I literally cried for 30 minutes, it’s one of the most heartbreaking and overwhelming thing that I’ve ever heard in my life… unfulfilled love, tension, desire, the eternal beauty of pain… wonderful
Its incredible, banglare is the voice of reason, yet we can only hear her like a distant echoe and through the most beautiful music of love, we can hear her but not feel her, just like Tristan and Isolde, one of the most profound moments ever.
I dont mean to be offtopic but does anybody know of a way to get back into an instagram account..? I was stupid forgot the password. I love any help you can offer me!
Yes👍. Perhaps the most convincing and urgent rhapsodic music ever composed is juxtaposed with a haunting, disembodied voice of conscience reminding us that following our deepest desires and primal longings will exact a price we cannot afford to pay…and survive. Yet, being human, we cannot do otherwise. The essence of Tragedy.
Flagstad’s tone is molten. I had the good fortune to make this recording the first Tristan I ever listened to. I was indifferent until I listened to this duet. It floored me.
This recording is so fantastic for many reasons. Vocally, all 3 singers are top notch and a dream cast. Conductor is the ultimate. The orchestra is flawless! Thanks so much to the poster!!!
Ohhh. That coup-de-theatre at the end! The music which follows is so "back down to earth with a bang" a shame there weren't a few more seconds of it to let it take its effect!
Of all the harmonic concepts I have discussed it was Beethoven's Eroica and this that was I think the beginnings of breaking out of the rules of traditional harmony. People must have said you can't do that or how can you do that or I don't like that. These I think are some of the earliest forms of harmonic mutation, the pioneers of going where no man has gone before which for me is what the romantic movement was all about - breaking the mould of harmonic and rhythmic patterns and with new forms of arrangement (Brahms op116 Schumann op13) - that and with the arrival of Paganini suddenly everyone wanted to play 10000000 notes a second. With this in mind Wagner was certainly at the heart of this movement.
Simplemente una obra exquisita, hermosa, sublime, la mas grande jamas escrita. No hablo muy bien el aleman pero la musica, las voces, el argumento de la historia, el amor entre los personajes se nota. Es tan buena como la opera del Anillo de los nibelungos esa si tuve la oportunidad de verla y es igual de genial que Tristan e Isolda, ambas de Wagner.
:O sink hernieder, Nacht der Liebe" is the glorious love duet from TRISTAN and it is stupendous especially as the interventions of BRANGANAE spell doom; such a masterpiece that moves me in ways I don't even know........................ Only Giuseppe Verdi could write duets of similar brilliance. For me it is sad that the Verdi duos are so well known by so many. "Gia nella notte densa" at the end Act 1 of OTELLO is literally known by the whole opera world as are so many, many other Verdi Love Duets; the misfortune for Wagner is that as radiant as is his music, he can't compete with Verdi in universal popularity. Of course, legions are devoted to Wagner and go to all the Festivals, but still the following is not quite like it is with VERDI. Were one to be asked to name the love duet from Otello - the answer would come quick and with love; "Gia nella notte densa" ; the same would be a response from Traviata, Trovatore, Un Ballo in Maschera and on and on I could go. I VENERATE Wagner but just how many would be able to actually name the love duet from T & I - only the faithful - with Verdi it is even the common man. It has always been so and will forever be so despite that Wagner should be venerated like Verdi by the elite and the masses; But Wagner is a more difficult musical idiom and many can't even tolerate listen to a wagnerian work. I am not putting down Wagner in any way because I might not like the man, but HIS MUSIC is the stuff of Angels. They are the two greatest composers of the 19th Century both born in 1813....... talk about symbiosis ! The unbearable truth is that Wagner appeals to a more broad intellectual group who love and adore him; Verdi id the humble, sweet man compared to the ego-maniacal tendencies and excesses of Wagner who used so many people in his life to achieve whatever goal he wanted to attain; Verdi gave of himself LITERALLY in the Italian Wars of Independence in the 1860's and never thought of himself superior to anyone. He was just one more man who wanted the freedom of Italy; when Verdi served as an Italian Senator in the NEWLY formed Italy, Wagner was still living a life clode to decadence, one might say when it all caught up to him in VENEZIA where he died. I love both composers immensely and mean no disrespect to Wagner's memory - but we have to face that they were different as night is day, Verdi became a princely composer in the world, sought for operas in all the European Capitals. When Verdi was very well established, Wagner still was on the run with no on wanting to stage even DER FLIEGENDE HOLLANDER. With time, Wagner became well established and his music was going places but this was always due to an outside influence from which he benefited. He might have hated Jews as Hitler got a wallop of inspiration from what Wagner did. He hated Jews yet kept them as conductors because they were the best and could serve his purposes. His ultimate betrayal of Franz von Bulow with Cosima doting on Wagner's every word is not exactly what I would call an ideal union. The ideal union was VERDI and GIUSEPPINA STREPPONI who were married for 16 years but had lived together before marriage. I could go on..... but I hope you see my point. If you don't see it THEN YOU DO NOT KNOW WAGNER because what I have briefly outlined is historical truth no matter how one to tries to soften it. Two Giants of MUSIC - The two Best of the 19th Century - the two composers I adore most - But two men who could not be MORE DIFFERENT. Many hate German Opera including Wagner's........... That's a fact....... I loathed Teutonic/Germanic Opera but I was hit like a thunderbolt at 20 in 1998 and went on to appreciate and love German and Wagnerian Opera to the point of travelling world wide for WAGNER whose RING DES NIBELUNGEN I have see 7 times in major theatres and counting. I even listen to Das LIEBESVERBOT (sp) and as much as Waagner would disapprove, I love RIENZI. BEFORE COVID hit I was in South America for PARSIFAL and a few months later I saw it at DC opera with Domingo and again with Domingo at the NET. So no need to scold or berate me about Wagner. He is the composer for whom I travel the most world wide to listen to his music I have seen and heard all of his operas at my HOME COMPANY but throughout the world particularly in Germany, my favorite house being the Nationatheater in Munchen and in Austria who could live without the Wienstatsoper. Hail and Farewell, Lovers of Verdi and Wagner............ Lovers of Wagner and Verdi. ( sorry about typos) - ESULTATE both composers will be with us forever.
I wish I hadn't started this, but I want to get it right finally. First, I hadn't looked at the score of Tristan for over five years and I made my comments too quickly without checking. So here goes again for anyone who cares (3 or 4 of us at least). The so-called Tristan chord is a French Augmented Sixth but with a non harmonic note in it, the G#. That non harmonic (appoggiatura) does ascend to A at the very end of the measure momentarily creating the French Augmented Sixth. Then it ascends to A# creating another appoggiatura (or accented passing tone) which resolves to B at which point the harmony becomes a Dominant Seventh. So the Augmented Sixth does resolve to the Dominant but the Dominant does not resolve to the Tonic A. Hence the irresolution. But I think we all hear the Tristan chord as a kind of half diminished seventh chord (at least I do). And that sort of justifies calling it the Tristan chord. My ex-wife would say, "Who cares" Charlie.?
Actually I have some personal interpretation of the chord myself, two in fact. I quite don't like the interpration of that G# as an appogiatura because of it's use, my ears just associate the note with the chord. As a jazz guy, the half-diminished chord is often used as a substitute of the secondary dominant which would make a usual II-V cadence so I like to see it as a II7altered, the chord consisting of B-D#-A-F so a B7#11(no.5) (implying the G# is in fact a passing tone), as the voice leading gives us a chromatically descending minor7th interval F-D# -> E-D which is why the cadence work because chromatic approach is just such a powerful tool to release tension, but this is quite 20th century harmony interpretation so Wagner surely didn't think of it this way. No, but I have a theory of how he did come up with this cadence, it is known that Wagner did use the hungarian minor scale in some of his works. So I think he built that chord from the 7th degree of the A hungarian minor scale, a G#min6 chord (which i would argue kinda functions as a subdominant) and take us back to A aeolian through the dominant E7 and act as a deceptive cadence. But again we shouldn't dig to deep in this, the reason the chord works is the chromatic resolution of the minor 7 interval of F-D# to E-D.
I also like the idea of it being a chord on its own. Schoenberg has an interesting theory: he suggests that it is one of many "vagrant" harmonies, in that it can fulfill a variety of functions and move to multiple different key areas, much like the fully diminished seventh chord. In this case, he theorizes that the Tristan chord, at F B D# G#, is the augmented sixth chord, though he says that in theory the "correct" spelling would be B D# F Ab (but it's Wagner, who cares LOL; I don't think Schoenberg really cared in his own tonal music either). The next chord, made by F B D# A, is a different chord, but one that has a similar function. The idea here is that, just like a fully diminished seventh chord can have an "understood root" depending on how it functions (for example, the chord B D F Ab, if it resolves or moves to a C Major triad or another closely related triad, the root is understood to be G in Schoenberg's theory; this reflects the substitute nature of the chord), this chord is actually the NINTH of an AUGMENTED TRIAD. The full chord, in Schoenberg's theory, would be G B D# F A. In this case, both F B D# G# and F B D# A function as II, since they lead to a resolution to E dominant seventh, which is V. While this is a very complicated explanation, I think it is interesting because it leaves the world of harmony open for new ideas. How many more vagrant harmonies can be found? Could we call Schoenberg's "atonal" music just a series of vagrant chords that have no obligation to any key, but have some sense of obligation to each other? Plus, I think I'm gonna trust Schoenberg if only because he was a total genius at this stuff. If you look at Verklärte Nacht, the Gurre-Lieder, Pelleas und Melisande, and the Kammersymphonie, he's totally got the late Romantic stuff figured out IN PRACTICE as well as in theory.
I've always thought of the so-called "Tristan chord" as a French Augmented Sixth chord over the Dominant "E". Of course it doesn't resolve to "E" and so leaves the listener hanging so to speak, which was exactly what Wagner intended. The augmented 6th is from "F" to "D#". Tristan was so radical for its time because of this very irresolution of its harmonies. Clara Schumann didn't care for the opera (or music drama) and I understand that Brahms didn't either. On the other hand, Brahms admired Die Meistersinger. I'm so grateful for the variety of these uploads. One night it's Dufay, then Wagner, then Schnittke, then Hindemith, then Haydn. Thank you for this, the well known pieces and the little known like Rosy Wertheim's Violin Sonata, at least I didn't know it.
I have great respect for Brahms, but I am pretty sure he "didn't care" for political reasons not for artistic reasons. That is why he is not as great as Wagner.
Xiaoli Cai How fortunate that you are able to divine the intentions of Brahms. I have questions about other composers. Does your superhuman insight into the intentionality of dead composers extend to Vivaldi, Liszt and Bartok, to name just a few? Or is it just poor old Brahms you speak for?
Con il Tristano Wagner scrive la parola fine sulla musica lirica, nel senso che con questa Opera viene raggiunta la vetta più alta oltre alla quale non c'è altro musicalmente tanto innovativo originale e sconvolgente. Il duetto d'amore ne è un perfetto esempio...ad un un ascolto poco attento, le numerosi parti melodiche ivi presenti vengono facilmente interpretate come mere sonorità romantico/melodiche, io, al contrario, lo considero di una complessità armonica e tecnica unica (la vetta, appunto!!!!)....tutto è nuovo e geniale in questa partitura. Tutto il Tristano sconvolge per la sua scrittura. Se da una parte Wagner parla dell'amore dall'altra si capisce subito che l'amore cui si riferisce è un sentimento impossibile e tragico che annienta l'innato animo romantico umano. L'amore può infatti essere causa della sofferenza più vera, una sofferenza che annichilisce e ci rende inanimati....Credo che Wagner sia riuscito a trasporre in musica tutti questi sentimenti, cui anela l'essere umano; sentimenti senz'altro tra i più nobili, ma anche i più crudeli.
I don't see any mysterious, theoretically unexplained problem about the Tristan chord as some suggest here. This is just an application of the techniques that nowadays constitute extended tonality. There it is quite common that one situation has several plausible explanations. No conflict, just another way of looking at it. More importantly: listen and let your ears be your guide. Maybe it was revolutionary in Wagner's time, but for modern listeners it sounds quite natural and very beautiful.
When I first started to study Tristan, I felt the same way. However, after months with piano and the help of great coaches and finally incredible conductors like Maazel and Ono, it all started to make sense. In fact, even after having not sung this in about 10 years, I can still remember every rhythm and pitch like it was yesterday. (All the correct words is a little tougher) This recording is so fantastic for many reasons. Vocally, all 3 singers are top notch and a dream cast. Conductor is the ultimate. The orchestra is flawless! Thanks so much to the poster!!!
I want to amend my comment a little. If the chord were a French Augmented Sixth, it would be FABD#, but Wagner's chord is FG#BD#. So I guess it's some kind of altered augmented sixth, not Italian, not French and not German. Maybe it's Wagner's Augmented Sixth. The sound of the chord is like a half diminished seventh and that is the "Wagner sound" as it were. Richard Strauss used that same sound in Till Eulenspiegel's Merry Pranks with a very different effect. Wagner uses it to create a sense of longing and Strauss uses it to illustrate Till's impishness.
I constantly see references to what is known as the Tristan chord, this was a huge shift into what became modern harmony from what little I understand about it. I read alot of things about how Wagner was basically the architect of a new school of harmony especially as Liszt transcribed and raved about It's harmonic implications. I don't really understand this completely am I on the right track here? Unless I'm wrong Wagner was also the arch rival and opposite of Brahms who was basically conservative and traditional where this was modern and revolutionary. I also seem to recall seeing the Liszt concert paraphrase of this in virtuoso recitals. I seriously am not completely sure about everything I just said but I know this was some of the most important post Beethoven music written during the 19th c. Opera really isn't my thing but with something this important it forces you to take notice.
+scottbos68 Yes the Tristan chord is featured in this Love Duet, music theorists are still debating to this day how the chord should be interpreted, the function of it in a harmonic progression. It is instantly recognisable, and it was really shocking for it's time, harmony like that had not been heard before at the time. Brahms was also progressive with harmony, but in another way really. He was not too concerned with inventing 'strange' new harmony like this, and indeed composed music more in traditional forms. Wagner did pave the way for many composers after him, there was a divide to be either a Brahms-adherent or a Wagner-adherent as a composer, they were really two different kind of schools.
For years, I've admired Elizabeth Schwarzkopf, especially her portrayal of Liu in Turandot. But, as I read more and more into her biography, I became confused, then disappointed. Her refusal to allow photographs in her later years seemed to be too much vanity. Now, I read that she claims to have "sung the high notes for Kirsten Flagstad's Isolde. What? How sad.
I spent some time looking around and it has been suggested that this chord is spelled as F B D# G# - my understanding of harmony tell me this translates into root - flat 5 - dominant 7 - major 9 (2) - all the intervals contained in a diatonic locrian scale which is the 7th degree of in this case F# major which spelled out is F# G# A# B C# D# F - the same notes only starting and ending on the 7th note - F... It is not a chord built off an altered scale like Scirabin's mystic chord nor is it built off synthetic scales like Debussy's use of augementd/whole tone. How I understand it is that well first of all people just don't hardly ever use this chord because it's extremely dissonant and wants to be resolved in a big way but the main thing that makes this chord a big deal is it's context in relation to the chords that come before and after it, obscuring it's harmonic function. So in a traditional tonal system it is a chord built off the mode that implies the leading tone, your ear wants you to play F# major after you play F diminished but that is not how Wagner uses it. I think of the way he is using it as a transition to a different tonal center or to signify a key change or in general transition chord from one harmonic flavor into another. Another way I think of it is the basic idea of chromatic harmony, anything can follow anything, if it sounds right use it, or in general "the chord in between" 2 chords. Reminiscent of a jazz lesson I once had as a teenager when you play a 2 5 1 (the most common progression in jazz - cycle of 4ths, etc) for example D min 9 to G13 to C maj7 you can substitute C# (7#9) or (diminished chord min7flat5) instead of playing G13 - the point is it sounds right but it's not diatonic - it's the chord in-between the chord, that any any diminsed
Continued any diminished chord can follow any diminished chord as long as it is a minor 3rd distance above or below (or two minor thirds above or below or three minor thirds or any related minor third distance)
The main point I'm trying to make is the context of the chord in relation to the chords that come before and after obscure the function of the chord - obscuring the concept of whatever minor key you are playing in and the relative modes that come from it - throw that out the window and anything can follow anything, you know like when you hear the amen dominant chord you're expecting it to resolve to the related major chord and in that sence the dominant functions as hinting where everything is going or wants to go. This is why I think Wagner was a shift in harmonic thinking because it abandons the traditional concept of harmony and opened everything up, it broke the mould, the formula people had been using for hundreds of years. I may be off but this is my interpretation of the significance this composition evoked.
+scottbos68 That's another point, the D# is not a dominant7 (otherwise Wagner would've written Eb), but a raised 6th. Also, the top note is a G#, which resolves to A which could make the chord 'just' a F7 b5 chord, if you see the G# just as a passing note to the A. Also, it's not certain the F is actually the root, because the chord is so unstable. Since the whole tristan-chord-cadence resolves to an E7 chord (see here: upload.wikimedia.org/wikipedia/commons/thumb/6/65/TristanChord.svg/400px-TristanChord.svg.png), you could argue that the B is the root of the Tristan chord, because this would make more sense as a chord progression. So, it's not so clearly-cut as to how the chord actually should be interpreted.
In light of your response I get everything gel in my mind and what makes the most sence at least to me is this: OK start with a E9 chord and move everything up a half step except for B and there it is. The way I see it is a descending passing chord - the concept of chromatic harmony - the chord in-between F# minor 9 and E9
@@charleslawrenceperkins9808 I think the original poster was trying to ask who is singing Brangäne, not who she is. Only Suthaus and Flagstad are credited, but who is singing Brangäne?
5:54 (5) la b +6 (Réb7 sur lab) 2 mesures la b +7 6 (Sib°sur lab) 2 m la b 7+ (lab7 état fondamental) 2 m la b +7 (mib7 sur lab) 2 m la b +6 (réb7 sur lab) 2 m 6:36 (4) fa # 6 (RéM sur fa#) 2 m mi +6 (la7 sur mi) 2 m ré 6 4 (solM sur ré) 2 m do#M 2 m 7:08 (3) do 3 +4 (fa# 7/5 sur do) 2 m mi m 2 m mi 6 (do#m sur mi) 2 m 7:34 (4) ré # M 2 m ré # 6 4 (sol# m sur ré#) 2 m ré M 2 m ré 6 4 (solm sur ré) 2 m 8:09 (2) tantôt do #7 et do# 6 4 2 m fa # M 2 m 8:27 (2) Ré M 1 m fa # M 2 m ré # m 1 m 8:45 (3) Si M 2 m si m 1 m Si 7/5 2 m do# M 1 m
What are they two talking about for 26 minutes that constitutes half of a Meyerbeerian Act? Mmm... That makes Meyerbeers opera action packed in comparison to this, and the worst is you don't know when this music ends because of it wandering structure like a blob of slime falling down the roof of a gothic cathedral. hahaha :D
I literally cried for 30 minutes, it’s one of the most heartbreaking and overwhelming thing that I’ve ever heard in my life… unfulfilled love, tension, desire, the eternal beauty of pain… wonderful
I think one of the most Magical moments in this duet is when Brangaene makes an entrance, the music is out of this world.
Its incredible, banglare is the voice of reason, yet we can only hear her like a distant echoe and through the most beautiful music of love, we can hear her but not feel her, just like Tristan and Isolde, one of the most profound moments ever.
I dont mean to be offtopic but does anybody know of a way to get back into an instagram account..?
I was stupid forgot the password. I love any help you can offer me!
@Milo Mathew instablaster :)
Totally agree
That's right!!!
The most beautiful music in the world.
One of the most beautiful arias in the history of opera. I saw this at the NYC Met in 1973. Will never forget
One of the greatest moments in the history of music
NoiseGrinder 2:37
Quite a long moment...
@@Ivan_1791 One of the best moment in this music
Yes👍. Perhaps the most convincing and urgent rhapsodic music ever composed is juxtaposed with a haunting, disembodied voice of conscience reminding us that following our deepest desires and primal longings will exact a price we cannot afford to pay…and survive. Yet, being human, we cannot do otherwise. The essence of Tragedy.
L'anno prossimo lo eseguirò in Romania, in prima esecuzione per l'orchestra di Bacau, con tre ottimi cantanti
from 6:00 to 9:24 the music is supernatural, almost incomprehensible to me. I imagine entering heaven.
I think the part when Brangane comes in is the most breathtaking minute or two in all music. :-)
"Night of Love". There is no other scene like it in all of opera. Chillingly beautiful.
Flagstad’s tone is molten. I had the good fortune to make this recording the first Tristan I ever listened to. I was indifferent until I listened to this duet. It floored me.
This recording is so fantastic for many reasons. Vocally, all 3 singers are top notch and a dream cast. Conductor is the ultimate. The orchestra is flawless! Thanks so much to the poster!!!
7:06 - A little bit after Brangaene's entrance. Absolutely beautiful. wow
Bravo bravo bravo fantastic genial grandiose music vocal duet super
Ohhh. That coup-de-theatre at the end! The music which follows is so "back down to earth with a bang" a shame there weren't a few more seconds of it to let it take its effect!
Hahaha that's the point! Then he finally finishes it in the Liebestod at the end!!!
Of all the harmonic concepts I have discussed it was Beethoven's Eroica and this that was I think the beginnings of breaking out of the rules of traditional harmony. People must have said you can't do that or how can you do that or I don't like that. These I think are some of the earliest forms of harmonic mutation, the pioneers of going where no man has gone before which for me is what the romantic movement was all about - breaking the mould of harmonic and rhythmic patterns and with new forms of arrangement (Brahms op116 Schumann op13) - that and with the arrival of Paganini suddenly everyone wanted to play 10000000 notes a second. With this in mind Wagner was certainly at the heart of this movement.
That is to say Brahms and Schumann continued to use a traditional system of harmony but was quite progressive with respect to arrangement.
Masterpiece!! I have no words!!!!
THE MASTERWORK IN THE MASTERWORK!!!
Oh,oh!!
Dios debe existir si esta maravilla suena 😥
I can't begin to thank the uploader for this video!
Simplemente una obra exquisita, hermosa, sublime, la mas grande jamas escrita. No hablo muy bien el aleman pero la musica, las voces, el argumento de la historia, el amor entre los personajes se nota. Es tan buena como la opera del Anillo de los nibelungos esa si tuve la oportunidad de verla y es igual de genial que Tristan e Isolda, ambas de Wagner.
:O sink hernieder, Nacht der Liebe" is the glorious love duet from TRISTAN and it is stupendous especially as the interventions of BRANGANAE spell doom; such a masterpiece that moves me in ways I don't even know........................ Only Giuseppe Verdi could write duets of similar brilliance. For me it is sad that the Verdi duos are so well known by so many.
"Gia nella notte densa" at the end Act 1 of OTELLO is literally known by the whole opera world as are so many, many other Verdi Love Duets; the misfortune for Wagner is that as radiant as is his music, he can't compete with Verdi in universal popularity. Of course, legions are devoted to Wagner and go to all the Festivals, but still the following is not quite like it is with VERDI.
Were one to be asked to name the love duet from Otello - the answer would come quick and with love; "Gia nella notte densa" ; the same would be a response from Traviata, Trovatore, Un Ballo in Maschera and on and on I could go.
I VENERATE Wagner but just how many would be able to actually name the love duet from T & I - only the faithful - with Verdi it is even the common man.
It has always been so and will forever be so despite that Wagner should be venerated like Verdi by the elite and the masses; But Wagner is a more difficult musical idiom and many can't even tolerate listen to a wagnerian work. I am not putting down Wagner in any way because I might not like the man, but HIS MUSIC is the stuff of Angels.
They are the two greatest composers of the 19th Century both born in 1813....... talk about symbiosis ! The unbearable truth is that Wagner appeals to a more broad intellectual group who love and adore him; Verdi id the humble, sweet man compared to the ego-maniacal tendencies and excesses of Wagner who used so many people in his life to achieve whatever goal he wanted to attain; Verdi gave of himself LITERALLY in the Italian Wars of Independence in the 1860's and never thought of himself superior to anyone. He was just one more man who wanted the freedom of Italy; when Verdi served as an Italian Senator in the NEWLY formed Italy, Wagner was still living a life clode to decadence, one might say when it all caught up to him in VENEZIA where he died.
I love both composers immensely and mean no disrespect to Wagner's memory - but we have to face that they were different as night is day, Verdi became a princely composer in the world, sought for operas in all the European Capitals. When Verdi was very well established, Wagner still was on the run with no on wanting to stage even DER FLIEGENDE HOLLANDER.
With time, Wagner became well established and his music was going places but this was always due to an outside influence from which he benefited. He might have hated Jews as Hitler got a wallop of inspiration from what Wagner did. He hated Jews yet kept them as conductors because they were the best and could serve his purposes. His ultimate betrayal of Franz von Bulow with Cosima doting on Wagner's every word is not exactly what I would call an ideal union. The ideal union was VERDI and GIUSEPPINA STREPPONI who were married for 16 years but had lived together before marriage.
I could go on..... but I hope you see my point. If you don't see it THEN YOU DO NOT KNOW WAGNER because what I have briefly outlined is historical truth no matter how one to tries to soften it.
Two Giants of MUSIC - The two Best of the 19th Century - the two composers I adore most - But two men who could not be MORE DIFFERENT. Many hate German Opera including Wagner's........... That's a fact....... I loathed Teutonic/Germanic Opera but I was hit like a thunderbolt at 20 in 1998 and went on to appreciate and love German and Wagnerian Opera
to the point of travelling world wide for WAGNER whose RING DES NIBELUNGEN I have see 7 times in major theatres and counting. I even listen to Das LIEBESVERBOT (sp) and as much as Waagner would disapprove, I love RIENZI. BEFORE COVID hit I was in South America for PARSIFAL and a few months later I saw it at DC opera with Domingo and again with Domingo at the NET.
So no need to scold or berate me about Wagner. He is the composer for whom I travel the most world wide to listen to his music I have seen and heard all of his operas at my HOME COMPANY but throughout the world particularly in Germany, my favorite house being the Nationatheater in Munchen and in Austria who could live without the Wienstatsoper.
Hail and Farewell, Lovers of Verdi and Wagner............ Lovers of Wagner and Verdi. ( sorry about typos) - ESULTATE both composers will be with us forever.
I wish I hadn't started this, but I want to get it right finally. First, I hadn't looked at the score of Tristan for over five years and I made my comments too quickly without checking. So here goes again for anyone who cares (3 or 4 of us at least). The so-called Tristan chord is a French Augmented Sixth but with a non harmonic note in it, the G#. That non harmonic (appoggiatura) does ascend to A at the very end of the measure momentarily creating the French Augmented Sixth. Then it ascends to A# creating another appoggiatura (or accented passing tone) which resolves to B at which point the harmony becomes a Dominant Seventh. So the Augmented Sixth does resolve to the Dominant but the Dominant does not resolve to the Tonic A. Hence the irresolution. But I think we all hear the Tristan chord as a kind of half diminished seventh chord (at least I do). And that sort of justifies calling it the Tristan chord. My ex-wife would say, "Who cares" Charlie.?
It's been analyzed endlessly, inconclusively.
Actually I have some personal interpretation of the chord myself, two in fact. I quite don't like the interpration of that G# as an appogiatura because of it's use, my ears just associate the note with the chord. As a jazz guy, the half-diminished chord is often used as a substitute of the secondary dominant which would make a usual II-V cadence so I like to see it as a II7altered, the chord consisting of B-D#-A-F so a B7#11(no.5) (implying the G# is in fact a passing tone), as the voice leading gives us a chromatically descending minor7th interval F-D# -> E-D which is why the cadence work because chromatic approach is just such a powerful tool to release tension, but this is quite 20th century harmony interpretation so Wagner surely didn't think of it this way.
No, but I have a theory of how he did come up with this cadence, it is known that Wagner did use the hungarian minor scale in some of his works. So I think he built that chord from the 7th degree of the A hungarian minor scale, a G#min6 chord (which i would argue kinda functions as a subdominant) and take us back to A aeolian through the dominant E7 and act as a deceptive cadence.
But again we shouldn't dig to deep in this, the reason the chord works is the chromatic resolution of the minor 7 interval of F-D# to E-D.
I also like the idea of it being a chord on its own. Schoenberg has an interesting theory: he suggests that it is one of many "vagrant" harmonies, in that it can fulfill a variety of functions and move to multiple different key areas, much like the fully diminished seventh chord. In this case, he theorizes that the Tristan chord, at F B D# G#, is the augmented sixth chord, though he says that in theory the "correct" spelling would be B D# F Ab (but it's Wagner, who cares LOL; I don't think Schoenberg really cared in his own tonal music either). The next chord, made by F B D# A, is a different chord, but one that has a similar function. The idea here is that, just like a fully diminished seventh chord can have an "understood root" depending on how it functions (for example, the chord B D F Ab, if it resolves or moves to a C Major triad or another closely related triad, the root is understood to be G in Schoenberg's theory; this reflects the substitute nature of the chord), this chord is actually the NINTH of an AUGMENTED TRIAD. The full chord, in Schoenberg's theory, would be G B D# F A. In this case, both F B D# G# and F B D# A function as II, since they lead to a resolution to E dominant seventh, which is V.
While this is a very complicated explanation, I think it is interesting because it leaves the world of harmony open for new ideas. How many more vagrant harmonies can be found? Could we call Schoenberg's "atonal" music just a series of vagrant chords that have no obligation to any key, but have some sense of obligation to each other?
Plus, I think I'm gonna trust Schoenberg if only because he was a total genius at this stuff. If you look at Verklärte Nacht, the Gurre-Lieder, Pelleas und Melisande, and the Kammersymphonie, he's totally got the late Romantic stuff figured out IN PRACTICE as well as in theory.
Rather, it digs deep into us.
Does your Future ex-wife share your pedantic curiosity?
I've always thought of the so-called "Tristan chord" as a French Augmented Sixth chord over the Dominant "E". Of course it doesn't resolve to "E" and so leaves the listener hanging so to speak, which was exactly what Wagner intended. The augmented 6th is from "F" to "D#". Tristan was so radical for its time because of this very irresolution of its harmonies. Clara Schumann didn't care for the opera (or music drama) and I understand that Brahms didn't either. On the other hand, Brahms admired Die Meistersinger. I'm so grateful for the variety of these uploads. One night it's Dufay, then Wagner, then Schnittke, then Hindemith, then Haydn. Thank you for this, the well known pieces and the little known like Rosy Wertheim's Violin Sonata, at least I didn't know it.
I have great respect for Brahms, but I am pretty sure he "didn't care" for political reasons not for artistic reasons. That is why he is not as great as Wagner.
Edmond Dantes You are wrong.
Xiaoli Cai How fortunate that you are able to divine the intentions of Brahms. I have questions about other composers. Does your superhuman insight into the intentionality of dead composers extend to Vivaldi, Liszt and Bartok, to name just a few? Or is it just poor old Brahms you speak for?
damn. somebody paid attentinon when they went over "deceptive cadences" in music theory!! LOL... a masterpiece of harmonic invention.
Con il Tristano Wagner scrive la parola fine sulla musica lirica, nel senso che con questa Opera viene raggiunta la vetta più alta oltre alla quale non c'è altro musicalmente tanto innovativo originale e sconvolgente.
Il duetto d'amore ne è un perfetto esempio...ad un un ascolto poco attento, le numerosi parti melodiche ivi presenti vengono facilmente interpretate come mere sonorità romantico/melodiche, io, al contrario, lo considero di una complessità armonica e tecnica unica (la vetta, appunto!!!!)....tutto è nuovo e geniale in questa partitura.
Tutto il Tristano sconvolge per la sua scrittura.
Se da una parte Wagner parla dell'amore dall'altra si capisce subito che l'amore cui si riferisce è un sentimento impossibile e tragico che annienta l'innato animo romantico umano. L'amore può infatti essere causa della sofferenza più vera, una sofferenza che annichilisce e ci rende inanimati....Credo che Wagner sia riuscito a trasporre in musica tutti questi sentimenti, cui anela l'essere umano; sentimenti senz'altro tra i più nobili, ma anche i più crudeli.
beautiful
Genius Wagner.
This is a great one :)
Of course we all understand that the 5th song from the Wessendonk lieder provided the basis for this love duet
Meisterwerk
Musique sublime !
13:29 reverse Tristan on the word "enden"!
Wow
What?
Nice catch
A singing lesson for all who care to hear it that way!
The " o sink hernieder nacht" opening melody takes its notes from the tristan chord
Thank you olla-vogala!
How magnificent
wunderschön
I don't see any mysterious, theoretically unexplained problem about the Tristan chord as some suggest here. This is just an application of the techniques that nowadays constitute extended tonality. There it is quite common that one situation has several plausible explanations. No conflict, just another way of looking at it. More importantly: listen and let your ears be your guide. Maybe it was revolutionary in Wagner's time, but for modern listeners it sounds quite natural and very beautiful.
Tears Thanks Fore Sharing Tristan Rules
My pleasure :)
Suthas very underrated.
a voice like a angel
How the heck do the singers count this/stay in time? The accompaniment is often just a mush of notes. Very impressive.
When I first started to study Tristan, I felt the same way. However, after months with piano and the help of great coaches and finally incredible conductors like Maazel and Ono, it all started to make sense. In fact, even after having not sung this in about 10 years, I can still remember every rhythm and pitch like it was yesterday. (All the correct words is a little tougher) This recording is so fantastic for many reasons. Vocally, all 3 singers are top notch and a dream cast. Conductor is the ultimate. The orchestra is flawless! Thanks so much to the poster!!!
@@MrJKTenor You have perfect pitch?
"Monsieur Wagner has good moments, but awful quarters of an hour." I wonder what Rossini would've thought about this moment.
Almost every bar is in a different key.
Check out Mahler
@@scriabinismydog2439 the thing is mahler hadn't been born when wagner wrote this
Wagner’s genius
I want to amend my comment a little. If the chord were a French Augmented Sixth, it would be FABD#, but Wagner's chord is FG#BD#. So I guess it's some kind of altered augmented sixth, not Italian, not French and not German. Maybe it's Wagner's Augmented Sixth. The sound of the chord is like a half diminished seventh and that is the "Wagner sound" as it were. Richard Strauss used that same sound in Till Eulenspiegel's Merry Pranks with a very different effect. Wagner uses it to create a sense of longing and Strauss uses it to illustrate Till's impishness.
It's not a chord. It's a superposition of musical figure !
Silence heard, and thought.. .. summit of romanticisme... ...
Ah! Nederlands sprekende gespot ;)
19:30❤️
I constantly see references to what is known as the Tristan chord, this was a huge shift into what became modern harmony from what little I understand about it. I read alot of things about how Wagner was basically the architect of a new school of harmony especially as Liszt transcribed and raved about It's harmonic implications. I don't really understand this completely am I on the right track here? Unless I'm wrong Wagner was also the arch rival and opposite of Brahms who was basically conservative and traditional where this was modern and revolutionary. I also seem to recall seeing the Liszt concert paraphrase of this in virtuoso recitals. I seriously am not completely sure about everything I just said but I know this was some of the most important post Beethoven music written during the 19th c. Opera really isn't my thing but with something this important it forces you to take notice.
+scottbos68 Yes the Tristan chord is featured in this Love Duet, music theorists are still debating to this day how the chord should be interpreted, the function of it in a harmonic progression. It is instantly recognisable, and it was really shocking for it's time, harmony like that had not been heard before at the time. Brahms was also progressive with harmony, but in another way really. He was not too concerned with inventing 'strange' new harmony like this, and indeed composed music more in traditional forms. Wagner did pave the way for many composers after him, there was a divide to be either a Brahms-adherent or a Wagner-adherent as a composer, they were really two different kind of schools.
A mark of greatness is how often something is parodied. I recall Debussy's "Golliwog's Cakewalk", music for children as one of the best.
For years, I've admired Elizabeth Schwarzkopf, especially her portrayal of Liu in Turandot. But, as I read more and more into her biography, I became confused, then disappointed. Her refusal to allow photographs in her later years seemed to be too much vanity.
Now, I read that she claims to have "sung the high notes for Kirsten Flagstad's Isolde. What?
How sad.
She did
She only dubbed in the two high C's at the beginning of this scene (not in this part of the duet or anywhere else in the entire opera.)
The Tristan.
06:02; 7:36 remindes me of Missa Solemnis - et incarnatus est 19:25 11:05 21:40
I spent some time looking around and it has been suggested that this chord is spelled as F B D# G# - my understanding of harmony tell me this translates into root - flat 5 - dominant 7 - major 9 (2) - all the intervals contained in a diatonic locrian scale which is the 7th degree of in this case F# major which spelled out is F# G# A# B C# D# F - the same notes only starting and ending on the 7th note - F... It is not a chord built off an altered scale like Scirabin's mystic chord nor is it built off synthetic scales like Debussy's use of augementd/whole tone. How I understand it is that well first of all people just don't hardly ever use this chord because it's extremely dissonant and wants to be resolved in a big way but the main thing that makes this chord a big deal is it's context in relation to the chords that come before and after it, obscuring it's harmonic function. So in a traditional tonal system it is a chord built off the mode that implies the leading tone, your ear wants you to play F# major after you play F diminished but that is not how Wagner uses it. I think of the way he is using it as a transition to a different tonal center or to signify a key change or in general transition chord from one harmonic flavor into another. Another way I think of it is the basic idea of chromatic harmony, anything can follow anything, if it sounds right use it, or in general "the chord in between" 2 chords. Reminiscent of a jazz lesson I once had as a teenager when you play a 2 5 1 (the most common progression in jazz - cycle of 4ths, etc) for example D min 9 to G13 to C maj7 you can substitute C# (7#9) or (diminished chord min7flat5) instead of playing G13 - the point is it sounds right but it's not diatonic - it's the chord in-between the chord, that any any diminsed
Continued any diminished chord can follow any diminished chord as long as it is a minor 3rd distance above or below (or two minor thirds above or below or three minor thirds or any related minor third distance)
The main point I'm trying to make is the context of the chord in relation to the chords that come before and after obscure the function of the chord - obscuring the concept of whatever minor key you are playing in and the relative modes that come from it - throw that out the window and anything can follow anything, you know like when you hear the amen dominant chord you're expecting it to resolve to the related major chord and in that sence the dominant functions as hinting where everything is going or wants to go. This is why I think Wagner was a shift in harmonic thinking because it abandons the traditional concept of harmony and opened everything up, it broke the mould, the formula people had been using for hundreds of years. I may be off but this is my interpretation of the significance this composition evoked.
+scottbos68 That's another point, the D# is not a dominant7 (otherwise Wagner would've written Eb), but a raised 6th. Also, the top note is a G#, which resolves to A which could make the chord 'just' a F7 b5 chord, if you see the G# just as a passing note to the A. Also, it's not certain the F is actually the root, because the chord is so unstable. Since the whole tristan-chord-cadence resolves to an E7 chord (see here: upload.wikimedia.org/wikipedia/commons/thumb/6/65/TristanChord.svg/400px-TristanChord.svg.png), you could argue that the B is the root of the Tristan chord, because this would make more sense as a chord progression. So, it's not so clearly-cut as to how the chord actually should be interpreted.
I hadn't considered the possibility the chord form was actually an inversion, this opens up several different ways of looking at it.
In light of your response I get everything gel in my mind and what makes the most sence at least to me is this: OK start with a E9 chord and move everything up a half step except for B and there it is. The way I see it is a descending passing chord - the concept of chromatic harmony - the chord in-between F# minor 9 and E9
23:19 so good
Imagine after this he jumped back to complete Sigfried and his bullies 😆 !!
6:35 - 9:25 heavenly
❤
who are this Brangäne?
Please click 'show more' under the video.
This is not there.
She's keeping watch and she sings warning them that dawn, and thus Marke, is coming.
She's Isolde's hand-maiden or servant, Isolde being an Irish princess who would naturally have had such a person to attend them
@@charleslawrenceperkins9808 I think the original poster was trying to ask who is singing Brangäne, not who she is. Only Suthaus and Flagstad are credited, but who is singing Brangäne?
9:24 Immer sehr ruhig.
19:38 oh fuck...
8:05
8:20
Is this the one with the sex scene?
2:54
17:20
ya
It's very difficult to listen to this recording. This opera can sound much better.
It's a 72 year old recording...
19:20
22:00
5:54 (5)
la b +6 (Réb7 sur lab) 2 mesures
la b +7 6 (Sib°sur lab) 2 m
la b 7+ (lab7 état fondamental) 2 m
la b +7 (mib7 sur lab) 2 m
la b +6 (réb7 sur lab) 2 m
6:36 (4)
fa # 6 (RéM sur fa#) 2 m
mi +6 (la7 sur mi) 2 m
ré 6 4 (solM sur ré) 2 m
do#M 2 m
7:08 (3)
do 3 +4 (fa# 7/5 sur do) 2 m
mi m 2 m
mi 6 (do#m sur mi) 2 m
7:34 (4)
ré # M 2 m
ré # 6 4 (sol# m sur ré#) 2 m
ré M 2 m
ré 6 4 (solm sur ré) 2 m
8:09 (2)
tantôt do #7 et do# 6 4 2 m
fa # M 2 m
8:27 (2)
Ré M 1 m
fa # M 2 m
ré # m 1 m
8:45 (3)
Si M 2 m
si m 1 m
Si 7/5 2 m
do# M 1 m
6:00…
6:04
賞名畫 崔斯坦與伊索笛ua-cam.com/video/1d6Ql_wJjFo/v-deo.html
What are they two talking about for 26 minutes that constitutes half of a Meyerbeerian Act? Mmm... That makes Meyerbeers opera action packed in comparison to this, and the worst is you don't know when this music ends because of it wandering structure like a blob of slime falling down the roof of a gothic cathedral. hahaha :D
17:20
2:37
5:01
1:53
7:00
19:00
25:10
5:45
5:48