Wagner's Parody Technique Träume and the Tristan Love Duet

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Wagner's Parody Technique Träume and the Tristan Love Duet

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  • Society for Music Theory

    Wagner's Parody Technique: "Trume" and the "Tristan" Love DuetAuthor(s): Robert GauldinSource: Music Theory Spectrum, Vol. 1 (Spring, 1979), pp. 35-42Published by: University of California Press on behalf of the Society for Music TheoryStable URL: http://www.jstor.org/stable/745777Accessed: 27/07/2010 17:50

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  • Wagner's Parody Technique: "Traume" and the Tristan Love Duet

    by Robert Gauldin

    Wagner's Parody Technique: "Traume" and the Tristan Love Duet

    by Robert Gauldin

    Numerous authors have noted those passages of common musical material in Wagner's "Traume" and the Love Duet ("O sink' hernieder, Nacht der Liebe") which occurs about the middle of the second scene in Act II of Tristan und Isolde. Aside from obvious thematic borrowings, there appear to exist deeper and more subtle relationships between the two works which suggest a kind of parody technique. In addition, it is possible that certain harmonic and linear functions embedded within the song provide the seeds for important tonal relations which appear in expanded form later in the opera.

    In April of 1857 Wagner was invited by the Wesendonks to live at Asyl, a cottage on their estate. It was here that the celebrated "affair" between Richard and Mathilde continued to blossom and supply the composer with much of the impetus and inspiration for Tristan. The poem of the opera was finished and read to a gathering in September of 1857. Once his new piano

    1All page references are taken from the Dover reprint of the full score of Tristan (New York: Dover Publications, 1973). The measure numbers for the Love Duet begin with the Massig langsam on p. 348.

    Numerous authors have noted those passages of common musical material in Wagner's "Traume" and the Love Duet ("O sink' hernieder, Nacht der Liebe") which occurs about the middle of the second scene in Act II of Tristan und Isolde. Aside from obvious thematic borrowings, there appear to exist deeper and more subtle relationships between the two works which suggest a kind of parody technique. In addition, it is possible that certain harmonic and linear functions embedded within the song provide the seeds for important tonal relations which appear in expanded form later in the opera.

    In April of 1857 Wagner was invited by the Wesendonks to live at Asyl, a cottage on their estate. It was here that the celebrated "affair" between Richard and Mathilde continued to blossom and supply the composer with much of the impetus and inspiration for Tristan. The poem of the opera was finished and read to a gathering in September of 1857. Once his new piano

    1All page references are taken from the Dover reprint of the full score of Tristan (New York: Dover Publications, 1973). The measure numbers for the Love Duet begin with the Massig langsam on p. 348.

    arrived, Wagner plunged into the composition of Act I, the full score of which eventually was completed the following April. During the fall of 1857 Mathilde showed Wagner some of the lyric poems she had written in imitation of the Tristan poem. He proceeded to set these "pretty verses sent over to me" at various times during the next seven months. The autograph for "Traume," the second of the Fiinf Gedichte fur eine Frauenstimme, is dated December 5, 1857.2 The first version of the song (December 4) began with the sixteenth bar; in his revision the following day Wagner borrowed the music from the piano coda to serve as an introduction, appending the first six bars with its melodic outlining of the Tristan chord (E-flat) F A-flat C-flat E-flat. Two other songs from the series furnished thematic material for the opera ("Schmerzen" and "Im Treibhause"); however, the subtitleStudie zu Tristan und Isolde was not added to "Traume" and "Im Treibhause" until the publication of the collection some five years later. Although sketches for the first scene of Act II date from this period, we

    arrived, Wagner plunged into the composition of Act I, the full score of which eventually was completed the following April. During the fall of 1857 Mathilde showed Wagner some of the lyric poems she had written in imitation of the Tristan poem. He proceeded to set these "pretty verses sent over to me" at various times during the next seven months. The autograph for "Traume," the second of the Fiinf Gedichte fur eine Frauenstimme, is dated December 5, 1857.2 The first version of the song (December 4) began with the sixteenth bar; in his revision the following day Wagner borrowed the music from the piano coda to serve as an introduction, appending the first six bars with its melodic outlining of the Tristan chord (E-flat) F A-flat C-flat E-flat. Two other songs from the series furnished thematic material for the opera ("Schmerzen" and "Im Treibhause"); however, the subtitleStudie zu Tristan und Isolde was not added to "Traume" and "Im Treibhause" until the publication of the collection some five years later. Although sketches for the first scene of Act II date from this period, we

    2Facsimile of the autograph (Leipzig: VEB Deutscher Verlag fur Musik). 2Facsimile of the autograph (Leipzig: VEB Deutscher Verlag fur Musik).

  • 36 Music Theory Spectrum 36 Music Theory Spectrum

    may safely assume that the composition of "Traume" precedes any early drafts of the Love Duet.

    Several relations between the texts of the two pieces may be noted. Both contain five stanzas of four lines each with identical poetic meter.3 In "Traume" the author looks forward to each new day ("Jedem Tage schoner bliih'n' and "Sie der neue Tag begrusset"), while in Tristan the lovers wish for the fall of night ("Verloschen nun die letzte Leuchte").4 The final line of the song ("Und dann sinken in die Gruft") and the opening words of the Duet ("O sink' hernieder, Nacht der Liebe") carry symbolic connotations. It is interesting that when Wagner changed his original stage directions for this scene, he substi- tuted the phrase "senkt sich vor ihr auf die Knie."5

    may safely assume that the composition of "Traume" precedes any early drafts of the Love Duet.

    Several relations between the texts of the two pieces may be noted. Both contain five stanzas of four lines each with identical poetic meter.3 In "Traume" the author looks forward to each new day ("Jedem Tage schoner bliih'n' and "Sie der neue Tag begrusset"), while in Tristan the lovers wish for the fall of night ("Verloschen nun die letzte Leuchte").4 The final line of the song ("Und dann sinken in die Gruft") and the opening words of the Duet ("O sink' hernieder, Nacht der Liebe") carry symbolic connotations. It is interesting that when Wagner changed his original stage directions for this scene, he substi- tuted the phrase "senkt sich vor ihr auf die Knie."5

    "Triume" Intro. (Stanzas 1-3) "Triume" Intro. (Stanzas 1-3)

    Borrowed Material from "Traume" Four distinct sections of the song are reset in the Love Duet

    with only minor alterations. These include the piano introduc- tion (mm. 1-16 = 1-21), the E-flat dominant cadential chord at the conclusion of the third stanza (mm. 48-49 = 42-45), the vocal closing section based on the last two lines of text (mm. 61-68 = 86-94), and the piano coda (mm. 68-84 = 94-103). The remaining music of both "Traume" and the Love Duet falls into two sections which flank the interior cadence-chord mentioned above, so that the overall structure of the two pieces is somewhat similar as to their succession of material.

    Borrowed Material from "Traume" Four distinct sections of the song are reset in the Love Duet

    with only minor alterations. These include the piano introduc- tion (mm. 1-16 = 1-21), the E-flat dominant cadential chord at the conclusion of the third stanza (mm. 48-49 = 42-45), the vocal closing section based on the last two lines of text (mm. 61-68 = 86-94), and the piano coda (mm. 68-84 = 94-103). The remaining music of both "Traume" and the Love Duet falls into two sections which flank the interior cadence-chord mentioned above, so that the overall structure of the two pieces is somewhat similar as to their succession of material.

    E-flat cadence E-flat

    cadence (Stanzas 4-5) (Stanzas 4-5)

    mm. 1-16 17-47 48-49 50-60 mm. 1-16 17-47 48-49 50-60

    w

    Love Duet Stanza 1 (Stanzas 2-3) w

    Love Duet Stanza 1 (Stanzas 2-3) (Stanzas 4-5) (Stanzas 4-5) v v

    mm. 1-21 22-41 42-45 46-85

    3An additional line is added in the Duet for the vocal closing section (mm. 86-94).

    4Note the gradual descent of the Tag motive in mm. 34-39 of the Duet, suggesting the last glimmering light of day.

    5See Ellis, Life of Richard Wagner, (London: Kegan Paul, Trench, Tribner and Co., 1908), VI, 313.

    mm. 1-21 22-41 42-45 46-85

    3An additional line is added in the Duet for the vocal closing section (mm. 86-94).

    4Note the gradual descent of the Tag motive in mm. 34-39 of the Duet, suggesting the last glimmering light of day.

    5See Ellis, Life of Richard Wagner, (London: Kegan Paul, Trench, Tribner and Co., 1908), VI, 313.

    Vocal Closing Section

    Vocal Closing Section

    61-68

    86-94

    61-68

    86-94

    Coda Coda

    68-84

    94-103

    68-84

    94-103

  • Wagner's Parody Technique 37 Wagner's Parody Technique 37

    It is not difficult to appreciate the reasoning behind Wagner's inclusion of these specific portions of the song in Tristan. Aside from the obvious melodic outlining of the Tristan chord in the first measures, the harmonic language of the opening and clos- ing parts of Trdume is more compatible with the general chro- matic vocabulary of the opera. A summary of the basic voice leading of these sections reveals several points of interest (see Example 1):

    1. The first three tones introduced which are foreign to the A A-flat tonic triad are F, F-flat, and C-flat (or scale degrees 6, flat-6, and flat-3, respectively). The significance of these rela- tions will become apparent in later discussion.

    2. The wandering tritones which seem to avoid resolution in the ensuing harmonic progressions (note the retrograde effect).

    3. The prolonged appoggiaturas which eventually settle on g-5 over dominant and tonic harmonies.

    4. The extreme chromatic embellishment of the tonic triad in the vocal closing section, with a pronounced emphasis on those scale degrees mentioned above (flat-6 and flat-3).

    It is not difficult to appreciate the reasoning behind Wagner's inclusion of these specific portions of the song in Tristan. Aside from the obvious melodic outlining of the Tristan chord in the first measures, the harmonic language of the opening and clos- ing parts of Trdume is more compatible with the general chro- matic vocabulary of the opera. A summary of the basic voice leading of these sections reveals several points of interest (see Example 1):

    1. The first three tones introduced which are foreign to the A A-flat tonic triad are F, F-flat, and C-flat (or scale degrees 6, flat-6, and flat-3, respectively). The significance of these rela- tions will become apparent in later discussion.

    2. The wandering tritones which seem to avoid resolution in the ensuing harmonic progressions (note the retrograde effect).

    3. The prolonged appoggiaturas which eventually settle on g-5 over dominant and tonic harmonies.

    4. The extreme chromatic embellishment of the tonic triad in the vocal closing section, with a pronounced emphasis on those scale degrees mentioned above (flat-6 and flat-3).

    The harmonic framework of the piano introduction is strictly retained in its orchestral resetting. The rhythmic treatment is particularly interesting, since it represents one of the first in- stances in which Wagner forsook a straightforward reiterated eighth-note accompaniment (as found in the song and many of the earlier operas) for a more syncopated "throbbing" effect which obscures the underlying pulse.6 The added vocal parts answer each other in antiphonal phrases which overlap with each sustained appoggiatura. Those few alterations made in the vocal closing section are instructive but hardly significant from a structural standpoint. The piano coda provides the opening measures for Brangane's first interlude.

    Parodied Material from "Traume" Aside from the obvious passages mentioned above, the re-

    mainder of "Traume" bears little superficial resemblance to the Love Duet. In order to demonstrate those underlying quasi- parody relations which exist between the two works, it will be necessary to examine the basic voice leading and tonal scheme of the song in some detail. The bulk of the music which accom- panies the final two stanzas (mm. 50-60) does not reveal any significant parallels to the Tristan score. Indeed, it is also

    The harmonic framework of the piano introduction is strictly retained in its orchestral resetting. The rhythmic treatment is particularly interesting, since it represents one of the first in- stances in which Wagner forsook a straightforward reiterated eighth-note accompaniment (as found in the song and many of the earlier operas) for a more syncopated "throbbing" effect which obscures the underlying pulse.6 The added vocal parts answer each other in antiphonal phrases which overlap with each sustained appoggiatura. Those few alterations made in the vocal closing section are instructive but hardly significant from a structural standpoint. The piano coda provides the opening measures for Brangane's first interlude.

    Parodied Material from "Traume" Aside from the obvious passages mentioned above, the re-

    mainder of "Traume" bears little superficial resemblance to the Love Duet. In order to demonstrate those underlying quasi- parody relations which exist between the two works, it will be necessary to examine the basic voice leading and tonal scheme of the song in some detail. The bulk of the music which accom- panies the final two stanzas (mm. 50-60) does not reveal any significant parallels to the Tristan score. Indeed, it is also

    Ex. 1. Voice leading in the introduction and vocal closing section of "Traume" Ex. 1. Voice leading in the introduction and vocal closing section of "Traume"

    rn. 1-4 rn. 1-4 m. 5- 14 m. 5- 14 A A 6-5 A A 6-5

    A A A

    rL '~ rJ rJ rJ

    8 b s b 3, A A A rL '~ rJ rJ rJ

    8 b s b 3,

    m. 61-68

    1 bw j J J LJ I I, J |9 b br f' r l,2W ,r r rv i; r v i =9: b0i, ^ ^ i>j J rJ rJ F r h " " ^ E

    m. 61-68

    1 bw j J J LJ I I, J |9 b br f' r l,2W ,r r rv i; r v i =9: b0i, ^ ^ i>j J rJ rJ F r h " " ^ E

    6Another passing reference to "Traume" (p. 404 of the Dover score) retains a similar syncopated accompaniment. (Wagner noted that "the 'Traume' flit close by.") Also compare p. 325 to the opening bars of the song.

    6Another passing reference to "Traume" (p. 404 of the Dover score) retains a similar syncopated accompaniment. (Wagner noted that "the 'Traume' flit close by.") Also compare p. 325 to the opening bars of the song.

  • 38 Music Theory Spectrum 38 Music Theory Spectrum

    "coda-like" in nature, with its extended tonic pedal and insis- tence upon the tonicization of the subdominant area. For this reason, I have chosen to concentrate on that section which lies between the introduction and the interior E-flat cadential chord (mm. 17-49). A reduction of these first three stanzas is given in Example 2 (each strophe is separated by bar lines).

    Of paramount importance is the series of elongated appoggia- turas (see lower beaming in treble clef) which logically extend out of the introduction.7 No less than four of these are directly associated with the setting of the word "Traume." In addition, three of the appoggiaturas (those which embellish B-flat, C, and E-flat) serve as the cadential punctuation for each strophe. This is a particularly interesting example of text setting, since in each poetic stanza "Traume" is thefirst (rather than the last) word.8 The appoggiaturas proceed stepwise from the lower E-flat,

    "coda-like" in nature, with its extended tonic pedal and insis- tence upon the tonicization of the subdominant area. For this reason, I have chosen to concentrate on that section which lies between the introduction and the interior E-flat cadential chord (mm. 17-49). A reduction of these first three stanzas is given in Example 2 (each strophe is separated by bar lines).

    Of paramount importance is the series of elongated appoggia- turas (see lower beaming in treble clef) which logically extend out of the introduction.7 No less than four of these are directly associated with the setting of the word "Traume." In addition, three of the appoggiaturas (those which embellish B-flat, C, and E-flat) serve as the cadential punctuation for each strophe. This is a particularly interesting example of text setting, since in each poetic stanza "Traume" is thefirst (rather than the last) word.8 The appoggiaturas proceed stepwise from the lower E-flat,

    omitting only the D-flat before climaxing on the upper dominant with a final 6-5 extension.9

    This ascending motion is also paralleled in two other lines (the upper beaming in the treble staff, which represents for the most part the peak tones of the vocal line, and the interior beaming of the bass voice). Both exhibit more extensive chro- matic movement than the above-mentioned appoggiaturas. The lower bass beaming and the accompanying harmonic functions denote the basic tonal foundation of this section. It likewise ascends (1 --- ), with the F acting almost as a long-range appoggiatura to the final dominant (6-- again). The first three scalar degrees also appear at a lower structural level in the first stanza with some chromatic filler (A-flat A-natural B-flat C). Notice how many of the lines seem to converge on the F at the opening of the third stanza, which then in turn resolves to E-flat during the strophe.

    omitting only the D-flat before climaxing on the upper dominant with a final 6-5 extension.9

    This ascending motion is also paralleled in two other lines (the upper beaming in the treble staff, which represents for the most part the peak tones of the vocal line, and the interior beaming of the bass voice). Both exhibit more extensive chro- matic movement than the above-mentioned appoggiaturas. The lower bass beaming and the accompanying harmonic functions denote the basic tonal foundation of this section. It likewise ascends (1 --- ), with the F acting almost as a long-range appoggiatura to the final dominant (6-- again). The first three scalar degrees also appear at a lower structural level in the first stanza with some chromatic filler (A-flat A-natural B-flat C). Notice how many of the lines seem to converge on the F at the opening of the third stanza, which then in turn resolves to E-flat during the strophe.

    Ex. 2. Voice leading and tonal scheme of the first three stanzas of "Traume" Ex. 2. Voice leading and tonal scheme of the first three stanzas of "Traume"

    m. 17 m. 17 m.33 m.33

    V7/V V7/V

    m. 42 m. 42

    V V7/VI VI V V7/VI VI V7 V7

    Stanza I (mm. 17-32) I 1

    Traume

    8m. 8m.

    Stanza I (mm. 17-32) I 1

    Traume

    8m. 8m.

    7There are two passages where these appoggiatura figures appear in rhythmic diminution (mm. 33-34 and 43-44); the first instance uses the identical pitches.

    8The phraseology is laid out in the following manner:

    7There are two passages where these appoggiatura figures appear in rhythmic diminution (mm. 33-34 and 43-44); the first instance uses the identical pitches.

    8The phraseology is laid out in the following manner:

    Stanza II (mm. 33-41) Stanza III (mm. 42-49) I 1 1 1

    Traume Traume

    9m. 8m.

    Stanza II (mm. 33-41) Stanza III (mm. 42-49) I 1 1 1

    Traume Traume

    9m. 8m.

    90ne may wish to point out the similarity of the appoggiatura line (E-flat F G A-flat B-flat C E-flat) to the tones in the opening Tristan chord (E-flat F A-flat C-flat E-flat).

    90ne may wish to point out the similarity of the appoggiatura line (E-flat F G A-flat B-flat C E-flat) to the tones in the opening Tristan chord (E-flat F A-flat C-flat E-flat).

    t' J b.." f ?t ab's f r ;4; ' -r l t' J b.." f ?t ab's f r ;4; ' -r l

  • Wagner's Parody Technique 39 Wagner's Parody Technique 39

    For the sake of comparison the remainder of the Love Duet is divided into two parts (Section I = mm. 22-45 and Section II mm. 46-85), each of which will be treated separately. Section I, which is basically a development of the Tag motive, contains two striking relationships to "Traume. " The stepwise motion of the appoggiaturas (Example 3) in the song spanning the octave from E-flat to E-flat is now extended and chromaticized to cover this entire first section. The voice parts begin the ascent to the B-flat in m. 25. At this point the woodwinds continue the upward motion, culminating on the first F-E-flat; the strings then initiate another octave ascent, which overlaps back into the woodwinds. The voices rejoin the orchestra to complete the movement once more on the E-flat cadential chord (mm. 42-45) with its elongated F-E-flat (6-5). Note how the anticipated dominant is delayed through the reiterated F-flats and F-naturals in the upper voice (mm. 36-41), thereby heightening the even- tual resolution.

    This device of a rising chromatic line concluding with an appoggiatura is not unique to this portion of the opera alone. It

    For the sake of comparison the remainder of the Love Duet is divided into two parts (Section I = mm. 22-45 and Section II mm. 46-85), each of which will be treated separately. Section I, which is basically a development of the Tag motive, contains two striking relationships to "Traume. " The stepwise motion of the appoggiaturas (Example 3) in the song spanning the octave from E-flat to E-flat is now extended and chromaticized to cover this entire first section. The voice parts begin the ascent to the B-flat in m. 25. At this point the woodwinds continue the upward motion, culminating on the first F-E-flat; the strings then initiate another octave ascent, which overlaps back into the woodwinds. The voices rejoin the orchestra to complete the movement once more on the E-flat cadential chord (mm. 42-45) with its elongated F-E-flat (6-5). Note how the anticipated dominant is delayed through the reiterated F-flats and F-naturals in the upper voice (mm. 36-41), thereby heightening the even- tual resolution.

    This device of a rising chromatic line concluding with an appoggiatura is not unique to this portion of the opera alone. It

    has already been anticipated in the opening bars of the Prelude (mm. 2-17), where the soprano chromatically fills a span from G-sharp to the upper A via the appoggiatura B-A. The final apotheosis occurs in the climax to the Liebestod; here the ex- tended chromatic ascent culminates with the twofold 6-5 over the subdominant and tonic harmonies.

    The scale degree flat-8 and flat-i discussed previously in the beginning measures of "Traume" now become significant pil- lars in the tonal scheme of this section (Example 4). The under- lying harmonic foundation is given in Example 4. Wagner opens this section with the deceptive F-flat (flat-VI) followed by a tonicization of C-flat (flat-III). Although the tonal movement appears quite fluid on the surface, the bass line serves as a solidifying factor in the fundamental center of A-flat. Despite the harmonies placed above them, the basic framework tones in the lower voice are all diatonic scalar degrees in A-flat.

    The new thematic idea which opens Section II represents a remarkable transformation (Example 5) of the initial vocal phrase in "Traume" (note the bracketing).

    has already been anticipated in the opening bars of the Prelude (mm. 2-17), where the soprano chromatically fills a span from G-sharp to the upper A via the appoggiatura B-A. The final apotheosis occurs in the climax to the Liebestod; here the ex- tended chromatic ascent culminates with the twofold 6-5 over the subdominant and tonic harmonies.

    The scale degree flat-8 and flat-i discussed previously in the beginning measures of "Traume" now become significant pil- lars in the tonal scheme of this section (Example 4). The under- lying harmonic foundation is given in Example 4. Wagner opens this section with the deceptive F-flat (flat-VI) followed by a tonicization of C-flat (flat-III). Although the tonal movement appears quite fluid on the surface, the bass line serves as a solidifying factor in the fundamental center of A-flat. Despite the harmonies placed above them, the basic framework tones in the lower voice are all diatonic scalar degrees in A-flat.

    The new thematic idea which opens Section II represents a remarkable transformation (Example 5) of the initial vocal phrase in "Traume" (note the bracketing).

    Ex. 3. Comparison of appoggiaturas in "Traume" to section I of the Love Duet Ex. 3. Comparison of appoggiaturas in "Traume" to section I of the Love Duet

    TrUiume TrUiume m. 17- 49 m. 17- 49

    Love Duet Love Duet m. 22 m. 22 26 26 30 34 30 34

    Vocal

    Orch,

    Vocal

    Orch,

    Eng. It. Ob. II L1 1 ' l I 1 Cl. I V Vln . I 05. I

    Eng. It. Ob. II L1 1 ' l I 1 Cl. I V Vln . I 05. I

    bi b -r, i r 3, I . L6 l _ I1 7 1, A bi b -r, i r 3, I . L6 l _ I1 7 1, A

  • 40 Music Theory Spectrum

    Ex. 4. Basic harmonic scheme of section I of the Love Duet

    n. 22 26 30

    40 Music Theory Spectrum

    Ex. 4. Basic harmonic scheme of section I of the Love Duet

    n. 22 26 30 34 34

    Ex. 5. Transformation of the opening vocal theme of "Traume"

    "Traume" m. 17- 20

    Ex. 5. Transformation of the opening vocal theme of "Traume"

    "Traume" m. 17- 20

    =^ $ J. ^l[J'J-^t) I J, I 1 Abl F6F

    Love Duet m. 46 - 51 x~~~~~~~~~~~Y

    A -

    ~ibPi j- hi^jA L-? i? r J I^L ^Jj.^I

    =^ $ J. ^l[J'J-^t) I J, I 1 Abl F6F

    Love Duet m. 46 - 51 x~~~~~~~~~~~Y

    A -

    ~ibPi j- hi^jA L-? i? r J I^L ^Jj.^I A A

    The flat-6 relation, which has been lurking beneath the tonal fabric of the first measures of this section (mm. 46-48) now becomes the means by which a long scale ascent of chromatic tonicizations is effected: flat-VI in A-flat = V in A). This sequence continues upward to B-flat, where a new thematic element (the "Geborgenheit in Liebe" motive) re-articulates the key. A tonal summary of this section is given in Example 6.10

    One is immediately struck by the similarity of the underlying framework to that of the first three stanzas of "Traume." Note

    10A detailed layer analysis of the first 19 bars of this section appears in Salzer-Schachter Counterpoint in Composition (New York: McGraw Hill,

    The flat-6 relation, which has been lurking beneath the tonal fabric of the first measures of this section (mm. 46-48) now becomes the means by which a long scale ascent of chromatic tonicizations is effected: flat-VI in A-flat = V in A). This sequence continues upward to B-flat, where a new thematic element (the "Geborgenheit in Liebe" motive) re-articulates the key. A tonal summary of this section is given in Example 6.10

    One is immediately struck by the similarity of the underlying framework to that of the first three stanzas of "Traume." Note

    10A detailed layer analysis of the first 19 bars of this section appears in Salzer-Schachter Counterpoint in Composition (New York: McGraw Hill,

    the upper voice, which again fills in the E-flat-E-flat octave with the neighboring F. The last ten measures are particularly interesting; in the Love Duet the Tristan chord occurs above the F, which then moves to E7 = Ger6 in A-flat enharmonically, eventually resolving to the dominant in m. 84.1 The half-

    1969, pp. 453-57). Their reduction to a seies of 5-6 successions implies a reversal of the 6-5 noted previously. Unfortunately the analysis stops midway through the passage; I find it difficult to agree with their analysis of the A-flat7 in bar 19 as a bona fide tonic chord.

    1 'This is not as farfetched as it may appear at first, since Wagner does indeed resolve it in a similar manner later in the act (see p. 448 in the Dover score). A rare example of an augmented sixth of an augmented sixth!

    the upper voice, which again fills in the E-flat-E-flat octave with the neighboring F. The last ten measures are particularly interesting; in the Love Duet the Tristan chord occurs above the F, which then moves to E7 = Ger6 in A-flat enharmonically, eventually resolving to the dominant in m. 84.1 The half-

    1969, pp. 453-57). Their reduction to a seies of 5-6 successions implies a reversal of the 6-5 noted previously. Unfortunately the analysis stops midway through the passage; I find it difficult to agree with their analysis of the A-flat7 in bar 19 as a bona fide tonic chord.

    1 'This is not as farfetched as it may appear at first, since Wagner does indeed resolve it in a similar manner later in the act (see p. 448 in the Dover score). A rare example of an augmented sixth of an augmented sixth!

    46 46 -- --

    Ab Eb E- Ab Eb E- Ab Fb+ Ab Fb+

  • Wagner's Parody Technique 41 Wagner's Parody Technique 41

    Ex. 6. Basic voice leading in section II of the Love Duet Ex. 6. Basic voice leading in section II of the Love Duet

    m AR m AR 58 58 68 68 76 76 82 82

    miu bd ,t~~ I ba. - 6 Is _ _-

    tt ?" f' - "' - *

    I - r

    I ~~~~~~~~~~~m 1.kamda Rq? i?SP S,k11. IN~~~~~~~~~~~~~~~~~~~~~D.e 40

    tJ~~*~j~J;4A _0

    yr#1

    miu bd ,t~~ I ba. - 6 Is _ _-

    tt ?" f' - "' - *

    I - r

    I ~~~~~~~~~~~m 1.kamda Rq? i?SP S,k11. IN~~~~~~~~~~~~~~~~~~~~~D.e 40

    tJ~~*~j~J;4A _0

    yr#1

    (VI) Ger6 , -V7 I (VI) Ger6 , -V7 I

    diminished seventh chord over the pentultimate bass A-flat is identical in both pieces.

    The diagram in Example 7 serves as a summary of the above-mentioned tonal relations noted between "Traume" and the Love Duet. On this basis I do not feel that one is stretching the definition of the term in considering the Duet as a "parody" (either conscious or unconscious) of the song.

    diminished seventh chord over the pentultimate bass A-flat is identical in both pieces.

    The diagram in Example 7 serves as a summary of the above-mentioned tonal relations noted between "Traume" and the Love Duet. On this basis I do not feel that one is stretching the definition of the term in considering the Duet as a "parody" (either conscious or unconscious) of the song.

    Certain tonal aspects of "Traume" appear to have further implications in the music of the opera to follow. An analysis of Act I and the opening scene of Act II reveals that there is very little use of the flat-g (major third lower) and flat-3 (major third higher) harmonic relations in terms of major keys. After the Love Duet, however, there are extensive passages that are literally permeated with these root movements.12 The same

    Certain tonal aspects of "Traume" appear to have further implications in the music of the opera to follow. An analysis of Act I and the opening scene of Act II reveals that there is very little use of the flat-g (major third lower) and flat-3 (major third higher) harmonic relations in terms of major keys. After the Love Duet, however, there are extensive passages that are literally permeated with these root movements.12 The same

    Ex. 7. Summary of parodied relations between "Traume" and the Love Duet Ex. 7. Summary of parodied relations between "Traume" and the Love Duet

    m. 1 m. 1 22 22 42 46 42 46

    I I 1- I I 1- I I I I I I I I I I Borrowed material Borrowed material

    Section I 1. Appoggiaturas E-flat-E-flat 2. Tonal exploration

    of flat-6 and flat-3

    Section I 1. Appoggiaturas E-flat-E-flat 2. Tonal exploration

    of flat-6 and flat-3

    Section II 1. Thematic transformation 2. Use of flat-6 as pivot 3. Basic harmonic scheme 4. Appoggiaturas E-flat-E-flat

    Section II 1. Thematic transformation 2. Use of flat-6 as pivot 3. Basic harmonic scheme 4. Appoggiaturas E-flat-E-flat

    12For instance, see the familiar passage on p. 387 (Dover score) and its recapitulation in the Liebestod.

    12For instance, see the familiar passage on p. 387 (Dover score) and its recapitulation in the Liebestod.

    4A: 1 4A: 1 II II IIl IIl

    86 86

    I-- - I [ i I I [nl I-- - I [ i I I [nl

    =5b J i b5 _ ' I I i , p r I uL i =5b J i b5 _ ' I I i , p r I uL i

  • 42 Music Theory Spectrum 42 Music Theory Spectrum

    holds true for the appoggiatura 6-5.13 The tonality of A-flat is crucial to the remainder of this scene in Act II (see pp. 382ff. and 387ff. in the Dover score).14

    As a final thought, it is interesting to note the presence of those significant scale degrees in this analysis when the opening chords of the Prelude (see Example 8) are notated enharmonically in the key of A-flat.15 These common tones may well be one method of accounting for the extensive relation existing between the keys of A and A-flat in much of the opera, an example of which is the use of A major immediately before and after the Love Duet.

    Ex. 8. Enharmonic comparison of the Tristan chord

    "ft jto jdfr o? "b q b 6,,

    Ij~~,c~ b b3

    A b6 6 ($4)

    13The only significant use in Act I is on pp. 193-94 (Dover score), and here the 6 refuses to resolve to 5 within the C major triad.

    14Reti's explanation of the keys employed in the Liebestod (A-flat and B) hinges on the perfect fourths found within the first two Tristan chords of the Prelude (A-flat-E-flat and B-F-sharp). See Reti, The Thematic Process in Music (New York: Macmillan, 1951).

    15This assumes that the G-sharp in the Tristan chord is in fact a chordal member rather than a prolonged appoggiatura. On the basis of certain passages in the opera, I find it hard to consider otherwise (see particularly the Nacht- Sehnsucht motive on p. 345 of the Dover score, where the three Tristan chords of the Prelude are rearranged in order, and where no passing motion exists).

    holds true for the appoggiatura 6-5.13 The tonality of A-flat is crucial to the remainder of this scene in Act II (see pp. 382ff. and 387ff. in the Dover score).14

    As a final thought, it is interesting to note the presence of those significant scale degrees in this analysis when the opening chords of the Prelude (see Example 8) are notated enharmonically in the key of A-flat.15 These common tones may well be one method of accounting for the extensive relation existing between the keys of A and A-flat in much of the opera, an example of which is the use of A major immediately before and after the Love Duet.

    Ex. 8. Enharmonic comparison of the Tristan chord

    "ft jto jdfr o? "b q b 6,,

    Ij~~,c~ b b3

    A b6 6 ($4)

    13The only significant use in Act I is on pp. 193-94 (Dover score), and here the 6 refuses to resolve to 5 within the C major triad.

    14Reti's explanation of the keys employed in the Liebestod (A-flat and B) hinges on the perfect fourths found within the first two Tristan chords of the Prelude (A-flat-E-flat and B-F-sharp). See Reti, The Thematic Process in Music (New York: Macmillan, 1951).

    15This assumes that the G-sharp in the Tristan chord is in fact a chordal member rather than a prolonged appoggiatura. On the basis of certain passages in the opera, I find it hard to consider otherwise (see particularly the Nacht- Sehnsucht motive on p. 345 of the Dover score, where the three Tristan chords of the Prelude are rearranged in order, and where no passing motion exists).

    Article Contentsp. [35]p. 36p. 37p. 38p. 39p. 40p. 41p. 42

    Issue Table of ContentsMusic Theory Spectrum, Vol. 1 (Spring, 1979), pp. 1-132Front Matter [pp. 1 - 1]The Inception of the Society for Music Theory [pp. 2 - 5]On the Founding of "Music Theory Spectrum" [p. 6]Pitch Structure and the Analytic Process in Atonal Music: An Interpretation of the Theory of Sets [pp. 7 - 22]Ideas of Order in Motivic Music [pp. 23 - 34]Wagner's Parody Technique: "Trume" and the "Tristan" Love Duet [pp. 35 - 42]Abb Vogler and the Study of Fugue [pp. 43 - 66]Articulation of Tonal Structures as a Criterion for Analytic Choices [pp. 67 - 79]Harmonic Theory in Musical Treatises of the Late Fifteenth and Early Sixteenth Centuries [pp. 80 - 95]The Subconscious Language of Musical Time [pp. 96 - 106]The Continuing Concept of the Platonic-Pythagorean System and Its Application to the Analysis of Fifteenth-Century Music [pp. 107 - 120]Anonymous XI and Questions of Terminology in Theoretical Writings of the Middle Ages and Renaissance [pp. 121 - 128]Correspondence[Letter from Chappell White] [p. 129][Letter from Howard Mayer Brown] [p. 129]

    Back Matter [pp. 130 - 131]