Completing the Ring When Wagner returned to writing the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods) as the final part of the Ring, his style had changed once more to something more recognisable as "operatic" than the aural world of Rheingold and Walküre, though it was still thoroughly stamped with his own originality as a composer and suffused with leitmotifs. This was in part because the libretti of the four Ring operas had been written in reverse order, so that the book for Götterdämmerung was conceived more "traditionally" than that of Rheingold; still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed. The differences also result from Wagner's development as a composer during the period in which he wrote Tristan, Meistersinger and the Paris version of Tannhäuser. From Act 3 of Siegfried onwards, the Ring becomes more chromatic melodically, more complex harmonically and more developmental in its treatment of leitmotifs.
Completing the Ring When Wagner returned to writing the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods) as the final part of the Ring his style had changed once more to something more recognisable as "operatic" than the aural world of Rheingold and Walküre though it was still thoroughly stamped with his own originality as a composer and suffused with leitmotifs This was in part because the libretti of the four Ring operas had been written in re.verse order so that the book for Götterdämmerung was conceived more "traditionally" than that of Rheingold; still the self-imposed strictures of the Gesamtkunstwerk had become relaxed The differences also result from Wagner's development as a composer during the period in which he wrote Tristan Meistersinger and the Paris version of Tannhäuser From Act 3 of Siegfried onwards the Ring becomes more chromatic melodically more complex harmonically and more developmental in its treatment of leitmotifs