Prelude and Liebestod - Wagner (1813-1883)

It would be fair to say that almost every composer who followed Wagner was in some way influenced by his innovations. Now, what did Wagner do that made him such an important figure in the world of music? It is helpful to know this to understand why his music sounds so utterly different from that of say Mozart and Beethoven. Pre-Wagner, music was much more formally constrained both in its structure and content. For example, opera was based on a series of set-pieces, arias, recitatives where, in general, the action stops while the protagonists sing of their plight, love, hate, death (on occasion even resurrecting themselves for an encore) - whatever. Wagner created a new opera art-form based on a continuous vocal and symphonic texture - a “music-drama”. The warp and woof of the music came from the intertwining of thematic ideas or "leading-motives." In essence a splendidly simple idea. Associate not only each of the characters but also the moods, underlying tensions, sexual desires etc., with an identifying musical idea, a “leading-motive”. Every time the listeners are to recall an event, bring back the relevant music and, even if only subconsciously, they will be reminded. The orchestra becomes much more of an integrated part of the performance rather than an accompaniment to the vocal line. If necessary, as certainly happens in Tristan and Isolde, when the action on stage runs the risk of becoming too passionate, the orchestra can continue to a climax unhindered by the censor.

At the time of writing “Tristan”, Wagner was (again!) deeply in love with some one else’s wife. Thus in a state of heightened emotion, a setting of the story of the tragic love of Tristan and Isolde was eminently suitable. The Prelude immediately sets the mood of the opera with the cellos and wind stating the chief “Love-Motive” followed by “Tristan’s Love Glance”. In the opera-house after some five hours of intense music, Tristan is dead. Isolde, over his body, herself looks forward to death as she sings her last notes – the Liebestod. Combining the Prelude and Liebestod to give such a brief but intense glimpse of the whole opera might seem a savage cut; yet Wagner himself conducted this version several times. The music is deeply emotional – hang on to your handkerchiefs!

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