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Seven leading international writers discuss the genesis, libretto and music, and performance and reception history of Wagner's Tristan.
The legendary love story is presented in full orchestral score with complete instrumentation. Commentary by Felix Mottl, great Wagnerian conductor and scholar. Reprinted authoritative edition prepared by C. F. Peters, Leipzig, ca. 1910.
A tale of forbidden love and inevitable death, the medieval legend of Tristan and Isolde recounts the story of two lovers unknowingly drinking a magic potion and ultimately dying in one another's arms. While critics have lauded Wagner's Tristan and Isolde for the originality and subtlety of the music, they have denounced the drama as a "mere trifle"--a rendering of Wagner's forbidden love for Matilde Wesendonck, the wife of a banker who supported him during his exile in Switzerland. Death-Devoted Heart explodes this established interpretation, proving the drama to be more than just a sublimation of the composer's love for Wesendonck or a wistful romantic dream. Scruton boldly attests that Tristan and Isolde has profound religious meaning and remains as relevant today as it was to Wagner's contemporaries. He also offers keen insight into the nature of erotic love, the sacred qualities of human passion, and the peculiar place of the erotic in our culture. His argument touches on the nature of tragedy, the significance of ritual sacrifice, and the meaning of redemption, providing a fresh interpretation of Wagner's masterpiece. Roger Scruton has written an original and provocative account of Wagner's music drama, which blends philosophy, criticism, and musicology in order to show the work's importance in the twenty-first century.
How does musical harmony engage listeners in relations of desire? Where does this desire come from? Author Kenneth Smith seeks to answer these questions by analyzing works from the turn of the twentieth- century that are both harmonically enriched and psychologically complex. Desire in Chromatic Harmony yields a new theory of how chromatic chord progressions direct the listener on intricate journeys through harmonic space, mirroring the tensions of the psyche found in Schopenhauer, Freud, Lacan, Lyotard, and Deleuze. Smith extends this mode of enquiry into sophisticated music theory, while exploring philosophically engaged European and American composers such as Richard Strauss, Alexander Skryabin, Josef Suk, Charles Ives, and Aaron Copland. Focusing on harmony and chord progression, the book drills down into the diatonic undercurrent beneath densely chromatic and dissonant surfaces. From the obsession with death and mourning in Suk's asrael Symphony to an exploration of "perversion" in Strauss's elektra; from the Sufi mysticism of Szymanowski's Song of the Night to the failed fantasy of the American dream in Copland's The Tender Land, Desire in Chromatic Harmony cuts a path through the dense forests of chromatic complexity, revealing the psychological make-up of post-Wagnerian psychodynamic music.
When two boys save an old man from robbers, they learn of a competition in Londinium to decide the next king of Britain. The elder, Kay, is determined to prove himself worthy as a knight or a king. The younger is Arthur, a farm boy through and through - until he sees the sword in the stone.
Many music lovers find Wagner's operas inexpressibly beautiful and richly satisfying, while others find them revolting, dangerous, self-indulgent, and immoral. The man who W.H. Auden once called "perhaps the greatest genius that ever lived" has inspired both greater adulation and greater loathing than any other composer. Bryan Magee presents a penetrating analysis of Wagner's work, concentrating on how his sensational and deeply erotic music uniquely expresses the repressed and highly charged contents of the psyche. He examines not only Wagner's music and detailed stage directions but also the prose works in which he formulated his ideas, as well as shedding new light on his anti-semitism and the way in which the Nazis twisted his theories to suit their own purposes. Outlining the astonishing range and depth of Wagner's influence on our culture, Magee reveals how profoundly he continues to shock and inspire musicians, poets, novelists, painters, philosophers, and politicians today.
Das Rheingold, Die Walküre, and Siegfried. Parsifal. Tristan und Isolde. Both revered and reviled, Richard Wagner conceived some of the nineteenth century’s most influential operas—and created some of the most indelible characters ever to grace the stage. But over the course of his polarizing career, Wagner also composed volumes of essays and pamphlets, some on topics seemingly quite distant from the opera house. His influential concept of Gesamtkunstwerk—the “total work of art”—famously and controversially offered a way to unify the different media of an opera into a coherent whole. Less well known, however, are Wagner’s strange theories on sexuality—like his ideas about erotic acoustics and the metaphysics of sexual difference. Drawing on the discourses of psychoanalysis, evolutionary biology, and other emerging fields of study that informed Wagner’s thinking, Adrian Daub traces the dual influence of Gesamtkunstwerk and eroticism from their classic expressions in Tristan und Isolde into the work of the generation of composers that followed, including Zemlinsky, d’Albert, Schreker, and Strauss. For decades after Wagner’s death, Daub writes, these composers continued to grapple with his ideas and with his overwhelming legacy, trying in vain to write their way out from Tristan’s shadow.
Isolde's day has come. In Ireland, her mother, the Queen, lies dying. The throne of the Emerald Isle, one of the last strongholds of the goddess, awaits her. But while Ireland is her destiny, Isolde is already Queen of Cornwall, trapped in a loveless marriage to its mean-spirited King Mark. Her true love is his nephew, Tristan of Lyonesse, who has never married, remaining faithful only to Isolde. Across the sea in France, a young princess who shares Isolde's name enters the story. King Hoel named his daughtor in honor of Isolde of Ireland, and young Isolde of France has always been determined to outdo her beautiful namesake. She is a physician, too, and is called "Blanche Mains," for her white hands and healing touch. Blanche is of an age to be married, and she has chosen her husband—Tristan of Lyonesse. Her father objects, but fate favors Blanche. King Mark has become suspicious of his wife and nephew, and when Tristan is wounded in battle, he sees a chance to separate them for good. Mark sends Tristan to France to be healed by Blanche, who makes the most of the opportunity. Tristan's letters to Isolde are intercepted, and he is told that she has given him up. Near death from his wounds, Tristan sends one last, desparate letter to Isolde by a trusted servant. He is dying, he tells her, and asks for one final sign of their love. If she can forgive him for betraying her, she must come to France in a ship set with white sails. If the ship's sails are black, however, he will know that she no longer loves him. Isolde immediately leaves for France, but when Blanche sees the white-sailed ship from the castle window, she pulls the curtains and tells Tristan that the sails are black. To her horror, he turns his face to the wall and dies. There ends the traditional medieval story of Tristan and Isolde—with betrayal, death, and grief. But the original Irish lengend ends differently, and so does this book, wth magic and drama as only Rosalind Miles could write it.