ending for the occasion. Wagner had authorised such an ending, but did not like what Bülow had done with it and later wrote his own. Wagner then included the prelude in his own three concerts at the Paris Théâtre-Italien in January–February 1860. Wagner called the prelude the "Liebestod" (Love-death) while Isolde's final aria "Mild und leise" he called the "Verklärung" (Transfiguration). In 1867 his father-in-law Franz Liszt made a piano transcription of "Mild und leise", which he called "Liebestod" (S.447); he prefaced his score with a four-bar motto from the love duet from Act II, which in the opera is sung to the words "sehnend verlangter Liebestod". Liszt's transcription became well known throughout Europe well before Wagner's opera reached most places, and it is Liszt's title for the final scene that persists. The transcription was revised in 1875. Wagner wrote a concert ending for the Act II Love Duet for a planned 1862 concert performance that did not eventuate. The music was lost until 1950, then passed into private hands, before coming to the attention of Daniel Barenboim, who passed it on to Sir Antonio Pappano. The first recording of the Love Duet with the concert ending was made in 2000, with Plácido Domingo, Deborah Voigt and the Orchestra of the Royal Opera House under Pappano. Another composer to rework material from Tristan was Emmanuel Chabrier in his humorous Souvenirs de Munich – quadrilles on themes from Wagner's Tristan und Isolde. These were augmented and orchestrated by Markus Lehmann in 1988. Leopold Stokowski made a series of purely orchestral "Symphonic Syntheses" of Wagner's operas during his time as conductor of the Philadelphia Orchestra, bringing to concert audiences of the 1920s and '30s music they might not otherwise have heard. He made a 'long version' of music from Tristan and Isolde which consisted mainly of the Act I prelude, the from Act II and the from Act III. A shorter version of music from the 2nd and 3rd acts was called "Love Music from Tristan and Isolde". He made recordings of both versions on 78s and again on LP. The British composer Ronald Stevenson has made two arrangements based on the opera. The first is The Fugue on the Shepherd's Air from Tristan und Isolde from 1999. Its composition was inspired by a lecture given by the Wagner biographer and chair of the Wagner Society of Scotland, Derek Watson, to whom