# Tristan und Isolde´s follower?



## NothungWorld (Feb 27, 2017)

I am a classical pianist and has just played through Richard Wagner's Tristan und Isolde.
The beginning, the prelude is especially interesting from a theoretical standpoint.

My question is: What other musical works can be said is a direct sequel, heir, follower to
Tristan und Isolde's musical language from a purely music theoretical point of view.
A piece of music where Wagners idiom is even more atonalt, but with Tristan's spirit, which is important?
I would like to get examples of specific works?


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## Woodduck (Mar 17, 2014)

You could begin with Wagner himself and try the prelude to act 3 of _Parsifal,_ as well as the orchestral interlude, the "transformation music," in that act. Wagner is really pushing the boundaries in his last work, with tonal centers shifting like a kaleidoscope or failing to get established at all. Traditional analysis fails here. In the interlude the bass line grinds steadily onward under chromatic outbursts superimposed over it, creating some fleeting and rather unnerving moments suggesting bitonality.

_Parsifal_ is actually replete with harmonic strangeness, taking off from _Tristan_ but still subtler. I once set about to analyze the score but it was a damn slow slog, and I never finished the task (which really can't be finished). The prelude to _Tristan_ is actually easier to grasp, with the famous opening bars pretty obvious once you hit on the solution.


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## Scott in PA (Aug 13, 2016)

If your skill at score reduction is good, you might want to look into Schoenberg's _Verklärte Nacht_ for string sextet. This was written before he adopted 12-tone atonality, the music still had a tonal center, but was extremely chromatic. It certainly shows the influence of Tristan.

Although Wagner's music was highly influential, the works themselves were so distinctive and extremely difficult to imitate.

I agree with Woodduck that perhaps the composer's own _Parsifal_ is closest.


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