There is a kind of strange revolutionary aspect to Richard Wagner's opera, Tristan and Isolde. There are modernist artistic facets that transcend the boundaries of traditional visual art and extend to other forms of expression as well. The overarching idea is to break the claustrophobic barriers we call “rules” and simply do what the artist asks. Some have called him progressive. Others called it disgusting. However, we are not here to discuss such matters, but rather to discuss the prelude to said opera, as well as said rules and those that are figuratively violated. This prelude is a beautiful, wonderful and spectacular piece of music that, in its time, introduced new styles and inspired generations to come. If dissertations could be written on an opera, essays could be written on individual movements, which would therefore be cut short. Say no to plagiarism. Get a tailor-made essay on "Why violent video games should not be banned"? Get an original essay It's clear from the start that the walls are already starting to crack, with the presentation of one of the most famous deals in the history of music: the so-called “Tristan Chord”, the puzzle of notes that settles and yet destabilizes. It is called the Tristan chord not only because it comes from Tristan and Isolde, but because the notes that compose it and the notes preceding it are generally considered to symbolize Tristan and his desire. The chord seems to convey this idea of ​​an ever-present and unquenchable thirst for love, a prevalent theme in the opera itself. It is immediately followed by a set of slightly dissonant rising notes which are commonly taken to represent her and Isolde. desire, which itself becomes what we call a “leitmotif”. Leitmotifs are recurring musical phrases that represent an object, a person or an idea. They will be played, often by the orchestra, when this element, this person or this idea presents itself. For example, Isolde's desire is presented through an action or series of words, and the same set of rising dissonant notes are played. Another, more famous example is John Williams' music for the film Star Wars, in which the character Darth Vader is usually associated with a series of thumping, rhythmic noises from the score. This concept was invented and championed by Wagner, and the concept reappears in several of his operas. Isolde's leitmotif reappears several times in the prelude alone: ​​four times in the first minute and thirty seconds; again at 6:33, 6:42, 6:51 and doubled at 7:00; twice more at 7:55 a.m. and 8:16 a.m.; slightly at 8:35 a.m.; and finally one last time at 10:20 a.m. to finish the piece before moving on to the opera itself. This symbolizes an endless and unsatisfying desire for love that cannot exist; the concept of which is repeated through the use of chords and passages that never settle down, never provide cadence and are rarely truly emotionally melodic. That said, much of this piece is emotional, but for reasons other than melody. The non-stabilizing dissonant cadence of Tristan's chord, as well as the rest of the piece, creates a rather dark and extraordinary emotional response that unconventionally engenders Tristan's very love and desire in the listener, and when this feeling overflows and explodes. at 1:34-1:46, followed by a restful retreat, the listener cannot help but be stunned by the experience. The piece destroys rhythmic conventions to focus only on what's happening in the notes and harmonies, and the piece.