Heft 02 / April 2019

Zusammenfassung:

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Summary:

Parodies of the Tristan Chord
In analogy to the theoretical examination of the decomposition of tonality, which believed to make a first crisis in the Tristan chord, a compositional-semantic detachment process from Tristan’s pathos can be observed. The traditional figures used by Wagner and their romanticization, which provide the sublimity of Tristan chord motifs, represent the material that the various parody methods are aimed at. Prominent examples of Wagner himself, Debussy, Strauss, Hindemith, Eisler up to pop singer Max Raabe trace a development in which, far from political implications, the metaphysical Tristan eroticism sinks deeper and below the belt.

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