Wagner’s Die Walküre in Popular Culture
I saw it every week! Most of us have seen it. I remember it well. Growing up, we did not have cable television in our home. Just a few primary network stations and of course PBS. So, when the swath of Saturday morning cartoons came on, my sister and I were up early to partake in our weekend ritual of a large bowl of overly sugared cereal, legs crossed, in front of the 70% faux walnut, 30% television encased piece of furniture customary in every late-80’s and 90’s home. Saw what? Looney Tunes of course! In the age of He-Man, Ninja Turtles, G.I. Joe, and the like, we made a point to grab on to the nostalgic brilliance of Chuck Jones and Mel Blanc via Merri Melodies and Looney Tunes. One of the most iconic of all was the “What’s Opera Doc?” As a kid, now professional conductor, I was always fascinated with the music and the incredible flexibility with which the orchestra was able to follow the comedic genius of Carl Stalling. When approached with the classics such as Wagner, Rossini, Von Suppe, and the like, there was always an added brilliance. These “caricatures” of high-art composers found themselves in living rooms with millions of families.
Specifically, the ear-worm that is the opening to Act III of Die Walküre is one of the most used motifs of Wagner’s Ring in popular culture and featured on “What’s Opera Doc?” or “Kill the Wabbit” as made famous by character Elmer Fudd (see video above). Spanning advertising of all kinds of products, movies, television, and video games, it has become a powerful tool for marketing and use by industry-folk to provoke a variety of affect. Let’s take a look at the uses of this popular tune and address the appropriation that has been given to the public, specifically of Wagner’s Valkyries motif.
In the Score - The Ride of the Valkyries
The 18th century German writer and musician Christian Friedrich Daniel Schubart, in his “Ideen zu einer Ästhetik der Tonkunst,” or “Ideas for an aesthetics of the art of sound” mentions the character of the key of B minor. Writing in 1784-85, Schubart’s intuition founded on his deep knowledge of modal characteristic as well as the solidified tonal harmonic tradition, provides insight in the possiblity of Wagner’s choice of opening key to Act III of Die Walküre:
“B minor, is, as it were, the key of patience, of the silent expectation of fate, and of the submission to the divine decree. Therefore, its complaint is so gentle, without ever breaking out in offending murmurs or whimpers. The application of this key is rather difficult for all instruments; for that reason, one finds so few pieces which are composed expressly in this key.” (Schubart, 436)
Figure 1 - Opening to Act III of Die Walküre
Wagner chooses his key and meter carefully. From a glance of the opening of the score, one can see the intentional “tone painting” of the first three bars of the work (see Figure 1). The opening 16th note rise from tonic B to dominant F# on the downbeat creating a sense of very controlled ascension and lift. By controlled, the signature of 9/8 provides a metered scurrying if you will. He could have provided an opening in 4/4 with unmeasured trills (or measured) in the winds from F# to G and dotted-eighth-sixteenth figurations in a simple meter. However, compound meter provides a precision of implied forward motion commonly used in dances, and regal introductory preludes. The natural “lift” provided by the implied and intrinsic quarter-eighth note division, fits perfectly for the overall aesthetic of the Valkyries and their purpose. Further, expanding texture delivers extended aural adrenaline to the visual of the Valkyries taking flight. The scale figuration moves up through the string section beginning with the celli and second violins, followed by octaves of the viola and first violins ending with the introduction of basses and viola before the horns and bassoons enter with the beginning rhythmic segment of the Valkyrie theme. Within these bars is continued imitation, “call and response” an allusion to the soon to arrive Brünnhilde. The Valkyrie motif itself is an incredible achievement in overly simplified use of dominant-tonic relationship. However, Wagner in his brilliance, like Beethoven, fuses the harmonic importance of this relationship with a repetitive rhythmic motif.
Figure 2 - Entrance of Horn & Bass Trombone of the "Valkyrie" motif
In true Wagnerian fashion, the music is a character, demanding to be heard and remembered. (see Figure 2) F#, B, D, is the set used to create this iconic sound. Essentially, a B minor triad in 2nd inversion, this figure is manipulated and quoted ad nauseam for the entire opening of Act III. Intentionally, this repetition provides the aesthetic needed in this act. The Valkyries are warrior women, daughters of Wotan (King of the Gods), whose purpose is to collect the fallen heroes of battle and escort them to Valhalla. This noble task and these strong characters must also embody the character that is the musical motif Wagner provides. This musical theme-character seems to contain a range of emotions at first adrenaline and speed, then fate, then victory. This cycle of ideas is repeated in the music of the opening. And during the cries of the Valkyries, the same is heard until the arrival of Brünnhilde. It is no wonder that this music became the influence of so many modern composers. The sheer brilliance of use of rhythmic, melodic, and harmonic ideas provide a pathway to follow. By using these techniques or direct quotations, the same affects are evoked.
In Modern Times
This music has been used in a variety of modern contexts, more broadly the techniques employed by Wagner are seen in the modern-day epics of Star Wars, Lord of the Rings, and others. In a 1997 interview, composer John Williams mentioned:
“The films [Star Wars] themselves showed us characters we hadn’t seen before and planets unimagined and so on, but the music was – this is actually George Lucas’s conception and a very good one – emotionally familiar. It was not music that might describe terra incognita but the opposite of that, music that would put us in touch with the very familiar and remembered emotions, which for me as a musician translated into the use of a 19th century operatic idiom, if you like, Wagner and this sort of thing.” (Byrd, 18)
As with most brilliant composers, creating a soundscape that targets specific affects is key to the success of the parallel visual on stage. As with Wagner, although revolutionary in his approach, the music of the Ring is wrought with nostalgic Romantic sentiment and traditional harmonic treatment. The Ring and the Ride of the Valkyries intentionally “feels” old or of olden times, a time and a place that is familiar but fictional. In the case of Star Wars, Williams resurrects these ideas through Wagner into the space odyssey that is “A long time ago, in a galaxy far, far away.”
Alex Ross, author of the book “The Rest is Noise: Listening to the Twentieth Century,” and contributor to The New Yorker, mentions the following about Williams:
“When Williams revived the Korngold manner, he was purveying nostalgia for a style that, in its echoes of turn-of-the-century post-Wagnerian opulence, was nostalgic to begin with.” (Ross 2016)
The very evident use of Wagnerian techniques in Star Wars is academically approachable considering John Williams is arguably one of our generations most successful film composers with a continued list of off-screen works, equally successful. His well-known compositional and musical acumen is not a point for debate. However, when bearing in mind the use of Wagner’s music in other ways such as in the introduction to this post, one finds a difficult time approaching the direct quotations for use of sales and entertainment. Joshua Barone of the New York Times addresses many of these connections in this article.
In Film
There are many examples of direct quotations of Wagner’s Ride of the Valkyries, and not enough time to address them all. However, when investigating this topic, one will inevitably come across Francis Ford Coppola’s 1979 war film Apocalypse Now. The iconic scene with which Wagner’s Ride of the Valkyries was chosen, follows the group of soldiers in helicopters led by the character of Sgt. Kilgore making an air raid on a Vietnamese village set during the Vietnam war.
In the scene, they have outfitted the helicopters with a sound system that blares Wagner’s Act III “Ride of the Valkyries” as they approach the village. In his book, “Stop Making Sense: Music from the Perspective of the Real,” Scott Wilson argues a specific aesthetic that Coppola was trying to achieve cinematically. In the chapter entitled “Ride of the Valkyries” he notes:
“Moreover, particularly in the exterior aerial shots, the voices of the sopranos seem to emanate from the helicopters them-selves, as is no doubt Coppola–Kilgore’s intention. The Hueys [helicopters] become the Val kyries, bearing death from above; it is the intention to inspire shock and awe through this uncanny effect as much as through the bombs and rockets.” (Wilson, 132)
He continues:
“The screams of the helicopters, the villagers, and the soldiers both set off and merge with the daughters of Wotan and Erda as the death they bring is borne off to Valhalla. Amidst the clamor, the voices illuminate the silence of the death drive through providing the point of uncanny, familiar strangeness around which the drive pulsates. The sound of the divas bears more than an operatic beauty, since their unearthly singing is poised on the edge of screaming. It is that dissonance, for the American soldiers and the cinema audience, that eerie foreign noise singing–screaming in a foreign language that provides the traumatic affect that ensures the scene makes such a strong impression.” (Wilson, 133-134)
He further postulates that this relationship to militaristic terror is an intentional, modern association with Wagner and Hitler, describing Hitler’s militaristic domination in a parallel manor, embodying the whole of the scene.
Before custom soundtracks of games and movies, “classical” music was used to accompany many silent films. Early filmmakers tried to pair accordingly, music that would fit the general aesthetic of the scene or various scenes, making commonplace a soundtrack filled with romantic classics. The use of Wagner however, proved to be an interesting case. Again, in an article in The New Yorker, Alex Ross describes the use of this Wagner during this age:
“In reality, silent-film accompanists relied on a fixed library of stock themes, usually not of their invention. The scholar James Buhler argues that such a system was an inevitable development, given the novelty of long-form visual stories: “Musical accompaniment became an obvious red thread of orientation within the confusing field of narrative integration.” Wagner was at the top of the stockpile. The “Ride of the Valkyries” quickly became a favorite device, serving to illustrate scenes involving battles, chases, and galloping horses.” (Ross 2018)
In Video Games
Consequently, as an homage to the Apocalypse Now scene mentioned above, the early nineties game developer Silent Software, created a game entitled “Return Fire,” (in conjunction with EMI Classics) which the player had access to a variety of military vehicles (tank, jeep, helicopter, armored missile launcher) (Return Fire n.d.). Each vehicle’s soundtrack used different classical excerpts.
The helicopter happened to be Ride of the Valkyries. As an avid ninety’s PC gamer and musician, this one was right down my alley. The “search and destroy” style game with this orchestral excerpt created an interesting affect as the player-controlled helicopter in search of enemy bases, bent on razing the adversary’s fortifications and capturing their flag in order to succeed. The power of the Valkyries, in some way, was given to the player as they scoured the battlefield for enemy encampments.
In Advertising
The Ride of the Valkyries is obviously one of the favorites used by the entertainment industry. But why? Anyone who has watched television in the last 10 years for any length of time will find commercials littered with classical music quotations. I have always wondered of the interest that entertainment and marketing teams have in this music. In a New York Times article, entitled “Selling Products with a Swelling Score,” writer Joanne Kaufman makes a strong case and a variety of points for classical music in advertising. Advertising experts note the need to “stand out” in today’s flooded modern market and also the “recognition factor.” Classical music fits this bill nicely, bridging the gap between old and new. The focus has to do with classical music’s bottom line (monetarily speaking):
“And there is this: Classical music can be cost effective. “There are so many production catalogs that have lush orchestral versions of all these songs that don’t require purchasing rights because they’re in the public domain,” said Chris Clark, the director of music at Leo Burnett U.S.A. “It’s wonderful to be able to open the classical music treasure chest.”
Quoting Mr. Huhlenfeld of the Martin Agency, she writes:
“Classical music will always do the job,” Mr. Clark of Leo Burnett said. “But as a creative professional, you don’t want to just say, ‘Let’s use “Peer Gynt,”’ and then press play on it. You want to alter the instrumentation or juxtapose it with something contemporary. You want to show people how indelible these compositions are and how enjoyable in different contexts.” (Kaufman 2018)
One doesn’t have to search too long or far on the internet to find multiple uses of the Ride of the Valkyries in commercials, television, and movies.
The inspiring and heroic “sound” has become an aural imprint of things flying, riding, or searching. The appropriation of classical music to sell products is and whether this should be done, is a paper for another day. Concerning Wagner, we can safely assume, given his polemic stance on capitalism and intended use of his own music, that he may not be a fan of using his music in this way. Deathridge mentions Wagner’s angst during a time when his music what performed “out of context,”
“After the first performance of the whole of Die Walküre in Munich on 26 June 1870, demands for concert performances of extracts from it were so great that this time Wagner felt compelled to explain his objections to them in public, even though he had encouraged the practice in the first place by personally conducting the Vienna concert some years before.” (Deathridge, 55)
Deathridge makes a strong political case for Wagner and the social and musical impact of his magnum opus. Ernest Newman in his book, “A Study of Wagner,” writes:
“On almost every page, indeed, of Opera and Drama we can see the same tendency to glorify music as being able to express almost all that men can say, simply because it expressed almost all that Wagner had to say.” (Newman, 182)
In Conclusion
Many would argue that this watering down of musical reference is blasphemous to the artistic greats in some way. That the use Beethoven’s Eroica to sell hair shampoo may not be what the artist intended. Or, in some way does the use of Wagner in “What’s Opera Doc?” and its satirical and intentional artistic irony thereto, present a valid case for exposure of the classics to the masses? These are issues that cannot be determined here. What is important is the specific case of Wagner and his Valkyries. His strategic use of instrumental color and compositional texturing along with an intentional characterization of melodic and rhythmic motif make for compelling music that has stood the cultural, social, and musical test of time. The relevance of the Ring in modern society will be forever revisited. The music, regardless of use, is just as powerful now as it was during its premiere.
References
Byrd, Craig L. "The Star Wars Interview: A New Talk by Craig L. Bird." Film Score Monthly: , 1997: 32.
Deathridge, John. Wagner Beyond Good and Evil. Berkeley: University of California Press, 2008.
Kaufman, Joanne. "Selling Products With a Swelling Score." New York Times. March 25, 2018. https://www.nytimes.com/2018/03/25/business/media/classical-music-advertising.html (accessed March 2019).
Newman, Ernest. A Study of Wagner. London: Bertram Dobell, 1899.
"Return Fire." Wikipedia. n.d. https://en.wikipedia.org/wiki/Return_Fire (accessed March 2019).
Ross, Alex. "A Field Guide to the Musical Leitmotifs of “Star Wars”." The New Yorker. January 3, 2018. https://www.newyorker.com/culture/culture-desk/a-field-guide-to-the-musical-leitmotifs-of-star-wars (accessed March 2019).
—. "The New Yorker." Listening to “Star Wars”. January 1, 2016. https://www.newyorker.com/culture/cultural-comment/listening-to-star-wars (accessed March 2019).
Schubart, Christian Friedrich and Ted Alan DuBois. "Christian Friedrich Schubart's Ideen zu einer Ästhetik der Tonkunst an Annotated Translation." Dissertation. Translated by Ted Alan DuBois. University of Southern California, August 1983. 523.
Wagner, Richard. "Die Walküre, Act III, WWV 86B." Petrucci Music Library, IMSLP. n.d. https://imslp.org/wiki/Die_Walk%C3%BCre,_WWV_86B_(Wagner,_Richard) (accessed March 2019).
Wilson, Scott. Stop Making Sense: Music from the Perspective of the Real. London: Routledge, 2015.
