At this moment, there is only an endless darkness that responds to the audience.
A downward scale suddenly came out of the orchestra.
This is the prelude to Act 2.
It is extremely short, first of all, it is opposite to the previous "Tristan chord" and "desire motivation" movement direction, forming a confrontation
But after just 2 bars, it becomes a more rapid eighth note, which changes and develops upwards uncontrollably, implying that the male and female protagonists' desire to be constrained by the secular constraints showed signs of losing control.
This undoubtedly cleverly realized, the "previous review" function of the plot of the previous two drinking potion together.
The curtain begins.
The palace where night falls, the dark and dangerous garden, and the burning torches.
The "moonlight" that appears in the clouds from time to time, and the strong light that accidentally flashes from the black fog in the distance, like a "searchlight" from the patrol army!
It turned out that after the marriage sailboat arrived at the Kingdom of Conor that day, everything seemed to be normal. King Mark held a grand welcome ceremony for everyone who came from afar and placed everyone under the above conditions.
Of course, from the truth or the reason, the messenger and the princess will not have any connection.
Although the two lived in the same palace, they had been separated for many days, enduring the pain of longing and the torment of morality.
But this night, the opportunity has come, and it is no longer enduring!
King Mark went out to hunt at night, and the two agreed to meet privately in the garden where Isolde was given a signal to extinguish the torch!
This is the plot of the second act!
The richness of the depth and level of details of this scene also shocked the audience.
The setting of lights alone includes cold light sources that simulate natural moonlight, gas lamps + sprays that simulate garden water vapor in the dark, lights that metaphorically suppress the Imperial Guard patrol lights that suppress the secular power, signal torches that the two met, etc.!
Malay remembers Fanning's unique instructions on this scene very clearly.
"Grasp two key points."
"One is the philosophical image of night/day; the other is the 'fire', or the metaphor of 'tork'!"
"Your design philosophy must carry the philosophical thinking of 'night/day' throughout this scene. Well, in fact, according to the tradition of Janus' religious culture, 'endless night' is somewhat negative, but this one is enough
Concluding that the musicals in the Romantic era must be contrary to tradition—the night has become a positive image that can tolerate the love and self-will of the male and female protagonists, while the daytime symbolizes the responsibilities and moral evaluation standards of society.
, is the projection of the 'will of the world'"
"As for 'fire', or 'tork'. Fire is one of the greatest achievements invented by ancient ancestors. In the early 2nd History, when scale species and dragons existed, humans had a humble status, lived in the darkness, and ate and drank while kneeling.
Later, the Lord of the Witness taught them to pursue Qiming, and they had fire."
"But fire is also a subtle thing. From a functional perspective, it is used for illumination of 'night'. The illuminated 'night' may no longer be 'night', but it cannot be regarded as 'day', and has become another
A more mysterious state. Fire not only gives humanity light and warmth, but also because of the society it has established, it may also present another kind of depression, pain, and even destruction under the civilized order. It is both a helping and an accomplice."
In Marley's view, his Fanning boss seemed to be extremely interested in the philosophical anomaly of "night and day", or just regard "day" as an appendage or a contrasting state, this philosophy is called "night" philosophy
!
Malay remembers Fanning talked about his interest at that time, and even said that if he was interested and had the opportunity in the future, he might write a symphony separately to explore the philosophy of "Night"!
Therefore, based on the above criticism, in the first "Torch Warning" in the second act, Malay gave two distinct symbolic meanings to burning and extinguishing torches!
"Extinguishing the torch" is the code of Isolde and Tristan's appointment for a tryst. Through a series of scenes and light and shadow, the audience quickly grasped one of the subtle contradictions!—
The stage of the night cannot be seen. If the darkness continues, the two will not be able to meet. However, if the torch is lit and meet under the fire, it will not take long to be discovered!
The only way is to ignite and then extinguish it.
So on the one hand, the lighting of the torch is the hope of the two people's love, but at the same time, the signal of extinguishing the torch is a sign of the destruction of hope!
A certain irreconcilable dualistic philosophy actually achieved deep unity between such a simple prop!
The band imitates the echo of the hunting horn from far to near, and from near to far.
The horn part uses the reverse Canon technique to lengthen the depth of the space infinitely.
"Can you still hear them? The sound is far away from us." Isolde stood in the garden and spoke impatiently.
"They are still nearby, and the sound is heard clearly here." Brown Ganny's mellow meteoric meteorite was filled with a hint of alertness.
As the band's confrontational parts surged, the two looked around again.
Seeing that the heroine's obsession was getting heavier, Brown Ganny begged and sang:
"If the sinister potion of Love God extinguishes the light of your rationality,
If you really can't see, the warning I gave you,
At this moment, just this time, listen to my request!
That light can predict danger, just today, today! Don’t extinguish the torch!”
With Browngany's plea, the "Tristan chord" gushed out from the orchestra again. Isolde praised the goddess of love and the desires in her heart.
“The embers in my chest were lit by her, making my heart burn like flames;
Like day, she laughs in my soul;
The goddess of love is looking forward to the arrival of the night;
There, she shines dazzlingly!"
She first opened her arms and her eyes were burning.
When the sound line wanders in the treble area, it can still maintain a silky smooth texture.
Then he bent down and firmly issued an order to the maid:
"You go to the tower there and pay attention to the situation!
Even if this light is the light of my life, I will smile and extinguish it without hesitation!"
As the soprano soared to an excited high point, the oboe began to blow the "torch motivation" in the treble zone.
The gloomy and erratic sound transitions the music to the preface of the second act, "Night Duo"!
In the distance of the stage, Tristan bowed and looked around, and quickly walked through the woods by the night!
In the band, a large number of dominant motivations representing the two of them gradually expanding their love and desire appeared one after another!
"Isolde's anxiety motivation", "the call of the night", "the revealer's motivation", "the peace motivation of love".
Although there are many forms, they can never avoid the fate set by the Prelude, all of which are extensions and developments of the front and back lines of the "Tristan chords"
Yes, in all the key parts of the play, this chord always appears without delay, either in the foreground or in the background, in conjunction with the changes in the dramatic situation, constantly changing the pitch, sound area and orchestration color, either anxious or
Sorrow, either with ominous warnings, or with sweet sweetness in the sadness!
The audience gradually understood more with the "Tristan chord" and understood the historic innovation of the composition technique of "dominate motivation"!
"In short, each ‘dominate motivation’ is realized, and a specific type of character image, thought or emotion is highly summarized in a set of concise and short notes!."
Composers and music critics write quickly on the record book.
"In this way, when a certain 'dominate motivation' sounds in the drama, the audience can immediately associate a specific character image or emotion. And if multiple 'dominate motivations' are combined with polyphonic techniques, then these characters will be
The interaction will inevitably come to life!”
"How did this technique come up with it? Can I understand it as Fanning trying to find a group of 'world will' languages - as essential musical symbols -
— Give it a high and mysterious summary!?!?.”
The next moment, the lines of the cello and bass are combined together, and they are climbing upwards in a second-degree scale.
When the "Isolde Anxiety Motivation" repetition of the fourth upward change, the anxiety of longing for meeting was depicted increasingly strong, and the violin part showed a tense and dangerous syncopation rhythm.
When the 12th repetition was upward, this dangerous splitting rhythm gradually spread to the viola, cello and bass. The part added the motivation of "Isolde's anxiety", and Isolde's anxious desire and emotion further escalated!
At a high point on the verge of collapse, the band's strong music suddenly ended-
"Isolde!" "Tristan!"
The call of the voice finally entered the venue, and the male and female protagonists met on this night!