Jonas, what a sublime piece of Art! That's good to dive into both climax and resolution to feel waves and depth created by this Mastermind!!! And thank you for Evaluation!!!😍
Loved this. Nothing like figured bass for exhibiting clarity! Thanks for posting. Just back from seeing Tristan und Isolde at Bayreuth. I love the B major smile at the end. The peace of the Buddha!
Thank you so much for this video! I’ve been struggling for years with whether the resolution of the chord is at the climax of the aria or the last note of the opera, and you’ve cleared it up! Thank you!
This analysis is perfect for me because I want to study Wagnerian harmony but I have difficulty reading orchestral scores with transposing instruments, but I can read figured bass, thanks for putting this video together!
Honestly, probably the best harmonic analysis of this section in history, makes it clear that Wagner was still operating withing tonality while absolutely stretching the boundaries of that system to its limit; also points out the false resolution with added 9th in the "BIG MOMENT", which many call the resolution.
deeply astonishing aria ever. but I wonder, at bar 27, I am conscious of Tristan chord as F B D# G#, but I found it something different. Fühlt(C), und(C#) with bass clef A, seht(D) ihr's(D#) with bass clef G#, bar 28 nicht(E). I have read your attached comment, but I still don't understand.
Hey, sorry I didn't answer earlier. You hear it right, and the score is also right. My commentary was just referring to the fact that if you exchange the F# for a Dx (D double sharp), then you'd get another release of the Tristan motif, but Wagner instead makes a deviation. The comment wasn't worded well however and didn't quite serve its purpose, sorry for the confusion! :-D
Why, oh why was Wagner such a horrible and disgusting person? Listening to his music in awe goes a bit in the direction of admiring a painting of Hitler. I will never be able to wrap my mind around the fact that this divine, supreme music was written my maybe the most repulsive character in music history. But it simply is exquisite music. Elegant, thought through, overwhelming, touching, timeless, beautiful, exciting, intelligent. And he lived long ago enough and didn't mass murder people. So I will forgive myself for listening to his works. But it will always have a certain aftertaste. Because he simply was a haggish, nasty and bitter narcissist with a profound, passionate hate and disgust towards Jews. It is a paradox to me how such a horrible person could possibly create music/lyrics dripping with tenderness, longing, melancholy, love, pathos, elegance and purpose. Incredible.
Thank you for your comment. I've wrestled with the same thought a lot as well, but during my most recent years of training in classical music theory, I also came to the conclusion that writing beautiful music is really a craft, and one doesn't have to be a particular good person in order to master this craft. We've been raised with the genius trope a lot, but one always has to keep in mind that even the 'masters' really were trained crafts(wo)men whose ability to write music wasn't gifted from heaven but they actually went through a hard process of learning, experimenting and doing. And in this, they were both just as extraordinary and as ordinary as crafts(wo)men from every other discipline, with their bright and with their (some with their very) dark personal sides.
Different system: you are referring to Roman Numeral system, where your statement is absolutely correct. Here, with the Roman Numeral the scale degree of the bass is referred to (confusing, I admit).
As depicted in my video description, I use a combination of bass scale degrees (like for example Förster, Heinichen, Schröter would do, though not necessarily with Roman numerals) with basso continuo figuration, so this makes III-6 at bar 44/3 (unlike the modern scale degree analysis you are referring to I guess, which makes a I-6, so it's just the same but from a different perspective). If that's not your case, fine. With my method, I am trying to grasp how Richard Wagner conceived this music, seeing how he wrote his scetches and manuscripts.
@@jonaswolfmusic1775 The B major chord is expected from the middle of the second act. Isolde's death finally gives this rest. TONIC. First degree. Calling this the third degree is unreasonable. No Tonic, no rest. Ineffective analysis. I'm sorry
Erm... I happen to know this opera. The point you mention (44/3) it is a tonic yes no doubt, but how remarkable that it's a first inversion, so the 3rd scale degree is in the bass which translates to III-6 (don't forget that 6, otherwise it wouldn't make any sense of course) in my analysis method - so we are actually describing the same phenomenon from a different perspective.
Clarification: 2:31 that's also an inversion of a Tristan chord, but the harmonic and melodic progression is different.
hillarious comments : "4 hours for this moment...AND IT'S STiLL A DECEPTIVE CADENCE" I want to talk to this guy ! bravo :)
Jonas, what a sublime piece of Art! That's good to dive into both climax and resolution to feel waves and depth created by this Mastermind!!! And thank you for Evaluation!!!😍
Loved this. Nothing like figured bass for exhibiting clarity! Thanks for posting. Just back from seeing Tristan und Isolde at Bayreuth. I love the B major smile at the end. The peace of the Buddha!
[waits till end] So it IS in B major!
Thank you so much for this video! I’ve been struggling for years with whether the resolution of the chord is at the climax of the aria or the last note of the opera, and you’ve cleared it up! Thank you!
Glad I could help you! :)
This analysis is perfect for me because I want to study Wagnerian harmony but I have difficulty reading orchestral scores with transposing instruments, but I can read figured bass, thanks for putting this video together!
Your welcome! I created this because I was in the exact same position.
the smiley face at the end made me cry 😂 What an analysis, thank you for sharing this!!
Happy you like it :)
Thank you for blessing us with this analysis.
Honestly, probably the best harmonic analysis of this section in history, makes it clear that Wagner was still operating withing tonality while absolutely stretching the boundaries of that system to its limit; also points out the false resolution with added 9th in the "BIG MOMENT", which many call the resolution.
Thank you for your appreciation!
Heavenly beautiful.
Nice analysis - thanks!
you're welcome :)
Thank you for this nice analysis video of the wonderful liebestod.
Simply outrageous music! Wonderful annotation_ super job! TVM
Thank you very much for this!
great work!
deeply astonishing aria ever. but I wonder, at bar 27, I am conscious of Tristan chord as F B D# G#, but I found it something different. Fühlt(C), und(C#) with bass clef A, seht(D) ihr's(D#) with bass clef G#, bar 28 nicht(E). I have read your attached comment, but I still don't understand.
Awesome work Jonas. Is it avaliable for download somewhere? Would like to use it for an intepretation for Ondes Martenot :)
Hey there, thanks for the kind words! :) Send me a message over my facebook or instagram page, then I can share you the score.
@@jonaswolfmusic1775 thank you so much. sent a message on messenger on fb
hi, at 3:48 you write "should be D double sharp" but I don't understand - I hear the phrase as "um - D, mich - D#, klin - F# and E#"
Hey, sorry I didn't answer earlier. You hear it right, and the score is also right. My commentary was just referring to the fact that if you exchange the F# for a Dx (D double sharp), then you'd get another release of the Tristan motif, but Wagner instead makes a deviation. The comment wasn't worded well however and didn't quite serve its purpose, sorry for the confusion! :-D
Why, oh why was Wagner such a horrible and disgusting person? Listening to his music in awe goes a bit in the direction of admiring a painting of Hitler.
I will never be able to wrap my mind around the fact that this divine, supreme music was written my maybe the most repulsive character in music history.
But it simply is exquisite music. Elegant, thought through, overwhelming, touching, timeless, beautiful, exciting, intelligent.
And he lived long ago enough and didn't mass murder people. So I will forgive myself for listening to his works.
But it will always have a certain aftertaste. Because he simply was a haggish, nasty and bitter narcissist with a profound, passionate hate and disgust towards Jews.
It is a paradox to me how such a horrible person could possibly create music/lyrics dripping with tenderness, longing, melancholy, love, pathos, elegance and purpose.
Incredible.
Thank you for your comment. I've wrestled with the same thought a lot as well, but during my most recent years of training in classical music theory, I also came to the conclusion that writing beautiful music is really a craft, and one doesn't have to be a particular good person in order to master this craft. We've been raised with the genius trope a lot, but one always has to keep in mind that even the 'masters' really were trained crafts(wo)men whose ability to write music wasn't gifted from heaven but they actually went through a hard process of learning, experimenting and doing. And in this, they were both just as extraordinary and as ordinary as crafts(wo)men from every other discipline, with their bright and with their (some with their very) dark personal sides.
44/3 : your chord 6-4 means d# g# b but your III means d# f# a#. It's not the same sounds.
Different system: you are referring to Roman Numeral system, where your statement is absolutely correct. Here, with the Roman Numeral the scale degree of the bass is referred to (confusing, I admit).
Warum veröffentlichst du alles nur auf Englisch? Schade!
Internationales Publikum schaut mit. Nachfragen werden aber gerne auf Deutsch beantwortet. :)
Bad analysis. Superficial. At bar44, at third beat for example, is I, NOT lll.
As depicted in my video description, I use a combination of bass scale degrees (like for example Förster, Heinichen, Schröter would do, though not necessarily with Roman numerals) with basso continuo figuration, so this makes III-6 at bar 44/3 (unlike the modern scale degree analysis you are referring to I guess, which makes a I-6, so it's just the same but from a different perspective). If that's not your case, fine. With my method, I am trying to grasp how Richard Wagner conceived this music, seeing how he wrote his scetches and manuscripts.
@@jonaswolfmusic1775 The B major chord is expected from the middle of the second act. Isolde's death finally gives this rest. TONIC. First degree. Calling this the third degree is unreasonable. No Tonic, no rest. Ineffective analysis. I'm sorry
Erm... I happen to know this opera. The point you mention (44/3) it is a tonic yes no doubt, but how remarkable that it's a first inversion, so the 3rd scale degree is in the bass which translates to III-6 (don't forget that 6, otherwise it wouldn't make any sense of course) in my analysis method - so we are actually describing the same phenomenon from a different perspective.
😊