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The orchestral interludes between the scenes in Das Rheingold [The Rhine Gold] are extraordinary in their imagination and brilliant connecting tissue between the scenes.
Each interlude between scenes uses only motives heard up to that point in the drama. That may seem obvious now from our vantage point, but as Wagner scored and developed the music, there are many associations with future events in the four music dramas that could have been referenced. Wagner is not tempted to do so. He limits each interlude to the elements which the first-time listener would have heard up to that point in the drama.
The first orchestral interlude, between scenes 1 and 2 of Das Rheingold, uses 3 motives to transition from the depths of the Rhine to the gods above.
The first is the Rhine motive. It evolves from representing water to representing clouds and air.
The second is a falling two-note motive. This has several different associations. In the major key it is the Rhinemaiden's extolling the beauty of the gold. In the minor it initially becomes Alberich's cry of woe. Later it will also come to represent Alberich's subjugation of his fellow Nibelungs. Here it represents Alberich's woe.
The third is the Ring motive. It evolves from representing the destructive and negative power of the ring in the hands of Alberich, to represent Valhalla, the new home of the gods, and the positive power supposed to reside there.
First Orchestral Interlude
Writers and music analysts of The Ring have different views about the number, meaning and names of the motives in The Ring. Eight motives are identified here in the second orchestral interlude. The motives are not merely dropped into the orchestral texture like calling cards. Rather the music grows and evolves organically. Wagner's great skill is in combining and transforming the motives to reflect the story as the drama unfolds
The motive that represents both Fire and the character Loge begins the interlude.
Next is a falling motive, first heard when Loge extolls the virtue of Earthly Love.
Alberich's Woe
The motives that represent the goddess Freia also represent the ideas, emotions or objects that Freia stand for. A fast idea from Freia's motive represents Flight.
The same music from Freia's motive, presented much slower, represents Love.
The Gold motive
This interlude is dominated by the Nibelung motive. Its distinctive shape and rhythm reverberate throughout the music of The Ring. Here it is dramatically heard in the orchestra and on the anvils that represent the Nibelungs at work and enslaved.
Second Orchestral Interlude
This interlude further develops the complexity and connection of the music and the dramatic turns of event taking place in the story.
Key motives are transformed to reflect the state of the drama. The motives of Valhalla and Fire/Loge are here transformed to represent victory, in this case the victory of Wotan and Loge over Alberich.
The Ring motive is also transformed.
Another motive associated with the goddess Freia, that of the golden apples is here in a minor key.
The motive of the giants who abducted Freia also appears.
The Nibelung motive remains unchanged.
Third Orchestral Interlude