The Atonement motif is important in the first part of act III. It is intimately connected with several other motives, notably Waking (#20) and the entire group might be regarded as one integrated complex. It may be derived from the Faith motif, as is Innocence (#37). In example (A) we see Atonement combined with the rising chromatic motif Yearning (#35). In example (B) it is combined with the falling chromatic figure of Suffering (#4).
Hans von Wolzogen called it, "the first melody of Expiation". Albert Lavignac called it
simply "Expiation". Lavignac draws particular attention to the form in which it appears at
Gurnemanz's words, doch wohl -- wie Gott mit himmlischer Geduld
. Not only the
violin and 'cello melody but also the harmony is taken directly from the second phrase of the
Pilgrims' Chorus in Tannhäuser.
Atonement
