A History of Opera: Milestones and Metamorphoses by Burton D. Fisher

Author:Burton D. Fisher [Fisher, Burton D.]
Language: eng
Format: epub
Tags: Music, Reference
ISBN: 9781930841819
Publisher: Opera Classics Library
Published: 2002-07-31T14:00:00+00:00

Wagner: Tristan and Isolde Page 231

Story Narrative with Music Examples

Editor’s note: Many descriptive labels have been attached to certain musical motives, many of which have been determined by commentators and analysts from hints given by the words or situations as they appear in the opera. Nevertheless, these designations should not be taken literally. Many of the motives undergo many transformations and metamorphoses during the course of the drama, suggesting that other shades of meaning can readily apply.

The Prelude:

The Prelude provides the spiritual essence of the drama. It begins with a rising phrase of just over three bars.

In reality, there are two motives present. The first phrase begins with the opening note A in the bass clef and rises to the D sharp in the second full bar, a particularly poignant theme played by the cellos in the upper register that has been associated with Grief or Sorrow, and at various times associated with longing, pain, and hopelessness.

The second motive, G sharp through B natural in the second and third full bars, is dominated by penetrating oboes over woodwind harmony, a motive suggesting Yearning, or Desire, but also Isolde’s Magic, the latter description because it is first heard in the opera when Isolde speaks of her mother’s craft in brewing magic potions. (For Wagner, this motive primarily represented Tristan and Isolde’s yearning and desire to realize their love, a love that was their predestined fate, but hopelessly unattainable.)

Two new motives make their appearance: that of Tristan’s Anguish, and the Glance

motive.

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