This is the basic theme, which Wolzogen called, Love Feast Motive (Abendmahlthema).
|Grundthema (ogg format)|
Whilst it would be an oversimplification to say that all of the musical material of Parsifal was spun out of this opening melody, it is possible, with a little
imagination, to relate to it almost every one of the motives that appear in this guide. Wagner said that
the prelude contains all he needs and it all unfolds like a flower
from its bud. This is as much as to say that the entire work has been woven as a web of related melodies and harmonies,
like cloud-layers that keep separating and
combining again. Note how the melody modulates from the tonic key to the mediant and back again. Tonic-mediant key relationships are prominent in Parsifal, as are
key relationships of a tritone.
It is traditional to divide this melody into three main parts (A,B,C). Given the rich associations of each part, it is neither easy to name them, nor very important what
labels are attached to these motives. Different elements are labelled A, B or C by different commentators. The entire melody Wolzogen called the Love
Feast (Liebesmahlspruch) motif. The first part (A) is sometimes called Fellowship, but I should prefer to call it Redemption, because it is the melody to which, at the end of the work, the chorus sing,
Erlösung dem Erlöser. The melody begins with a rising tonic
arpeggio, followed by the sixth. As Wagner later realised, the same phrase opens Liszt's work The Bells of Strassburg Cathedral (see the entry in CT for 28.12.1877).
This chord is associated with Parsifal. With a small modification, the rising phrase is used to represent the Grail Knights and, omitting the first
note, Communion (motif D becomes example D'). This part of the theme was one of Wagner's first musical ideas for the work.
... finally, the
revelation of "Nehmet hin mein Blut" -- R. tells me that he wrote it down shortly before my return, with his hat and coat on, just as he was about to go out to meet me. He has
had to alter the words to fit it, he says; this scene of Holy Communion will be the main scene, the core of the whole work; with the "Prize Song" in Die
Meistersinger, too, the melody came first, and he had adapted the words to it. He had already told me yesterday that one must beware of having to extend a melody for
the sake of the words -- now today the chief passage ("Nehmet hin mein Blut um uns'rer Liebe willen, nehmet hin meinen Lieb und gedenket mein' ewiglich") is there complete, in
all its mildness, suffering, simplicity and exaltation. "Amfortas' sufferings are contained in it", R. says to me.
Left: Motif of the Wound (Schmerzens-figur).
Below: Spear motif (Speermotiv)
The second phrase of the melody (B in the example above, Wolzogen's a), containing a characteristic falling fifth, is related to the Guilt of Amfortas. It is also associated with the Kiss and therefore lies at the centre of the work, just as it lies at the centre of the Grundthema. It is first heard in the Kiss variant immediately after the basic motif associated with Agony is heard towards the end of the prelude to the first act. The rising semitone is repeated, teasingly, falls, and leads into (G). But in Gurnemanz's narrative, at der Speer is ihm entsunken, we hear the teasing semitone and the (B) form again on the wind instruments. This is both a recollection of the seduction of Amfortas, and a presentiment of the attempted seduction of Parsifal, at which the Kiss motif is heard again. Within this phrase we have a falling fifth and (with passing note) a rising third, which might suggest the notes (transposed down a semitone to B minor) with which Kundry calls the hero by his forgotten name.
The third phrase (C in the example above, Wolzogen's b) is the motif of the Spear. It begins with the first three notes of a rising major scale, an inversion of the falling triplet that will be associated with Amfortas. In its longer form Wolzogen called this theme the elegaic figure and Lorenz called it compassion (Mitleidsmotiv).
The melody can be further divided into even smaller fragments. Beyond a certain point, the importance of finding a fragment within one of the other motives becomes subjective. The fragments that are, in my view, of significance, are marked in the figure above (D-G). Fragment (D) is the melody of the Communion, shown in example (D'). The seemingly trivial fragment (E) is developed, during the latter part of the prelude to the first act into the motif associated with the Agony of the wounded Amfortas. Also towards the end of the prelude we hear the development of fragment (G, a "beheaded" form of B) which becomes associated with the king's unhealed Wound (Wolzogen, Lorenz: Schmerzensfigur).