Esolde Evans, Hitwoman

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The re-discovery of medieval Germanic poetry, including Gottfried von Strassburg's version of Tristan [ de], the Nibelungenlied and Wolfram von Eschenbach's Parzival, left a large impact on the German Romantic movements during the mid-19th century. The story of Tristan and Isolde is a quintessential romance of the Middle Ages and the Renaissance. 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. [4] Magee, Bryan (2001). The Tristan Chord: Wagner and Philosophy. New York: Metropolitan Books. ISBN 978-0-8050-6788-0. The next production of Tristan was in Weimar in 1874. Wagner himself supervised another production of Tristan in Berlin in March 1876, but the opera was only performed in his own theatre at the Bayreuth Festival after his death; Cosima Wagner, his widow, oversaw this in 1886, a production that was widely acclaimed. The Irish prince Morold, his weapons blessed by the princess Isolde, travels to Cornwall to claim tribute from King Marke. The King’s nephew, Tristan, fights with Morold and kills him but is wounded himself. He sends Morold’s head (instead of the claimed tribute) to Ireland. Tristan’s wound can only be healed by Isolde, since she had blessed the weapon that wounded him. Disguised as a minstrel, he allows his boat to be swept onto the coast of Ireland. Nursing him, Isolde is gripped by a feverish love – even though she realises he is the man who has killed Prince Morold – and it is reciprocated. Isolde knows she should avenge Ireland’s disgrace – but she cannot. Once healed, Tristan is allowed to return to Cornwall. Some time later, King Marke, whose own wife has died, is persuaded to claim Isolde as his wife. Tristan is sent to Ireland to fetch her. Isolde is mortified that Tristan is doing this.

a six-minute paraphrase by Enjott Schneider, Der Minuten-Tristan (1996), originally written for 12 pianists at six pianos;

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May, Thomas (2004). Decoding Wagner. Pompton Plains, New Jersey: Amadeus Press. ISBN 978-1-57467-097-4. Goulding, Phil G. (16 March 2011). Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works. Random House Publishing Group. p.148. ISBN 978-0-307-76046-3. Twain, Mark (6 December 1891). "Mark Twain at Bayreuth". Chicago Daily Tribune. See "At the Shrine of St. Wagner". twainquotes.com . Retrieved 18 November 2010.

Schott Aktuell Archived 14 May 2016 at the Portuguese Web Archive. January/February 2012, pp. 10–12, accessed 3 March 2012 Holloway, Robin (1982). " Tristan und Isolde". In Blyth, Alan (ed.). Opera on Record. New York: Harper & Row. pp.363–375. ISBN 978-0-06-090910-9. 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. [12] The four notes of the chord have been the subject of endless musicological wrangling, which has attempted to define its significance in the opera itself, as well as how it has gone on to have a life of its own, as signifier of heightened and frustrated desire and tension not only in Wagner’s later operas but in all manner of fin de siècle works, good and bad. The New Grove dictionary does its best at a summary: ‘It can be explained in ordinary functional harmony as an augmented (French) sixth with the G sharp as a long appoggiatura to the A, or…as an added sixth chord in first inversion with chromatic alterations.’ If ever an opera seemed resistant to such analysis, though, it is Tristan, whose world is patently not one of ‘ordinary functional harmony’, as is made clear even in those first three bars of the Prelude, whose Langsam und schmachtend (‘Slow and yearning’) marking is as much a precis of the action as a musical direction. According to his autobiography, Mein Leben, Wagner decided to dramatise the Tristan legend after his friend, Karl Ritter, attempted to do so, writing that:

Difficult beginnings

Payne, Anthony (12 February 1994). "Greatest of late starters: Anthony Payne feasts on Chabrier". The Independent . Retrieved 19 November 2010. Wagner, Richard (1911). My Life ((2 volumes; authorized English translation)). New York: Dodd, Mead. ( Volume 1 and 2 at Google Books) Just these few choice quotations suggest that no opera, or even musical work – at least before the 20th century – has inspired such visceral and varied reactions as the ‘sublimely morbid, consuming and magical work’ that, according to Thomas Mann, was Tristan und Isolde. Friedrich Nietzsche famously called it the ‘true opus metaphysicum of all art’, writing elsewhere that ‘I am still looking for a work with as dangerous a fascination, with as terrible and sweet an infinity as Tristan – I look through the arts in vain’. On first seeing a score of the Prelude, the philosopher – in what might serve as a warning for anyone setting out to write about the work – reported: ‘I simply cannot bring myself to remain critically aloof from this music; every nerve in me is a-twitch, and it has been a long time since I had such a lasting sense of ecstasy.’ Breaking the rules

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. [17] 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!"). The deferred resolution is frequently interpreted as symbolising both physical sexual release and spiritual release via suicide – the long-awaited completion of this cadence series arrives only in the final " Liebestod" ("Love-Death"), during which the musical resolution (at "In des Welt-Atems wehendem All") coincides with the moment of Isolde's death. [18]

Blyth, Alan (1992). Opera on CD: The Essential Guide to the Best CD Recordings of 100 Operas. London: Kyle Cathie. ISBN 978-1-85626-056-5. On-line catalogue entry Tristan und Isolde DVD conducted by James Levine". Deutsche Grammophon . Retrieved 1 December 2010. Wagner wrote of his preoccupations with Schopenhauer and Tristan in a letter to Franz Liszt (16 December 1854): Mark Twain, on a visit to Germany, heard Tristan 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 groping savage in the college of the learned, and always, during service, I feel like a heretic in heaven." [32] Schott Aktuell Archived 14 May 2016 at the Portuguese Web Archive. January/February 2012, p. 11, accessed 3 March 2012