Wagner Leitmotifs | 30 Mark's Grief : Tristan und Isolde @wagnerleitmotifs7654 | Uploaded August 2013 | Updated October 2024, 13 hours ago.
This leitmotif is first heard in act 2 scene 3.
Once Tristan have been caught by King Mark and his men, the king sings a monologue of extraordinary pain and suffering, that nephew and adopted son has gone behind his back, that the most honourable man in the world has shown such two-facedness, and that mark himself has be reduced, because of Tristan, to spying and sneaking against his friend and ally (the worst of all). For this passage the orchestra goes almost completely silent, and Mark is accompanied by a lone bass clarinet with this mournful tune (which is none the less related in it's opening notes to Impassioned Rapture).
It has been argued that this is the only point in Wagner's operas, where he entrusts the conveying of emotions to the voice alone (which is the method used by most other opera composers) as opposed to using the orchestra. It is not unheard of though for Wagner to us a single instrument in this way, for example the shepherd's mournful son in act 3.
Progenitor leitmotifs:
None
Related Leitmotifs:
Impassioned Rapture: youtu.be/zwWV_WIhL80
Subsidiary Leitmotifs:
Consternation: youtu.be/KtC2Xr9_wGQ
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.
This video is designed for the purpose of teaching the viewer about the leitmotifs in Wagner's Operas, where they appear and how the work. This clearly comes under the umbrella of fair use. NO COPYRIGHT INFRINGEMENT INTENDED.
This leitmotif is first heard in act 2 scene 3.
Once Tristan have been caught by King Mark and his men, the king sings a monologue of extraordinary pain and suffering, that nephew and adopted son has gone behind his back, that the most honourable man in the world has shown such two-facedness, and that mark himself has be reduced, because of Tristan, to spying and sneaking against his friend and ally (the worst of all). For this passage the orchestra goes almost completely silent, and Mark is accompanied by a lone bass clarinet with this mournful tune (which is none the less related in it's opening notes to Impassioned Rapture).
It has been argued that this is the only point in Wagner's operas, where he entrusts the conveying of emotions to the voice alone (which is the method used by most other opera composers) as opposed to using the orchestra. It is not unheard of though for Wagner to us a single instrument in this way, for example the shepherd's mournful son in act 3.
Progenitor leitmotifs:
None
Related Leitmotifs:
Impassioned Rapture: youtu.be/zwWV_WIhL80
Subsidiary Leitmotifs:
Consternation: youtu.be/KtC2Xr9_wGQ
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.
This video is designed for the purpose of teaching the viewer about the leitmotifs in Wagner's Operas, where they appear and how the work. This clearly comes under the umbrella of fair use. NO COPYRIGHT INFRINGEMENT INTENDED.
