LEITMOTIV, lietno-tef, in, music,, the leading theme, the characteristic phrase, which, occurs over and over again in the same com position, in reference to the same person, phrase of feeling or scenic complication of in tense passion or action. The phrase strikes the note of these several crises or conjunctures and recurs whenever they are repeated. While many operatic composers, such as Mozart and Weber, have employed the expedient of the leading theme, Wagner does so more than any. other modern musician. In his Leitfaden, or analyses of his operas, in which he lays bare some of the secrets of his artistic workman, ship, he shows that he has consciously indi vidualized every one of his characters, every. change in the scenery or action of the drama, or in the emotions and moods of the dramatis persona', by the introduction of a specific musi, cal theme, which he employs throughout the opera to suggest the same thing. theme, is worked upon and varied with the masterly skill which Wagner possesses in fugue part writing. Thus in his 'Parsifal,). Kling
Kundry, Parsifal, Amfortas and the Flower maidens are all ushered in with a special lead,' ing theme' for each. There is a special theme for the Eucharist, for the spear (Speermotiv), for the Holy Grail (Gralmotiv). The chil dren's voices raise a strain 'Faith is still alive' to the notes of the Glaubensthema, or faith motive. There is a Leidensmotiv, to express' the grief of Amfortas; there is the Doormotiv, expressing the promise of help; the Zauber motiv, suggesting the devlish power of witch craft, while the mother's sorrow is suggested by the Motiv des Herzleids, the heart-grief's theme. The Bell-theme, with its pealing sound, the Ride-theme, suggesting the clatter. of horsehoofs, the Good Friday theme, with its characteristic chords, each in its way, are powerfully suggestive, and when once rec.'. ognized, their recurrence has a powerful effect.