Music as A Dramaturgical Component of The Opera Elektra by ...

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Music as A Dramaturgical Component of The Opera Elektra
by Richard Strauss

LOREDANA IAłEŞEN
The Department of Musicology
The University of Arts “George Enescu”

Str. Horia 7-9, Iasi, 700126
ROMANIA

[email protected]

Abstract: - By briefly analysing the motifs, we noticed the importance of the process of variation and
development undergone by all the sound entities by means of traditional devices consisting of motif expansion or
narrowing, segmentation, sequence accumulation underlying the main plot elements and the particularities of the
actual evolution of the characters’ dramatic art.

Key-Words: - Tragedy, revenge, Elektra, semantics, metamorphoses, description, illustration, development

Elektra is a tragedy created in the first half of the pages, which follow the extended chromatic
20th century a time when issues related to European moments, in which the vocal line comes close to
symphonism dominated the thinking of opera Sprechgesang: “Agamemnon’s invocation
creators and authors such as Paul Dukas (Arianne et (reference 35+12 m.), Chrysothemis’ dream of
Barbe-Bleue) or Alban Berg (Wozzeck, Lulu), whose freedom and fulfillment through love of a family
genre works had gone beyond a mere sequence of (reference 75), Orestes’ recognition (reference
freely developing sound episodes, which were 148a)” [2].
undoubtedly heading towards the clear-cut
constructions of instrumental music. It may be The musical semantics of Elektra may be
divided into two distinct parts, depending on the analyzed considering 3 levels of subordination of the
tonal and dramaturgical clarifications, although both means of expression: sound symbolism Elektra
the modulation between the tonalities – D minor and through the occurrence of motifs, phrases, themes,
C major –, and the characters evolving in their designating characters, feelings; the descriptive
discourse together with their pertaining motifs, level, illustrating the plot; the developing level [3].
belong to both parts. A difference may be perceived
in the dramatic stature of the main characters. The 1 The Symbolic Role of Motifs
first part emphasizes the evolution of the heroes –
Elektra, Chrysothemis, Klytemnestra – towards a In this musical work, the motifs are
climax, when the protagonist reveals the bare and distinguished by their cyclic nature, their leitmotif
painful truth to her mother: Klytemnestra will be function and symbolic role. We will proceed
murdered to avenge her father’s death, which would hereafter to analyze the occurrence of motifs having
bring peace to the whole palace. The second part a symbolic role and their original transformation into
sees the disappearance of Klytemnestra from the close sound structures.
discourse and the occurrence of Orestes, who
participates in the progress of the plot together with The character of Elektra is symbolized by two
the other protagonists. typologies of motifs. We will refer here to the
occurrence of several similar rhythmic-melodic
At the general sound level, an expressive and entities (α, α1, α2), which suggest the psychological
architectural equilibrium is required, based on the struggle related to “the image of avenging her
alternation between several moments of dramatic father” [4].
tension, of build-up, consisting of “tonally
suspended harmonic sequences up to sonorities The first occurrence of the motif α is orchestral,
reaching the atonality limit” [1], and different played by the strings, characterized by their
moments of calm, of harmonic clarity, of cantability, anacrustic structure, 3/4 ternary rhythm and meter,
reminding us of Wagner’s ariosos. We note the and arpeggio melodic configuration. We note the
extremely expressive, consonant and richly melodic emphasis placed on the sound F2 (six beats),
suggesting Elektra’s intention to avenge her father.

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Fig. 1
Fig. 4

The motif α1 relies on a harmonic ambiguity, on We may also note that the sound expression of
which an ascending chromatic line is superimposed, the x cell corresponds to Elektra’s memory of her
combining gradual progress and interval skips, father’s grandiose image as a king. “So kommst du
which include major second (A flat1 - B natural1) wieder, setzest Fuß vor Fuß, die beiden Augen weit
and diminished third (B natural – D flat), offen, und ein königlicher Reif von Purpur ist um
emphasizing the protagonist’s pain and tension. deine Stirn” (And thus you return, placing one foot
(reference 1+ 6 ms.) in front of the other, with your two eyes wide open
and a purple crown on your head …).
Fig. 2
This is the only rhythmic-melodic entity
The motif α2 is different as concerns its timbre developed in soft dynamics (p) and it occurs in the
and expression, it occurs in the score of the orchestra’s low-pitch register, distinguishing itself
woodwinds and it is characterized by an ascending through the repetition of the D natural sound in
arpeggio progress and especially by a harmonic marcatto by means of the prevailing rhythmic
clarification – B flat major, suggesting Elektra’s formula (the fourth connected to four sixteenths),
heroism. (reference 17) which confers special expressiveness. (reference
43–4 ms.)
Fig. 3
Fig. 5
The second category of configuration
contrasting motifs represents “the main character’s The motifs related to the image of the other
off-balance“[5] (β, γ, x). characters are either remote variations of Elektra’s
musical symbol (δ, Σ – Chrysothemis; y – Orestes)
The above-mentioned rhythmic-melodic entities [6], or contrasting rhythmic-melodic configurations
(β, γ) are revealed during the introduction by the with a secondary role.
orchestra, more precisely by the wind instruments.
The chromatic harmony, dotted rhythm associated The first occurrence of the motif designating
with interval skip, extensive nuance (ff) correspond Chrysothemis is embodied by the oboe, progressing
to the composer’s staging directions in the music in piano, supported by a melody whose gradual
score (“Elektra springt zurück wie ein Tier in seinen unwinding is combined with the interval skip, in a
Schlupfwinkel den einen Arm vor dem Gesicht”), rhythmic triplet formula. The motif’s delicate sound
pointing out the abnormal reactions – Just like an expressiveness reveals Chrysothemis fearing for
animal hiding in its den, Elektra leaps backward Elektra, who risks imprisonment.
hiding her face in her arm. (reference 1+3 m. - β, γ)
Elektra notices her anxiety and asks her: “Was
hebst du die Hände?” (Why do you raise your
hands?) (reference 66+2 ms.)

Fig. 6

Chrysothemis’ frailty and worry are also pointed
out by the second occurrence of the motif (ε), which,
on a sonorous level, is characterized by a richly

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chromatic arpeggio melodic line within the Unlike the other motifs or themes we have
unwinding of a single measure, the fixed rhythmic mentioned, we are surprised by the diatonic
formula (two sixteenths followed by an eighth - harmony and cantability of theme b, exposed at the
anapest) and Elektra’s ironic comments of Aegisth’s level of the strings. Played in pp, at low pace, by
deeds – “der tapfre Meuchel mörder” (the mighty combining the triplet with the dotted rhythm, this
murderer). (reference 69) idea develops in a seven measure-interval, under the
form of an orchestral comment of soft words,
Fig. 7 expressing the sadness of the characters’ solitude -
“Ich will dich sehn, laß mich heute nicht allein! Nur
While the occurrences designating Chrysothemis so wie gestern, wie ein Schatten dort im Maurwinkel
have an ornamental and chromatic melodic line, zig dich deinem Kind!” (I want to see you, don’t
reminding us of Elektra’s first appearances, the y leave me alone today! Like a shadow, show yourself
cell symbolizing Orestes distinguishes itself through to your daughter, in a corner of the wall! (reference
a descending sound unwinding in the E flat minor 45+8 ms.).
tonality, the expressive timbre of the woodwinds and
the ascending interval skip suggesting aspiration – Fig. 10
common constituents of the leitmotif α, symbolizing
revenge –, contribute to the creation of Orestes’ 2 The Symphonic Role of the Motifs
solemn image, a vision which is virtually the
orchestra extension of the dramatic arioso uttered by We notice the metamorphosis, at a semantic and
Chrysothemis. (reference 23a-4 m) sonorous level, of the symbolic motifs in the
evolution of the opera dramaturgy.
Fig. 8
2.1 The transformations of the leitmotif α,
The melody of the opera comprises two cyclical connected to the vision of avenging the father
themes, which represent sequences of motifs derived
from within a phrase: The rhythmic, melodic and harmonic (C 5)
transformation of the initial motif (α 1) – occurs
a. the image of Elektra seen by the servants when the protagonist is in a state of imbalance,
b. the symbol of the children’s love for imagining a possible dance of revenge around her
father’s tomb. (reference 58)
Agamemnon
The change in the courtiers’ attitude towards Fig. 11
Elektra, from reproof to compassion, is suggested at
the level of the relation between the melody The joy of having found her two brothers is
(sonority filled with chromatic elements), the rendered, at the sonorous level, by means of the
chromatic harmony and the text uttered by the maid: waltz inflections, revealing the heroine’s sudden
“Sind sie dir nicht hart genug mit ihr?” (Don’t transformation, from toughness to delicacy.
you find they’re too hard on her?) (reference 15 + 4
ms.) The rising scale shift (B flat1 – E flat2), αv from
the melody is only a variation through segmentation
Fig. 9 and a reversal of the incipit specific to the initial

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motif α (D2-A1). Hence, the nuance of the (x1), in the C minor tonality, corresponds to an
psychological experience related to the vision of extremely tragic moment. In her anxiety,
avenging the father turns into the joy of finding the Klytemnestra asks Elektra: “Who should die in
beloved brother whom the heroine calls: order to be able to sleep in peace?” In restlessness,
her daughter replies: “Was bluten muβ? Dein
“Orestes! Orestes!” (reference 148a) eigenes Genick ...” (Who should bleed? Your
Another instance of the initial motif (α3) can be throat...) (reference 230-4m.)
found in the vocal line of Aegisth who, feeling that
his end is near, cries: “Helft! Mörder! Helft dem Fig. 13
Herren!” (Help! They are killing me! Help your
master!) (reference 213a+2 m.) 2.3 Metamorphosis of the cell Y symbolizing
However, the emotional intensity of the acoustic Orestes
moment is rendered by resorting to Elektra’s
leitmotif, transformed from a rhythmical and The rhythmical and melodic entity Y will return
melodic perspective (α4), representing the in the orchestra, in an augmented instance (Yv),
protagonist’s reply to Aegisth’s question: where the chorale writing and the chromatic
“Hört mich niemand? Agamemnon hört dich!” harmony suggest the character’s solemnity, enforced
(Does anybody hear me? Agamemnon hears you!). by the words he utters: “Ich und noch einer, der mit
Meanwhile, Aegisth dies, but not before showing, mir ist, wir haben einen Auftrag an die Frau” (I and
for the last time, his face at the window: “Noch the person accompanying me have a message for the
einmal erscheint Aegisth Gesicht am Fenster“ queen). (reference 126a-3 m.)
(Aegisth shows its face at the window once more).
(reference 216a+3 m.) Fig. 14
In the general joy at the end, the orchestra
returns to segments of the transformed motif of 2.4 Transformation of the cyclical theme a –
avenge – above them we hear Elektra’s meditation Elektra as seen from the courtiers’
on love and death. We note the transformation of the perspective
motif α, from the symbol of revenge to the symbol
of love and death: “Ai! Liebe tötet! Aber keiner fährt We note the circular nature of this sonorous idea
dahin und hat die Liebe nicht gekannt!” (Ah! in the unwinding of the music score, but with
Murdered love! And still, no one dies without different symbols. We observe the shift that occurs
having experienced love! ) from Elektra’s ambiguous image in the courtiers’
eyes to the protagonist’s attempt to impose herself
2.2 Metamorphosis of the rhythmical and on Chrysothemis, forcing her to participate in the
melodic entities suggesting Elektra’s lack of consummation of the avenge: “Nicht Schwester,
balance nicht / Spricht nicht ein solches Wort in diesem
Haus / Der führt kein Weg hinaus als der / Ich laß
The motif β appears again in the part dedicated dich nicht...” (No, my sister, / Do not utter such a
to Klytemnestra, this time subjected to rhythmical word in this house / There is no other choice for you
and melodic variations (βv). We may notice that the but this one / I will not let you ...) (reference 89a+4
variation of the motif coincides with the characters’ m.)
psychological transfer, so Elektra’s lack of balance
can be found in her mother’s attitude: “Ein jäder
Dämon läßt von uns” (All demons should leave us
alone) (reference 199+2 m.)

Fig. 12

If, during Elektra’s monologue, the cell x was
rendered in piano, the ample dynamics (ff) and in the
molto vivace tempo, its return in a varied hypostasis

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Fig. 15

2.5 Metamorphoses of the cyclical idea b –
symbol of the children’s love for
Agamemnon

The rhythmical and melodic variation of theme b
occurs in relation to the transformation at the poetic
level (b1). The symbol of the children’s love for
Agamemnon will turn into Chrysothemis’
dissatisfaction with Elektra’s ambition and anger:
“Wärst nicht du, sie ließen uns hinaus, so ließen sie
uns ja heraus aus diesem Kerker, Schwester” (If it
had not been for you, they would have let us get out
of this prison, sister! (reference 82+2 m.)

Fig. 16

At a structural level, we noticed, in relation to
the progress of the moments, that each section and
subsection brings about new rhythmical, melodic or
motif related elements, as well as ingenious
procedures for the variation and processing of the
previous material. The second part reveals itself as
an echo of the first, by resuming the motifs in a
transformed state, without actually performing a
reprise.

References:

[1] Vasiliu, Laura – Articularea şi dramaturgia
formei muzicale în epoca modernă (1900 -1920) –
[The Articulation and Dramaturgy of the Musical
Form of the Modern Period] – Editura Artes, Iasi,
2002, p. 204
[2] Ibidem, p. 206
[3] Ibidem, p. 203
[4] Ibidem, p. 206
[5] Ibidem, p. 206
[6] Ibidem, p. 206

ISSN: 1790-5095 113 ISBN: 978-960-474-192-2