Richard Wagner: Tristan Und Isolde Edited by Arthur Groos Index More Information

Home , Tristan chord

Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Index More Information

Index

Adam, Adolphe, 158 Bülow, Hans von, 22, 122 Adorno, Theodor, 98, 119 Buñuel, Luis, 164; L’Age d’or, 166 Alden, David, 137–8 Busoni, Ferruccio, 151 Appia, Adolphe, 124–6 Calderón de la Barca, Pedro, 120 Babbitt, Milton, 147 Carpenter, Tethys, 147, 149 Bailey, Robert, 54, 56 Chabrier, Emmanuel, 163 Bailly, Alexandre, 130 Chafe, Eric, 2 Baudelaire, Charles, 95, 96, 98, 159, Chamberlain, Houston Stewart, 153 160, 161 Charpentier, Gustave, 165 Bauer, Oswald Georg, 131 Chéreau, Patrice, 140 ‘Bayreuth sound’, 108–9 Condemi, José Maria, 141 Beardsley, Aubrey, 151 Beethoven, Ludwig van, 38; Fifth Dahlhaus, Carl, 143 Symphony, 58, 62; Leonore, Dali, Salvador, 164; L’Age d’or, 166 Overture, No. 3, 66–7; Ninth D’Annunzio, Gabriele, 95, 96, 117 Symphony, 74, 165; Sixth Debussy, Claude, 155–6; De rêve, Symphony, 24; Sonata 156–7; Golliwogg’s Cakewalk, Op. 31 No. 2, 58 163; La Mort des amants, 159–60; Bellini, Vincenzo, 47 Pelléas et Mélisande, 159, 160; Benois, Alexander, 130 Prélude à l’après-midi d’un faune, Berg, Alban, 145, 146, 153, 161; 155–6 Lulu, 161–2; Lyric Suite, 161 De Falla, Manuel, 165 Berlioz, Hector, 108, 145–6 De Rougemont, Denis, 153 Bloch, Ernst, 96–7 DeVoto, Mark, 148 Bloom, Harold, 58 Dolar, Mladen, 140 Boulez, Pierre, 24 Döll, Heinrich, 120 Brahms, Johannes, 148–9, 150; Alto Donizetti, Gaetano, 47 Rhapsody, 149; Intermezzo, Dorn, Dieter, 140 Op. 117, No. 2, 148; Second Dorner, Johann Conrad, 31 Symphony, 148 Duparc, Henri, 159 Breitkopf & Härtel, 21, 22, 31 Dvorˇák, Antonín, 149–50 Bridge, Frank, 153 Britten, Benjamin, 152–3; Albert Herring, Eisler, Hanns, 165 163; Chanson d’automne, 152–3; Eliot, T. S., 156–7 Death in Venice, 159 Ellis, William Ashton, 31–2 Bruckner, Anton, 148, 150 Everding, August, 134, 140 Brückner, Gotthold, 124, 131 Brückner, Max, 124, 131 Felsenstein, Walter, 134 Bruneau, Alfred, 165 femme fatale, 151–2

211

212 Index

Franz, Robert, 26, 27 Mallarmé, Stéphane, 107–8, 155, 156 Freud, Sigmund, 29 Mann, Thomas, Death in Venice, 159; Friedrich, Götz, 134 Sorrows and Grandeur of Richard Frost, H. F., 151 Wagner, 153; Tristan, 95, 158–9 Fuchs, Hanns, 152 Marschner, Heinrich, 108 Fuchs-Robettin, Hanna, 161 Marthaler, Christoph, 138 Massenet, Jules, 154 Garcia, Gustave, 123 Mayrberger, Karl, 146 Gauthier-Villars, Henry (Willy), 156 Messiaen, Olivier, 100 Ghil, René, 107 Meyer, Leonard, 146, 147 Goethe, Johann Wolfgang von, 27; Faust, Meyerhold, Vsevolod, 126–30 33, 38, 41 Moore, Henry, 134 Golther, Wolfgang, 32, 33, 34 Morris, Mitchell, 152 Goodman, Dena, 31 Mozart, Wolfgang Amadeus, Don Gottfried von Straßburg, 38, 39, 40 Giovanni,58 Grand Opéra, 105 Müller, Heiner, 138 Grieg, Edvard, 152, 153 Musikdrama (music-drama), 69 Groos, Arthur, 84 Guth, Claus, 140 Nabokov, Vladimir, 2 narrative and drama, 40 Hebbel, Friedrich, 38 Neue Zeitschrift für Musik,26 Henze, Hans Werner, 165–6 Newman, Ernest, 36, 60 Hindemith, Paul, 161, 162 Nietzsche, Friedrich, 1, 157–8; Beyond Hockney, David, 141 Good and Evil, 157–8; Ecce homo Hoffmann, E. T. A., 48 158 Hurn, Philip Dutton, 31 Novalis (Friedrich von Hardenberg), 45, Hutcheon, Linda, 144 105

Immermann, Karl, 37 orchestration (pre-Wagner), 104–5, 106, 108 Jambon, Marcel, 130 Oswald, Roberto, 133 Jung, Carl Gustav, 134 Panizza, Oskar, 151 Kerman, Joseph, 46, 144 Peduzzi, Richard, 140 Kistler, Cyrill, 146 Piper, Myfanwy, 159 Knapp, Raymond, 148 Poe, Edgar Allen, 130 Kokoschka, Oskar, 161 ‘poetic-musical period’,80–1 Kramer, Lawrence, 152 Ponnelle, Jean-Pierre, 46, 137 Kupfer, Harry, 134, 136 Preetorius, Emil, 131–3, 137 Kurth, Ernst, 144, 147 Proust, Marcel, 158 Puccini, Giacomo, 154 Lahor, Jean, 159 Lavignac, Albert, 65 Quaglio, Angelo, 120 Leichentritt, Hugo, 146 Lenau, Nikolaus, 38 rage aria, 47, 75 Leoncavallo, Ruggiero, 165 ranz des vaches,78 libretto language, 37 Ravel, Maurice, 163 lieder, 26–7 Riehl, Wilhelm Heinrich, 69, 70, 84 Liszt, Franz, 19, 21, 26, 27, 28–9 Ritter, Karl, 39 Röckel, August, 20, 137 MacNeil, Ian, 137 Rognoni, Luigi, 145 mad scenes, 47–8 Roller, Alfred, 126 Maeterlinck, Maurice, 160 Root, Waverley Lewis, 31 Mahler, Gustav, 118, 126 Rose, Jürgen, 140

Index 213

Rosen, Charles, 147 dawn-song, 44, 89–90, 114 Rupprecht, Philip, 159 day and night, 87–8 designer/director, role of 133 Satie, Erik, 164 intertextuality, 37–8, 142–4, 150 Savinio, Alberto, 157 inward character of, 70 Schneider-Siemssen, Günther, 133, 136 isolation of individual, 97–8 Schnorr von Carolsfeld, Ludwig, 122 libretto (see also ‘passages’ below) Schoenberg, Arnold, 145, 147; Act I, 42–4; Act II, 44–6; Erwartung, 145; Gurrelieder, 146; Act III, 46–52 Op. 11, 146; Verklärte Nacht, 145 act climaxes, 41–2 Schopenhauer, Arthur, 27, 45, 70, 72–3, and Faust, 38, 41 84, 94, 120, 142, 153, 161 and romance narrative, 39–40 ‘Will’, 69, 72–3, 74, 76, 80, 84, 89, 94, chiasmus, 43, 45–6 161, 162 individual terms, bewuβt, ein- Schumann, Clara, 150, 153, 164 bewuβt, unbewuβt,41–2, 46, 52; Scruton, Roger, 2 Blick, 84; Liebeslust, Lust 37, 41; Sellars, Peter, 138 und, 45; Welt-Atem, 51; Shakespeare, William, Romeo west-east, 47 and Juliet,34 memory and desire, 40–1, 47 Shaw, George Bernard, 141, 151 prose draft, 48 Söhnlein, Kurt, 131 publication, 37 Sollertinsky, Ivan, 130 sources, 38–9 Spohr, Louis, 108 subjectivity, 40–1, 45 Stein, Erwin, 126 Liebesnacht, 41, 44–6 Steingraber, Thor, 141 Liebestod (love-death), and Verklärung Strauss, Richard, 108, 110, 140, 151–2 (Transﬁguration), 47; see also: (Isolde and Salome); Ariadne auf passages, Act II Naxos, 163; Capriccio, 155; modernity of, 119 Elektra, 147, 149, 150; motifs, ‘Death the Liberator’, 65; Rosenkavalier, 162–3 ‘Desire’, 75, 80, 88, 93–4; Szymanowski, Karol, 152 ‘Felicity’, 65, 66; ‘Glance’,80–6; ‘Tantris’, 101–2; ‘Yearning’, 99, Thomas of Brittany, 38, 39 100–1, 159; see also ‘Tristan’ Tietjen, Heinz, 131 chord Titian (Tiziano Vecelli), 48 musical language, and ambiguity, 77, Toscanini, Arturo, 126 98–103; and poetry, 96 Tovey, Donald Francis, 53 musical reminiscences of, interpreting, Tristanism, 157 143–4 Tristan legend, 20, 38–9 noumenal and phenomenal world, Tristan und Isolde 72–3 absence of conﬂict, 97 offstage horizon, 76–7, 79 acousmatic effects, 71, 76, 77, orchestra, ‘knowing’ (wissendes 89–90, 92 Orchester), 97, 115; predominance act beginnings, 42, 71–2 of, 97 alba / aubade, see dawn-song orchestration and decadence, 157 alienated sound, 108, 117–19 and expressionism, 145 Brangaene’s Watch Song, 114–17 and grand-operatic dramaturgy, cor anglais, 109–10 69–70 expansion of orchestral palette, 108 antithesis to sonata form, 24 French horns, 79, 110–12 as ‘transcendent opera’,96 inner voices, 113–14 beginnings of, 19–22 innovations, 110 composition of, 22–4 mass scoring, 108 curtains, 42–4, 72–3, 84 reception of, 117–19

214 Index

Tristan und Isolde (cont.) seeing and hearing, 70–3, 76–7, 79–80, Richard Strauss on, 108 83–4, 85–6, 90–4 timbres, description of, 109; ‘logic’ special position of, 144–5 of, 112–13 stage music 42 (see also: acousmatic passages (in order of appearance, effects) see also ‘Libretto’) stagings (in chronological order) Act I: Sailor’s song, 73–6, 156; Munich 1865, 120–3 (Ill. 1) Isolde’s narrative, 80–4; ‘Entartet Bayreuth 1886, 123–4 (Ill. 2) Geschlecht!’, 47, 75; Vienna 1903, 126 ‘Todgeweihtes Haupt’, 60, 61, 63, Paris 1904, 130 67; Love-potion, 40, 41, 42, 43–4, St Petersburg 1909, 126–30 (Ill. 4) 59–61, 67, 84–6; Conclusion, 76 La Scala (Milan) 1923, 126 (Ill. 3) Act II: Offstage horn calls, 77, 79; Bayreuth 1938, 131–3 (Ill. 5) Love-duet (Liebesnacht, Bayreuth 1962, 133–4 (Ill. 6) Tagesgespräch [‘discourse on Dresden 1975, 136 day’]), 87–90, 162; ‘O sink’ Berlin 1980, 136 hernieder’, 25, 88, 102, 112, 147, Bayreuth 1981, 46, 137 (Ill. 7) 162; ‘Lausch, Geliebter!’, 155, Bayreuth 1993, 138 161; ‘So stürben wir’, 57, 59, 88, English National Opera (London) 90; Brangaene’s Watch Song, 1996, 137–8 89–90, 114–17; Love-duet and Bayreuth 2005, 138 (Ill. 8) Isolde’sTransfiguration, 57–8, 88–9; Opéra Bastille (Paris) 2005, 138–40 Marke’s lament, 162; Tristan’s Covent Garden (London) 2006, 138 response, 63–5, 68 La Scala (Milan) 2007, 140 Act III: opening scene, 25, 46, 65–6, Zurich 2008, 140 79, 159; Alte Weise (ancient United States, 140–1; Metropolitan melody), 72, 77–9; ‘Öd’ und leer Opera (New York), 131, 140 das Meer!’, 79, 156–7, 160, 166; subjectivity (interiority, inwardness), Tristan’s death, 67, 86; 29–30, 40–1, 45, 70, 84–5, 145 Isolde’s Liebestod (love-death) / Tagelied, see dawn-song Verklärung (Transfiguration), 24, ‘Tristan’ chord, 54, 56, 60, 64, 75, 87, 88, 57–8, 89, 90–4, 143, 152, 154, 158, 93, 99–100, 102, 142, 145–50, 159, 160; Liebestod and Love- 155–6, 159, 160, 161, 162, 163, 164, duet, 57–8, 88–9 165; and half-diminished chords, Prelude, 53–68, 74, 100–1, 142, 143, 148; as intertextual signal, 150; 144, 145, 163 as motif, 99–100; forms of, art of variation in, 66 102–3 beginning, 54–6; as ‘Prelude complex’, Verklärung (Transfiguration), see 56, 59; cello melody, 55–6, 60, 62, Liebestod 67 Wesendonck Lieder,25–8, 30, 35 conclusion, 56–7, 58 fermatas, see rhythmic halts Urban, Josef, 140 harmonic variation, 64–5 returns of Prelude material, 59, 66–8; Verlaine, Paul, 153 in Act I, 59–61; in Act II, 62–6, 67, Viebrock, Anna, 138 68; in Act III, 61–2, 65–6, 67; Viola, Bill, 138–40 strong and weak versions of, 59, Voss, Egon, 20, 25 66–7 rhythmic halts, 54–5, 57, 58, 62 Wagner, Cosima, 27, 32, 33, 34, Wagner’s description of, 56–7 123–4 Prelude and Transfiguration Wagner, Minna, 20, 33 (concert piece), 53–4, 67 Wagner, Richard public and private, 26–7, 30, 34–5 and historical realism, 122 publication, 28 as stage director, 122–3

Index 215

correspondence with Mathilde Wagner, Siegfried, 131 Wesendonck, 30–4 Wagner, Wieland, 133–4 essays and theoretical writings: Wagner, Wolfgang, 133 ‘Beethoven’, 71, 74, 88; ‘On Weber, Carl Maria von, 104–5 Conducting’, 58; ‘On the Term Webster, James, 148–9 “Music Drama”’,69–70, 84; Oper Weingartner, Felix, 124 und Drama,39–40, 70, 80, 85, 107 Wendel, Heinrich, 134 financial difficulties, 21–2, 25, 28 Wernicke, Werner, 137, 138 on performance of operas, 123 Wesendonck, Karl von, 34 operas and music-dramas (except Wesendonck, Mathilde, 19, 25, 27, Tristan und Isolde): Der fliegende 28, 29, 30–4, 35, 40, 66, 140; Höllander, 37, 105, 120; correspondence with Wagner, Lohengrin, 96, 105, 106, 107; Die 30–4; literary works, 31–2; Meistersinger von Nürnberg, 98, Wesendonck Lieder,25–8, 142–4, 150; Das Rheingold, 116; 30, 35 Rienzi, 106; Der Ring des Wesendonck, Otto, 19, 25, 30, Nibelungen, 21, 106; Tannhäuser, 31, 140 105, 106; Die Walküre, 108, 112 Wolf, Hugo, 153–4, 165 preludes and overtures, 74 orchestration (before Tristan), 105–7; Zemlinsky, Alexander, 163 alienation of timbres, 106; Žižek, Slavoj, 29, 140 synthetic conception of, 106, 107 Zuckerman, Elliott, 157