Thanks so much! But here's my take on "The chord that's never resolved, the love that never ends, and the pain ever goes on." For me, pain is not the right word at all. The right word is "yearning". And nowhere else in music is there a better depiction of yearning than in Tristan. As in life, we yearn for Transcendence, and (if the Transcendent exists, and those with Faith believe it does), we never reach it until death. But the Hope of Transcendence is the salt without which life is meaningless. That's why Tristan is a microcosm of life itself! My favorite opera!
Thanks for this great video.But my take on "The chord that's never resolved, the love that never ends, and the pain ever goes on." For me, pain is not the right word at all. The right word is "yearning". And nowhere else in music is there a better depiction of yearning than in Tristan. As in life, we yearn for Transcendence, and (if the Transcendent exists, and those with Faith believe it does), we never reach it until death. But the Hope of Transcendence is the salt without which life is meaningless. That's why Tristan is a microcosm of life itself! My favorite opera!
I often think, “Oh, I can’t sit through 4-1/2 hours of this opera again.” But then a cauldron of magic comes up from the orchestra, and the hours fly by. I first saw it with Gwyneth Jones/Spas Wenkoff, then Hildegard Behrens/Richard Cassilly, the latest with Nina Stemme/Stuart Skelton.
F7-Diminished10->F7->E7-Diminished10->E7. This chords were often played on their own before Wagner, but the chord progress and the voicing........Amazing, breathtaking.......
My comment on "The chord that's never resolved, the love that never ends, and the pain ever goes on." For me, pain is not the right word at all. The right word is "yearning". And nowhere else in music is there a better depiction of yearning than in Tristan. As in life, we yearn for Transcendence, and (if the Transcendent exists, and those with Faith believe it does), we never reach it until death. But the Hope of Transcendence is the salt without which life is meaningless. That's why Tristan is a microcosm of life itself! My favorite opera!
1;07/4;50 for example -whats wrong with" mi to doh"? To my experience Sol fege is arguably more accessible to most peoples ears as a direct depiction of sounds relationships that using a dance /ballet term `skip` . Or as only 7 letters or sounds are used in music compared to 26 in language then why not `E to C` thereby luring the curious into self discovery? Mi to Doh could be explained by asking viewers to 1st hear the downward fall from Mi to Doh[ A to F ] then upwards from Doh to another Doh ?
Sort of an Enharmonic French Augmented 6th chord with non-harmonic tones but sort of acting at the same time like a half diminished vii7 maybe with potential secondary dominant functions.... you really never know because it is left unresolved until the end... which doesn't go to anywhere anyone would have guessed anyway
Correction: The Tristan Chord finally resolves at the end of the opera 3 and a half hours later, not 4 and a half hours later. (why does everyone include the intermissions? SHEESH!)
The intermissions are counted because that is the amount of time the audience has to wait for the resolution. The tension carries on even though there is an intermission. Do you really believe that the experience is somehow suspended just because there is an intermission? If you can fast forward through the intermission, okay. But if you are in a live performance, sorry, you just have to wait.
1;02 /4;50 Don`t agree -If its relevant to refer to a noun or a verb or a clause or a full stop or a capital letter from a Schiller to a Shakespeare poem or to perspective, foreground, palette , and in in ballet; pas de deux then why is music notation eschewed in explaining sounds and how they are assembled?
The Fm7b5 is Abm6 and also Db9 that is also related to E7 as they share the same Diminished 7 built from the 3rd up...The Abm6 is also a Bb7 (11 with a flat 9) without the root- also related to Db7 and E7 as they share the same diminished 7 built from the 3rd up
Well, the chord is identified with Wagner bc he used it again and again as a motif _for Tristan,_ ffs! Bach, Beethoven, etc., used it in compositions bc of the tonal qualities...they didn’t attach a character to it!
@ricky gervais Why do you guys bother listening to these lectures when you do not have a basic understanding of music and its history? And then you insist on making nonsensical comments that only demonstrate your lack of understanding. It is not a case of jazz versus classical or any other kind of music. It is all music. It all derives from the human need to express the feelings and emotions and experiences in ways that words alone cannot. Wagner pushed the boundaries in similar ways that Bach, Haydn, Mozart, and Beethoven had done before him and many more have done since him. The tonal ambiguity has to do with what progression the chord follows and then what follows the chord. You should pay more attention to what Pappano said. A c major chord is straight forward, but throw it into a tune written in f sharp minor and you would wonder where the tonal center was. You are used to hearing so many of these dissonances now that they do not move you as much, but when they first appeared they brought confusion. And the way Wagner used this chord confused his listeners. This music was very enlightening to the early jazz artists, and they sought to produce music that moved even further into the field of raw emotion. Sorry for the length of this reply, but there is a lot of music history and literature and theory that has to be understood and I have tried to boil it down as much as possible.
@ricky gervais This is about how what Wagner did influenced all that came after. Are you going to tell me that jazz musicians never read about the use of chords, modes, whole-tone scales, or any thing else about music theory? Don't be ridiculous. Of course they have. But you are still making it an issue of jazz versus everything else. That is just not the case. If you find no value in musical analysis then do not bother with the presentations. If you have nothing nice to say then say nothing. Your perception of high brow inflated erudition is simply not the case. Please allow others to learn something from those who teach.
@ricky gervais Okay, now I can appreciate your opinion. I would just like you to remember two things. One, people are used to these chord progressions now. We do not think twice about hearing them, but that does not mean that we understand or appreciate them. For you the explanations are turgid and unnecessary, for others it helps them to see where music has been. Two, of course Jazz does not think twice about the chords. Why do you think that is? Because the Jazz musicians using them have been using them for years now. It is nothing new - now. But the way was pointed by what was done over one hundred years before the first "complex" chord appeared in a Jazz work. And do not forget that the informed Jazzman/woman will know that the chord being used can go in almost any direction depending on how they want to hear it (or spell the chord). I have no doubt that you do this in your music since you are so well aware of chords. The surprise factor is always more than a little satisfying in music at least to the composer. My opinion is that I am not sure that this can be over analyzed. There are so many ways to hear what is going on. Is it an augmented or is it a suspension? Is it actually an Italian chord? But then I am boring you as a Jazz musician because you understand that Jazz is about expression and not analysis. That is not lost on me even though I still find the analysis instructive in helping me make my own music.
Wagner was mad or very very sick - is this not enough? Or should we explain what mad means? But what mad even is in our sick world this would not and never explain what Wagner means? Do you have any doubts?
Well, his music is unofficially banned in Israel because of his anti-semitic views and he was Hitler's favourite composer. True, it doesn't make him mad, but it makes him an arsehole.
Chopin was an anti-semite too. And Hitlers favourite opera (or operetta) was "Die Lustige Witwe" (The Merry Widow"). Jewish literary critic Marcel Reich-Ranicki, who survived the Shoa in Poland, loved "Tristan" and "Meistersinger". Loved the music, hated the man. Like many other (jewish) admirer of Wagner. By the way, the most great artists are assholes.
I like some of Wagner's music. It's his damn operas I can't stand. I'd rather sit in a dark room and listen to paint dry than listen to a Wagner opera.
"the chord that's never resolved, the love that never ends, and the pain ever goes on" amazingly explained...
Story of my life. lol.
......Finally resolved in Death
Wagner was a musical poet. Classical music is just literature in a different medium.
Thanks so much! But here's my take on "The chord that's never resolved, the love that never ends, and the pain ever goes on." For me, pain is not the right word at all. The right word is "yearning". And nowhere else in music is there a better depiction of yearning than in Tristan. As in life, we yearn for Transcendence, and (if the Transcendent exists, and those with Faith believe it does), we never reach it until death. But the Hope of Transcendence is the salt without which life is meaningless. That's why Tristan is a microcosm of life itself! My favorite opera!
Thanks for this great video.But my take on "The chord that's never resolved, the love that never ends, and the pain ever goes on." For me, pain is not the right word at all. The right word is "yearning". And nowhere else in music is there a better depiction of yearning than in Tristan. As in life, we yearn for Transcendence, and (if the Transcendent exists, and those with Faith believe it does), we never reach it until death. But the Hope of Transcendence is the salt without which life is meaningless. That's why Tristan is a microcosm of life itself! My favorite opera!
god: so antonio, what accent do you want to have?
antonio: yes.
That’s true art when one after 4.5 hours finds it could go on and on and on.
it's so amazing how viscerally he feels the music
Don't you feel Wagner viscerally as well?
Val Halla can I join in?... Or do you two want to be left alone?...
Val Halla can I join in?... Or do you two want to be left alone?...
Val Halla can I join in?... Or do you two want to be left alone?...
Is Pappano gay? he seems like it. And i mean that in a good way (not) lol
I often think, “Oh, I can’t sit through 4-1/2 hours of this opera again.” But then a cauldron of magic comes up from the orchestra, and the hours fly by. I first saw it with Gwyneth Jones/Spas Wenkoff, then Hildegard Behrens/Richard Cassilly, the latest with Nina Stemme/Stuart Skelton.
only?
My favourites were Waltraud Meier and Siegfried Jerusalem
The real and true ways to love Music deeply! Thanks Maestro Papanno. My daughter in law family are also italian, from Napoli!
"Seems an eternity ... that's what I call modern music."
Yep, feels the same to me....
Thank you Herr Wagner, you will always have my heart.
F7-Diminished10->F7->E7-Diminished10->E7. This chords were often played on their own before Wagner, but the chord progress and the voicing........Amazing, breathtaking.......
Brilliant. Thank you!
My own chord!
I needed a quick explanation and by golly that was beautifully presented.
My comment on "The chord that's never resolved, the love that never ends, and the pain ever goes on." For me, pain is not the right word at all. The right word is "yearning". And nowhere else in music is there a better depiction of yearning than in Tristan. As in life, we yearn for Transcendence, and (if the Transcendent exists, and those with Faith believe it does), we never reach it until death. But the Hope of Transcendence is the salt without which life is meaningless. That's why Tristan is a microcosm of life itself! My favorite opera!
omg....just listenend the ending 4x ... incredible...!
1;07/4;50 for example -whats wrong with" mi to doh"?
To my experience Sol fege is arguably more accessible to
most peoples ears as a direct depiction of sounds relationships that using a dance /ballet term `skip` .
Or as only 7 letters or sounds are used in music compared to 26 in language then why not `E to C` thereby
luring the curious into self discovery? Mi to Doh could be explained by asking viewers to 1st hear the downward fall from Mi to Doh[ A to F ] then upwards from Doh to another Doh ?
danke
4:19 he finally releases
Asmr voice
Please, somebody to write subtitles..?
Sort of an Enharmonic French Augmented 6th chord with non-harmonic tones but sort of acting at the same time like a half diminished vii7 maybe with potential secondary dominant functions.... you really never know because it is left unresolved until the end... which doesn't go to anywhere anyone would have guessed anyway
Correction: The Tristan Chord finally resolves at the end of the opera 3 and a half hours later, not 4 and a half hours later. (why does everyone include the intermissions? SHEESH!)
The intermissions are counted because that is the amount of time the audience has to wait for the resolution. The tension carries on even though there is an intermission. Do you really believe that the experience is somehow suspended just because there is an intermission? If you can fast forward through the intermission, okay. But if you are in a live performance, sorry, you just have to wait.
1;02 /4;50 Don`t agree -If its relevant to refer to a noun or a verb or a clause or a full stop or
a capital letter from a Schiller to a Shakespeare poem or to perspective, foreground, palette ,
and in in ballet; pas de deux then why is music notation eschewed in explaining sounds and how they are assembled?
Fm7b5 and them E7(b5) E7
The Fm7b5 is Abm6 and also Db9 that is also related to E7 as they share the same Diminished 7 built from the 3rd up...The Abm6 is also a Bb7 (11 with a flat 9) without the root- also related to Db7 and E7 as they share the same diminished 7 built from the 3rd up
You guys learnt theory weird
@@dr.brianjudedelimaphd743bruh
You know, this chord is Fm7b5.
That's the sound of Nietzsche's thoughts!
I disagree or other way to say that is nonsense
@@kw-zy6mbyou have no idea what you are talking about. What he said is completly true.
Well, the chord is identified with Wagner bc he used it again and again as a motif _for Tristan,_ ffs! Bach, Beethoven, etc., used it in compositions bc of the tonal qualities...they didn’t attach a character to it!
And also because they resolved it, using it as a transitional chord emphasizing chords that followed it. Wagner just emphasized 'IT'
Debussy borrowed and then built from this
Dr. Brian Jude de Lima, PhD Wagner was first
@@selini52 Duh!! If Debussy borrowed from Wagner it is only logical that Wagner had it first.. !Facepalm!
Its a blues chord
more like a jazz chord
Yes a jazz chord that was played 200-100 years before jazz existed.
@ricky gervais Why do you guys bother listening to these lectures when you do not have a basic understanding of music and its history? And then you insist on making nonsensical comments that only demonstrate your lack of understanding.
It is not a case of jazz versus classical or any other kind of music. It is all music. It all derives from the human need to express the feelings and emotions and experiences in ways that words alone cannot. Wagner pushed the boundaries in similar ways that Bach, Haydn, Mozart, and Beethoven had done before him and many more have done since him. The tonal ambiguity has to do with what progression the chord follows and then what follows the chord. You should pay more attention to what Pappano said. A c major chord is straight forward, but throw it into a tune written in f sharp minor and you would wonder where the tonal center was.
You are used to hearing so many of these dissonances now that they do not move you as much, but when they first appeared they brought confusion. And the way Wagner used this chord confused his listeners. This music was very enlightening to the early jazz artists, and they sought to produce music that moved even further into the field of raw emotion.
Sorry for the length of this reply, but there is a lot of music history and literature and theory that has to be understood and I have tried to boil it down as much as possible.
@ricky gervais This is about how what Wagner did influenced all that came after. Are you going to tell me that jazz musicians never read about the use of chords, modes, whole-tone scales, or any thing else about music theory? Don't be ridiculous. Of course they have. But you are still making it an issue of jazz versus everything else. That is just not the case. If you find no value in musical analysis then do not bother with the presentations. If you have nothing nice to say then say nothing. Your perception of high brow inflated erudition is simply not the case. Please allow others to learn something from those who teach.
@ricky gervais Okay, now I can appreciate your opinion. I would just like you to remember two things. One, people are used to these chord progressions now. We do not think twice about hearing them, but that does not mean that we understand or appreciate them. For you the explanations are turgid and unnecessary, for others it helps them to see where music has been.
Two, of course Jazz does not think twice about the chords. Why do you think that is? Because the Jazz musicians using them have been using them for years now. It is nothing new - now. But the way was pointed by what was done over one hundred years before the first "complex" chord appeared in a Jazz work. And do not forget that the informed Jazzman/woman will know that the chord being used can go in almost any direction depending on how they want to hear it (or spell the chord). I have no doubt that you do this in your music since you are so well aware of chords. The surprise factor is always more than a little satisfying in music at least to the composer.
My opinion is that I am not sure that this can be over analyzed. There are so many ways to hear what is going on. Is it an augmented or is it a suspension? Is it actually an Italian chord? But then I am boring you as a Jazz musician because you understand that Jazz is about expression and not analysis. That is not lost on me even though I still find the analysis instructive in helping me make my own music.
Wagner was mad or very very sick - is this not enough? Or should we explain what mad means? But what mad even is in our sick world this would not and never explain what Wagner means? Do you have any doubts?
Ralf: Do you have the merest shred of evidence to support your absurd claim ?
Well, his music is unofficially banned in Israel because of his anti-semitic views and he was Hitler's favourite composer. True, it doesn't make him mad, but it makes him an arsehole.
But love him or hate him, his music was revolutionary.
Chopin was an anti-semite too. And Hitlers favourite opera (or operetta) was "Die Lustige Witwe" (The Merry Widow"). Jewish literary critic Marcel Reich-Ranicki, who survived the Shoa in Poland, loved "Tristan" and "Meistersinger". Loved the music, hated the man. Like many other (jewish) admirer of Wagner. By the way, the most great artists are assholes.
Oh no, not at all! It makes the Israelis a band of arseholes......
Sounds French, as in something Debussy would write....
I like some of Wagner's music. It's his damn operas I can't stand. I'd rather sit in a dark room and listen to paint dry than listen to a Wagner opera.
Are you stupid? 99 percent of his ouvre are his operas..
Pappano is fan of Puccini ( good), and considers Wagner a second rate composer. Uneven video.
Thats wrong. Puccini is third Rated Composer he said an Wagner is Champions League Winner for all time
Wagner is the greatest genius who ever lived. Who the fuck are pappano or puccuni?