Music and Time Annotation << Back Wagner & Liszt – Tristan & Beyreut S.Ya. Vartanov The article is the first part of a diptych dedicated to the closeness of ideas and the common principles of the two great contemporaries, composers and performers of the Romantic era: Franz Liszt (1811–1886) and Richard Wagner (1813–1883). Their close friendship and creative cooperation lasted for decades and became fruitful for both. This first article examines the closeness of their creative ideas typical of the romantic era: Liszt's “Synthesis of Arts” (updating music in conjunction with poetry and drama) and Wagner's Synthetic Artwork. Liszt in his one-part monocycles with the announced program and Wagner in his “musical dramas” (also the author of the libretto of his operas) - sought the ideals of continuous, voluminous, development of the material. For both composers, the traditional forms of large compositions composed of separate numbers or parts are not acceptable. The treatises of Liszt and Wagner on the theory of conductor performance make it possible to compare their interpretation principles. Love - the highest value, inspiring the work of romantics - a complete reflection of the role of this feeling in the lives of two masters we find at the heights of their legacy: in the Liszt Sonata h-moll and in Wagner’s opera Tristan and Isolda. The second part of the diptych will be devoted to the materialized embodiment of the creative union of the great romantics: the Liszt transcription of the final scene of Wagner Tristan and Isold’s opera Isolden’s Liebes-Tod (Death of Isolda) – a comparative examination of the means of expression in the original and in piano transcription. Keywords: Liszt and Wagner, “synthesis of arts” and the theory of conductor performance, Liszt Sonata h-moll and Wagner’s opera “Tristan and Isolde”. Pp. 22-26.