Expressions of Suffering: The Five ‘Turn Motifs’ of Wagner’s Parsifal

There can be no doubt that Wagner’s Parsifal is a study of religion, suffering and redemption: themes that not only permeate the work’s narrative but are similarly reflected in the drama’s music, with leitmotifs enhancing the expression of pain, suffering, salvation and redemption. Although various studies have sought to construct a lexicon of Wagner’s leitmotifs, both in Parsifal as well as more broadly across his works, the turn figure has yet to be investigated as a central feature of Wagner’s leitmotivic vocabulary. Originally termed ‘groppo’ or ‘gruppetto’, the turn originated in the 17th century and was quickly adapted into music of the time as one of the most ‘pleasing of musical graces’. Although predominantly found in music of the Baroque and Classical eras, the turn experienced a somewhat unexpected resurgence in the 19th century, being transformed from its ornamental origins and taking on a more densely motivic identity. This turn revival as well as the distinct evolution of the figure from ornament to motif is perfectly illustrated within Wagner’s oeuvre.