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 FaithThe example shows the Faith motif as it first appears, on horns and trumpets, in the prelude to the first act. It is then extended into a long sequence. Later the Faith motif appears frequently in the first and last acts, and just once in the second act (at Doch wer erkennt ihn klar und hell, des einz'gen Heiles wahren Quell?). It appears in a modified form in connection with Amfortas' vision, and it is alluded to when the knights sing Zum letzten Liebesmahle ... A number of subsidiary motives are derived from this theme, notably those of Angels (number 27), Titurel (number 34) and Innocence (number 37). 
Right: Amfortas' vision, oil painting by Franz Stassen. |