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9. Valhalla
The scene opens with the Valhalla theme, the fortress built by the giants for the Gods at Wotan's request. It comprises 3 parts stated here consecutively but often used independently throughout the cycle. These 3 parts are one long continuous section in the context of this scene but presented here separately with short breaks between them for the sake of clarity and brevity.
1. The stately opening and the main Valhalla motive
2. The alternating chords of the middle section
3. The grand ending
The stately opening section of the Valhalla motive is the same contour as the Ring motive. As Wotan is unable to pay for the fortress with the prize he promised of the goddess Freia, he persuades the giants to accept the gold that Alberich has stolen from the Rhine maidens instead, which he, Wotan, will steal from Alberich. This is the start of the downfall of the gods and hence the connection between the motives.
As Wotan muses on the beauty of the great fortress, it is not initially the great Valhalla theme that is heard but the Ring motive Ex.7 further making the point that Wotan will pay for his fortress with a treasure that is not his and fraught with danger.
10. Spear
The goddess Fricka, Wotan's wife, is not impressed by the great fortress and outraged that Wotan promised her sister the goddess Freia as payment. The motive that accompanies her protest is the Spear motive. It is upon his spear that Wotan engraves treaties which are supposed to be binding. This first occurrence of the spear motive is subtle. More emphatic statements occur later.
11. Freia
Soon Freia arrives fleeing from the giants who have come to take her as payment for building Valhalla
The Freia motive gives rise to several other important motives throughout the cycle. In particular section Ex.11c gives rise to a whole range of motives primarily connected with love. The motive has also been labelled flight because it first occurs as Freia flees from the giants. While this fast form signifies flight, the slow form is used extensively as a love motive. It assumes greater signficance in Die Walküre [The Valkyries].
12. Giants
The giants, brothers Fasolt and Fafner, arrive in pursuit of Freia
As Fasolt asks for payment of Freia the spear motive Ex.10 is heard more emphatically now as a reminder of the binding contract between Wotan and the giants. Wotan dismisses the claim and suggests they choose an alternative payment.
13. Treaty
The discussion between Wotan and the giants is accompanied by the Treaty motive. Following its initial rising element, the falling scale closely ties it to the Spear motive. It is always heard in canon. Ernest Newman suggests in Wagner Nights that the canon may be to imply bilateral agreement.
14. Golden Apples
While Fasolt is sentimental and wants Freia, the more cynical Fafner realises that the gods will not give up Freia. She tends the golden apples that keep the gods alive. As with all the motives representing elements of nature this motive is closely aligned with the Earth motive Ex.2. It is a retrograde of the Earth motive.
10a. Spear
As the giants try to take Freia by force the gods Froh and Donner step in to do battle with the giants. Wotan intervenes to stop the violence by placing his spear between them and the spear motive is heard at its most emphatic.
15. Fire
The arrival of Loge, the god of fire and guile, is announced by the orchestra. It has two key elements:
1. A rising chromatic figure suggesting rising flames
2. A bright, flickering figure representing fire
Wotan and Loge discuss whether Loge has been able to find a fault in the giants' workmanship so that Wotan can get out of the agreed payment of the goddess Freia. Instead of the guile Wotan expects, Loge praises the workmanship and cannot find fault. The motives are primarily the Loge motive Ex.15 and the Valhalla motive Ex.9. When he extols the beauty of nature and womankind a mixture of nature Ex.1, Rhine Ex.2 and Freia Ex.11 motives are heard in the orchestra.
16. Earthly Love
Loge's lyrical outpouring on the beauty of earthly love introduces a new motive
6a. Rhinegold Lament
Loge tells Wotan about the theft of the Rhine maidens' gold by Alberich and that the Rhine maidens seek Wotan's help to recover the gold. Loge also warns that Alberich has forged the Ring from the gold that will give him power and that he has forsworn love to do so. As Loge does so, the joyous Rhinegold motive Ex.6 is transformed from the major key into the minor. This version of the Rhine maidens' cry gives rise to several new motives.
Rather than restore the gold to the Rhine maidens, Wotan bargains with the giants to take the gold as payment for the fortress instead of Freia if he, Wotan, can secure it for them. The giants agree to this since they do not want Alberich to rule the world with the power of the ring. The giants take Freia as security until Wotan returns with the gold.
An orchestral interlude follows depicting the descent from Valhalla into Nibelheim by Wotan and Loge. The principal motives are the Ring Ex.7, Loge/Fire Ex.15, Freia/Flight Ex.11c and Earthly Love Ex.16.
17. Nibelungs
As Wotan and Loge reach Nibelheim the Nibelung motive is introduced as they toil to forge more gold for Alberich. This motive is played on the strings, rhythmically supported by upper woodwind and on 18 anvils of varying sizes representing the Nibelungs at work.
The shape and rhythm of Ex.6b is repeated here in the Nibelung motive, thereby establishing the link between the gold of the Rhine Maidens and the power of the Ring cast from that gold.
Orchestral Interlude
Wagner's genius in handling the leading motives takes a significant step forward here. While the strings and woodwind emphatically announce the Nibelung motive Ex.17, the brass play the variation of the gold motive Ex.5 which transforms into the Freia/Love motive, a slow version of Ex.11c
