Wagner's Tristan and Isolde . thbmubig] TRISTAN AND ISOLDE [chap, vn subtlest and most gradual transition is assur-edly the big scene in the second act of * Tristanand Isolde. The commencement of this sceneoffers the most overbrimming life in its mostpassionate emotions, — its close the devoutest,most consecrate desire of death. Those arethe piers: now see, child, how I ve spannedthem, how it all leads over from the oneabutment to the other! Just as this scene is at its peak of emotion,there is a brusque and discordant interruption,and Kurwenal rushes in, crying, Save your-self, Tristan! King
Wagner's Tristan and Isolde . thbmubig] TRISTAN AND ISOLDE [chap, vn subtlest and most gradual transition is assur-edly the big scene in the second act of * Tristanand Isolde. The commencement of this sceneoffers the most overbrimming life in its mostpassionate emotions, — its close the devoutest,most consecrate desire of death. Those arethe piers: now see, child, how I ve spannedthem, how it all leads over from the oneabutment to the other! Just as this scene is at its peak of emotion,there is a brusque and discordant interruption,and Kurwenal rushes in, crying, Save your-self, Tristan! King Marke, attended by hisretinue, headed by Melot, now burst upon thescene, surprising the two lovers. The remainder of the act is taken up by theaccusation and lament of King Marke. Herethe music is based principally upon twothemes, that of King Markes Lament. and the theme of King Marke: [3o9] chap, vn] TRISTAN AND ISOLDE [the music J^^f*] j i ,4- fcJ &- pT p f % f The incident is one of the most beautiful inthe work. Here Wagner has loosed his fountof appealing, tender melody. Cornwallsweary king is racked with grief at his knightsdeceit, but his feeling is that of exquisite sor-row. Tristan finds no answer to his kingsquestions and reproaches, but he turns toIsolde and asks if she will follow him into theland of night. She acquiesces, and he kissesher tenderly on the forehead. Then, feigningfury, he turns upon Melot, who had betrayedhim to the King, and calls upon him to defendhimself. Upon Melots sword Tristan throwshimself, in expiation of his crime against theKing. The orchestra sounds forth, at itsloudest, a distorted version of the theme ofLoves Confession—the first theme in thework, heard in the first act Prelude—and thenstops with a shrieking chord of D minor,leaving the hearer impressed by the swiftd
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Keywords: ., bookauthorleg, bookcentury1900, bookdecade1900, booksubjectoperas
