Musical-Character Relationships In Tanz der Vampire - Part 2

(See Part 1 for the explanation of this essay.)
In fact, the subject of strength warrants a whole discussion of its own. It's already established that our hero wants to be strong. Certainly, who doesn't? But what's important is the fact that he also doesn't want to be required  to be strong. He wants the ability to laugh in the face of monsters, but not actually have to confront those monsters. This, I think is crucial in his relationships with the professor and the count - and the conflict which lies therein. As merely an assistant to Abronsius, of course Alfred doesn't have to be too strong - until  the professor starts leading him into these confrontations and dangerous situations, forcing him to face the monsters (both literally and figuratively).

What von Krolock offers to Alfred which is so seductive is the prospect of never having to face any more monsters. Being on the side of the humans, Alfred will constantly face danger and have enemies. But, if he were to join the count and become a vampire - well, what monsters would there be left to face? He would be stronger than humans, so no one could oppose him any more. He would no longer face danger from the vampires, since he's on their side now. Even if he somehow got into trouble, Krolock would be there to defend him.

This, I think is Alfred's biggest internal conflict. Completely disregarding Sarah from the equation, this would be an absolutely perfect proposal. I'll discuss this offer more in-depth when it comes time to talk about the villains, but for now I shall continue on the "good" side and get back on my former track.

Alfred's devotion to the professor (and reliance on him) shows quite clearly in other songs. Whenever Abronsius is present (and awake), he steps aside and allows his mentor to take the head, never singing unless sang to. What is particularly revealing to me is the fact that, when Alfred has his own idea (following Chagal to the castle instead of killing him), he does not sing one of his own melodies - instead, he reprises "Wahrheit" the professor's song about the professor's intelligence. It's a subtle but clear way to show that Alfred accredits his accomplishments to Abronsius, not himself.

In fact, Alfred's reliance on others for strength most definitely does not end at the father figures of the professor or the count. Here I finally reach our hero's big solo: "Für Sarah".

There is a lot to analyze with this song, but I'm going to focus on the reliance/strength aspect right now. In the course of this song, he gains strength...by singing about how wonderful Sarah is. Not about himself - ways he could inspire his own courage - but how he can be brave "For Sarah". As he cannot find the power within himself, he must attribute it to another. Id est, "I'm not succeeding on my own. Any confidence I gain is because of Sarah."

This presents an interesting paradox. In my eyes, by the end of this song, Alfred has not actually grown stronger, but weaker. He has placed his emotional status on another, completely given it to Sarah - If Sarah needs me, I'll be brave. If she does not, then it is her will: I won't. In an attempt to not have to be independent, he has made Sarah (against her knowledge and will) into his leader. She is now the unwitting leash to his loyal dog, if you will pardon an awful metaphor. In doing so, he compromises himself. He doesn't have to make his own decisions and be strong, but he also has pretty much lost the rest of his independence with it. 

Alfred's independence is a central factor in his development. For most of the show, it is in the hands of Abronsius. The teacher tells the assistant what to do, he doesn't have to think too much/be too brave. By the end of "Für Sarah", that independence now belongs to Sarah. It seems to me that von Krolock would be perfectly willing to be the next holder of that independence - admittedly, Alfred would be the easiest vampire to control in history - but Sarah beats him to it. My first impression, at the beginning of "Der Tanz Der Vampire" [the finale], was that perhaps Alfred has finally taken his will into his own hands. But, as Sarah drags him like a ragdoll offstage, I quickly realized better. Now, not only does she have more control over Alfred than ever before, she knows  it.

A couple last notes on the subject of strength and "Für Sarah". It is very, very important to note something about Alfred's songs: He has no fast songs...until the very last section of "Für Sarah", when he has established Sarah's dominance over him. It's almost an unspoken rule that faster, louder songs are associated with strength, power, and emotional control, while ballads and slow songs are the material of weakness, indecisiveness, and uncontrolled emotion. While most other characters get at least one chance to belt the night away with an up-tempo melody, Alfred stays solely in slow territory, as a reflection of his weakness and insecurity. This is presented in stark contrast to the professor's Gilbert and Sullivan-esque speedy tunes. He only gains momentum slightly before he's cut off by Abronsius's book song, leading me to believe that, at this point, he's fully fooled himself into thinking that what's he's done to himself in terms of his free will is making him stronger.

Speed actually brings in another part to analyze about the conflict of Alfred's choice, and the struggle for his own independent identity. Obviously, the professor's songs are all fast. He never slows down to really be on the "same plane" as Alfred, in addition to never really listening to him in the actual dialogue. On the other hand, the count knows exactly how to get into Alfred's head.

In the way von Krolock presents himself to Alfred, his songs are slow, but still powerful. Through the speed, he's showing the student, "Why, I understand you better than that old fool. I know your feelings, what you want." It's a way of bridging the gap between one who views you as an enemy, and one of the count's most manipulative (yet admittedly brilliant) moves. After all, don't we all want someone who will slow down to listen to us?

Alfred's wrestling with this decision (Abronsius, von Krolock, or myself?) appears a couple more times throughout the show. The most clear has to be when he, upon waking up from his nightmare, sings a medley of two songs. He begins with a reprise of "Finale Erster Akt" (which was also reprised in Carpe Noctem, of course) - the count's song. But before long, he switches to reprising "Wahrheit" - the song of his current authority figure and independence-holder. He switches back and forth between the two prospects (and people) for a while, until eventually a third factor comes in: Sarah, coming in with his reprise of "Draußen Ist Freiheit" [a song sung between Sarah and Alfred]. Unable to decide between the two men, he views Sarah as the "third option" - ignoring the fact that she is merely another way for him to not have to be strong.

           A slightly more subtle connection comes at that earlier-mentioned fast last verse of "Für Sarah". Alfred is just beginning to gain strength (even if it is improperly-gotten), when the professor returns and interrupts, ever faster than his student. It brings Alfred's problem up again: He (wrongly) believes that Sarah will allow him to be free, but can he really bring himself to leave the security of the older mentor/authority figure?