Chivalric Epic Codes in Music and Ballet Interpretations of ‘Tristan and Isolde’

Abstract

The purpose of the article is to study the codes of the chivalric epic in musical art and the ballets Tristan and Isolde by David Dawson and A. Pieshkova. The research methodology is based on a combination of comparative-historical, semiotic, musicological, and cultural analyses, which allows the consideration of contemporary composers’ and choreographers’ approaches to the legend of Tristan and Isolde as a process of transforming chivalric epic codes through the lens of Romantic tradition and contemporary artistic practices. The scientific novelty of the work lies in the comprehensive analysis of interpretations of the Tristan and Isolde legend in music and choreography of the 20th–21st centuries through the prism of chivalric epic codes. For the first time, the combination of Romantic tradition with modern musical technologies (electronics, jazz and folk elements) is examined, as well as their role in renewing the symbols of ‘love and death’ in the contemporary artistic context. Conclusions. The engagement of 20th–21st century composers and choreographers with the Tristan and Isolde narrative demonstrates the universality and adaptability of chivalric epic codes. In the ballets by Dawson and Pieshkova, the legend acquires contemporary stage forms. Wagnerian fragments (in Pieshkova’s ballet) symbolise the classical-Romantic tradition, embodying ‘eternal love and death’, monumentality, and philosophical depth. Electronic sounds, as a modern musical layer, add a sense of experimentation and heightened emotionality. Dawson’s ballet ‘Tristan + Isolde’ embodies chivalric epic codes through contemporary choreography and a new score by Szymon Brzóska, combining lyricism and drama with modern orchestral techniques. This approach renews the narrative of love and death, connecting Romantic tradition with 21st-century aesthetics. In O. Messiaen’s Turangalîla, the symbolism of ‘love and death’ is presented as a mystical idea, whereas in H. Henze’s Tristan a critical dialogue with Romanticism is revealed. A common feature of these interpretations is their reliance on Romantic tradition, reinterpreted through contemporary artistic practices: updating musical material with modern technologies, modifications in orchestration, rhythmic freedom, and the introduction of extra-musical layers such as folk, jazz, and everyday sound complexes. This approach not only expands the artistic boundaries of the myth but also confirms its capacity to reflect contemporary cultural and philosophical inquiries. Messiaen integrates rhythmic structures inspired by Indian music (tālas), birdsong, and jazz-like elements (improvisatory piano solos, dynamic orchestral drive). Henze incorporates jazz rhythms and folk intonations into his style. In Tristan, rhythmic freedom, jazz-influenced piano textures, and a ‘folk layer’ of recorded sounds (birdsong, voices) introduce extra-musical elements into the score. Both composers reinterpret, rather than directly quote, jazz or folk elements, integrating them into a contemporary academic musical context as part of an expanded sound world.