– only to deliberately defer the anticipated resolution. One particular example of this technique occurs at the end of the love duet in Act II ("Wie sie fassen, wie sie lassen...") where Tristan and Isolde gradually build up to a musical climax, only to have the expected resolution destroyed by the dissonant interruption of Kurwenal ("Rette Dich, Tristan!"). The deferred resolution is frequently interpreted as symbolising both physical sexual release and spiritual release via suicide – the long-awaited completion of this cadence series arrives only in the final "Liebestod" ("Love-Death"), during which the musical resolution (at "In des Welt-Atems wehendem All") coincides with the moment of Isolde's death. The tonality of Tristan was to prove immensely influential in western Classical music. Wagner's use of musical colour also influenced the development of film music. Bernard Herrmann's score for Alfred Hitchcock's classic, Vertigo, is heavily reminiscent of the Liebestod, most evidently in the resurrection scene. The Liebestod was incorporated in Luis Buñuel's Surrealist film L'Age d'Or. Not all composers, however, reacted favourably: Claude Debussy's piano piece "Golliwog's Cakewalk" mockingly quotes the opening of the opera in a distorted form, instructing the passage to be played ''. However, Debussy was highly influenced by Wagner and was particularly fond of Tristan. Frequent moments of Tristan-inspired tonality mark Debussy's early compositions. Roles Instrumentation Tristan und Isolde is scored for the following instruments: 3 flutes (one doubles piccolo), 2 oboes, cor anglais, 2 clarinets, bass clarinet, 3 bassoons 4 horns, 3 trumpets, 3 trombones, bass tuba timpani, cymbals, triangle harp 1st and 2nd violins, violas, violoncellos, and double basses (Die Streichinstrumente sind vorzüglich gut und stark zu besetzen. [The string instruments are to be exquisitely cast in quantity and quality.]) on-stage cor anglais, 6 horns, 3 trumpets, 3 trombones Synopsis Act I Isolde, promised to King Marke in marriage, and her handmaid, Brangäne, are quartered aboard Tristan's ship being transported to the king's lands in Cornwall. The opera opens with the voice of a young sailor singing of a "wild Irish maid" ("Westwärts schweift der Blick"), which Isolde construes to be a mocking reference to herself. In a furious outburst, she wishes the seas to rise up and sink the ship, killing herself and all on board ("Erwache mir wieder, kühne Gewalt"). Her scorn and rage are directed particularly at Tristan, the knight responsible for taking her to Marke, and Isolde sends Brangäne to command Tristan