Prelude and Transfiguration from Tristan and Isolde

An original concept: in one volume, a study-size score of a major musical work, and a comprehensive body of tools for the study of that work.
- A score embodying the best available musical text
- Historical background - what is know of the circumstances surrounding the origin of the work, including (where relevant) original source material
- A detailed analysis of the music, by the editor of the volume or another well-know scholar
- Other significant analytic essays and citical comments, exposing the student to a variety of opinions about the music

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. In some cases, the results of original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.

CONTENIDO:

Preface

Historical Background
- Siegfried or Tristan?
- Composition of Tristan
- Publication of Tristan
- The First Performances of the Tristan Prelude
- Aftermath in the Press
- Wagner's First Performances of the Tristan Prelude
- Wagner's return to Germany
- Coupling the prelude and the transfiguration
- Coda: The title "Liebestod"

Wagner's Program Notes
- Prelude (with the concert ending)
- Prelude and transfiguration

The Scores of the Prelude and transfiguration
- Prelude
- Transfiguration
- Transfiguration: Text and Translation
- Textual Note

Wagner's preliminary draft
- Prelude
- Transfiguration
- An analytical study of the sketches and drafts

Views and comments
- Donald Francis Tovey - Wagner in the concert-room
- Ernest Newman - (The prelude)
- Roger Sessions - (The opening bars of the prelude)
- Deryck Cooke - The creative imagination as harmony

Analytical essays
The prelude and the "Tristan Chord"
- Arnold Schoenberg - (From theory of harmony)
- Hugo Leichtentritt - (Tristan und Isolde: Prelude)
- Ernst Kurth - (The Tristan Prelude)
- Alfred Lorenz - The prelude
- Paul Hindemith - (From the craft of musical composition)
- Werner Karsten - Harmonic analysis of the "Tristan Chord"
- William J. Mitchell - The Tristan Prelude: Techniques and Structure
- Roland Jackson - Leitmotive and form in the Tristan Prelude
- Edward T. Cone - "Yet once more, O ye Laurels"
- Milton Babbitt - (Reply to Edward T. Cone)
The Transfiguration
- Rudolph Reti - (From the thematic process in music"
- Leonard B. Meyer - (From emotion and meaning in music)
Bibliography