Music and Time Annotation << Back Wagner-Liszt: Isolden’s Liebes-Tod – Interpretation Concept S.Ya. Vartanov The article is the second part of a diptych devoted to the closeness of ideas and the commonality of the principles of two contemporaries – the great 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 second article examines the closeness of their ideas and the materialization of their union by the example of a leafy transcript of the final scene from Wagner Tristan and Isold's Isolden’s Liebes-Tod (Death of Isolda). Liszt made a decisive contribution to the formation of piano transcription, the piano for him is a “universal instrument”, the sound ideal is a symphonic interpretation: “I orchestrate for piano”. Liszt treats the music of Wagner very carefully, assuming nevertheless the only freedom in the text. The climax of the final scene accumulates all the strings of the opera. The system of leitmotifs, their personifications and transformations, end-to-end plot techniques – wave-like cyclic and delta techniques – allow you to read the plot. This makes it possible to formulate the concept of interpretation: the transformation of Isolde; its transition from fear of death to a state of enlightenment. The death of Tristan turns into an experience of the transcendence of love, which is higher than Life and Death. The concept allows us to talk about the performing means of its embodiment by a pianist. Keywords: The final scene of Wagner's opera "Tristan and Isolde", Liszt's transcription, cross-cutting plot techniques, concept and means of embodiment. Pp. 18-25.