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	Tristan und Isolde - Wikipedia, the free encyclopedia
		Tristan und Isolde (Tristan and Isolde) is an opera in three acts by Richard Wagner to a German libretto by the composer, based on the romance by Gottfried von Strassburg, which in turn was based on the story of Tristan and Isolde incorporated into Arthurian legend from earlier interpretations of the somewhat obscure Celtic source.
		The story of Tristan and Isolde (aka Tristan and Iseult, Tristan and Isolt, Tristram) was the quintessential romance of the Middle Ages and Renaissance.
		Tristan declares in Act 2 that under the dictates of the realm of Day he was forced to remove Isolde from Ireland and to marry her to his Uncle Marke.
	en.wikipedia.org /wiki/Tristan_und_Isolde (3166 words)

	Tristan chord - Wikipedia, the free encyclopedia
		What makes the Tristan motif different in the eyes of many analysts is its duration; in the Beethoven example the Eb resolves to D in approximately a quarter of the time it takes the G# to "resolve" to the A in the Wagner.
		In regard to the Tristan chord the situations discussed here include what the analyst believes happens with the chord later in Tristan and Isolde, possible belief in only three harmonic functions or in functional successions determination by the circle of fifths.
		The chord and the figure surrounding it is well enough known to have been parodied and quoted by a number of later musicians.
	en.wikipedia.org /wiki/Tristan_chord (1208 words)

	The 'Tristan Chord' as Music-Historical Metaphor (Site not responding. Last check: 2007-10-29)
		Generally known as the 'Tristan' chord, it is itself one of the crucial leitmotifs of the work; its dramatic symbolism is multifaceted and depends largely on its situational and harmonic context.
		Tristan and Isolde represent the psychobiological realm of unquenchable desire; they lose themselves in it, repeating and confusing one another's names, and they long unspeakably for death, where their libido will be permitted to flow freely without object or goal (Kramer 138ff).
		The history of the reception of the Tristan chord, both by listeners during a performance of the opera and by analysts at arm's length, is a microcosm of the transformation of nineteenth-century harmony.
	www.utpjournals.com /product/utq/674/674_reiman.htm (1960 words)

	Untitled Document
		Tristan and Isolde are at the center of action, but significant is the action of the conductor; he senses and shapes the huge structure of the opera from its opening 'Prelude' to the final 'Liebestod'
		But the 'Tristan chord' was unanalysable; the music changed keys in every bar, many times more than once, so that it was of no use to place this genius music in terms of tonality.
		Now in 'Tristan und Isolde' the dichotomy of the phenomenal and the noumenal coincides with the division of night and day.'Day' symbolizes the external world that keeps the lovers apart; in the noumenal realm of 'Night', they are united and metaphysically one.
	www.maryleenschiltkamp.com /articles/tristan.html (951 words)

	ipedia.com: Chord (music) Article (Site not responding. Last check: 2007-10-29)
		Chords are also said to have a function in their diatonic scale, which relates to the expected resolution of each chord within a key.
		When a chord progression resolves to a III or VI chord, it is called a Tonic Substitution, because the stable III or VI chord is being used as a substitute for the expected I chord.
		Seventh chords may be thought of as the next natural step in composing tertian chords is to add the note a third above the fifth of the chord, or the seventh of the chord.
	www.ipedia.com /chord__music_.html (1744 words)

	Tristan chord (Site not responding. Last check: 2007-10-29)
		A chord named after the first chord in Richard Wagner's Tristan und Isolde.
		The original Tristan chord consists of f, b, d-sharp, and g-sharp, but the name applies to any chord with the same intervals.
		It is also called the half-diminished seventh chord.
	www.music.vt.edu /musicdictionary/textt/Tristanchord.html (43 words)

	Specimen pages of the book:Wagner's most subtle Art
		The 'Tristan' chord indeed is the Will, but so in a broader sense is all the music, for it is the music that deals directly in the emotions.
		An F instead of a G flat in the bass of the first chord would give an original 'Tristan' chord, as would a G sharp instead of an A in bar 1326 an original second 'Tristan' chord, but these would be too sensuous and would detract from the dignity and controlled passion of the moment.
		Tristan's first echo of the suffix reduces the final rising leap to a minor 3rd which, coming in that rhythm after several falling semitones, gives a distant echo of the "sick Tristan" with its "hero Tristan"-derived minor 3rd upturn.
	www.roger.north.btinternet.co.uk /Specpp.html (6379 words)

	Great Lovers Episode Three: Tristan and Isolde
		Tristan and Isolde is, however, a much older story; and there are lots of different prose versions of it, all of which vary in detail.
		Moreover, Tristan had won her by defeating the dragon that was ravaging Ireland, so he really had a claim to her, but chose to fulfil the bride quest mission, which was to bring her back for Mark.
		Tristan and Isolde immediately realise that this accident will lead them to betray their most sacred vows, and yet they proceed to consummate their love then and there, simply because they have no free will.
	www.abc.net.au /rn/bigidea/stories/s903367.htm (6738 words)

	classical music - andante - the sweet sound of schopenhauer
		These are two of the underlying questions in Bryan Magee's The Tristan Chord: Wagner and Philosophy, a readable and often lucid, though at times problematic, introduction to a whole constellation of ideas revolving around Richard Wagner, one of the most talented, ambitious and complicated figures in 19th-century music.
		The strengths of the Tristan Chord arise from a marriage of these previous experiences: Magee gives us crystal-clear explanations of the political and philosophical environment within which Wagner was active, ranging from the leftist anarchism of 1840s Germany to the thought of Kant, Hegel, Feuerbach, Nietzsche and, most importantly, Schopenhauer.
		For example, throughout The Tristan Chord, the author returns repeatedly to the idea that there could be no Wagner — from The Ring on — if the composer had not read and absorbed, to a profound extent, the philosophy of Schopenhauer.
	www.andante.com /magazine/article.cfm?id=18065 (1722 words)

	The Mystic Chord
		As reference I take the chord constructed on the note C; in compositions of course it can be found at any pitch but for the purposes of this discussion I shall refer to it in examples transposed to this reference pitch.
		he interpretation of each instance of the chord will have to be inferred not from the way the notes are written, but from the approach to the chord and the manner in which the parts move away from the chord.
		In the case of the expansion the largest interval to be heard is nearly always an augmented sixth, which expands into an octave; the expansion of the minor seventh to the octave (with simultaneous falling of the lower tones) is an exceptional case.
	home.c2i.net /w-206240/mystic.htm (1517 words)

	Beyond Analysis: Richard Wagner's Tristan und Isolde
		The chord thus becomes a musical metaphor for the basic situation of Tristan and Isolde: their love is not consonant with the religious and feudal laws to which they are bound; and despite the intensity of their yearning, their Sehnsucht for one another, their union can never be complete, at least not in this world.
		Tristan calls for some liquid refreshment, a servant finds a flask filled with what looks like wine, the clueless couple drink the love potion and set out in search of the nearest bed.
		One one level, his Tristan and Isolde pretend that the libation is a drink of reconciliation, on another level, each one thinks he or she is participating in an unspoken suicide pact.
	www.wagner-dc.org /crosby99_lec.html (4519 words)

	The Liebestod Explained Medically (Site not responding. Last check: 2007-10-29)
		However, Isolde's death, he argues, arose from her injesting the Love Potion, which he argued is associated with the Tristan chord.
		Tristan's body might be interpreted as hysteria, but this could not explain her death.
		Wagner's use of a Tristan chord at the moment of her death indicates that both hallucinations and death are attributable to the love potion."
	www.wagnersf.org /forum/archive/1086.html (797 words)

	Walt Disney Concert Hall - Piece Detail (Site not responding. Last check: 2007-10-29)
		The musical precursors of the Tristan chord and the haunted opening phrases of the opera are almost as numerous and varied as its aftershocks.
		The Tristan chord is also suggested in several songs by Liszt, whose ideas about chromatic harmony and thematic transformation were highly influential on Wagner.
		Every time Isolde refers to Tristan gazing in her eyes (or evading her glance), the big cresting tune from the Prelude is heard behind her.
	wdch.laphil.com /about/piece_detail.cfm?id=1434&back=/tix/... (1084 words)

	[No title]
		However, a thorough understanding of the language of *Tristan* requires that each occurrence of the chord/collection be analyzed independently for its harmonic, contrapuntal, and (ideally) timbral context.
		It is a simple matter to substitute the first chord in Example 1f, IV, for the tonic triad in Examples 1a-1e; the progression from level to level remains essentially the same.
		(6) In both operas, the pre-dominant chord used is generally an augmented-sixth chord of some kind; the minor third from ^#7 to ^2 is expressed as a leap, not a slide.
	mto.societymusictheory.org /issues/mto.95.1.3/mto.95.1.3.rothstein.tlk (2608 words)

	Dolmetsch Online - Music Theory Online - Chords in Detail
		While it is easier to number chords assuming that they are in root position and that the notes above the root complete a close triad or chord, in practice, musicians arrange their chords in a wide variety of ways and we must consider how these might be described.
		Thus, a small a after the chord name denotes a chord in root position (although this is usually omitted), a small b indicates that the chord is in first position, a small c that the chord is a second inversion, and so on.
		Chord notation is not well standardised and you will need to recognise all notational forms, even those that we would not necessarily favour ourselves.
	www.dolmetsch.com /musictheory17.htm (2458 words)

	Wabash Magazine: Feature
		The opera, and this one chord in particular, have generated a remarkable amount of celebration, commentary, and controversy among musicians over the past century and a half.
		It may seem strange that a single chord could generate such controversy and interest, but the Tristan chord does represent a watershed moment in musical history.
		Thus in purely musical terms we are thrown into a confused and tormented state mirroring that of the ill-fated lovers Tristan and Isolde.
	www.wabash.edu /Magazine/2002/WinterSpring2002/tristan.html (407 words)

	[No title]
		Tristan and Isolde are oblivious to all but each other and their singing of the sweet night.
		Tristan awakens, unsure of where he is, and is told that he is at his family seat, Kareol (“Kareol” motif).
		Tristan reflects on all the grief and sadness in his life and how the tune of the shepherd’s pipe reminds him of it.
	www.vaopera.org /downloads/documents/TristanIsoldeStudyGuide.doc (5600 words)

	[No title]
		The obvious answer is that Beethoven's chord -- leaving aside the fact that its correctly notated e-flat is the seventh of a 7-6 suspension -- is not a "Tristan Chord" but rather a half-diminished seventh.
		The dominant-seventh chord of bar 3 "should" continue to an A-minor tonic chord, almost certainly with c^2^ in the treble; the bass A would provide the point of departure for the chromatic passing A-flat on which the second TC is based.
		It is certainly possible that the enharmonic equivalence of this chord to the TC and to the half-diminished seventh chord was also a factor in Wagner's choice of the perfect rather than the augmented fourth at the downbeat of bar 10.
	www.societymusictheory.org /mto/issues/mto.95.1.1/mto.95.1.1.rothgeb.art.html (3488 words)

	PlaybillArts: Features: Journey to Bliss
		Her adulterous lover, Tristan, his loyal servant, Kurwenal, and the man who loved but betrayed Tristan, Melot, all are dead.
		Tristan und Isolde is the most shocking opera ever written, and it was meant to be.
		"Ich Isolde, nicht mehr Tristan," he cries, "I am Isolde, Tristan is vanished," to which she answers, "Tristan Ich, nicht mehr Isolde!" Those life rafts we use to cling to sanity in daylight: gender and basic identity, are tossed away by these two as they sink into a sea of nothingness that is everything.
	www.playbillarts.com /features/article/158.html (1886 words)

	The Love-Death Opera: Interdisciplinary Approaches to Richard Wagner's Tristan und Isolde (Site not responding. Last check: 2007-10-29)
		They examine in turn the opera's medieval sources, the famous 'Tristan chord' and its impact on the history of both music and morality, and the opera's contemporary German Romantic literary and philosophical contexts.
		The 'Tristan chord,' for instance, mingles desire with death from the inception of the opera, but does not disclose the full, contradictory meanings of that chord until the opera ends.
		The ambiguities of the desire that flickers between the protagonists are embodied in the ambiguities of harmonic and melodic entanglements located in the chord itself.
	www.utpjournals.com /product/utq/674/674_scott1.htm (334 words)

	Richard Wagner
		The first of Wagner's mature operas is Tristan und Isolde (Tristan and Isolde), often considered his masterpiece.
		In Tristan und Isolde, he explored the limits of the traditional tonal system that gave keys and chords their identity, pointing the way to the rise of atonality in the 20th century.
		For instance, after Daniel Barenboim conducted a passage from Tristan and Isolde as an encore at the 2001 Israel Festival, a parliamentary committee urged a boycott of the conductor, and an initially scheduled performance of Die Walküre had to be withdrawn.
	www.brainyencyclopedia.com /encyclopedia/r/ri/richard_wagner.html (3557 words)

	Love and death in Wagner's Tristan und Isolde--an epic anticholinergic crisis -- Weitz 327 (7429): 1469 -- BMJ
		Wagner's use of a Tristan chord in the moment of her death indicates
		Knapp R. The tonal structure of Tristan und Isolde: a sketch.
		Alchemy and the "Tristan" of Gottfried von Strassburg.
	bmj.bmjjournals.com /cgi/content/full/327/7429/1469 (1123 words)

	Reviews of the book, Wagner's most subtle Art
		Thomas Mann never tired of playing the 'Tristan' chord, and when faced recently with the challenge of playing a few notes on Rimsky-Korsakov's piano and then that of Sibelius, I too could think only of that notorious chord, in the sure knowledge that both composers would wrily acknowledge its potency.
		By that December the idea of Tristan already possessed him and he wrote to Liszt about its inspiration: 'Schopenhauer's main conception, the ultimate negation of the will to live, is terribly stern, but in it alone is salvation.' The new work would enshrine 'the simplest yet most full-blooded musical conception'.
		For the composer of Tristan it was good to read that 'music speaks not of things but of pure weal and woe' and that music was 'the true universal language which is understood everywhere'.
	www.roger.north.btinternet.co.uk /review.html (2251 words)

	Classical Pursuits
		Tristan is unlike any other opera by Wagner, or anyone else, in its concentration upon the inner lives of its protagonists.
		The love of Tristan and Isolde is really not in any way akin to the love of Romeo and Juliet, or Heloise and Abélard.
		From the very first mesmerizing chord, the so-called Tristan chord, the complexity and beauty of the music captivates listeners, and the drama of the work, both musically as well as the story itself, makes it unique in the history of opera.
	www.classicalpursuits.com /toronto/program_10.php (286 words)

	Walt Disney Concert Hall - Performance Details
		Richard Wagner's opera Tristan und Isolde opens with a quietly unstable chord in the woodwinds (over a sighing motif in the cellos) that is as emotionally charged as it is musically ambiguous.
		The influence of Tristan was inescapable for most artists of its generation and those formed in the crucible of the late 19th and early 20th centuries.
		Examples of Tristanism could be cited almost indefinitely, as artists continue to deal with the story and its musical ramifications.
	wdch.laphil.com /tix/performance_detail.cfm?id=1829 (434 words)

	[No title]
		Compare, for example, the Tristan Prelude [bar 83] where the seventh chord F-Ab-Cb-Eb upon which the ascent terminates is to be regarded as a modification of the dominant of Eb minor.(1) See Example 1, supplied by the author.
		It permits a clear distinction to be drawn between the localized TC in the context of the opening music and the "global" forms derived from it by enharmonic transformation and reinterpretation of harmonic function.
		333, where the author poses the question "Is the Tristan Chord an androgynous chord?" ("L'accord de Tristan est-il un accord androgyne?") and discusses the sometimes ambiguous relation between the personae of Tristan and Isolde throughout the opera.
	www.societymusictheory.org:16080 /mto/issues/mto.95.1.2/mto.95.1.2.forte.tlk (2125 words)

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