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Updated: July 11, 2025
The phonograph had been advertised to give a reproduction of Ternina in the Liebestod from Tristan und Isolde, but instead it broke into the 'Washington Post, and the room, braced to a great occasion, was horrified. Mrs. Portway, abandoning Henry, ran to silence the disastrous consequence of her husband's clumsiness.
From the Vorspiel's opening measures, gaunt and hungry with despair and longing, to the last measures of the Liebestod, sublime with resignation and divinely sad with the apotheosis of adoration, this opera sounds every note of the emotion of man for woman, and woman for man.
Together they took the elevator to the eighth floor and, as Ignatz Kresnick dealt the cards for the five-hundredth time in that game, all unconscious of his fast-approaching Nemesis, Mozart Rabiner played the concluding measures of the Liebestod softly, slowly, like a benediction: Ertrinken Versinken Unbewusst Höchste Lust. "Who do you think I seen it in Hammersmith's just now, Mawruss?"
Abe nodded. He knocked at the door, and Liszt's transcription of the Liebestod ceased immediately. "Well?" Mozart Rabiner cried and, for answer, Abe opened the door. "Hallo, Moe!" he said. "You don't know me. What? I'm Abe Potash." "Oh, hello, Potash!" Rabiner said, rising from the piano stool. "That's some pretty mournful music you was giving us, Moe," Abe went on.
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