical example combines the themes in example 52 (a form of Wotan’s frustration) and example 54 (the curse) that results in a dissonance that Cooke claims is at the highest level of anything Wagner had composed to that point in time. Cooke furthers his case for the need of a comprehensive simultaneous analysis of the text and music and their relation by showing us Wotan’s text that surrounds this musical moment (see page 66). He makes the point that it would be impossible for the text itself to convey the frustration of Wotan’s will and his inability to escape the ring’s curse with the effectiveness that the music and text achieve when combined. This example brilliantly demonstrates Wagner’s ability to coalesce poetic and musical ideas and Cooke makes it clear why both must be studied simultaneously.

Example 56

Wagner's musical allusion to the ring becomes explicit in this example, which occurs in Act II, Scene 2 of Die Walküre. The idea starts off a tone higher and, instead of continuing the phrase associated with the curse on the ring, it leads into the chord sequence symbolizing the tyrannical power of the ring. As Cooke points out, the theme is stated twice and "after each statement there strikes in the beginning of the theme recently attached to the contumacious Fricka: the first time it breaks off after five notes, the second time after two, greatly heightening the tension." The synthesis of these motives musically shows the thoughts and ideas that are compounding to magnify Wotan's anger with his current situation.

Example 57

The explicit references to the ring found in Example 56 continue in this example. Wotan sings the words 'Unending wrath, eternal grief' to a "long-drawn, grief-stricken minor version of the second part of Freia's theme."

Example 58

The orchestral agitation increases in this example and Wotan cries out 'I am the unhappiest of beings' to the cadence associated with the renunciation of love. As Cooke points out, this musical climax "tells us what words do not (and more directly and profoundly than any words could): what is eating Wotan's heart out is his realization that he is unloved and unloving.

Example 59

The second part of Freia's motive had already been used when Alberich raced back to Nibelheim to forge the ring of absolute power after being denied the Rhinemaidens' love. This version of the motive appears as the interlude between Scenes 2 and 3 of Das Rheingold.

Example 60

Cooke believes that Froh is "the most minor of minor characters." He states that the music betrays the fact that "Wagner could take little interest in him, being far below the lofty level of the rest of the Ring: the theme to which he enters (Example 60) is no more than a hopeful attempt at a more masculine version of the lovely theme of Freia's apples and is scarcely heard again, while the rest of his material -- of the once-only variety -- scarcely bears examination."

Example 61

This is Freia's golden apple theme from which Froh's entering theme is derived.

Example 62

This example is Donner's theme, which sweeps into the storm that opens Die Walküre. The storm itself marks" the culmination of the persecution of Siegmund deliberately engineered by Wotan to harden him and stir him up against the laws of the gods, as well as the beginning of a drama in which Wotan figures as god of anger and punishment par excellence.

Example 63

This example serves two purposes within the Ring. In Scene 4 of Die Walküre, the theme signifies Wotan's grand idea. However, in Die Walküre, this theme is attached to the sword that Siegmund draws from the tree in Hunding's house. This transformation alludes to the possibility that the act of Siegmund drawing the sword from the tree was, in fact, Wotan's grand idea in the first place.