Chorda Tristaniana

Chorda Tristaniana est concentus qui ex notis F, B, D♯, et G♯ constat. Generatim esse potest ulla harmonia quae ex eisdem intervallis constat: quarto aucto, sexto aucto, et nono aucto super radice. Sic appellatur ex incepto Tristan und Isolde, operae Ricardi Wagner, ut pars cuiusdam leitmotif quod ad personam Tristanum spectat.

Scaena

Notulae chordae Tristanianae non sunt inusitatae: iterum scribi possunt ut usitatam chorda septima semideminuta figurent. Quod chordae est proprium est coniunctio inusitata cum clave quae in circumiectis inest. Anno 1865, opera Tristan und Isolde primum audita, hic concentus habebatur novus, perplexus, audax. Musici saeculi vicensimi saepe hanc chordam habentur initium modernisticae dissolutionis tonalitatis.

Exemplum sonorum harum mensurarum (fasciculus MIDI).

Hoc motif^? etiam in mensuris 6, 10, et 12, iterum in dramate, et ad finem ultimi actus auditur.

Multum scriptum est de functionibus harmonicis chordae Tristanianae quae fieri possunt vel dictione vocum (functione melodica), et hoc motif modis variis explanatum est. Exempli gratia, Schering (1935) evolutionem chordae Tristani deducit per decem gradus mediis, numero Phrygio (iv⁶-V) incipientis.^[1]

Vogel indicat "chordam" in operibus Gulielmi de Mascandio, Caroli Gesualdo, Ioannis Sebastiani Bach, Wolfgangi Amadei Mozart, Ludovici van Beethoven, et Ludovici Spohr,^[2] ut in exemplo sequenti in Beethoven Sonata pro Clavile No. 18, tempo allegro:

Quod distinguitur motif Tristanianum a prioribus earundem notularum usibus, secundum multos explicatores, est duratio. In exemplo Beethoveniano, E♭ ad D resolvitur in circa quartam partem temporis quo G♯ ad A in re Wagnerana resolvitur, ubi adhibetur resolutio tantum in transitu ad additam dissonantiam chromaticam (A# in sequente mensura), potius quam locus quietis in se. In re autem Beethoveniana, simultaneitas notularum considerari potest ex tonis non chordalibus partim constare; non est chorda vel entitas harmonica per se.

Significatio chordae Tristanianae in sua motione ab usitata harmonia tonali atque adeo ad atonalitatem iacet. Hac chorda, Wagner revera provocavit sonum vel structuram harmoniae musicae ut potentior fieri potest quam sua functio—notio quae mox a Debussy et aliis explorata est. Secundum Robertum Erickson,^[3] "Harmonia Tristaniana est . . . sonus qui agnosci potest, res praeter eius proprietates efficientis ut emperatio tonorum."

Explicatio

Quamquam chorda Tristaniana eodem tempore enharmonice chordae semideminutae F-A♭-C♭-E♭ similiter sonatur, etiam explicari potest subdominans II mutatus suspensus: B-D♯-F-G♯ (in G♯, suspensio in clave^? A minore).

Ioannes Iacobus Nattiez scribit explicationes musicas a rerum statibus explicandi statui quae praecipue ad tripartitionem argumentorum et principalium transcententium spectant. Quod spectat ad chordam Tristani, rerum status hic disceptati comprehendunt quod explicator chordae in posterioribus operae Tristan und Isolde partibus accidere credit et ad fidem solum tribus functionibus harmonicis, vel successionibus functionalibus a circulo quintorum institutas tributam pertinent.

Motif

Secundum Iacobum Chailley (1963:40)^[4]), "In simplice chorda dominante generis A minoris [C maioris] conditur, quae binas appoggiaturas^? modo usitato resolutas amplectitur."^[5] Sic in hoc iudicio, res non est chorda vera, sed exspectatio chordae dominantis in mensura tertia. Chailley porro explicat (1963:8):

Chromaticismus Tristani, in appoggiaturis^? et notulis transientibus conditus, arte et spiritu apogaeum intentionis expressit. Intellegere potui numquam quo modo notio praepostera, Tristan exemplar atonalitatis per exstinctionem omnis intentionis fieri potuisse, credi potuisset. Haec erat notio quae sub aegide ipsius Schoenberg (haud suae utilitatis immemoris) tam spargebatur quam Albanus Berg chordam Tristanianam in Sequentia Lyrica citare potuit ut praecursorem atonalitatis coleret. Haec notio insolita excogitari non potuit, praeter consecutionem eversionis ordinariorum explicationis reflexuum, ad artificiosam summae partim ex notulis extraneis constantis solitudinem ducens, et eam considerare---abstractionem sine contextu---integra res organica. Post hoc, facile fit lectoribus simplicibus suadere talem aggregationem classificatione in libris scholasticis harmoniam tractantibus effugere."^[6]

Chorda

Nattiez^[7] functionales^? et nonfunctionales^? chordae explicationes distinguit.

Explicationes functionales

Explicationes functionales radicem harmoniae interpretantur ut:

in gradu quarto generis A minoris

(D, apud Arend "mutata septimi minoris chorda " F-B-D♯-G♯ → F-C♭-E♭-A♭ → F-B-D-A = D-F-A, apud Lorenz chorda sexta aucts F-A-D♯) (Arend, Riemann, D'Indy, Lorenz, Deliège, Gut), ex Riemann in principio transcendente condito adesse solum tres functiones, tonica, subdominans, et dominans (I, IV, V).

Vincentius d'Indy (1903:117),^[9] qui harmoniam explicat ut in IV post transcendens principium Riemannianum et notionem reicit "septimi submissi" additi, abolet "omnes notulas dissonantes artificiosas quae solum ex melodica vocum motione oriuntur, et ergo in chorda externae," chordam Tristianianam inveniens "non plus quam subdominans in genere A, in se per melodiam corruptus, cum progressio harmonica sic repraesentari potest:

Explicationes non functionales

Explicationes non functionales in structura (potius quam functione) conduntur, et designationes verticales aut explicationes lineares describi possunt. Inter designationes verticales sunt interpretiones radicis chordae ut in gradu septimo (Sadai 1980; Ward 1970) clavis F♯ minore (E♯) (Jadassohn 1899; Kistler 1879).

Inter explicationes lineares sunt explicatio Noskeana (1981:116–117), atque Henrici Schenker primum fuit qui motif omnino per notiones melodicas explicavit: ipse et deinde Gulielmus Mitchell harmonia Tristaniana cum gestu dissonante contrapunctuali in fuga in E minore in Das Wohl-Temperirtes Clavier in libro 1 (vide Schenker 1925–1930 II: 29) comparant. Mitchell, ex loco Schenkeriano, G♯ appoggiartura^? non appellat quia linea melodica (oboe: G♯-A-A♯-B) ad B ascendit, A notam transientem efficiens. Hic ascensus per tertiam minorem cum linea descendente (cello: F-E-D♯, English horn: D) congruit, descensus per tertiam minorem, D♯, sicut A♯, appoggiatura^? efficiens. Ergo chorda revera est chorda septimi deminuti (G♯-B-D-F).

Sergius Gut arguit (1981:150):

si nos ad motionem melodicam necessario attendimus, videmus quo modo eius vis dynamica sensum appoggiaturae^? quoque tempore efficit; hoc est in initio cuiusque mensurae, animam ambo commotam et attentam statuens . . . ergo in motif suprani, G♯ et A♯ ut appoggiaturae^? audiuntur, ut F et D♯ in motif primo.^[10] Chorda ergo est chorda minor cum sexto addito (D-F-A-B) in gradu quarto (IV) posita, quamquam ab undis melodicis genitur.

Allen Forte, qui chordam copiam atonalem 4-27 (chorda septima semideminuta) appellat (1988:3298),

hanc considerationem in loco secundario, etiam tertiario, ponere statuit, cum aspectu vehementissimo musicae primae comparato, quae aperte est grandis motio ascendens quae se in voce superiore evolvit, omnino linearis Chordae Tristanianae proiectio ad gradum tertium (g♯'-b'-d"-f♯") transposita.^[11]

Arnoldus Schoenberg (1911:284) quod ad hanc chordam spectat sic dicit: "harmonia errans [vagierender Akkord] . . . ex ubivis venire potest."

Opinio Mayrbergerana

Explicationibus supra datis breviter repetitis, Nattiez arguit contextum chordae Tristanianae esse A minorem, et explicationes qui dicunt clavem esse E vel E♭ esse falsas. Explicationes chordae in gradu altero anteponit. Tum explicationem cuiusdam K. Mayrberger (1878), professoris Cechii, qui chordam in gradu altero ponit, et G♯ appoggiatura^? appellat. Sed imprimis, Mayrberger habet attractionem notae E et realis bassi F rem summam, et chordam Tristanianam Zwitterakkord (chordam bisexualem vel androgynam) appellat, cuius F a clave A minoris, et D♯ a clave E minore cohibetur. Secundum Ioannem de Wolzogen, Wagner, "magnopere gaudens, credidit se, hunc hominem iam ignotum ex Hungaria remota, theoristam invenisse quem diu exspectaverat."^[12]

Responsa et momentum

Chorda et figura eam cingens satis notae sunt, ut parodiae factae sint et a multis temporum posteriorum musicis prolatae. Albanus Berg eam in Sequentia lyrica pro quadricinio nervorum citat, figuram deducens ex sua tonorum duodecim materie compositionali. Arthurus Sullivan chordam adhibet recitativum ad operettam H.M.S. Pinafore. Claudius Debussy chordam loco phrasis "je suis triste" ('maesta sum') in opera Pelléas et Mélisande comprehendit; ipse praeterea primas operae Wagnerianae mensuras aliquando in "Golliwogg's Cakewalk" in "Quadrato Puerorum," sequentia pro clavile citat. Beniaminus Britten hanc chordam astute citat momento temporis in Alberto Herring cum Sid et Nancy Alberti venenum in limonatam ponunt, iterumque cum ille potionem bibit. Recentius, Petrus Schickele, compositor et homo iocosus Americanus tango^? in eadem figura conditum panxit, opus cameratum pro quattuor bassoons,^? Ultima Tango Baruthi nominatum.

Flavius Chamis, conductor et compositor Brasilianus, Blues Tristaniana composuit, rem in chorda Tristaniana conditam; hoc opus artis, pro harmonica et clavile compositum, in Especiaria," disco compacto, perscriptum est, in Brasilia a societate Biscoito Fino editum. Chamis suavem invenit coniunctionem chordae Tristanianae vel eius resolutionis et gradús blues, in iaz multum adhibitum, quo paene omnibus sunt eaedem notulae.

Anno 1993, thema musicum in pellicula Thirty Two Short Films About Glenn Gould in scaena in Lacu Simcoe primum adhibitum est, ab Orchestra Philharmonica NBC ab Arturo Toscacici oblatum (anno 1952 perscriptum). Gould, qui diu Wagner admiratus erat, nonnullas eius compositiones ad clavile accommodavit---una ex raris perscriptionibus Gouldianis ex Aetate Romantica notis.

Nexus interni

Notae

↑ Arnold Schering, "Musikalische Symbolkunde," Jahrbuch der Musikbibliothek 1935:15–36.
↑ Martin Vogel, Martin, Der Tristan-Akkord und die Krise der modernen Harmonielehre, 1962:12. Titulatus ut responsus ad Kurth (1920). Citatus in Nattiez 1990.
↑ Erickson, Robert (1975). Sound Structure in Music. Quercopole Californiae: University of California Press. p. 18. ISBN 0-520-02376-5
↑ Vide etiam Diény 1965 et Serge Gut 1981:149, apud Nattiez 1990 citati.
↑ Anglice: "It is rooted in a simple dominant chord of A minor [C major], which includes two appoggiaturas resolved in the normal way."
↑ Tristan's chromaticism, grounded in appoggiaturas and passing notes, technically and spiritually represents an apogee of tension. I have never been able to understand how the preposterous idea that Tristan could be made the prototype of an atonality grounded in destruction of all tension could possibly have gained credence. This was an idea that was disseminated under the (hardly disinterested) authority of Schoenberg, to the point where Alban Berg could cite the Tristan Chord in the Lyric Suite, as a kind of homage to a precursor of atonality. This curious conception could not have been made except as the consequence of a destruction of normal analytical reflexes leading to an artificial isolation of an aggregate in part made up of foreign notes, and to consider it—an abstraction out of context—as an organic whole. After this, it becomes easy to convince naive readers that such an aggregation escapes classification in terms of harmony textbooks."
↑ Nattiez, Jean-Jacques (1990) [[[1987]]]. Music and Discourse: Toward a Semiology of Music (Musicologie générale et sémiologue). Translated by Carolyn Abbate (1990). Princetoniae Novae Caesareae: Princeton University Press. pp. 219–229. ISBN 0-691-02714-5
↑ Benward & Saker (2008), Music in Theory and Practie, vol. 2, p. 233. ISBN 978-0-07-310188-0.
↑ ^9.0 ^9.1 Vincent D'Indy, Cours de composition musicale, vol. 1 (Lutetiae: Durand, 1903), in Nattiez (1990), p. 224 citatus.
↑ Anglice, "if one focuses essentially on melodic motion, one sees how its dynamic force creates a sense of an appoggiatura each time, that is, at the beginning of each measure, creating a mood both feverish and tense . . . thus in the soprano motif, the G♯ and the A♯; are heard as appoggiaturas, as the F and D♯; in the initial motif."
↑ Anglice "Elect[s] to place that consideration in a secondary, even tertiary position compared to the most dynamic aspect of the opening music, which is clearly the large-scale ascending motion that develops in the upper voice, in its entirety a linear projection of the Tristan Chord transposed to level three, g♯'-b'-d"-f♯"."
↑ Anglice: "with considerable delight believed he had found in this heretofore unknown man from faraway Hungary the theorist he had long been waiting for."

Bibliographia

Bailey, Robert. 1986. Prelude and Transfiguration from Tristan and Isolde. Norton Critical Scores. ISBN 0-393-95405-6.
Chailley, Jacques. 1963. Tristan et Isolde de Richard Wagner. Lutetiae: Centre de documentation universitaire.
Diény. 1965.
Gut, Serge. 1981.
Forte, Allen. 1988.
Jadassohn. 1899.
Kistler. 1879.
Kurth, Ernest. 1920. Romantische Harmonik und ihre Krise in Wagners "Tristan."
Magee, Bryan. 2002. The Tristan Chord: Wagner and Philosophy. ISBN 0-8050-7189-X.
Nattiez, Jean-Jacques. 1990a. Music and Discourse: Toward a Semiology of Music. Musicologie générale et sémiologue. Conversus a Carolyn Abbate. Primum editus 1987. Princetoniae Novae Caesareae: Princeton University Press. ISBN 0-691-02714-5.
Nattiez, Jean-Jacques. 1990b. Wagner Androgyne. ISBN 2-267-00707-X.
Noske. 1981.
Sadai. 1980.
Ward. 1970.

Nexus externi

Some occurrences of the Tristan chord in the scores of Petrucci Music Library, www.peachnote.com

[1] Arnold Schering, "Musikalische Symbolkunde," Jahrbuch der Musikbibliothek 1935:15–36.

[Vogel_12-2] Martin Vogel, Martin, Der Tristan-Akkord und die Krise der modernen Harmonielehre, 1962:12. Titulatus ut responsus ad Kurth (1920). Citatus in Nattiez 1990.

[3] Erickson, Robert (1975). Sound Structure in Music. Quercopole Californiae: University of California Press. p. 18. ISBN 0-520-02376-5

[4] Vide etiam Diény 1965 et Serge Gut 1981:149, apud Nattiez 1990 citati.

[5] Anglice: "It is rooted in a simple dominant chord of A minor [C major], which includes two appoggiaturas resolved in the normal way."

[6] Tristan's chromaticism, grounded in appoggiaturas and passing notes, technically and spiritually represents an apogee of tension. I have never been able to understand how the preposterous idea that Tristan could be made the prototype of an atonality grounded in destruction of all tension could possibly have gained credence. This was an idea that was disseminated under the (hardly disinterested) authority of Schoenberg, to the point where Alban Berg could cite the Tristan Chord in the Lyric Suite, as a kind of homage to a precursor of atonality. This curious conception could not have been made except as the consequence of a destruction of normal analytical reflexes leading to an artificial isolation of an aggregate in part made up of foreign notes, and to consider it—an abstraction out of context—as an organic whole. After this, it becomes easy to convince naive readers that such an aggregation escapes classification in terms of harmony textbooks."

[Nattiez-7] Nattiez, Jean-Jacques (1990) [[[1987]]]. Music and Discourse: Toward a Semiology of Music (Musicologie générale et sémiologue). Translated by Carolyn Abbate (1990). Princetoniae Novae Caesareae: Princeton University Press. pp. 219–229. ISBN 0-691-02714-5

[8] Benward & Saker (2008), Music in Theory and Practie, vol. 2, p. 233. ISBN 978-0-07-310188-0.

[D'Indy-9] 9.0 ^9.1 Vincent D'Indy, Cours de composition musicale, vol. 1 (Lutetiae: Durand, 1903), in Nattiez (1990), p. 224 citatus.

[10] Anglice, "if one focuses essentially on melodic motion, one sees how its dynamic force creates a sense of an appoggiatura each time, that is, at the beginning of each measure, creating a mood both feverish and tense . . . thus in the soprano motif, the G♯ and the A♯; are heard as appoggiaturas, as the F and D♯; in the initial motif."

[11] Anglice "Elect[s] to place that consideration in a secondary, even tertiary position compared to the most dynamic aspect of the opening music, which is clearly the large-scale ascending motion that develops in the upper voice, in its entirety a linear projection of the Tristan Chord transposed to level three, g♯'-b'-d"-f♯"."

[12] Anglice: "with considerable delight believed he had found in this heretofore unknown man from faraway Hungary the theorist he had long been waiting for."

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