Significance in The Development of Romantic Music
The score of Tristan und Isolde has often been cited as a landmark in the development of Western music. Wagner uses throughout Tristan a remarkable range of orchestral colour, harmony and polyphony and does so with a freedom rarely found in his earlier operas. The very first chord in the piece, the Tristan chord, is of great significance in the move away from traditional tonal harmony as it resolves to another dissonant chord:
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; E-A-sharp, bar 3). Tristan und Isolde is also notable for its use of harmonic suspension—a device used by a composer to create musical tension by exposing the listener to a series of prolonged unfinished cadences, 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 3, 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 2 ("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!"). The long-awaited completion of this cadence series arrives only in the final Liebestod, during which the musical resolution (at "In des Welt-Atems wehendem All") coincides with the moment of Isolde's death.
The tonality of Tristan was to prove immensely influential in western Classical music. Wagner's use of musical colour also influenced the development of film music. Bernard Herrmann's score for Alfred Hitchcock's classic, Vertigo, is heavily reminiscent of the Liebestod, most evident concerning the resurrection scene. The Liebestod was incorporated in Luis Buñuel and Salvador Dalí's Surrealist film Un chien andalou. Not all composers, however, reacted favourably: Claude Debussy's piano piece "Golliwog's Cakewalk" mockingly quotes the opening of the opera in a distorted form, instructing the passage to be played 'avec une grande emotion'. However, Debussy was highly influenced by Wagner and was particularly fond of "Tristan." Frequent references to "Tristan" tonality mark Debussy's early compositions.
Read more about this topic: Tristan Und Isolde
Famous quotes containing the words significance, development, romantic and/or music:
“Of what significance the light of day, if it is not the reflection of an inward dawn?—to what purpose is the veil of night withdrawn, if the morning reveals nothing to the soul? It is merely garish and glaring.”
—Henry David Thoreau (1817–1862)
“Somehow we have been taught to believe that the experiences of girls and women are not important in the study and understanding of human behavior. If we know men, then we know all of humankind. These prevalent cultural attitudes totally deny the uniqueness of the female experience, limiting the development of girls and women and depriving a needy world of the gifts, talents, and resources our daughters have to offer.”
—Jeanne Elium (20th century)
“Classical art, in a word, stands for form; romantic art for content. The romantic artist expects people to ask, What has he got to say? The classical artist expects them to ask, How does he say it?”
—R.G. (Robin George)
“The harp that once through Tara’s halls The soul of music shed, Now hangs as mute on Tara’s walls As if that soul were fled.”
—Thomas Moore (1779–1852)