Meantime Der Ring des Nibelungen was rapidly approaching completion, and on the 13th of August 1876 the introductory portion, Das Rheingold, was performed at Bayreuth for the first time as part of the great whole, followed on the 14th by Die Walkiire, on the 16th by Siegfried and on the 17th by Geitterdiimmerung.
Komm., 1889); Wildeboer (in Marti's Kurzer Hand-Comm., 1898); C. Siegfried (in W.
Siegfried is then persuaded to transform himself by his magic Tarnhelm into the likeness of his host, Gutrune's brother Gunther, in order to bring Briinnhilde (whose name is now quite new to him) from her fire-encircled rock, so that Gunther may have her for his bride and Siegfried may wed Gutrune.
A famous and typical instance of Wagner's use of Leitmotif in tragic irony is the passage where Hagen gives Siegfried friendly welcome, to the melody of the curse which Alberich pronounced on the ring and all who approached it.
Among them are Rodenstein, the reputed home of the wild huntsman, and near Grasellenbach, the spot where Siegfried of the Nibelungenlied is said to have been slain.
The story of Siegfried in Richard Wagner's famous opera-cycle Der Ring der Nibelungen is mainly taken from the northern version; but many features, especially the characterization of Hagen, are borrowed from the German story, as is also the episode of Siegfried's murder in the forest.
He complains to Siegfried next morning; and once more the hero has to intervene; invisible in his tarnkappe he wrestles with Brunhild, and, after a desperate struggle, takes from her her girdle and ring before yielding place to Gunther.
The important small published works are Eine Faust Overture (1839-1840; rewritten, 1855); the Siegfried Idylle (an exquisite serenade for small orchestra on themes from the finale of Siegfried, written as a surprise for Frau Wagner in 1870); the Kaisermarsch (1871), the Huldigungsmarsch (1864) for military band (the scoring of the concert-version finished by Raff); Fiinf Gedichte (1862), a set of songs containing two studies for Tristan; and the early quasi-oratorio scene for male-voice chorus and full orchestra, Das Liebesmahl der Apostel (1843).
Such is the story of his begetting, where Uther takes upon him the form of Gorlois to deceive Yguerne, even as Siegfried changed shapes with Gunther to the undoing of Briinnhilde.
The more subtle examples are inexhaustible in variety and resource; and perhaps the climax of subtlety is the almost entire absence of Leitmotif in the first scene of the third act of Gotterddmmerung, when Siegfried throws away his last chance of averting his doom.