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Tous droits réservés © Canadian University Music Society / Société de musique des universités canadiennes, 2009 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Document généré le 31 juil. 2019 15:42 Intersections Canadian Journal of Music Revue canadienne de musique The Tristan Chord Resolved Nathan Martin Volume 28, numéro 2, 2008 URI : https://id.erudit.org/iderudit/029953ar DOI : https://doi.org/10.7202/029953ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (imprimé) 1918-512X (numérique) Découvrir la revue Citer cet article Martin, N. (2008). The Tristan Chord Resolved. Intersections, 28 (2), 6–30. https://doi.org/10.7202/029953ar Résumé de l'article Un passage peu remarqué du traité de Moritz Hauptmann, Die Natur der Harmonik und der Metrik, offre une description qui pourrait presque décrire la progression initiale de Tristan de Wagner. Cet article survole différentes analyses de l’accord de Tristan publiées dans la littérature spécialisée, et défend les mérites d’une nouvelle interprétation dérivée de celle d’Hauptmann. The Tristan Chord Resolved Nathan Martin I begin with the obvious: the first chord of Wagner’s Tristan Prelude—F-B- D#-G#—is notoriously resistant to analysis, or at least seemingly impervious to any consensus amongst analysts (ex. 1). This very resistance has naturally encouraged a proliferation of attempts. By the early 1920s, Alfred Lorenz (1924) could write of “that Sphinx-chord, which has already occupied so many minds” [jener Akkordsphynx, die schon so viele Geister beschäftigt hat] and expect the reference to be understood immediately. Some thirty-eight years later, Martin Vogel (1962) devoted a book-length study to the secondary literature on the chord. And Vogel’s catalogue could be augmented considerably today. Indeed, as Robert Wason (1982) notes, the Tristan chord has almost seemed to serve as a touchstone against which any theory of harmony must prove itself. The chord’s numerous cameos in the recent literature, moreover, suggest that more than a hundred years of debate have done little to diminish its capacity to fas- cinate—and to vex—music theorists.1 In light of the sheer volume of commentary that the Tristan chord has oc- casioned, my title is no doubt presumptuous. I take some solace, though, in the fact that I do not make the claim on my own behalf, for, curiously enough, and despite all the critical attention the Tristan chord has received, one intriguing piece of evidence has been overlooked almost entirely. In a little-noticed pas- sage from Die Natur der Harmonik und der Metrik, a text that appeared four years before Wagner began composing Tristan, Moritz Hauptmann described precisely the harmonic progression that opens Wagner’s Prelude.2 My purpose in writing is both to draw attention to Hauptmann’s discussion and to defend the analysis of the Tristan chord that it suggests as essentially sound. Before turning to the details of Hauptmann’s text, it is appropriate to re- view a number of standard explanations of the chord. My survey will be rep- resentative rather than exhaustive and systematic rather than historical. It will also be artificially limited: I propose to consider only those analyses that enjoy wide currency in North America or have prominent adherents amongst North- American music theorists. Also, I will consider the analyses I discuss in rela- tive abstraction from the theoretical positions that partly motivate them, and I will occasionally describe early analyses in terms foreign to their authors. If my procedure makes for questionable intellectual history, it is nonetheless ger- mane to my present aim, which is to argue that Hauptmann’s text suggests an 1 As the bibliography of Tristan-chord analyses appended to this article amply attests. 2 Hauptman (1853; 1888). Subsequent references to Hauptmann will be made parenthetically with page numbers from the German edition followed by page numbers from the translation. 28/2 (2008) 7 interpretation of the Tristan chord that is compelling from the perspective of current American music theory. It is heuristically useful, though no doubt artificially neat, to group explana- tions of the Tristan chord into five broad families. These five classes variously take the Tristan chord as (1) a functional half-diminished seventh chord, (2) a minor triad with added sixth, (3) some sort of “pre-dominant” sonority, (4) a dominant-functioned harmony, and (5) a sonority that cannot be analyzed in tonal terms. 1. The basic analytical problem posed by the Tristan chord, as Jean-Jacques Nattiez (1985) has succinctly observed, is that the harmonic progression in measures 2–3 of the Tristan Prelude corresponds to none of the successions typically classified in harmony texts. The structure of the chord itself is not necessarily problematic: the chord may be readily described as either a half-di- minished seventh chord built on F or as a G# minor triad with added sixth (en- harmonically spelled in either case). The difficulty lies rather in explaining how and why this chord resolves to E7 on the downbeat of measure 3. Normally, the chord found in meaure 2 would appear as iiø7 of E b minor (spelled F-A b-C b-E b) or as viiø7 of F# major (E#-G#-B-D#). That the enharmonic equivalence of the Tristan chord to the former is relevant in the Prelude is clear from example 2. In this passage, measures 81–82 of the Prelude, the chord twice moves to V7 of B b before being deflected to E7 in measure 84 (ex. 2). In his Harmonielehre, Example 1: Tristan Prelude, mm. 1–17. 8 Intersections Schoenberg flirted with analyzing the Tristan chord in measure 2 analogously as iiø7 of E b, an interpretation that has been revived more recently by Dieter Gostomsky (Schoenberg 1978; Gostomsky 1975). The second possibility—that the chord is viiø7 of F#—has recently been en- dorsed by Richard Bass (1996), though in a highly qualified sense. Bass notes that the Prelude’s first and second phrases are near-exact transpositions of one another; the third phrase, however, is significantly altered so as to arrive on the dominant of E (rather than that of E b) in measure 11. Example 3 freely re- produces Bass’s hypothetical recomposition of the first eleven measures of the Prelude, in which measures 8–11 become an exact transposition of measures 4–7. Example 4, incidentally, gives measures 83–90 of the Prelude, where the progression shown in measures 8–11 of Bass’s recomposition is partially real- ized.3 To make Bass’s point clearer, I have added a fourth iteration of the se- quence at the end of example 3 (mm. 12–15). If these final measures are in turn transposed up a minor third, the result will be measures 1–3. The crucial point here is that the end of example 3 relates back to the beginning in the same way that each previous phrase relates to its successor. Since the cycle ends on V7 of F#, the Tristan chord in measure 2 hints at viiø7 of F#. 2. The other “obvious” description of the Tristan chord takes it as a G# minor triad with added sixth. The most prominent recent advocate of this interpreta- tion is Robert Bailey (1985), who favours this analysis in large part because it 3 Measures 83–90 of the Prelude (see ex. 4) correspond to the sequence shown in example 3 up to the half bar of measure 89, where Wagner breaks off by leading the lower three voices downward by a semitone to form a French augmented-sixth chord on B b, which then resolves to A7 in measure 90. Example 2: Tristan Prelude, mm. 81–84 28/2 (2008) 9 plays into his more general theoretical argument about the tonal language of Tristan. For Bailey, the first act of the opera presents a “double-tonic complex” in which A and C act as interchangeable forms of the tonic. The “harmonic embodiment” of this double-tonic complex is the chord C-E-G-A. The Tristan chord is understood by analogy as a kind of “minor version” of this same chord (E b replaces E and the entire chord is transposed down a major third). Bailey cites two passages from elsewhere in Tristan in support of his interpretation. Example 3: Bass’s Recomposition of mm. 1–11 Example 4: Tristan Prelude, mm. 83–90 10 Intersections Example 5, which comes from the end of act 1, gives the first. Here, the opening two statements of the Prelude are freely recapitulated but with first-inversion A b major and B major triads respectively standing in for the original Tristan chords. The second passage, given in example 6, is from the opening of the Prelude to act 3. In this passage, the Tristan chord appears as a B b minor triad with added sixth resolving to F minor. Bailey’s analysis is highly intriguing in the link that it suggests between the Tristan chord and the broader tonal articulations of the opera (particularly giv- en the prominence of A b and uploads/Litterature/ tristan.pdf