Guide Die Meistersinger von Nürnberg, act 3: Walthers Prize Song

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David is preparing a song for the midsummer festival. Then Walther arrives and tells Hans that a song came to him in a dream. Hans helps him to prepare the Walther now sings his prize song. This time people realize.
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Wagner thought about revisiting Die Meistersinger during a visit to a museum in Venice in the autumn of , when a 16th-century painting reminded him of the world of the mastersingers. The composer was in Venice visiting his friend Otto Wesendonck — a wealthy silk merchant and fervent supporter of Wagner — and his wife Mathilde.

Otto was apparently a keen tourist, and he eagerly dragged Wagner along on many of his expeditions, as the composer recalled in his memoirs, My Life :. It had also seen his rise from a respected position as music director in Dresden to the status of international celebrity, a man surrounded by controversy whose every move was eagerly awaited by both his most ardent supporters and his most passionate detractors. Wagner composed the Prelude to Act I during a train trip in March , before beginning work on the rest of the opera.

It introduces thematic material associated with the mastersingers and their apprentices. A monument was erected to him in the city of his birth in As a drama it conveys also a perfect picture of the life and customs of Nuremburg of the time in which the story plays. Wagner must have made careful historical researches, but his book lore is not thrust upon us. The work is so spontaneous that the method and manner of its art are lost sight of in admiration of the result.

Hans Sachs himself could not have left a more faithful portrait of life in Nuremburg in the middle of the sixteenth century.


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Being present by invitation at a private reading of the libretto, which Wagner gave in Vienna, Hanslick rose abruptly and left after the first act. Walther von Stolzing is the incarnation of new aspirations in art; the champion of a new art ideal, and continually chafing under the restraints imposed by traditional rules and methods.


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Hans Sachs is a conservative. But, while preserving what is best in art traditions, he is able to recognize the beautiful in what is new. He represents enlightened public opinion. Beckmesser and the other Mastersingers are the embodiment of rank prejudice-the critics. It is drawn with a strong, firm hand, and filled in with many delicate touches. The Vorspiel Preface gives a complete musical epitome of the story. It is full of life and action -- pompous impassioned, and jocose in turn, and without a suggestion of the over-wrought or morbid.

Its sentiment and its fun are purely human. In its technical construction it has long been recognized as a masterpiece. In the sense that it precedes the rise of the curtain, this orchestral composition is a Vorspiel , or prelude. As a work, however, it is a full-fledged overture, rich in thematic material. These themes are Leading Motives heard many times, and in wonderful variety in the three acts of "The Mastersigners. This theme gives capital musical expression to the characteristics of these dignitaries; eminently worthy but self-sufficient citizens who are slow to receive new impressions and do not take kindly to innovations.

Our term of old fogy describes them imperfectly, as it does not allow for their many excellent qualities. They are slow to act, but if they are once aroused their ponderous influence bears down all opposition. At first an obstacle to genuine reform, they are in the end the force which pushes it to success.

Die Meistersinger von Nürnberg - Simple English Wikipedia, the free encyclopedia

Thus there is in the Motive of the Mastersingers a certain ponderous dignity which well emphasizes the idea of conservative power. In great contrast to this is the Lyric Motive , which seems to express the striving after a poetic ideal untrammeled by old-fashioned restrictions, such as the rules of the Mastersingers impose. But, the sturdy conservative forces are still unwilling to be persuaded of the worth of this new ideal. In this the majesty of law and order finds expression.

It is followed by a phrase of noble breadth and beauty, obviously developed from portions of the Motive of the Mastersingers, and so typical of the goodwill which should exist among the members of a fraternity that it may be called the Motive of the Art Brotherhood. It reaches an eloquent climax in the Motive of the Ideal.

Die Meistersinger von Nürnberg, Bayreuth Festival, July 2017

Opposed, however, to this guild of conservative masters is the restless spirit of progress. Walther is the champion of this new ideal -- not, however, from a purely artistic impulse, but rather through his love for Eva. Being ignorant of the rules and rote of the Mastersingers he sings, when he presents himself for admission to the fraternity, measures which soar untrammeled into realms of beauty beyond the imagination of the masters.

But it was his love for Eva which impelled him to seek admission to the brotherhood, and love inspired his song. He is therefore a reformer only by accident; it is not his love of art, but his passion for Eva, which really brings about through his prize song a great musical reform.

So I call it the Motive of Longing. And now Wagner has a fling at the old fogyism which was so long as obstacle to his success. In the bass, the following quotation is the Motive of Ridicule , the treble being a variant of the Art Brotherhood Motive. When it is considered that the opposition Wagner encountered from prejudiced critics, not to mention a prejudiced public, was the bane of his career, it seems wonderful that he should have been content to protest against it with this pleasant raillery instead of with bitter invective.

The passage is followed by the Motive of the Mastersingers, which in turn leads to an imposing combination of phrases. In this noble passage, in which the "Prize Song" soars above the various themes typical of the masters, the new ideal seems to be borne to its triumph upon the shoulders of the conservative forces which, won over at last, have espoused its cause with all their sturdy energy.

BIENVENIDO

This concluding passage in the Vorspiel thus brings out with great eloquence the inner significance of "Die Meistersinger. Thus we draw our conclusion of the meaning of "Die Meistersinger" story from the wonderful combination of leading motives in the peroration of its Vorspiel. In a rare book by J. Wagenseil, printed in Nuremburg in , are given four "Prize Master Tones. Act I. The scene of this act is laid in the Church of St. Catherine, Nuremburg. The congregation is singing the final chorale of the service. Among the worshippers are Eva and her maid, Magdalena.

Walther stands aside, and, by means of nods and gestures, communicates with Eva. This mimic conversation is expressively accompanied by interludes between the verses of the chorale, interludes expressively based on the Lyric, Spring, and Prize Song motives, and contrasting charmingly with the strains of the chorale. Eva, in order to gain a few words with Walther, sends Magdalena back to the pew to look for a kerchief and hymn-book, she has purposely left there. Magdalena urges Eva to return home, but just then David appears in the background and begins putting things to rights for the meeting of the Mastersingers.

Magdalena is therefore only too glad to linger. Magdalena explains to Walther that Eva is already affianced, though she herself does not know to whom. Her father wishes her to marry the singer to whom at the coming contest the Mastersingers shall award the prize; and, while she shall be at liberty to decline him, she may marry none but a master. Eva exclaims: "I will choose no one but my knight! How capitally this motive expresses the light-heartedness of gay young people, in this case the youthful apprentices, among whom David was as gay and buoyant as any.

Every melodious phrase -- every motive -- employed by Wagner appears to express exactly the character, circumstance, thing, or feeling, to which he applies it. The opening episodes of "Die Meistersinger" have a charm all their own. The scene closes with a beautiful little terzet, after Magdalena has ordered David, under penalty of her displeasure, to instruct the knight in the art rules of the Mastersingers.

Die Meistersinger von Nürnberg, WWV 96 (Wagner, Richard)

The Knight Motive:. Kothner now begins reading off the rules of singing established by the masters, which is a capital take-off on old-fashioned forms of composition and never fails to raise a hearty laugh if delivered with considerable pomposity and unction. But such a change has come over the music that it seems as if that upward rushing run had swept away all restraint of ancient rule and rote, just as the spring wind whirling through the forest tears up the spread of dry, dead leaves, thus giving air and sun to the yearning mosses and flowers.

The knight then rises from the chair and sings a second stanza with defiant enthusiasm. Walther protests, but the masters, with the exception of Sachs and Pogner, refuse to listen further, and deride his singing.


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We have here the Motive of Derision. The Sachs Motive is here introduced.

Discover the story of Wagner’s Die Meistersinger von Nürnberg

The Sachs Motive betoken the genial nature of this sturdy, yet gentle man -- the master spirit of the drama. He combines the force of a conservative character with the tolerance of a progressive one, and is thus the incarnation of the idea which Wagner is working out in this drama, in which the union of a proper degree of conservative caution with progressive energy produces a new ideal in art.

The sturdy burgher calls to Walther to finish his song in spite of the masters. And now a finale of masterful construction begins. In short, excited phrases the masters chaff and deride Walther. His song, however, soars above all the hubbub. The latter finally shout their verdict: "Rejected and outsung!

Wagner: Die Meistersinger von Nürnberg, WWV 96 / Act 3 - "Morgenlich leuchtend"

Act II. The scene of this act represents a street in Nuremberg crossing the stage and intersected in the middle by a narrow, winding alley. Before the former is a linden-tree, before the latter an elder. It is a lovely summer evening. The opening scene is a merry one.

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The latter appears with a basket of dainties for her lover, but on learning that the knight has been rejected, she snatches the basket away from David and hurries back to the house. Pogner and Eva, returning from an evening stroll, now come down the alley. Before retiring into the house the father questions the daughter as to her feelings concerning the duty she is to perform at the Mastersinging on the morrow. Her replies are discreetly evasive. The music beautifully reflects the affectionate relations between Pogner and Eva. Magdalena appears at the door and signals to Eva.