Scan 355
The American History and Encyclopedia of Music, 1910
10 lines. Read by computer on 10 September 2026. Printed page 8. See the scan on archive.org.
1enlightened critics as holding the first place among Wagner's works.
3The Wagnerian plan of "endless melody" in the orchestral score practically precludes having any clearly and definitely defined numbers in the work.
5The first act is prefaced by an orchestral number containing the all pervading theme of love, which we soon feel is the central idea of the drama, the theme of The Glance, of Desire, of the Love Philter, the Death Potion, the Magic Casket, the Deliverance by Death.
7After the curtain rises, the first motive we hear is that of The Sea, and which appears in one line of the song sung by the young sailor from the mast. It appears again, first given by the 'cello, again as the sailor repeats his verse which tells that the wind is carrying them home, and later the winds, both wood and brass, voice the theme and are accompanied by the strings illustrating the action aboard ship. The sailor's son incenses Isolde, and we hear another theme, that of Anger, from 'cello and double bass.
9Other motives heard in this act and not in the prelude are those found in the song Kurwenal sings about a Sir Morold, known as the Glory to Tristan theme; Tristan Wounded, which appears in the song Isolde sings in describing how she cared for Tristan when he was ill; and Tristan the Hero; these, and those already heard in the Vorspiel, appear again and again. Before the opening of the second act the orchestra foretells the nature of the scene by giving us the motiv of the Day, which later we find to be the enemy of Tristan and Isolde, of Impatience, of Ardour and Desire, and as the curtain rises sounds of distant hunting horns are heard. Passionate Transport, heard when Tristan and Isolde meet in the garden, is a new theme, and in contrast to that of Day, we hear the Invocation to Night, an enchanting, mysterious passage. Death the Liberator, heard in the first prelude, appears in this act in the duet of Tristan and Isolde. Consternation is heard when King Mark discovers
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