Wagner's Parody Technique: "Traume"
and the Tristan Love Duet
by Robert Gauldin
Numerous authors have noted those passages of common
musical material in Wagner's "Traume" and the Love Duet
("0 sink' hernieder, Nacht der Liebe") which occurs about the
middle of the second scene in Act II of Tristan and Isolde . 1
Aside from obvious thematic borrowings, there appear to exist
deeper and more subtle relationships between the two works
which suggest a kind of parody technique. In addition, it is
possible that certain harmonic and linear functions embedded
within the song provide the seeds for important tonal relations
which appear in expanded form later in the opera.
In April of 1857 Wagner was invited by the Wesendonks to
live at Asyl, a cottage on their estate. It was here that the
celebrated "affair" between Richard and Mathilde continued to
blossom and supply the composer with much of the impetus and
inspiration for Tristan. The poem of the opera was finished and
read to a gathering in September of 1857. Once his new piano
1 All page references are taken from the Dover reprint of the full score of
Tristan (New York: Dover Publications, 1973). The measure numbers for the
Love Duet begin with the Massig langsam on p. 348.
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arrived, Wagner plunged into the composition of Act I, the full
score of which eventually was completed the following April.
During the fall of 1857 Mathilde showed Wagner some of the
lyric poems she had written in imitation of the Tristan poem. He
proceeded to set these "pretty verses sent over to me" at various
times during the next seven months. The autograph for
` `Trāume, " the second of the Fiinf Gedichte fair eine
Frauenstimme, is dated December 5, 1857 . 2 The first version of
the song (December 4) began with the sixteenth bar; in his
revision the following day Wagner borrowed the music from the
piano coda to serve as an introduction, appending the first six
bars with its melodic outlining of the Tristan chord (E-flat) F
A-flat C-flat E-flat. Two other songs from the series furnished
thematic material for the opera ("Schmerzen" and "Im
Treibhause"); however, the subtitle Studie zu Tristan and Isolde
was not added to ` `Traume" and "Im Treibhause" until the
publication of the collection some five years later. Although
sketches for the first scene of Act II date from this period, we
2 Facsimile of the autograph (Leipzig: VEB Deutscher Verlag fiir Musik).
36 Music Theory Spectrum
may safely assume that the composition of "Traume" precedes
any early drafts of the Love Duet.
Several relations between the texts of the two pieces may be
noted. Both contain five stanzas of four lines each with identical
poetic meter. 3 In ` `Traume" the author looks forward to each
new day ("Jedem Tage schemer bliih' n" and "Sie der neue Tag
begriisset" ), while in Tristan the lovers wish for the fall of night
(` ` Verloschen nun die letzte Leuchte") . 4 The final line of the
song ("Und dann sinken in die Gruft") and the opening words
of the Duet ("0 sink' hernieder, Nacht der Liebe") carry
symbolic connotations. It is interesting that when Wagner
changed his original stage directions for this scene, he substi-
tuted the phrase "senkt sich vor ihr auf die Knie. " 5
E-flat Vocal Closing
"Trāume" Intro. (Stanzas 1-3) cadence (Stanzas 4-5) Section
mm. 1-16 17-47 48-49
Love Duet Stanza 1 (Stanzas 2-3)
mm. 1-21 22-41 42-45
3 An additional line is added in the Duet for the vocal closing section (mm.
86-94) .
4 Note the gradual descent of the Tag motive in mm. 34-39 of the Duet,
suggesting the last glimmering light of day.
5 See Ellis, Life of Richard Wagner, (London: Kegan Paul, Trench, Triibner
and Co., 1908), VI, 313.
Borrowed Material from ` `Triiume"
Four distinct sections of the song are reset in the Love Duet
with only minor alterations. These include the piano introduc-
tion (mm. 1-16 = 1-21), the E-flat dominant cadential chord at
the conclusion of the third stanza (mm. 48-49 = 42-45), the
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vocal closing section based on the last two lines of text (mm.
61-68 = 86-94), and the piano coda (mm. 68-84 = 94-103). The
remaining music of both ` `Traume" and the Love Duet falls into
two sections which flank the interior cadence-chord mentioned
above, so that the overall structure of the two pieces is somewhat
similar as to their succession of material.
Coda
50-60 61-68 68-84
(Stanzas 4-5)
r
46-85 86-94 94-103
 Wagner's Parody Technique 37

It is not difficult to appreciate the reasoning behind Wagner's
inclusion of these specific portions of the song in Tristan. Aside
from the obvious melodic outlining of the Tristan chord in the
first measures, the harmonic language of the opening and clos-
ing parts of Triiume is more compatible with the general chro-
The harmonic framework of the piano introduction is strictly
retained in its orchestral resetting. The rhythmic treatment is
particularly interesting, since it represents one of the first in-
stances in which Wagner forsook a straightforward reiterated
eighth-note accompaniment (as found in the song and many of

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matic vocabulary of the opera. A summary of the basic voice
leading of these sections reveals several points of interest (see
Example 1):
1. The first three tones introduced which are foreign to the
A-flat tonic triad are F, F-flat, and C-flat (or scale degrees 6,
flat-6, and flat-3, respectively). The significance of these rela-
tions will become apparent in later discussion.
2. The wandering tritones which seem to avoid resolution in
the ensuing harmonic progressions (note the retrograde effect) .
3. The prolonged appoggiaturas which eventually settle on
over dominant and tonic harmonies.
4. The extreme chromatic embellishment of the tonic triad in
the vocal closing section, with a pronounced emphasis on those
scale degrees mentioned above (flat-8 and flat-3).
the earlier operas) for a more syncopated "throbbing" effect
which obscures the underlying pulse. 6 The added vocal parts
answer each other in antiphonal phrases which overlap with
each sustained appoggiatura. Those few alterations made in the
vocal closing section are instructive but hardly significant from
a structural standpoint. The piano coda provides the opening
measures for Brang āne's first interlude.
Parodied Material from ` `Trāume"
Aside from the obvious passages mentioned above, the re-
mainder of ` `Traume" bears little superficial resemblance to the
Love Duet. In order to demonstrate those underlying quasi-
parody relations which exist between the two works, iti will be
necessary to examine the basic voice leading and tonal scheme
of the song in some detail. The bulk of the music which accom-
panies the final two stanzas (mm. 50-60) does not reveal any
significant parallels to the Tristan score. Indeed, it is also

Ex. 1. Voice leading in the introduction and vocal closing section of

"Traume"

m. 1-4 m.5- 14 n A m. 61 - 68
6 - 5

imaitf. 1IIII- MINI Mr rWrJ^j-i.11111it. r^

MI .1=1,.^— 11/-.^ — — IIINV,IIIMIIMO/1 NM I
^ .^^^^
1 O
^

^ $ $ b$ ,Willi. : - _
..n VI I71,1•110 :. M11/71=1111 =OP !INIMMI_T_7/ Y-' .I-
C iM I ^ _I-^IL/^L ^J^ ^ _
^,^^—^ nn111, i^ %

ā bš

6 Another passing reference to "Traume" (p. 404 of the Dover score) retains a
similar syncopated accompaniment. (Wagner noted that "the `Trsume flit close
by. ") Also compare p. 325 to the opening bars of the song.
38 Music Theory Spectrum
"coda-like" in nature, with its extended tonic pedal and insis-
tence upon the tonicization of the subdominant area. For this
reason, I have chosen to concentrate on that section which lies
between the introduction and the interior E-flat cadential chord
(mm. 17-49). A reduction of these first three stanzas is given in
Example 2 (each strophe is separated by bar lines) .
Of paramount importance is the series of elongated appoggia-
turas (see lower beaming in treble clef) which logically extend
out of the introduction.? No less than four of these are directly
associated with the setting of the word Traume." In addition,
three of the appoggiaturas (those which embellish B-flat, C, and
E-flat) serve as the cadential punctuation for each strophe. This
is a particularly interesting example of text setting, since in each
poetic stanza "Traume" is thesrst (rather than the last) word. 8
The appoggiaturas proceed stepwise from the lower E-flat,
Ex. 2. Voice leading and tonal scheme of the first three stanzas of
` `Trume"
m.17 m.33 m.42
1 v 7 /v
7 There are two passages where these appoggiatura figures appear in rhythmic
diminution (mm. 33-34 and 43-44); the first instance uses the identical pitches.
8 The phraseology is laid out in the following manner:
omitting only the D-flat before climaxing on the upper dominant
6 extension . 9
with a final 8-3
This ascending motion is also paralleled in two other lines
(the upper beaming in the treble staff, which represents for the
most part the peak tones of the vocal line, and the interior
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beaming of the bass voice). Both exhibit more extensive chro-
matic movement than the above-mentioned appoggiaturas. The
lower bass beaming and the accompanying harmonic functions
denote the basic tonal foundation of this section. It likewise
ascends (1— 2 —I), with the F acting A almost as a long-range
appoggiatura to the final dominant (6 -8 again) . The first three
scalar degrees also appear at a lower structural level in the first
stanza with some chromatic filler (A-flat A-natural B-flat C).
Notice how many of the lines seem to converge on the F at the
opening of the third stanza, which then in turn resolves to E-flat
during the strophe.
7
V 'Vl Vl V^
Stanza I (mm. 17-32) Stanza II (mm. 33-41) Stanza III (mm. 42-49)
1
TrAum\ ^ Traumej Traume
8m. 8m. 9 m. 8 m.
9 One may wish to point out the similarity of the appoggiatura line (E flat F G
A-flat B-flat C E flat) to the tones in the opening Tristan chord (E flat F A flat
C-flat E flat).

For the sake of comparison the remainder of the Love Duet is
divided into two parts (Section I = mm. 22-45 and Section II
mm. 46-85), each of which will be treated separately. Section I,
which is basically a development of the Tag motive, contains
two striking relationships to "Traume." The stepwise motion of
the appoggiaturas (Example 3) in the song spanning the octave
from E-flat to E-flat is now extended and chromaticized to cover
this entire first section. The voice parts begin the ascent to the
B-flat in m. 25. At this point the woodwinds continue the
upward motion, culminating on the first F—E-flat; the strings
then initiate another octave ascent, which overlaps back into the
woodwinds . The voices rejoin the orchestra to complete the
movement once more on the E-flat cadential chord (mm. 42-45)
with its elongated F—E-flat (6 -- Š). Note how the anticipated
dominant is delayed through the reiterated F-flats and F-naturals
in the upper voice (mm. 36-41), thereby heightening the even-
tual resolution.
This device of a rising chromatic line concluding with an
appoggiatura is not unique to this portion of the opera alone. It
Ex. 3. Comparison of appoggiaturas in ` `Traume" to section I of the
Love Duet
Trhume m. 17 - 49
Love Duet
m. 22 26
Vocal
Orch.
Eng. H.
Wagner's Parody Technique 39
has already been anticipated in the opening bars of the Prelude
(mm. 2-17), where the soprano chromatically fills a span from
G-sharp to the upper A via the appoggiatura B-A. The final
apotheosis occurs in the climax to the Liebestod; here the ex-
tended chromatic ascent culminates with the twofold 6-5 over
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the subdominant and tonic harmonies.
The scale degree flat-8 and flat-3 discussed previously in the
beginning measures of "Traume" now become significant pil-
lars in the tonal scheme of this section (Example 4) . The under-
lying harmonic foundation is given in Example 4. Wagner opens
this section with the deceptive F-flat (flat-VI) followed by a
tonicization of C-flat (flat-III). Although the tonal movement
appears quite fluid on the surface, the bass line serves as a
solidifying factor in the fundamental center of A-flat. Despite
the harmonies placed above them, the basic framework tones in
the lower voice are all diatonic scalar degrees in A-flat.
The new thematic idea which opens Section II represents a
remarkable transformation (Example 5) of the initial vocal
phrase in ` `Traume" (note the bracketing) .
30 34
Ob. II 1 y F l. I
Cl. 1 V1 n. I
Oh. I
40 Music Theory Spectrum

Ex. 4. Basic harmonic scheme of section I of the Love Duet

m. 22 26 30 34

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7 7
ab : V^ bVI6 V^ V6 V3 IV^
bIII IV
-'0 bb• b 66
\-,of
• ^
0
0 b•
n A A A A A n
5 7 5 1 5

Ex. 5. Transformation of the opening vocal theme of "Traume"

"Tr ume" m.
^ 17 - 20

gt )

ab F6

Love Duet m. 46 - 51

The flat-6 relation, which has been lurking beneath the tonal
fabric of the first measures of this section (mm. 46-48) now
becomes the means by which a long scale ascent of chromatic
tonicizations is effected: flat-VI in A-flat = V in A). This
sequence continues upward to B-flat, where a new thematic
element (the "Geborgenheit in Liebe" motive) re-articulates
the key. A tonal summary of this section is given in Example
6. 1 0
One is immediately struck by the similarity of the underlying
framework to that of the first three stanzas of ` `Traume . " Note
10A detailed layer analysis of the first 19 bars of this section appears in
Salzer-Schachter Counterpoint in Composition (New York: McGraw Hill,
the upper voice, which again fills in the E-flat—E-flat octave
with the neighboring F. The last ten measures are particularly
interesting; in the Love Duet the Tristan chord occurs above the
F, which then moves to E 7 = Ger6 in A-flat enharmonically,
eventually resolving to the dominant in m. 84. 11 The half-
1969, pp. 453-57). Their reduction to a seies of 5-6 successions implies a
reversal of the 6-5 noted previously. Unfortunately the analysis stops midway
through the passage; I find it difficult to agree with their analysis of the A-flat 7 in
bar 19 as a bona fide tonic chord.
11 This is not as farfetched as it may appear at first, since Wagner does indeed
resolve it in a similar manner later in the act (see p. 448 in the Dover score). A
rare example of an augmented sixth of an augmented sixth!
 Wagner's Parody Technique 41

Ex. 6. Basic voice leading in section II of the Love Duet

58 68 76 82
m. 46

WOINII MM.
111111111111111111111111.11F.0
=IM rim rrlrv MIMI
1 11111 11111111
r:•Jt:•
^tltllt•^^/
MIN
^^IMON Courair

Wh.lirgwarWWIIn T IE NEW•di IMO= •IM1 Mil 1111"I:t liir 1-`j ai1 -
t11e1' . !V- n.•r J:I'4, n11f11/!•r Jiit AL. \"i i^l^
- -
7•11MMEIN7 Maw lwral=imno.T_wimuLr_nffl:Tlu" ►.iwwwwimm•mom
_ 111 Pi /^^ ^•1•[ / l: 1:1: ►_f 711n Nr. IIIIIIII RIM •I11r L M./ MI III TM. =
- • - I,; ^ . / • • ^ - • • ^ • • r• ^ ♦ rJ•

Downloaded from http://mts.oxfordjournals.org/ at Florida Atlantic University on May 24, 2015

:•^ • I

• • •
111a NM tl711 nN•1•r S•! .! " `i INIW^.7Tl. ►_7 ^r
Illti/ QM /A•. t:iEM 7771. ME LiY.L/ II
1! AN !1• 1111111171I•l:tl7.1•=,ttti"
. Al •l• MI.
MEnANIIJIMMOW •l: 774•= - it!'
i _ ^ r!1<w^ IL ^^^ 0 f M M

1 `^ - !/

Ab: I (VI) Ger6 V' I

diminished seventh chord over the pentultimate bass A-flat is
identical in both pieces.
The diagram in Example 7 serves as a summary of the
above-mentioned tonal relations noted between "Traume" and
the Love Duet. On this basis I do not feel that one is stretching
the definition of the term in considering the Duet as a "parody"
(either conscious or unconscious) of the song.
Certain tonal aspects of ` `Traume" appear to have further
implications in the music of the opera to follow. An analysis of
Act I and the opening scene of Act II reveals that there is very
little use of the flat-6 (major third lower) and flat-3 (major third
higher) harmonic relations in terms of major keys. After the
Love Duet, however, there are extensive passages that are
literally permeated with these root movements. 12 The same

Ex. 7. Summary of parodied relations between "Traume" and the

Love Duet
M. 1 22 42 46 86

b•
. ^

Borrowed material

Section I Section II
1. Appoggiaturas E-flat-E-flat 1. Thematic transformation
2. Tonal exploration 2. Use of flat-6 as pivot
of flat-6 and flat-3 3. Basic harmonic scheme
4. Appoggiaturas E-flat-E-flat

12 For instance, see the familiar passage on p. 387 (Dover score) and its
recapitulation in the Liebestod.
42 Music Theory Spectrum

holds true for the appoggiatura 6-5. 13 The tonality of A-flat is

crucial to the remainder of this scene in Act II (see pp. 382ff. and
387ff. in the Dover score). 14
As a final thought, it is interesting to note the presence of
those significant scale degrees in this analysis when the opening

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chords of the Prelude (see Example 8) are notated
enharmonically in the key of A-flat. 15 These common tones may
well be one method of accounting for the extensive relation
existing between the keys of A and A-flat in much of the opera,
an example of which is the use of A major immediately before
and after the Love Duet.

Ex. 8. Enharmonic comparison of the Tristan chord

13 The only significant use in Act I is on pp. 193-94 (Dover score), and here
A A
the 6 refuses to resolve to 5 within the C major triad.
14 Reti's explanation of the keys employed in the Liebestod (A-flat and B)
hinges on the perfect fourths found within the first two Tristan chords of the
Prelude (A-flat—E-flat and B F sharp). See Reti, The Thematic Process in
— -

Music (New York: Macmillan, 1951).

15 This assumes that the G-sharp in the Tristan chord is in fact a chordal

member rather than a prolonged appoggiatura. On the basis of certain passages

in the opera, I find it hard to consider otherwise (see particularly the Nacht-
Sehnsucht motive on p. 345 of the Dover score, where the three Tristan chords of
the Prelude are rearranged in order, and where no passing motion exists).