Tristan und Isolde

897: 807: 928:, thereby inspiring a desire and expectation on the part of the listener for musical resolution. While suspension is a common compositional device (in use since before the Renaissance), Wagner was one of the first composers to employ harmonic suspension over the course of an entire work. The cadences first introduced in the prelude are not resolved until the finale of Act III, and, on a number of occasions throughout the opera, Wagner primes the audience for a musical climax with a series of chords building in tension – only to deliberately defer the anticipated resolution. One particular example of this technique occurs at the end of the love duet in Act II ("Wie sie fassen, wie sie lassen...") where Tristan and Isolde gradually build up to a musical climax, only to have the expected resolution destroyed by the dissonant interruption of Kurwenal ("Rette Dich, Tristan!"). Resolution of the music does not occur until the very end of the opera, after Isolde sings the closing excerpt commonly referred to as the " 2089: 1399:

Isolde reproaches him about his conduct and tells him that he owes her his life and how his actions have undermined her honour, since she blessed Morold's weapons before battle and therefore she swore revenge. Tristan first offers his sword but Isolde refuses; they must drink atonement. Brangäne brings in the potion that will seal their pardon; Tristan knows that it may kill him, since he knows Isolde's magic powers ("Wohl kenn' ich Irlands Königin"). The journey almost at its end, Tristan drinks and Isolde takes half the potion for herself. The potion seems to work, but instead of death, it brings relentless love ("Tristan!" "Isolde!"). Kurwenal, who announces the imminent arrival on board of King Marke, interrupts their rapture. Isolde asks Brangäne which potion she prepared and Brangäne replies, as the sailors hail the arrival of King Marke, that it was not

157: 1395:("von einem Kahn, der klein und arm") and Isolde used her healing powers to restore him to health. She discovered during Tantris' recovery, however, that he was actually Tristan, the murderer of her fiancé. Isolde attempted to kill the man with his own sword as he lay helpless before her. However, Tristan looked not at the sword that would kill him or the hand that wielded the sword, but into her eyes ("Er sah' mir in die Augen"). His gaze pierced her heart and she was unable to slay him. Tristan was allowed to leave with the promise never to come back, but he later returned with the intention of marrying Isolde to his uncle, King Marke. Isolde, furious at Tristan's betrayal, insists that he drink atonement to her, and from her medicine chest produces a vial to make the drink. Brangäne is shocked to see that it is a lethal poison. 2573: 1383:. The opera opens with the voice of a young sailor singing of a "wild Irish maid" ("Westwärts schweift der Blick"), which Isolde construes to be a mocking reference to herself. In a furious outburst, she wishes the seas to rise up and sink the ship, killing herself and all on board ("Erwache mir wieder, kühne Gewalt"). Her scorn and rage are directed particularly at Tristan, the knight responsible for taking her to Marke, and Isolde sends Brangäne to command Tristan to appear before her ("Befehlen liess' dem Eigenholde"). Tristan, however, refuses Brangäne's request, claiming that his place is at the helm. His henchman, Kurwenal, answers more brusquely, saying that Isolde is in no position to command Tristan and reminds Brangäne that Isolde's previous fiancé, 2593:. The drawing was first published in the Yellow Book, vol III . According to Stephen Calloway, 'Beardsley had an obsessive interest in Wagner, and avidly attended the London performances of the works. This depiction of the Wagnerian audience rather than the action of the opera identified by the fallen programme as Tristan and Isolde, is one of the greatest masterpieces of Beardsley's manière noire. Sickert claimed to have warned him that the drawings in which the area of black exceeded that of white paper were bound to fail artistically, and to have 'convinced him' of the truth of this aesthetic rule. Fortunately Beardsley seems to have ignored the advice.' The drawing is in the collection of The Victoria and Albert Museum. 1482: 1433: 1448:. A shepherd pipes a mournful tune and asks if Tristan is awake. Kurwenal replies that only Isolde's arrival can save Tristan, and the shepherd offers to keep watch and claims that he will pipe a joyful tune to mark the arrival of any ship. Tristan awakes ("Die alte Weise – was weckt sie mich?") and laments his fate – to be, once again, in the false realm of daylight, once more driven by unceasing unquenchable yearning ("Wo ich erwacht' weilt ich nicht"). Tristan's sorrow ends when Kurwenal tells him that Isolde is on her way. Tristan, overjoyed, asks if her ship is in sight, but only a sorrowful tune from the shepherd's pipe is heard. 542: 1577: 1420:

they be eternally united ("O sink' hernieder, Nacht der Liebe"). During their long tryst, Brangäne calls a warning several times that the night is ending ("Einsam wachend in der Nacht"), but her cries fall upon deaf ears. The day breaks in on the lovers as Melot leads King Marke and his men to find Tristan and Isolde in each other's arms. Marke is heartbroken, not only because of his nephew's betrayal but also because Melot chose to betray his friend Tristan to Marke and because of Isolde's betrayal as well ("Mir – dies? Dies, Tristan – mir?").

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according to the norms and expectations of society. This is a world of falsehood and deception because it requires them to deny their true feelings. The Night, by contrast, represents the inner world of truth, love, and authentic existence, where Tristan and Isolde can express their love freely and fully. It is a realm where the constraints of the external world are suspended, and their deepest desires can be realized. However, this realm is also linked to death, as true fulfillment and unity can only be achieved beyond the physical world.

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opera through his use of unresolved harmonic tension and extreme chromaticism, creating a sense of perpetual yearning and lack of resolution. Only at the very end of the opera, when Isolde undergoes transfiguration and “Love-Death”, does the musical tension finally resolve. The passion of the music is often referred to as being “sensual” and “erotic”, this not only reflects the desires of the illicit lovers but is consistent with Schopenhauer's position that the sexual urge is the most powerful manifestation of the Will.

1853:"Such is Wagner's pessimism: it is the pessimism of the Vedânta philosophy; that is to say, it is most clearly formulated in that system, and in the Upanishads upon which it rests, but really it is the common basis of all religions. It breathes in the poems of Hafiz, in the philosophy of Parmenides, Plato, and the Stoics, in the profound wisdom of Ecclesiastes, in mediaeval mysticism, and the faith of the early Christian Church. Buddhism and Christianity are both pessimist in their origin." 1416:

prearranged signal for Tristan to join her ("Nicht Hörnerschall tönt so hold"). Brangäne warns Isolde that Melot, one of King Marke's knights, has seen the amorous looks exchanged between Tristan and Isolde and suspects their passion ("Ein Einz'ger war's, ich achtet' es wohl"). Isolde, however, believes Melot to be Tristan's most loyal friend, and, in a frenzy of desire, extinguishes the flames. Brangäne retires to the ramparts to keep watch as Tristan arrives.

402: 5654: 36: 712: 5664: 1921:, but the system is the same. The passion is unholy in itself and its representation is impure, and for those reasons we rejoice in believing that such works will not become popular. If they did we are certain their tendency would be mischievous, and there is, therefore, some cause for congratulation in the fact that Wagner's music, in spite of all its wondrous skill and power, repels a greater number than it fascinates. 5674: 6106: 1460:

stop the fight to no avail. Both Melot and Kurwenal are killed in the fight. Marke and Brangäne finally reach Tristan and Isolde. Marke, grieving over the body of his "truest friend" ("Tot denn alles!"), explains that Brangäne revealed the secret of the love potion and that he had come not to part the lovers, but to unite them ("Warum Isolde, warum mir das?"). Isolde appears to wake at this and in a final

2390:, which he called "Liebestod" (S.447); he prefaced his score with a four-bar motto from the love duet from Act II, which in the opera is sung to the words "sehnend verlangter Liebestod". Liszt's transcription became well known throughout Europe well before Wagner's opera reached most places, and it is Liszt's title for the final scene that persists. The transcription was revised in 1875. 5008: 4996: 4984: 4964: 4952: 4940: 4928: 4913: 4885: 4873: 4861: 1355: 3630: 2011:

So there I sat in the topmost gallery of the Berlin Opera House, and from the first sound of the cellos my heart contracted spasmodically.... Never before has my soul been deluged with such floods of sound and passion, never had my heart been consumed by such yearning and sublime bliss... A new epoch

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Wagner scholar John Pohanka has written on the spiritual influences in Wagner's works, commenting that they not only contribute material to the libretto but how the power of the Wagnerian music and drama can itself invoke a transformative, ineffable experience in some audience members comparable to a

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Not to mince words, it is the glorification of sensual pleasure, tricked out with every titillating device, it is unremitting materialism, according to which human beings have no higher destiny than, after living the life of turtle doves, 'to vanish in sweet odours, like a breath'. In the service of

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since the end of the First World War have had their interpretations captured on disc. The limitations of recording technology meant that until the 1930s it was difficult to record the entire opera, however recordings of excerpts or single acts exist going back to 1901, when excerpts of Tristan were

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at Bayreuth and commented: "I know of some, and have heard of many, who could not sleep after it, but cried the night away. I feel strongly out of place here. Sometimes I feel like the one sane person in the community of the mad; sometimes I feel like the one blind man where all others see; the one

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After expressing this sentiment, the famous Act II love duet, the “Liebesnacht” (“O sink hernieder, Nacht der Liebe”), begins. Here, Tristan and Isolde dedicate themselves to eternal Night and wish that Day would never come again, instead dying a transcendental “Love-Death” together as the ultimate

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is a concept in the Indian religions that refers to the appearance of the material world, connoting a "magic show, an illusion where things appear to be present but are not what they seem”, and “conceals the true character of spiritual reality”; it finds its parallel in Schopenhauer’s "Phenomenon".

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The lovers, at last alone and freed from the constraints of courtly life, declare their passion for each other. Tristan decries the realm of daylight which is false, unreal, and keeps them apart. It is only in night, he claims, that they can truly be together and only in the long night of death can

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Isolde collapses beside her deceased lover just as the appearance of another ship is announced. Kurwenal spies Melot, Marke and Brangäne arriving ("Tod und Hölle! Alles zur Hand!"). He believes they have come to kill Tristan and, in an attempt to avenge him, furiously attacks Melot. Marke tries to

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Wagner uses the metaphors of "Day" and "Night" in the second act to designate the realms inhabited by Tristan and Isolde. The Day represents the external world of social obligations, duties, and constraints—embodied by King Marke's court, where Tristan and Isolde must suppress their love and live

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King Marke leads a hunting party out into the night, leaving Isolde and Brangäne alone in the castle, who both stand beside a burning brazier. Isolde, listening to the hunting horns, believes several times that the hunting party is far enough away to warrant the extinguishing of the brazier – the

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In April 1858 Wagner's wife Minna intercepted a note from Wagner to Mathilde and, despite Wagner's protests that she was putting a "vulgar interpretation" on the note, she accused first Wagner and then Mathilde of unfaithfulness. After enduring much misery, Wagner persuaded Minna, who had a heart

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prior to completing the libretto. The music itself embodies Schopenhauer's concept of the Will, a force that is inherently restless and never fully satisfied that drives all human urges and desires, leading to a cycle of longing and suffering. Wagner captures this in the musical structure of the

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By the end of 1854, Wagner had sketched out all three acts of an opera on the Tristan theme, based on Gottfried von Strassburg's telling of the story. While the earliest extant sketches date from December 1856, it was not until August 1857 that Wagner began devoting his attention entirely to the

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Kurwenal appears in the women's quarters ("Auf auf! Ihr Frauen!") and announces that the voyage is coming to an end. Isolde warns Kurwenal that she will not appear before the King if Tristan does not come before her as she had previously ordered and drink atonement to her. When Tristan arrives,

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When questioned, Tristan explains that he cannot reveal the reason for his betrayal to the King, as he believes the King wouldn't understand. He then turns to Isolde, who agrees to accompany him once again into the realm of night. Tristan further reveals that Melot has also fallen in love with

1456:. After his collapse, the shepherd is heard piping the arrival of Isolde's ship, and, as Kurwenal rushes to meet her, Tristan tears the bandages from his wounds in his excitement ("Hahei! Mein Blut, lustig nun fliesse!"). As Isolde arrives at his side, Tristan dies with her name on his lips. 1451:

Tristan relapses and recalls that the shepherd's mournful tune is the same as was played when he was told of the deaths of his father and mother ("Muss ich dich so versteh'n, du alte, ernst Weise"). He rails once again against his desires and against the fateful love potion ("verflucht sei,

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The opera is noted for its numerous expansions of harmonic practice; for instance, one significant innovation is the frequent use of two consecutive chords containing tritones (diminished fifth or augmented fourth), neither of which is a diminished seventh chord (F–B, bar 2;

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prelude: "I simply cannot bring myself to remain critically aloof from this music; every nerve in me is atwitch, and it has been a long time since I had such a lasting sense of ecstasy as with this overture". Even after his break with Wagner, Nietzsche continued to consider

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The following year Beardsley produced a print depicting a stylised image of a woman, standing in front of a half length yellow curtain, wearing an ornate flowered hat and holding a large drinking vessel to her mouth. In the bottom right-hand corner is the word ISOLDE.

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has often been cited as a landmark in the development of Western music. Throughout the opera, Wagner uses a remarkable range of orchestral colour, harmony, and polyphony, doing so with a freedom rarely found in his earlier operas. The first chord in the piece, the

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When Tristan and Isolde willingly drink the potion at the end of Act I but do not die, their eyes are opened to the illusions of material Day and to the higher spiritual insight of Night. Tristan celebrates the enlightenment brought about by the potion in Act II:

600:. This was an unusual move by Wagner, who almost never set to music poetic texts other than his own. Wagner described two of the songs – "Im Treibhaus" and "Träume" – as "Studies for Tristan und Isolde": "Träume" uses a motif that forms the love duet in Act II of 2023:

as "phenomena of incredible adaptability and nonindependence roaming, homeless, among the spheres of keys; spies reconnoitering weaknesses; to exploit them in order to create confusion, deserters for whom surrender of their own personality is an end in itself".

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The score calls for a tenor in the role of Melot; however, the part is frequently assigned to a baritone (examples: Joachim Sattler (Elmendorff, 1928), Bernd Weikl (1972, von Karajan), Brian Davis (1999, Levine), Stephen Gaertner (2008, Barenboim), and others)

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Brangäne returns to Isolde to relate these events, and Isolde, in what is termed the "narrative and curse", sadly tells her of how, following the death of Morold, she happened upon a stranger who called himself Tantris. Tantris was found mortally wounded in a

1568:", which refers to the underlying reality that is not directly accessible to us but is the true essence of existence. Wagner implicitly equates the realm of Day with Schopenhauer's concept of Phenomenon and the realm of Night with the concept of Noumenon. 694:, following interest in the project shown by the Grand Duchess of Baden. Again, the project failed to eventuate. His thoughts then turned to Paris, the centre of the operatic world in the middle of the 19th century. However, after a disastrous staging of 1877:

this end, music has been enslaved to the word; the most ideal of the Muses has been made to grind the colours for indecent paintings... (Wagner) makes sensuality itself the true subject of his drama.... We think that the stage presentation of the poem

902: 2367:, who provided his own concert ending for the occasion. Wagner had authorised such an ending, but did not like what Bülow had done with it and later wrote his own. Wagner then included the prelude in his own three concerts at the Paris 504:

He had, in fact, made a point of giving prominence to the lighter phases of the romance, whereas it was its all-pervading tragedy that impressed me so deeply that I felt convinced it should stand out in bold relief, regardless of minor

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amounts to an act of indecency. Wagner does not show us the life of heroes of Nordic sagas which would edify and strengthen the spirit of his German audiences. What he does present is the ruination of the life of heroes through

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is a concert version of the overture and Isolde's Act III aria, "Mild und leise". The arrangement was by Wagner himself, and it was first performed in 1862, several years before the premiere of the complete opera in 1865. The

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Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams in which, from the first to the last, love shall, for once, find utter repletion. I have devised in my mind a

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was employed to sing the part of Tristan, but later proved incapable of learning the role. Parallel attempts to stage the opera in Dresden, Weimar and Prague failed. Despite over 70 rehearsals between 1862 and 1864,

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Wagner wrote a concert ending for the Act II Love Duet for a planned 1862 concert performance that did not eventuate. The music was lost until 1950, then passed into private hands, before coming to the attention of

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was first reproduced in colour lithography (red, green, grey and black) as a supplement to The Studio, October 1895. The drawing (in yellow, black and white) is in the collection of The Victoria and Albert Museum.

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in 1968. Both men died after collapsing while conducting the second act of the opera.) Malvina sank into a deep depression over her husband's death, and never sang again, although she lived for another 38 years.

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I must tell you with a bleeding heart that you have succeeded in separating my husband from me after nearly twenty-two years of marriage. May this noble deed contribute to your peace of mind, to your happiness.

2855: 487:. Several versions of the story exist, the earliest dating to the middle of the 12th century. Gottfried's version, part of the "courtly" branch of the legend, had a huge influence on later German literature. 1521:" as the fundamental force of existence, and his notion that music is the highest of the arts because it directly expresses the Will resonated deeply with Wagner. In response, Wagner composed works such as 1764:

consummation of their love. The music builds to ecstatic, mystically-elated climaxes, where they imagine the dissolution of their individual egos and merging into unity with each other and “supreme love”:

612:, in January 1858. From this point on, Wagner finished each act and sent it off for engraving before he started on the next – a remarkable feat given the unprecedented length and complexity of the score. 2209:

were mostly considered to be important for the interpretation of the conductor, rather than that of the lead performers. The set by Kleiber is notable as Isolde was sung by the famous Mozartian soprano

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On 21 July 1865, having sung the role only four times, Ludwig died suddenly – prompting speculation that the exertion involved in singing the part of Tristan had killed him. (The stress of performing

1338: 2632: 1794:. The character’s relentless pursuit of an idealized love that transcends earthly bounds and the notion of love leading to a metaphysical union can be seen as parallel to the Sufi pursuit of " 743:

became a sponsor of Wagner (he granted the composer a generous stipend and supported Wagner's artistic endeavours in other ways) that enough resources could be found to mount the premiere of

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and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. Both Wagner's libretto style and music were also profoundly influential on the

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in October 1854, led Wagner to find himself in a "serious mood created by Schopenhauer, which was trying to find ecstatic expression. It was some such mood that inspired the conception of a

451: 2471:, to whom the piece is dedicated. In a contrapuntal climax, Stevenson combines both the Shepherd's Air and Isolde's Liebestod. The second is a setting, for voices and organ, of lines from 1972:

was "an astonishingly intense and faithful translation into music of the emotions which accompany the union of a pair of lovers" and described it as "a poem of destruction and death".

571:, as Wagner preferred to call it) was completed by 18 September. Wagner, at this time, had moved into a cottage built in the grounds of Wesendonck's villa, where, during his work on 1911:

We cannot refrain from making a protest against the worship of animal passion which is so striking a feature in the late works of Wagner. We grant there is nothing so repulsive in

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through Wagner's music. Warshaw was inspired by developments in Mann's mediation of the Tristan legend which see a former pianist's love for music rekindled by the opera's score.

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The closing Liebestod, Isolde's "transfiguration" sung before she dies, invokes Hindu and Buddhist sentiments. The German word for breath, Atem, is related etymologically to the

1731:“...as have already renounced psychologically both love as lust and the fear of death, when they drink, and live, and again look upon each other, the veil of māyā has fallen.” 806: 690:. Wagner sent the Emperor bound copies of his earlier operas in expression of his interest, but nothing more came of the plan. He then proposed that the premiere take place in 3705: 425:. There, in 1852, he met the wealthy silk trader Otto Wesendonck. Wesendonck became a supporter of Wagner and bankrolled the composer for several years. Wesendonck's wife, 1960: 2387: 6003: 2038:

of all art ... insatiable and sweet craving for the secrets of night and death ... it is overpowering in its simple grandeur". In a letter to his friend

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claimed that Wagner's music "would kill a cat and would turn rocks into scrambled eggs from fear of hideous discords." Later, however, Strauss became part of the

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were considered to be the prime interpreters of the lead roles, and mono recordings exist of this pair in a number of live performances led by conductors such as

5667: 2071:. He describes the prelude theme as "linked to the future, to the reality of the human soul, of which it was one of the most special and distinctive ornaments." 1490: 1330: 594:

By October 1857, Wagner had begun the composition sketch of the first act. During November, however, he set five of Mathilde's poems to music known today as the

686:(in Italian, the language of the Imperial Opera); he told Liszt he was considering settling in Rio, and that that city would be given the honour of premiering 2359:

However, the first time the prelude and its opening "Tristan chord" was heard publicly was on 12 March 1859, when it was performed at the Sophieninselsaal in

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remains uncertain. One evening in September of that year, Wagner read the finished poem of "Tristan" to an audience including his wife, Minna, his current

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is now widely performed in major opera houses around the world, critical opinion of the opera was initially unfavourable. The 5 July 1865 edition of the

2839: 537:, the simplest, yet most full-blooded musical conception imaginable, and with the 'black flag' that waves at the end I shall cover myself over – to die. 620:

while Otto Wesendonck took Mathilde to Italy. It was during the absence of the two women that Wagner began the composition sketch of the second act of

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The score calls for a soprano, and Brangäne was sung by one in the original production; however, the role has been generally sung by a mezzo-soprano (

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a masterpiece: "Even now I am still in search of a work which exercises such a dangerous fascination, such a spine-tingling and blissful infinity as

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Isolde. A fight ensues between Melot and Tristan, but at a critical moment, Tristan deliberately throws his sword aside, allowing Melot to stab him.

2672:, the visual inclusion of the LP cover, with the opera's 'theme of self-immolation through doomed love' signifies that Annie is a forlorn romantic. 2088: 674:

proved to be a difficult opera to stage, and Wagner considered various possibilities for the venue. In 1857 he was invited by a representative of

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whose libretti are pervaded with Schopenhauer's ideas and whose music dominates the opera. This is in contrast to Wagner’s earlier theorizing in

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despite never having sung the role on stage. In the last ten years acclaimed sets include a studio recording with the Berlin Philharmonic by

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and the unusual balance between orchestra and singers favoured by Karajan was controversial. In the 1980s recordings by conductors such as

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was chosen to conduct the production at the Nationaltheater in Munich, despite the fact that Wagner was having an affair with his wife,

156: 2475:'s 1998 narrative poem in Scots, 'Isolde's Luve-Daith', the premiere of which took place in Greyfriars Kirk, Edinburgh in March 2003. 4690: 3282: 727:

to rehearse possible singers for this production, the management at Vienna suggested staging the opera there. Originally, the tenor

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production two years later. Winkelmann was also the first Vienna Tristan, in 1883. The first American performance was held at the

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from 1999. Its composition was inspired by a lecture given by the Wagner biographer and chair of the Wagner Society of Scotland,

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was to prove immensely influential in western Classical music. Wagner's use of musical colour also influenced the development of

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Wagner would later describe his last days in Zurich as "a veritable Hell". Minna wrote to Mathilde before departing for Dresden:

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An arrangement of "Prelude und Liebestod" for string quartet and accordion, written for the Dudok Quartet Amsterdam (2021) by

1813:, meaning soul or eternal Self. Isolde sinking "unconscious" into a state of bliss is associated with the Buddhist concept of 483:

movements during the mid-19th century. The story of Tristan and Isolde is a quintessential romance of the Middle Ages and the

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The opera was enormously influential among Western classical composers and provided direct inspiration to composers such as

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can be performed either in a purely orchestral version, or with a soprano singing Isolde's vision of Tristan resurrected.

79: 6151: 4912: 3689: 53: 4453: 17: 6146: 4648: 4341: 4086: 3861: 2779: 924:– a device used by a composer to create musical tension by exposing the listener to a series of prolonged unfinished 119: 4990: 4733: 3972: 2572: 1548:, often regarded as his most symphonically rich work. Unlike his other operas, Wagner wrote some music material for 86: 5703: 4963: 2294: 1786:

resonate with the introspective and passionate elements found in Christian mysticism, particularly the concept of "

500:, Wagner decided to dramatise the Tristan legend after his friend, Karl Ritter, attempted to do so, writing that: 6131: 6020: 4332: 2285:

has also been issued on DVD. There is also a technically flawed, but historically important video recording with

1868: 604:, while "Im Treibhaus" introduces a theme that later became the prelude to Act III. But Wagner resolved to write 2432:

made a series of purely orchestral "Symphonic Syntheses" of Wagner's operas during his time as conductor of the

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in 1854 profoundly impacted Wagner and triggered in him a spiritual and artistic reassessment. Schopenhauer's

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made a full digital video download of the opera available for purchase online in 2009. The performance stars

1992:. It was the most wonderful day of my life." In 1935 he wrote to Joseph Gregor, one of his librettists, that 1263: 1051: 768: 161: 1933:

groping savage in the college of the learned, and always, during service, I feel like a heretic in heaven."

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Tristan denounces the lying “disguise” of Day and resolves to yearn for and seek out only the “Holy Night”:

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Karajan did not record the opera officially until 1971–72. Karajan's selection of a lighter soprano voice (

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after his death; Cosima Wagner, his widow, oversaw this in 1886, a production that was widely acclaimed.

3382: 6096: 6052: 6044: 5896: 5130: 5047: 4699:. A comprehensive website featuring photographs of productions, recordings, librettos, and sound files. 985:" mockingly quotes the opening of the opera in a distorted form, instructing the passage to be played ' 4939: 4855: 3076: 1432: 6171: 6012: 5831: 5345: 5109: 4927: 3196: 2333: 2249:

in the title roles. Deutsche Grammophon released a DVD of a Metropolitan Opera performance featuring

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14 May 2016 at the Portuguese Web Archive. January/February 2012, pp. 10–12, accessed 3 March 2012

1996:

was "the end of all romanticism, as it brings into focus the longing of the entire 19th century."

609: 5657: 5624: 5584: 5518: 5513: 4907: 4756: 3668: 3467: 3135: 3042: 2774:(First Picador paperback ed.). New York: Picador Farrar, Straus and Giroux. p. 65-108. 2700: 2265:

and a DVD of the 1993 Bayreuth Festival production with conductor Daniel Barenboim and featuring

2246: 1598: 1514: 575:, he became passionately involved with Mathilde Wesendonck. Whether or not this relationship was 431: 414: 386: 269: 245: 224: 46: 4220: 3478:, 23 October 1875; via Schumann-Brief-Datenbank / Neue Robert-Schumann-Gesamtausgabe (in German) 1897:

whose intestines are slowly unwound from his body on a reel." The first performance in London's

413:

in 1849, as there was a warrant posted for his arrest for his participation in the unsuccessful

93: 5335: 4078: 2625: 2452:

from Act III. A shorter version of music from the 2nd and 3rd acts was called "Love Music from

2433: 2067: 1981: 1663: 827: 470: 3824:

14 May 2016 at the Portuguese Web Archive. January/February 2012, p. 11, accessed 3 March 2012

3517: 2218:, who sang the role of Tristan to critical acclaim in the 2005 EMI release under the baton of 2140: 1592:

drew criticism for an "emotionalism of a colour at once erotic and religiously enthusiastic."

932:" ("Love-Death"), after which she sinks down, "as if transfigured", dead onto Tristan's body. 6141: 5596: 5190: 4951: 4884: 4702: 2708: 2555: 2170:

was considered the major Isolde interpreter, and she was often partnered with the Tristan of

1208: 5309: 4867: 4474: 4470: 3908:

Vorspiel & Liebestod from Tristan und Isolde arranged for string quartet & accordion

3737: 3017:, vol. 3, p. 372). Almost all available recordings feature a mezzo-soprano as Brangäne (see 1576: 790:

For some years thereafter, the only performers of the roles were another husband–wife team,

695: 6126: 5864: 5490: 5482: 5007: 4958: 4685: 3775: 3571: 2707:

The famous Liebestod is used in the soundtrack of the third episode of the first season of

2231: 1585: 1537:(1849) that music, poetry, and drama should be balanced and serve as equal partners in the 982: 740: 390: 4589:(Facsimile). Documenta musicologica. Vol. II/45. Kassel: Bärenreiter. pp. 1–17. 3919: 3818: 2379: 1606:, Wagner’s interests were dominated by spiritual matters. In 1855 his attention turned to 8: 5957: 5856: 5528: 5423: 5151: 5144: 4420: 3638: 3558: 2423: 2270: 2179: 2171: 2163: 2139:. Flagstad recorded the part commercially only near the end of her career in 1952, under 2027: 1965: 1903: 1690: 1510: 1486: 921: 550: 546: 510: 496: 426: 339: 315: 302: 2317: 2030:, who in his younger years was one of Wagner's staunchest allies, wrote that, for him, " 1810: 5733: 5719: 5608: 5550: 5355: 5102: 4023: 3431:

Mander R. & Mitchenson J. (W.H. Allen, London, 1977), The Wagner Companion, p. 120.

3350: 2109: 2105: 1894: 1110: 860: 842: 724: 675: 480: 436: 261: 197: 4207: 4044: 2596: 2403: 2402:. The first recording of the Love Duet with the concert ending was made in 2000, with 2378:" (Love-death) while Isolde's final aria "Mild und leise" he called the "Verklärung" ( 2282: 2215: 5872: 5784: 5456: 5325: 5067: 4946: 4879: 4663: 4644: 4626: 4611: 4590: 4554: 4539: 4525: 4517: 4490: 4449: 4430: 4406: 4387: 4368: 4346: 4313: 4283: 4264: 4245: 4228: 4192: 4170: 4140: 4082: 4050: 4011: 4001: 3857: 3743: 3523: 3446: 3311: 3254: 3227: 3114: 3082: 3048: 2775: 2738: 2688: 2661: 2508: 2429: 2418: 2227: 2206: 2151: 2100: 2016: 1129: 1076: 856: 831: 760: 596: 559: 362: 4221:"Tristan and Isolde (also known as Tristan and Iseult, Tristan and Isolt, Tristram)" 2494: 2364: 2238: 1611: 1026: 748: 736:

was unable to be staged in Vienna, winning the opera a reputation as unperformable.

716: 273: 169: 5753: 5463: 5403: 5388: 5035: 4826: 4721: 4425: 2799: 2652: 2647: 2582: 2530: 2487: 2460: 2395: 2223: 2202: 2120: 2116: 1372: 1117: 973: 948: 944: 783: 679: 584: 366: 4536:

The Tragic and the Ecstatic: The Musical Revolution of Wagner's Tristan und Isolde

4137:

Jenseits von Bayreuth. Richard Wagner Heute: Neue Kulturwissenschaftliche Lektüren

2274: 1678: 6156: 5976: 5557: 5523: 5418: 5413: 5368: 5340: 5320: 5158: 5077: 3797: 3575: 3475: 2682:, draws on the opera's leitmotifs to recast the narrative and dramatic events of 2616: 2523: 2399: 2368: 2219: 2136: 1973: 1886: 1735: 1724: 1694: 1622: 1607: 1538: 1362: 1134: 991:'. However, Debussy was highly influenced by Wagner and was particularly fond of 925: 378: 354: 3408:"San Francisco Symphony – Wagner: Prelude and Liebestod from Tristan und Isolde" 6036: 5992: 5888: 5408: 5363: 5315: 5057: 4779: 4297: 4070: 3471: 2695: 2669: 2309: 2286: 2266: 2241:'s production at the Deutsche Oper in Berlin featuring the seasoned Wagnerians 2211: 2198: 2190: 2167: 2132: 2124: 1951: 1936: 1846: 1437: 1379:, are quartered aboard Tristan's ship being transported to the king's lands in 978: 953: 683: 464: 370: 346: 253: 148: 4934: 4015: 3902: 2482: 2159: 2155: 1917: 964: 963:, most evidently in the resurrection scene. The Liebestod was incorporated in 701: 6120: 6070: 5943: 5808: 5614: 5590: 5447: 5383: 5183: 4922: 4636: 4582: 4336: 4232: 3788: 3554: 3140:(Seventh ed.). London: Kegan Paul, Trench, Trübner & Co. p. 425 2814:

ed. Manos Perrakis, Vienna/London/New York: Universal Edition 2019, p. 63–78.

2802:, "Reflex, Vision, Gegenbild. Konstellationen zwischen Kunst und Leben", in: 2675: 2407: 2058: 1985: 1795: 1228: 882: 791: 752: 588: 576: 491: 374: 350: 312: 3878: 2242: 2150:

Following the war, another classic recording is the 1952 performance at the

1564:"—the world of appearances shaped by our perceptions and intellect—and the " 6110: 5838: 5602: 5440: 5393: 5378: 5283: 5229: 5086: 4708:. A gallery of historic postcards with motifs from Richard Wagner's operas. 4478: 4328: 4104:"Many lovely moments in Grand Rapids Symphony's evening of music by Wagner" 3995: 2665: 2560: 2329: 2258: 2128: 2000: 1950:

became more favourably regarded. In an interview shortly before his death,

1787: 1632:, this culminated in the conception of two additional operas at this time, 1518: 1064: 795: 418: 335: 2325: 2298: 2175: 429:, became enamoured of the composer. Though Wagner was working on his epic 5533: 5398: 5288: 4655: 4360: 3849: 3519:

Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works

2683: 2472: 2383: 2313: 2290: 2262: 2254: 2250: 2194: 2039: 1943:

was "the most repugnant thing I have ever seen or heard in all my life".

1596:

In the years leading up to 1857, when Wagner would set aside his work on

1307: 1303: 1286: 1282: 1238: 1220: 1092: 864: 779: 728: 648: 525: 484: 381:

formulated their styles in contrast to Wagner's musical legacy. Many see

144: 4745:: An opera portrait with synopsis, commentary, music analysis, anecdotes 4189:

Opera on CD: The Essential Guide to the Best CD Recordings of 100 Operas

3332: 608:

only after he had secured a publishing deal with the Leipzig-based firm

563:

to do so. On 20 August he began the prose sketch for the opera, and the

401: 276:

conducting. Wagner referred to the work not as an opera, but called it "

5904: 5824: 5578: 5259: 4711: 4305: 4184: 3856:(Pamphlet Poets Series No.8 ed.). Kirkcaldy: Akros. pp. 3–7. 2810:, "Life′s Work. Wagner′s Tristan and the Critique of Biographism", in: 2794:

For a nuanced view of the connection between the Wesendonck affair and

2321: 1925: 1689:

to be the “greatest of all poets”. Schopenhauer’s discussion of German

1653: 1634: 1561: 1018: 968: 940: 691: 410: 358: 4641:

Death-Devoted Heart: Sex and the Sacred in Wagner's Tristan and Isolde

1845:

as a tragedy, many have remarked on the opera’s “pessimism.” On this,

6028: 5949: 5738: 5688: 5639: 5568: 5197: 4603: 4551:

Tristano e Isotta. Una piccola storia sul destino e sull'amore eterno

3081:. Cambridge ; New York: Cambridge University Press. p. 54. 2375: 2363:, in a charity concert in aid of poor medical students, conducted by 1799: 1698: 1465: 1376: 1250: 959: 929: 767:. The work finally premiered on 10 June 1865, with Malvina's husband 764: 705: 319: 5817: 5792: 4730:

Comprehensive website containing source material and musical motives

4467:((2 volumes; authorized English translation)). New York: Dodd, Mead. 2339:

A performance typically lasts approximately 3 hours and 50 minutes.

1677:

prior to reading Schopenhauer in 1854, having written to his friend

1643: 422: 35: 5758: 5002: 4819: 2428:. These were augmented and orchestrated by Markus Lehmann in 1988. 2278: 2214:, who never sang the role of Isolde on stage. The same is true for 1806: 1791: 1658: 1648: 1639: 1618: 1565: 1527: 1453: 1445: 1380: 1315: 1246: 1224: 1123: 1105: 886:, is of great significance in the move away from traditional tonal 870: 847: 756: 656: 564: 475: 443: 327: 323: 257: 3383:"Sunday Morning – The Critics Part 3: Eduard Hanslick −06/11/2005" 2955:

Grove's Dictionary of Music and Musicians, 5th ed., Vol. IX, p. 37

2563:, Fantasy based on themes from the opera, for violin and orchestra 1588:. Like Bernini's sculpture, the mysticism of Wagner's operas like 711: 5768: 5763: 5748: 5137: 4748: 4135:". In Börnchen, Stefan; Mein, Georg; Strowick, Elisabeth (eds.). 4127:

Wilker, Ulrich (2014). "Liebestod ohne Erlösung. Richard Wagners

2012:

had begun: Wagner was my god, and I wanted to become his prophet.

1814: 1384: 1311: 1291:

Die Streichinstrumente sind vorzüglich gut und stark zu besetzen.

1255: 1242: 1232: 1212: 1071: 1039: 1033: 887: 660: 509:

This influence, together with his discovery of the philosophy of

2589:

shows highly coiffured men and women attending a performance of

1841:

Given the influence of Schopenhauer and the apparent framing of

330:. Widely acknowledged as a pinnacle of the operatic repertoire, 5743: 4833: 3764:

Franz Liszt: Complete Piano Transcriptions from Wagner's Operas

3047:(Rev. ed.). Oxford: Oxford University Press. p. 350. 2456:". He made recordings of both versions on 78s and again on LP. 2360: 1674: 1670: 1404: 1400: 1368: 1274: 1259: 1058: 819: 652: 625: 5663: 4696: 4662:(full score). Leipzig: C. F. Peters. Reprint by Dover (1973): 3334:

Wagner's "Tristan und Isolde": An Essay on the Wagnerian Drama

3310:(First ed.). USA: The Wagner Society of Washington, D.C. 1560:

Schopenhauer's philosophy distinguishes between the world as "

663:

where he composed the last act, completing it in August 1859.

643:

during his eight-month exile in Venice, where he lived in the

409:

Wagner was forced to abandon his position as conductor of the

3793:"Greatest of late starters: Anthony Payne feasts on Chabrier" 3407: 3226:(1st American ed.). New York: W.W. Norton. p. 164. 3220:

Wagner, Richard; Spencer, Stewart; Millington, Barry (1988).

2551: 1686: 1444:

Kurwenal has brought Tristan home to his castle at Kareol in

1392: 1278: 1046: 826:

in Berlin in March 1876, but the opera was only performed in

268:. It was composed between 1857 and 1859 and premiered at the 249: 168:

as Tristan and Isolde in the first performance, conducted by

6105: 3363: 2491:, 1929 film score, Opera Frankfurt, director Carl Bamberger 2463:

has made two arrangements based on the opera. The first is

2336:

as the conductor, and was recorded on 1 and 6 August 2007.

2174:. Their performance at Bayreuth in 1966 under the baton of 2147:, producing a set which is considered a classic recording. 1682: 1461: 1268: 1216: 580: 260:

by the composer, loosely based on the 12th-century romance

2410:

and the Orchestra of the Royal Opera House under Pappano.

1954:

said that he "stood in wonder and terror" before Wagner's

1893:

was that it "reminds one of the old Italian painting of a

1727:

described this moment of drinking the potion as follows:

1468:", "love death"), dies ("Mild und leise wie er lächelt"). 1387:, was killed by Tristan ("Herr Morold zog zu Meere her"). 1354: 4403:

The Wagner Compendium: A Guide to Wagner's Life and Music

4165:

Barth, Herbert; Mack, Dietrich; Voss, Egon, eds. (1975).

3481: 3440:

Twain, Mark (6 December 1891). "Mark Twain at Bayreuth".

2995: 2909: 2885: 2537:(1996), originally written for 12 pianists at six pianos; 2237:

There are several DVD productions of the opera including

2144: 2099:

has a long recorded history and most of the major Wagner

2065:

and its "inexhaustible repetitions" throughout his novel

837:

The first production outside of Germany was given at the

822:

in 1874. Wagner himself supervised another production of

617: 520:

Wagner wrote of his preoccupations with Schopenhauer and

4565:

Knapp, Raymond (February 1984). "The Tonal Structure of

3152: 2873: 2751: 3599: 3536: 3219: 3034: 2465:

The Fugue on the Shepherd's Air from Tristan und Isolde

2426:– quadrilles on themes from Wagner's Tristan und Isolde 1452:

furchtbarer Trank!") until, exhausted, he collapses in

393:

poets of the late 19th century and early 20th century.

4429:. Translated by Roger Hollingdale. New York: Penguin. 2660:

is prominently displayed in the scene in which Annie (

2513:

Tristan: Préludes für Klavier, Tonbänder und Orchester

999:-inspired tonality mark Debussy's early compositions. 6094: 3499:

Kennedy, Michael (Cambridge University Press, 2006),

2921: 2042:

in October 1868, Nietzsche described his reaction to

2019:

referred to Wagner's technique of shifting chords in

759:

on 15 May 1865 had to be postponed until the Isolde,

4505:, introduction by John Luke Rose, and commentaries.) 3176: 3164: 2983: 2971: 2964:

Rose, John Luke. "A Landmark in Musical History" in

2861: 2342: 318:. Spiritual influences are also noted, ranging from 4686:

Wagner's autograph in the Richard Wagner Foundation

4587:

Richard Wagner: Tristan und Isolde. Autograph Score

4489:(English National Opera Guide). London: J. Calder. 3611: 1778:a heart fervently burning with supreme love’s joy! 1464:

describing her vision of Tristan risen again (the "

60:. Unsourced material may be challenged and removed. 4553:(illustrated version, in Italian). Milan: Nuages. 4326: 3111:Wagnerism: Art and Politics in the Shadow of Music 3014: 2817: 2772:Wagnerism: Art and Politics in the Shadow of Music 977:. Not all composers, however, reacted favourably: 2440:which consisted mainly of the Act I prelude, the 6118: 5131:Das Judenthum in der Musik (Jewishness in Music) 4312:. New York: Harper & Row. pp. 363–375. 2182:– a performance often hailed as one of the best 871:Significance in the development of Western music 311:), as well as by Wagner's relationship with his 5574:List of films using the music of Richard Wagner 5475: 4261:Richard Wagner: His Life, His Work, His Century 4042: 3854:Isolde's Luve-Daith: Poems in Scots and English 3739:The Life of Richard Wagner, Volume 3: 1859–1866 1544:Wagner gives heightened importance to music in 1440:of the set in act 3 for the premiere production 4691:Bilingual side by side German English Libretto 4585:(2012). "Commentary". In Ulrich Konrad (ed.). 3939:. London: V & A Publications. p. 103. 3735: 3665:"Glyndebourne – Tristan und Isolde – Download" 3522:. Random House Publishing Group. p. 148. 3240: 2193:) as Isolde, paired with an extremely intense 1615:Introduction to the History of Indian Buddhism 435:, he found himself intrigued by the legend of 334:was notable for Wagner's unprecedented use of 5704: 5564:International Association of Wagner Societies 5175: 4764: 4258: 4164: 4139:. Paderborn: Wilhelm Fink. pp. 263–273. 3369: 2906:, ch. "Public and Private Life", pp. 117–132. 2704:prominently features music from the prelude. 1988:in 1892 declared: "I have conducted my first 1571: 845:, who later that year sang the title role of 4446:Disturbing the Universe: Wagner's Musikdrama 3742:. Cambridge University Press. pp. 4–6. 3247:Spencer, Stewart; Millington, Barry (1987). 3133: 3127: 2447: 2441: 1849:scholar George Ainslie Hight wrote in 1912: 1713:Through the gates of Death, to me it flowed, 986: 462: 277: 135: 5881:The Famous Tragedy of the Queen of Cornwall 4625:Pompton Plains, New Jersey: Amadeus Press. 4501:(Includes libretto, English translation by 4101: 3706:"Chicago Symphony Orchestra, Program Notes" 3284:The Masks Of God Vol. 04 Creative Mythology 1717:that which I've only dreamed to have sight, 841:, London in 1882; Tristan was performed by 5711: 5697: 4811: 4771: 4757: 4400: 4239: 4028:: CS1 maint: location missing publisher ( 3487: 3355:: CS1 maint: location missing publisher ( 3287:. United States: Penguin Books. p. 79 3001: 2938: 2936: 2903: 2891: 2879: 2757: 2630:(The Death of Isolde) from his collection 2304:In a world first, the British opera house 2277:. More recently Barenboim's production at 2061:, greatly influenced by Wagner, refers to 338:, tonal ambiguity, orchestral colour, and 270:Königliches Hoftheater und Nationaltheater 155: 4524:. Princeton: Princeton University Press. 4419: 4244:. Berkeley: California University Press. 3836:'Sleeve notes' for Bridgewater Hall Organ 3542: 2520:Tristan und Isolde: an orchestral passion 2413:Another composer to rework material from 2388:a piano transcription of "Mild und leise" 1802:in the universal presence of the divine. 1768:Tristan you, I Isolde, no longer Tristan! 1203:is scored for the following instruments: 778:has also claimed the lives of conductors 120:Learn how and when to remove this message 6076:Tristram and Isoude stained glass panels 4718:. Recordings reviewed by Geoffrey Riggs. 4384:The Tristan Chord: Wagner and Philosophy 4296: 4282:. San Diego: Harcourt Brace Jovanovich. 4280:Wagner – The Man, His Mind and His Music 3934: 3605: 3515: 3280: 3274: 3074: 2737:. New York: Cambridge University Press. 2732: 2595: 2571: 2478:Other works based on the opera include: 2087: 2055:– I have sought in vain, in every art." 1770:You Isolde, Tristan I, no longer Isolde! 1575: 1480: 1431: 1353: 805: 710: 557:opera, putting aside the composition of 540: 400: 4218: 3993: 3905: 3848: 3305: 3213: 3201:. New York : Appleton. p. 172 3068: 2933: 2823: 1745:The treacherous Day, with envy pointed, 14: 6119: 5718: 4484: 4462: 4443: 4277: 4126: 4069: 4046:Cuentos de amor, de locura y de muerte 3501:Richard Strauss: Man, Musician, Enigma 3299: 3253:. New York: W.W. Norton. p. 270. 3194: 3188: 2965: 2927: 2915: 2867: 2851: 2835: 1889:'s reaction in 1868 to the prelude to 1825:in the world's breath, flowing in all! 1711:Hail to its magic's magnificent craft! 1709:Oh hail the potion! Hail to the draft! 1697:, further piqued Wagner’s interest in 1407:in order to save Isolde from herself. 801: 396: 5692: 4752: 4522:Drama and the World of Richard Wagner 4381: 4359: 4183: 3997:Cuentos de amor de locura y de muerte 3833: 3787: 3617: 3330: 3324: 3182: 3170: 3158: 3102: 3040: 2989: 2977: 2678:'s concerto for piano and orchestra, 2668:) her unrequited love for Mitch. For 2633:Cuentos de amor de locura y de muerte 2567: 385:as a milestone on the move away from 3876: 3838:(ASC CS CD42 ed.). ASC Records. 3108: 2769: 2293:from a 1973 live performance at the 2108:recorded during performances at the 1782:The themes of spiritual yearning in 1776:endless, eternal, one-consciousness: 1506:The World as Will and Representation 479:, left a large impact on the German 308:The World as Will and Representation 272:in Munich on 10 June 1865 with 225:Königliches Hof- und Nationaltheater 58:adding citations to reliable sources 29: 5673: 4658:, editor (1911 or slightly later). 4643:. Oxford: Oxford University Press. 4538:. Oxford: Oxford University Press. 4367:. Oxford: Oxford University Press. 4102:Kaczmarczyk, Jeffrey (2015-01-31). 4049:. Internet Archive. Penguin Books. 3516:Goulding, Phil G. (16 March 2011). 3137:The World As Will And Idea, Vol. I. 2812:Life as an Aesthetic Idea of Music, 2763: 1772:Without naming, without separating, 1743:Oh, now we are with Night anointed! 24: 4778: 4510: 4131:-Vorspiel in Lars von Triers Film 3975:. Victoria and Albert Museum. 1899 3953:. Victoria and Albert Museum. 1894 3667:. glyndebourne.com. Archived from 3250:Selected letters of Richard Wagner 3223:Selected letters of Richard Wagner 2115:In the years before World War II, 1517:, his emphasis on the primacy of " 1195: 655:, where he was still considered a 639:Wagner finished the second act of 301:was inspired by the philosophy of 25: 6183: 4724:BBC / Metropolitan Opera synopsis 4675: 4342:The New Grove Dictionary of Opera 4219:Classen, Albrecht (20 May 2003). 4208:"Discography of Richard Wagner's 4205: 3589: 3113:. New York: Picador. p. 67. 2942:Peter Bassett, "Richard Wagner's 2735:The Cambridge Wagner Encyclopedia 2664:) resignedly reveals to Melanie ( 2343:Concert extracts and arrangements 1901:drew the following response from 1774:newly perceiving, newly igniting; 1749:but no longer cheat us with lies! 1656:quest based on the medieval poem 1009:Roles, voice types, premiere cast 851:at Bayreuth. It was conducted by 704:, Wagner offered the work to the 405:Photo of Wagner in Brussels, 1860 6104: 5672: 5662: 5653: 5652: 5240:Männerlist größer als Frauenlist 5006: 4994: 4982: 4962: 4950: 4938: 4926: 4911: 4883: 4871: 4859: 4728:Tristan und Isolde resource site 4386:. New York: Metropolitan Books. 3692:Hans von Bülow: A Life for Music 3015:Jander, Steane & Forbes 1992 2615:The opera forms the backdrop of 1755:the yearning for the Holy Night, 1751:Amid the Day's deluded churning, 1747:could part us with its disguise, 1715:wide and open, for me it showed, 1681:in September 1852 declaring the 1403:; rather, she has substituted a 1335: 957:, is heavily reminiscent of the 898: 810:Drawing for a libretto (undated) 34: 6167:Operas set in the British Isles 4448:. Edinburgh: Candle Row Press. 4405:. London: Thames & Hudson. 4401:Millington, Barry, ed. (1992). 4120: 4095: 4063: 4036: 3987: 3965: 3943: 3928: 3913: 3896: 3870: 3842: 3827: 3812: 3781: 3769: 3762:Charles Suttoni, Introduction, 3756: 3729: 3698: 3683: 3657: 3623: 3565: 3548: 3509: 3493: 3461: 3434: 3425: 3400: 3375: 3024: 3007: 2958: 2949: 2946:". Retrieved 25 September 2016 2374:Wagner called the prelude the " 1928:, on a visit to Germany, heard 1869:Allgemeine musikalische Zeitung 1757:where all-eternal's solely true 1476: 1375:in marriage, and her handmaid, 1042:nobleman, adopted heir of Marke 920:is also notable for its use of 863:in December 1886, conducted by 855:, who also conducted the first 45:needs additional citations for 5635:Richard Wagner Museum, Lucerne 4991:Die Meistersinger von Nürnberg 4365:The Philosophy of Schopenhauer 4259:Gregor-Dellin, Martin (1983). 3635:DVD conducted by James Levine" 3331:Hight, George Ainslie (1912). 3044:The Philosophy of Schopenhauer 3019:Tristan und Isolde discography 2806:64 (2018), no. 2, p. 286–298; 2788: 2726: 2281:, Milan, in the production by 1759:Love does laugh with delight! 1188:Sailors, knights, and esquires 1077:Malvina Schnorr von Carolsfeld 761:Malvina Schnorr von Carolsfeld 166:Malvina Schnorr von Carolsfeld 13: 1: 5985:Qntal III: Tristan und Isolde 5124:A Communication to My Friends 4169:. London: Thames and Hudson. 3447:"At the Shrine of St. Wagner" 3306:Pohanka, John J. (May 2010). 3134:Schopenhauer, Arthur (1909). 3078:Richard Wagner's Music Dramas 2714: 2382:). In 1867 his father-in-law 2074: 1719:the wondrous realm of Night! 1669:Wagner was interested in the 1471: 1052:Ludwig Schnorr von Carolsfeld 5913:The Old French Tristan Poems 4549:Fabinger, Carollina (2009). 4335:(1992). "Mezzo-soprano". In 3246: 2261:, in a production staged by 2092:Photo from a 1917 production 1857: 1790:"—the soul's union with the 1753:remains one single yearning— 1673:and already acquainted with 1143:a courtier, Tristan's friend 719:, who conducted the premiere 7: 5801:Gottfried von Strassburg's 5374:Houston Stewart Chamberlain 5331:Bayreuth Festival Orchestra 4791:List of works for the stage 4740:Free Online opera guide on 4722:Wagner's Tristan and Isolde 4263:. London: William Collins. 4242:Wagner Beyond Good and Evil 4167:Wagner: A Documentary Study 3370:Barth, Mack & Voss 1975 2733:Vazsonyi, Nicholas (2013). 2529:a six-minute paraphrase by 1638:, based on the life of the 1321: 1067:princess betrothed to Marke 1023:Premiere cast, 10 June 1865 771:partnering her as Tristan. 666: 583:, Mathilde, and his future 446:Germanic poetry, including 10: 6188: 6152:Libretti by Richard Wagner 6045:In the Shadow of the Raven 5048:Das Liebesmahl der Apostel 4278:Gutman, Robert W. (1990). 4157: 3935:Calloway, Stephen (1998). 2518:a 'symphonic compilation' 2398:, who passed it on to Sir 2371:in January–February 1860. 2078: 1976:, initially dismissive of 1964:, the writer and satirist 1946:With the passage of time, 1572:Mysticism and Spirituality 890:as it resolves to another 421:, in Dresden, and fled to 369:. Other composers such as 6063: 6002: 5923: 5848: 5777: 5726: 5648: 5542: 5506: 5432: 5354: 5346:Richard Wagner Foundation 5301: 5276: 5211: 5168: 5110:The Artwork of the Future 5094: 5021: 4898: 4847: 4804: 4786: 4734:Seattle Opera Performance 4693:Also available in Italian 4240:Deathridge, John (2008). 4225:The Literary Encyclopedia 3994:Quiroga, Horacio (2021). 3631:"On-line catalogue entry 3281:Campbell, Joseph (1968). 2554:and chamber orchestra by 1534:The Artwork of the Future 1186: 839:Theatre Royal, Drury Lane 755:. Even then, the planned 741:King Ludwig II of Bavaria 682:, to stage his operas in 647:. In March 1859, fearing 209: 192: 184: 176: 154: 143: 134: 6147:Operas by Richard Wagner 5220:Die Laune des Verliebten 4485:Wagner, Richard (1981). 4463:Wagner, Richard (1911). 4043:Horacio Quiroga (1997). 3834:Scott, Jonathan (2001). 2719: 2295:Théâtre antique d'Orange 2226:and a live set from the 1800:annihilation of the self 1582:Ecstasy of Saint Theresa 1427: 1410: 1349: 1002: 723:When Wagner visited the 616:condition, to rest at a 448:Gottfried von Strassburg 297:Wagner's composition of 266:Gottfried von Strassburg 204:Gottfried von Strassburg 5625:Wagner-Werk-Verzeichnis 5585:Nietzsche contra Wagner 5519:Richard Wagner Memorial 5514:Richard Wagner Monument 4908:Der Ring des Nibelungen 4856:Der fliegende Holländer 4191:. London: Kyle Cathie. 3778:, February 2001, p. 113 3736:Newman, Ernest (1937). 3075:Dahlhaus, Carl (1979). 2585:'s pen and ink drawing 1984:coterie and writing to 1823:in the resounding call, 1821:In the unbounded swell, 988:avec une grande emotion 814:The next production of 432:Der Ring des Nibelungen 387:common practice harmony 27:Opera by Richard Wagner 6132:German-language operas 5832:Folie Tristan d'Oxford 5336:Bayreuth Festspielhaus 4444:Vernon, David (2021). 4079:British Film Institute 3883:Driving piping forward 3560:In Search of Lost Time 3412:San Francisco Symphony 2619:'s tale of love lost, 2603: 2579: 2448: 2442: 2434:Philadelphia Orchestra 2273:as Tristan, staged by 2093: 2068:In Search of Lost Time 2014: 2007:in 1889 as a student: 1923: 1884: 1855: 1733: 1664:Wolfram von Eschenbach 1593: 1509:by German philosopher 1500: 1441: 1365: 987: 811: 720: 637: 610:Breitkopf & Härtel 553: 539: 507: 471:Wolfram von Eschenbach 463: 406: 278: 214:10 June 1865 136: 5969:Turangalîla-Symphonie 5597:The Perfect Wagnerite 5191:Ride of the Valkyries 5117:Autobiographic Sketch 4382:Magee, Bryan (2001). 4345:. London: Macmillan. 3572:Nattiez, Jean-Jacques 3442:Chicago Daily Tribune 3041:Magee, Bryan (1997). 2621:"La muerte de Isolda" 2599: 2575: 2556:Volker David Kirchner 2459:The British composer 2349:Prelude and Liebestod 2091: 2009: 1961:The Perfect Wagnerite 1909: 1874: 1851: 1838:mystical experience. 1729: 1579: 1515:pessimistic worldview 1491:Ludwig Sigismund Ruhl 1484: 1435: 1357: 1150:Karl Samuel Heinrich 809: 763:, had recovered from 714: 633: 544: 530: 502: 404: 6162:Operas set in France 6053:Tristan & Isolde 5865:Tristram of Lyonesse 5785:Thomas of Britain's 4796:List of compositions 4621:May, Thomas (2004). 4534:Chafe, Eric (2005). 4421:Nietzsche, Friedrich 3791:(12 February 1994). 3766:, Dover Publications 3645:on 26 September 2011 3594:Principal Selections 3195:Nordau, Max (1895). 2446:from Act II and the 2232:Christian Thielemann 1602:to instead focus on 1586:Gian Lorenzo Bernini 1147:tenor (or baritone) 995:Frequent moments of 528:(16 December 1854): 442:The re-discovery of 417:. He left his wife, 69:"Tristan und Isolde" 54:improve this article 6021:The Woman Next Door 5958:Souvenirs de Munich 5857:Tristram and Iseult 5529:Wagner Ice Piedmont 5433:Cultural depictions 5424:Eva Wagner-Pasquier 5250:Wieland der Schmied 5152:Music of the Future 5028:Symphony in C major 3877:Davidson, Lindsay. 3639:Deutsche Grammophon 3161:, pp. 217–221. 3109:Ross, Alex (2021). 2918:, pp. 180–182. 2770:Ross, Alex (2021). 2535:Der Minuten-Tristan 2424:Souvenirs de Munich 2328:as King Marke, and 2271:Siegfried Jerusalem 2180:Deutsche Grammophon 2172:Wolfgang Windgassen 2164:Herbert von Karajan 2141:Wilhelm Furtwängler 2028:Friedrich Nietzsche 1966:George Bernard Shaw 1621:texts published in 1511:Arthur Schopenhauer 1487:Arthur Schopenhauer 1011: 983:Golliwog's Cakewalk 922:harmonic suspension 802:Performance history 551:Karl Ferdinand Sohn 547:Mathilde Wesendonck 511:Arthur Schopenhauer 397:Composition history 340:harmonic suspension 316:Mathilde Wesendonck 303:Arthur Schopenhauer 6137:Tristan and Iseult 6082:Tristan and Isolde 6013:The Eternal Return 5932:Tristan und Isolde 5897:Tristan and Iseult 5734:Anguish of Ireland 5720:Tristan and Iseult 5609:Der Ring in Minden 5551:The Case of Wagner 5310:Bayreuther Blätter 5103:Art and Revolution 5022:Non-operatic music 4979:Tristan und Isolde 4742:Tristan und Isolde 4736:Seattle Opera link 4714:Tristan and Isolde 4705:Tristan und Isolde 4682:Tristan und Isolde 4660:Tristan und Isolde 4567:Tristan und Isolde 4518:Borchmeyer, Dieter 4487:Tristan and Isolde 4302:Tristan und Isolde 4210:Tristan und Isolde 3776:ABC Radio 24 Hours 3671:on 16 January 2010 3633:Tristan und Isolde 3577:Proust as Musician 2944:Tristan und Isolde 2796:Tristan und Isolde 2656:, a recording of 2604: 2591:Tristan und Isolde 2580: 2568:In popular culture 2454:Tristan and Isolde 2438:Tristan and Isolde 2110:Metropolitan Opera 2106:Mapleson Cylinders 2097:Tristan und Isolde 2094: 2082:Tristan und Isolde 2063:Tristan und Isolde 2032:Tristan and Isolde 2005:Tristan und Isolde 1994:Tristan und Isolde 1941:Tristan und Isolde 1899:Drury Lane Theatre 1879:Tristan und Isolde 1864:Tristan und Isolde 1843:Tristan und Isolde 1604:Tristan und Isolde 1594: 1546:Tristan und Isolde 1523:Tristan and Isolde 1501: 1442: 1366: 1359:Tristan und Isolde 1201:Tristan und Isolde 1111:Anton Mitterwurzer 1007: 918:Tristan und Isolde 877:Tristan und Isolde 861:Metropolitan Opera 843:Hermann Winkelmann 812: 745:Tristan und Isolde 739:It was only after 734:Tristan und Isolde 725:Vienna Court Opera 721: 672:Tristan und Isolde 659:, Wagner moved to 645:Palazzo Giustinian 587:(and later wife), 573:Tristan und Isolde 554: 535:Tristan und Isolde 515:Tristan und Isolde 437:Tristan and Isolde 407: 299:Tristan und Isolde 262:Tristan and Iseult 242:Tristan and Isolde 237:Tristan und Isolde 198:Tristan and Iseult 137:Tristan und Isolde 18:Tristan Und Isolde 6092: 6091: 5686: 5685: 5502: 5501: 5326:Bayreuth Festival 5302:Bayreuth Festival 5297: 5296: 5272: 5271: 5265: 5264:(1858; text only) 5255: 5254:(1850; text only) 5245: 5235: 5225: 5212:Unfinished operas 5207: 5206: 5083: 5073: 5068:Wesendonck Lieder 5063: 5062:(1840, rev. 1855) 5053: 5043: 5032: 5017: 5016: 4973: 4972: 4894: 4893: 4843: 4842: 4703:Richard Wagner – 4668:978-0-486-22915-7 4654:Wagner, Richard; 4631:978-1-57467-097-4 4616:978-2-213-68113-9 4610:. Paris: Fayard. 4608:Tristan et Isolde 4596:978-3-7618-2270-8 4559:978-88-86178-90-7 4544:978-0-19-517647-6 4530:978-0-691-11497-2 4496:978-0-7145-3849-5 4436:978-0-14-044515-2 4412:978-0-500-28274-8 4393:978-0-8050-6788-0 4374:978-0-19-824673-2 4352:978-1-56159-228-9 4333:Forbes, Elizabeth 4319:978-0-06-090910-9 4289:978-0-15-677615-8 4270:978-0-00-216669-0 4251:978-0-520-25453-4 4206:Brown, Jonathan. 4198:978-1-85626-056-5 4176:978-0-500-27399-9 4146:978-3-7705-5686-1 4056:978-0-14-026631-3 4007:979-12-208-5606-5 3937:Aubrey Beardsley' 3903:live registration 3749:978-1-108-00771-9 3580:. Cambridge, 1989 3529:978-0-307-76046-3 3449:. twainquotes.com 3308:Wagner the Mystic 2804:Weimarer Beiträge 2680:Conjuring Tristan 2662:Suzanne Pleshette 2509:Hans Werner Henze 2430:Leopold Stokowski 2419:Emmanuel Chabrier 2228:Vienna Staatsoper 2207:Leonard Bernstein 2152:Bayreuth Festival 2036:opus metaphysicum 2017:Arnold Schoenberg 1691:Christian mystics 1675:Islamic mysticism 1628:. In addition to 1623:Adolf Holtzmann’s 1340: 1193: 1192: 1101:Tristan's servant 904: 832:Bayreuth Festival 680:Emperor of Brazil 597:Wesendonck Lieder 490:According to his 363:Arnold Schoenberg 252:in three acts by 233: 232: 130: 129: 122: 104: 16:(Redirected from 6179: 6172:Arthurian operas 6109: 6108: 6100: 5972:(1949, Messiaen) 5849:Later literature 5778:Medieval sources 5754:Mark of Cornwall 5713: 5706: 5699: 5690: 5689: 5676: 5675: 5666: 5656: 5655: 5507:Named for Wagner 5476:Film adaptations 5473: 5472: 5404:Siegfried Wagner 5389:Katharina Wagner 5274: 5273: 5263: 5253: 5243: 5233: 5223: 5209: 5208: 5173: 5172: 5081: 5071: 5061: 5051: 5041: 5030: 5010: 4998: 4986: 4966: 4954: 4942: 4930: 4915: 4903: 4902: 4896: 4895: 4887: 4875: 4863: 4845: 4844: 4827:Das Liebesverbot 4809: 4808: 4773: 4766: 4759: 4750: 4749: 4623:Decoding Wagner. 4600: 4578: 4571:The Music Review 4500: 4468: 4459: 4440: 4416: 4397: 4378: 4356: 4323: 4293: 4274: 4255: 4236: 4215: 4202: 4180: 4151: 4150: 4124: 4118: 4117: 4115: 4114: 4099: 4093: 4092: 4067: 4061: 4060: 4040: 4034: 4033: 4027: 4019: 3991: 3985: 3984: 3982: 3980: 3969: 3963: 3962: 3960: 3958: 3951:"The Wagnerites" 3947: 3941: 3940: 3932: 3926: 3917: 3911: 3910: 3900: 3894: 3893: 3891: 3889: 3879:"Dr Tom Hubbard" 3874: 3868: 3867: 3846: 3840: 3839: 3831: 3825: 3816: 3810: 3809: 3807: 3805: 3785: 3779: 3773: 3767: 3760: 3754: 3753: 3733: 3727: 3726: 3724: 3723: 3717: 3711:. Archived from 3710: 3702: 3696: 3690:Kenneth Birkin, 3687: 3681: 3680: 3678: 3676: 3661: 3655: 3654: 3652: 3650: 3641:. 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his humorous 2396:Daniel Barenboim 2318:Katarina Karnéus 2224:Daniel Barenboim 2203:Reginald Goodall 2178:was captured by 2121:Lauritz Melchior 2117:Kirsten Flagstad 2104:captured on the 2003:heard his first 1612:Eugène Burnouf’s 1499: 1342: 1341: 1012: 1010: 1006: 990: 981:'s piano piece " 949:Alfred Hitchcock 945:Bernard Herrmann 935:The tonality of 915: 914: 906: 905: 784:Joseph Keilberth 753:Cosima von Bülow 589:Cosima von Bülow 468: 460: 367:Benjamin Britten 281: 221: 219: 159: 139: 132: 131: 125: 118: 114: 111: 105: 103: 62: 38: 30: 21: 6187: 6186: 6182: 6181: 6180: 6178: 6177: 6176: 6117: 6116: 6115: 6103: 6095: 6093: 6088: 6059: 5998: 5935:(1865, Wagner) 5919: 5844: 5773: 5722: 5717: 5687: 5682: 5644: 5558:Gesamtkunstwerk 5538: 5524:Wagner (crater) 5498: 5471: 5428: 5419:Wolfgang Wagner 5414:Winifred Wagner 5369:Eva Chamberlain 5350: 5341:Jahrhundertring 5321:Bayreuth Circle 5293: 5268: 5203: 5164: 5159:Opera and Drama 5090: 5078:Siegfried Idyll 5013: 4969: 4959:Götterdämmerung 4890: 4848:Romantic operas 4839: 4805:Complete operas 4800: 4782: 4777: 4678: 4673: 4597: 4581: 4564: 4513: 4511:Further reading 4508: 4497: 4456: 4437: 4413: 4394: 4375: 4353: 4320: 4310:Opera on Record 4298:Holloway, Robin 4290: 4271: 4252: 4199: 4177: 4160: 4155: 4154: 4147: 4125: 4121: 4112: 4110: 4100: 4096: 4089: 4071:Paglia, Camille 4068: 4064: 4057: 4041: 4037: 4021: 4020: 4008: 3992: 3988: 3978: 3976: 3971: 3970: 3966: 3956: 3954: 3949: 3948: 3944: 3933: 3929: 3918: 3914: 3901: 3897: 3887: 3885: 3875: 3871: 3864: 3847: 3843: 3832: 3828: 3817: 3813: 3803: 3801: 3798:The Independent 3786: 3782: 3774: 3770: 3761: 3757: 3750: 3734: 3730: 3721: 3719: 3715: 3708: 3704: 3703: 3699: 3688: 3684: 3674: 3672: 3663: 3662: 3658: 3648: 3646: 3629: 3628: 3624: 3616: 3612: 3604: 3600: 3588: 3584: 3570: 3566: 3553: 3549: 3541: 3537: 3530: 3514: 3510: 3498: 3494: 3488:Millington 1992 3486: 3482: 3476:Johannes Brahms 3466: 3462: 3452: 3450: 3445: 3439: 3435: 3430: 3426: 3416: 3414: 3406: 3405: 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2216:Plácido Domingo 2137:Erich Leinsdorf 2086: 2077: 1974:Richard Strauss 1887:Eduard Hanslick 1860: 1835: 1833:supreme bliss! 1832: 1830: 1828: 1826: 1824: 1822: 1780: 1777: 1775: 1773: 1771: 1769: 1761: 1758: 1756: 1754: 1752: 1750: 1748: 1746: 1744: 1725:Joseph Campbell 1721: 1718: 1716: 1714: 1712: 1710: 1695:Meister Eckhart 1608:Indian religion 1574: 1539:Gesamtkunstwerk 1493: 1479: 1474: 1430: 1413: 1363:Ferdinand Leeke 1352: 1347: 1346: 1345: 1344: 1343: 1336: 1333: 1324: 1198: 1196:Instrumentation 1177:A young sailor 1172:Peter Hartmann 1135:Ludwig Zottmayr 1024: 1008: 1005: 912: 911: 907: 899: 873: 828:his own theatre 804: 708:opera in 1861. 669: 524:in a letter to 454: 399: 379:Igor Stravinsky 355:Richard Strauss 229: 228: 222: 217: 215: 201: 172: 126: 115: 109: 106: 63: 61: 51: 39: 28: 23: 22: 15: 12: 11: 5: 6185: 6175: 6174: 6169: 6164: 6159: 6154: 6149: 6144: 6139: 6134: 6129: 6114: 6113: 6090: 6089: 6087: 6086: 6078: 6073: 6067: 6065: 6061: 6060: 6058: 6057: 6049: 6041: 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5328: 5323: 5318: 5316:Bayreuth canon 5313: 5305: 5303: 5299: 5298: 5295: 5294: 5292: 5291: 5286: 5280: 5278: 5270: 5269: 5267: 5266: 5256: 5246: 5236: 5226: 5215: 5213: 5205: 5204: 5202: 5201: 5194: 5187: 5179: 5177: 5176:Opera excerpts 5170: 5166: 5165: 5163: 5162: 5155: 5148: 5141: 5134: 5127: 5120: 5113: 5106: 5098: 5096: 5092: 5091: 5089: 5084: 5074: 5064: 5058:Faust Overture 5054: 5044: 5033: 5025: 5023: 5019: 5018: 5015: 5014: 5012: 5011: 4999: 4987: 4974: 4971: 4970: 4968: 4967: 4955: 4943: 4931: 4918: 4916: 4900: 4892: 4891: 4889: 4888: 4876: 4864: 4851: 4849: 4841: 4840: 4838: 4837: 4830: 4823: 4815: 4813: 4806: 4802: 4801: 4799: 4798: 4793: 4787: 4784: 4783: 4780:Richard Wagner 4776: 4775: 4768: 4761: 4753: 4747: 4746: 4737: 4731: 4725: 4719: 4712:Recordings of 4709: 4700: 4694: 4688: 4677: 4676:External links 4674: 4672: 4671: 4652: 4637:Scruton, Roger 4634: 4619: 4601: 4595: 4583:Konrad, Ulrich 4579: 4562: 4547: 4532: 4514: 4512: 4509: 4507: 4506: 4495: 4482: 4460: 4455:978-1527299245 4454: 4441: 4435: 4417: 4411: 4398: 4392: 4379: 4373: 4357: 4351: 4327:Jander, Owen; 4324: 4318: 4294: 4288: 4275: 4269: 4256: 4250: 4237: 4216: 4203: 4197: 4181: 4175: 4161: 4159: 4156: 4153: 4152: 4145: 4119: 4094: 4087: 4081:. p. 46. 4062: 4055: 4035: 4006: 3986: 3964: 3942: 3927: 3920:Schott Aktuell 3912: 3895: 3869: 3862: 3841: 3826: 3819:Schott Aktuell 3811: 3789:Payne, Anthony 3780: 3768: 3755: 3748: 3728: 3697: 3682: 3656: 3622: 3610: 3608:, p. 367. 3598: 3582: 3564: 3547: 3543:Nietzsche 1979 3535: 3528: 3508: 3492: 3490:, p. 382. 3480: 3472:Clara Schumann 3460: 3433: 3424: 3399: 3387:www.abc.net.au 3374: 3372:, p. 208. 3362: 3323: 3316: 3298: 3273: 3259: 3239: 3232: 3212: 3187: 3185:, p. 218. 3175: 3173:, p. 221. 3163: 3151: 3126: 3119: 3101: 3087: 3067: 3053: 3033: 3023: 3006: 3004:, p. 252. 2994: 2992:, p. 356. 2982: 2980:, p. 208. 2970: 2957: 2948: 2932: 2930:, p. 182. 2920: 2908: 2896: 2894:, p. 318. 2884: 2882:, p. 300. 2872: 2870:, p. 163. 2860: 2844: 2828: 2816: 2787: 2780: 2762: 2760:, p. 301. 2750: 2743: 2724: 2723: 2721: 2718: 2716: 2713: 2696:Lars von Trier 2670:Camille Paglia 2587:The Wagnerites 2577:The Wagnerites 2569: 2566: 2565: 2564: 2558: 2550:(1980–83) for 2544: 2538: 2527: 2516: 2506: 2497:'s piano rags 2495:Clément Doucet 2492: 2365:Hans von Bülow 2344: 2341: 2310:Robert Gambill 2287:Birgit Nilsson 2269:as Isolde and 2267:Waltraud Meier 2239:Götz Friedrich 2212:Margaret Price 2199:Carlos Kleiber 2191:Helga Dernesch 2168:Birgit Nilsson 2133:Artur Bodanzky 2125:Thomas Beecham 2079:Main article: 2076: 2073: 1999:The conductor 1952:Giuseppe Verdi 1937:Clara Schumann 1859: 1856: 1831:unconscious... 1819: 1766: 1741: 1707: 1573: 1570: 1478: 1475: 1473: 1470: 1438:Angelo Quaglio 1429: 1426: 1412: 1409: 1371:, promised to 1351: 1348: 1334: 1329: 1328: 1327: 1326: 1325: 1323: 1320: 1319: 1318: 1295: 1294: 1271: 1266: 1253: 1235: 1197: 1194: 1191: 1190: 1184: 1183: 1181: 1178: 1174: 1173: 1170: 1167: 1163: 1162: 1159: 1156: 1152: 1151: 1148: 1145: 1138: 1137: 1132: 1127: 1114: 1113: 1108: 1103: 1096: 1095: 1090: 1087: 1080: 1079: 1074: 1069: 1055: 1054: 1049: 1044: 1030: 1029: 1027:Hans von Bülow 1021: 1016: 1004: 1001: 979:Claude Debussy 872: 869: 803: 800: 749:Hans von Bülow 717:Hans von Bülow 684:Rio de Janeiro 668: 665: 465:Nibelungenlied 450:'s version of 415:May Revolution 398: 395: 371:Claude Debussy 347:Anton Bruckner 305:(particularly 274:Hans von Bülow 254:Richard Wagner 231: 230: 223: 213: 211: 207: 206: 194: 190: 189: 186: 182: 181: 180:Richard Wagner 178: 174: 173: 170:Hans von Bülow 160: 152: 151: 149:Richard Wagner 141: 140: 128: 127: 42: 40: 33: 26: 9: 6: 4: 3: 2: 6184: 6173: 6170: 6168: 6165: 6163: 6160: 6158: 6155: 6153: 6150: 6148: 6145: 6143: 6140: 6138: 6135: 6133: 6130: 6128: 6125: 6124: 6122: 6112: 6107: 6102: 6101: 6098: 6085: 6083: 6079: 6077: 6074: 6072: 6071:Tristan Quilt 6069: 6068: 6066: 6062: 6055: 6054: 6050: 6047: 6046: 6042: 6039: 6038: 6034: 6031: 6030: 6026: 6023: 6022: 6018: 6015: 6014: 6010: 6009: 6007: 6005: 6001: 5994: 5990: 5987: 5986: 5982: 5980:(1975, Henze) 5979: 5978: 5974: 5971: 5970: 5966: 5963: 5959: 5956: 5951: 5947: 5945: 5944:Tristan chord 5942: 5940: 5937: 5936: 5934: 5933: 5929: 5928: 5926: 5922: 5915: 5914: 5910: 5907: 5906: 5902: 5899: 5898: 5894: 5891: 5890: 5886: 5883: 5882: 5878: 5875: 5874: 5870: 5867: 5866: 5862: 5859: 5858: 5854: 5853: 5851: 5847: 5841: 5840: 5836: 5834: 5833: 5829: 5826: 5822: 5819: 5815: 5813: 5812: 5807: 5805: 5804: 5799: 5797: 5796: 5791: 5789: 5788: 5783: 5782: 5780: 5776: 5770: 5767: 5765: 5762: 5760: 5757: 5755: 5752: 5750: 5747: 5745: 5742: 5740: 5737: 5735: 5732: 5731: 5729: 5725: 5721: 5714: 5709: 5707: 5702: 5700: 5695: 5694: 5691: 5679: 5671: 5669: 5665: 5661: 5659: 5651: 5650: 5647: 5641: 5638: 5636: 5633: 5631: 5628: 5626: 5623: 5621: 5620:Controversies 5618: 5616: 5615:Tristan chord 5613: 5611: 5610: 5606: 5604: 5601: 5599: 5598: 5594: 5592: 5589: 5587: 5586: 5582: 5580: 5577: 5575: 5572: 5570: 5567: 5565: 5562: 5560: 5559: 5555: 5553: 5552: 5548: 5547: 5545: 5541: 5535: 5532: 5530: 5527: 5525: 5522: 5520: 5517: 5515: 5512: 5511: 5509: 5505: 5495: 5493: 5489: 5487: 5485: 5481: 5480: 5478: 5474: 5468: 5466: 5462: 5459: 5458: 5454: 5451: 5450: 5446: 5443: 5442: 5438: 5437: 5435: 5431: 5425: 5422: 5420: 5417: 5415: 5412: 5410: 5407: 5405: 5402: 5400: 5397: 5395: 5392: 5390: 5387: 5385: 5384:Cosima Wagner 5382: 5380: 5377: 5375: 5372: 5370: 5367: 5365: 5362: 5361: 5359: 5357: 5356:Wagner family 5353: 5347: 5344: 5342: 5339: 5337: 5334: 5332: 5329: 5327: 5324: 5322: 5319: 5317: 5314: 5312: 5311: 5307: 5306: 5304: 5300: 5290: 5287: 5285: 5282: 5281: 5279: 5275: 5262: 5261: 5257: 5252: 5251: 5247: 5242: 5241: 5237: 5232: 5231: 5227: 5222: 5221: 5217: 5216: 5214: 5210: 5199: 5195: 5192: 5188: 5185: 5184:Bridal Chorus 5181: 5180: 5178: 5174: 5171: 5167: 5161: 5160: 5156: 5153: 5149: 5147: 5146: 5142: 5140: 5139: 5135: 5132: 5128: 5125: 5121: 5118: 5114: 5111: 5107: 5104: 5100: 5099: 5097: 5093: 5088: 5085: 5080: 5079: 5075: 5070: 5069: 5065: 5060: 5059: 5055: 5050: 5049: 5045: 5040: 5038: 5034: 5029: 5026: 5024: 5020: 5009: 5005: 5004: 5000: 4997: 4993: 4992: 4988: 4985: 4981: 4980: 4976: 4975: 4965: 4961: 4960: 4956: 4953: 4949: 4948: 4944: 4941: 4937: 4936: 4932: 4929: 4925: 4924: 4923:Das Rheingold 4920: 4919: 4917: 4914: 4910: 4909: 4904: 4901: 4897: 4886: 4882: 4881: 4877: 4874: 4870: 4869: 4865: 4862: 4858: 4857: 4853: 4852: 4850: 4846: 4836: 4835: 4831: 4829: 4828: 4824: 4822: 4821: 4817: 4816: 4814: 4810: 4807: 4803: 4797: 4794: 4792: 4789: 4788: 4785: 4781: 4774: 4769: 4767: 4762: 4760: 4755: 4754: 4751: 4744: 4743: 4738: 4735: 4732: 4729: 4726: 4723: 4720: 4717: 4715: 4710: 4707: 4706: 4701: 4698: 4697:Wagner Operas 4695: 4692: 4689: 4687: 4683: 4680: 4679: 4669: 4665: 4661: 4657: 4653: 4650: 4649:0-19-516691-4 4646: 4642: 4638: 4635: 4632: 4628: 4624: 4620: 4617: 4613: 4609: 4605: 4602: 4598: 4592: 4588: 4584: 4580: 4576: 4572: 4569:: A Sketch". 4568: 4563: 4560: 4556: 4552: 4548: 4545: 4541: 4537: 4533: 4531: 4527: 4523: 4519: 4516: 4515: 4504: 4503:Andrew Porter 4498: 4492: 4488: 4483: 4480: 4476: 4472: 4466: 4461: 4457: 4451: 4447: 4442: 4438: 4432: 4428: 4427: 4422: 4418: 4414: 4408: 4404: 4399: 4395: 4389: 4385: 4380: 4376: 4370: 4366: 4362: 4358: 4354: 4348: 4344: 4343: 4338: 4337:Stanley Sadie 4334: 4330: 4329:Steane, J. B. 4325: 4321: 4315: 4311: 4307: 4303: 4299: 4295: 4291: 4285: 4281: 4276: 4272: 4266: 4262: 4257: 4253: 4247: 4243: 4238: 4234: 4230: 4226: 4222: 4217: 4213: 4211: 4204: 4200: 4194: 4190: 4186: 4182: 4178: 4172: 4168: 4163: 4162: 4148: 4142: 4138: 4134: 4130: 4123: 4109: 4105: 4098: 4090: 4088:0-85170-651-7 4084: 4080: 4076: 4072: 4066: 4058: 4052: 4048: 4047: 4039: 4031: 4025: 4017: 4013: 4009: 4003: 3999: 3998: 3990: 3974: 3968: 3952: 3946: 3938: 3931: 3924: 3921: 3916: 3909: 3906:Knigge, Max, 3904: 3899: 3884: 3880: 3873: 3865: 3863:0-86142-095-0 3859: 3855: 3851: 3845: 3837: 3830: 3823: 3820: 3815: 3800: 3799: 3794: 3790: 3784: 3777: 3772: 3765: 3759: 3751: 3745: 3741: 3740: 3732: 3718:on 2013-08-17 3714: 3707: 3701: 3695: 3693: 3686: 3670: 3666: 3660: 3644: 3640: 3636: 3634: 3626: 3620:, p. 65. 3619: 3614: 3607: 3606:Holloway 1982 3602: 3595: 3591: 3586: 3579: 3578: 3573: 3568: 3562: 3561: 3556: 3555:Marcel Proust 3551: 3545:, p. 61. 3544: 3539: 3531: 3525: 3521: 3520: 3512: 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2598: 2594: 2592: 2588: 2584: 2578: 2574: 2562: 2559: 2557: 2553: 2549: 2545: 2543: 2539: 2536: 2532: 2528: 2525: 2521: 2517: 2514: 2510: 2507: 2504: 2500: 2496: 2493: 2490: 2489: 2484: 2481: 2480: 2479: 2476: 2474: 2470: 2466: 2462: 2457: 2455: 2450: 2444: 2439: 2435: 2431: 2427: 2425: 2420: 2416: 2411: 2409: 2408:Deborah Voigt 2405: 2401: 2397: 2391: 2389: 2385: 2381: 2377: 2372: 2370: 2366: 2362: 2357: 2355: 2350: 2340: 2337: 2335: 2331: 2327: 2324:as Kurwenal, 2323: 2320:as Brangäne, 2319: 2315: 2311: 2307: 2302: 2300: 2296: 2292: 2288: 2284: 2280: 2276: 2275:Heiner Müller 2272: 2268: 2264: 2260: 2256: 2252: 2248: 2247:Gwyneth Jones 2244: 2240: 2235: 2233: 2229: 2225: 2221: 2217: 2213: 2208: 2204: 2200: 2196: 2192: 2187: 2185: 2181: 2177: 2173: 2169: 2165: 2161: 2157: 2153: 2148: 2146: 2142: 2138: 2134: 2130: 2126: 2122: 2118: 2113: 2111: 2107: 2102: 2098: 2090: 2085: 2083: 2072: 2070: 2069: 2064: 2060: 2059:Marcel Proust 2056: 2054: 2050: 2045: 2041: 2037: 2033: 2029: 2025: 2022: 2018: 2013: 2008: 2006: 2002: 1997: 1995: 1991: 1987: 1986:Cosima Wagner 1983: 1979: 1975: 1971: 1967: 1963: 1962: 1957: 1953: 1949: 1944: 1942: 1938: 1934: 1931: 1927: 1922: 1920: 1919: 1914: 1908: 1906: 1905: 1900: 1896: 1892: 1888: 1883: 1880: 1873: 1871: 1870: 1865: 1854: 1850: 1848: 1844: 1839: 1834: 1818: 1816: 1812: 1808: 1803: 1801: 1797: 1793: 1789: 1785: 1779: 1765: 1760: 1740: 1737: 1732: 1728: 1726: 1720: 1706: 1702: 1700: 1696: 1692: 1688: 1684: 1680: 1679:August Röckel 1676: 1672: 1667: 1665: 1661: 1660: 1655: 1651: 1650: 1645: 1641: 1637: 1636: 1631: 1627: 1624: 1620: 1616: 1613: 1609: 1605: 1601: 1600: 1591: 1587: 1583: 1578: 1569: 1567: 1563: 1558: 1554: 1551: 1547: 1542: 1540: 1536: 1535: 1530: 1529: 1524: 1520: 1516: 1512: 1508: 1507: 1497: 1492: 1488: 1483: 1469: 1467: 1463: 1457: 1455: 1449: 1447: 1439: 1434: 1425: 1421: 1417: 1408: 1406: 1402: 1396: 1394: 1388: 1386: 1382: 1378: 1374: 1370: 1364: 1360: 1356: 1332: 1317: 1313: 1309: 1305: 1302: 1301: 1300: 1299: 1292: 1288: 1287:double basses 1284: 1280: 1276: 1272: 1270: 1267: 1265: 1261: 1257: 1254: 1252: 1248: 1244: 1240: 1236: 1234: 1230: 1229:bass clarinet 1226: 1222: 1218: 1214: 1211:(one doubles 1210: 1206: 1205: 1204: 1202: 1189: 1185: 1182: 1179: 1176: 1175: 1171: 1168: 1165: 1164: 1160: 1157: 1154: 1153: 1149: 1146: 1144: 1140: 1139: 1136: 1133: 1131: 1128: 1126: 1125: 1119: 1116: 1115: 1112: 1109: 1107: 1104: 1102: 1098: 1097: 1094: 1091: 1088: 1086: 1085:Isolde's maid 1082: 1081: 1078: 1075: 1073: 1070: 1068: 1066: 1060: 1057: 1056: 1053: 1050: 1048: 1045: 1043: 1041: 1035: 1032: 1031: 1028: 1022: 1020: 1017: 1014: 1013: 1000: 998: 994: 989: 984: 980: 976: 975: 970: 966: 962: 961: 956: 955: 950: 947:'s score for 946: 942: 938: 933: 931: 927: 923: 919: 895: 893: 889: 885: 884: 883:Tristan chord 878: 875:The score of 868: 866: 862: 858: 857:Covent Garden 854: 850: 849: 844: 840: 835: 833: 829: 825: 821: 817: 808: 799: 797: 793: 792:Heinrich Vogl 788: 785: 781: 777: 772: 770: 766: 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