"The Mastersingers" is a simple, human love story, simply told, with many touches of humour to enliven it, and its interest enhanced by highly picturesque, historical surroundings. 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.

"The Mastersingers" has a peculiarly Wagnerian interest. It is Wagner's protest against the narrow-minded critics and the prejudiced public who so long refused him recognition. Edward Hanslick, the bitterest of Wagner's critics, regarded the libretto as a personal insult to himself. 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. _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. _Walther's_ triumph is also Wagner's. Few of Wagner's dramatic creations equal in lifelike interest the character of _Sachs_. It is drawn with a strong, firm hand, and filled in with many delicate touches.

The _Vorspiel_ gives a complete musical epitome of the story. It is full of life and action--pompous, impa.s.sioned, and jocose in turn, and without a suggestion of the overwrought 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 Mastersingers." To a great extent an a.n.a.lysis of this overture forecasts the work itself. Accordingly, again through the courtesy of G. Schirmer Inc., I avail myself of my _Wagner's Music-Dramas a.n.a.lysed_, in the account of the _Vorspiel_ and of the action and music that follow it.

The pompous =Motive of the Mastersingers= opens the _Vorspiel_. 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. Thus there is in the Motive of the Mastersingers a certain ponderous dignity which well emphasizes the idea of conservative power.

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In great contrast to this is the =Lyric Motive=, which seems to express the striving after a poetic ideal untrammelled by old-fashioned restrictions, such as the rules of the _Mastersingers_ impose.

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But, the st.u.r.dy conservative forces are still unwilling to be persuaded of the worth of this new ideal. Hence the Lyric Motive is suddenly checked by the sonorous measures of the =Mastersingers' March=.

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In this the majesty of law and order finds expression. It is followed by a phrase of n.o.ble 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=.

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It reaches an eloquent climax in the =Motive of the Ideal=.

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Opposed, however, to this guild of conservative masters is the restless spirit of progress. Hence, though stately the strains of the Mastersingers' March and of the Guild Motive, soon yield to a theme full of emotional energy and much like the Lyric Motive. _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 untrammelled 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 pa.s.sion for _Eva_, which really brings about through his prize song a great musical reform. This is one of Wagner's finest dramatic touches--the love story is the mainspring of the action, the moral is pointed only incidentally. Hence all the motives in which the restless striving after a new ideal, or the struggles of a new art form to break through the barriers of conservative prejudice, find expression, are so many love motives, _Eva_ being the incarnation of _Walther's_ ideal. Therefore the motive which breaks in upon the Mastersingers'

March and Guild Motive with such emotional energy expresses _Walther's_ desire to possess _Eva_, more than his yearning for a new ideal in art. So I call it the =Motive of Longing=.

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A portion of "Walther's Prize Song," like a swiftly whispered declaration of love, leads to a variation of one of the most beautiful themes of the work--the =Motive of Spring=.

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And now Wagner has a fling at the old fogyism which was so long an obstacle to his success. He holds the masters up to ridicule in a delightfully humorous pa.s.sage which parodies the Mastersingers' and Art Brotherhood motives, while the Spring Motive vainly strives to a.s.sert itself. In the ba.s.s, the following quotation is the =Motive of Ridicule=, the treble being a variant of the Art Brotherhood Motive.

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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 pa.s.sage is followed by the Motive of the Mastersingers, which in turn leads to an imposing combination of phrases. We hear the portion of the Prize Song already quoted--the Motive of the Mastersingers as ba.s.s--and in the middle voices portions of the Mastersingers' March; a little later the Motive of the Art Brotherhood and the Motive of Ridicule are added, this grand ma.s.sing of orchestral forces reaching a powerful climax, with the Motive of the Ideal, while the Motive of the Mastersingers brings the _Vorspiel_ to a fitting close. In this n.o.ble pa.s.sage, 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 st.u.r.dy energy.

This concluding pa.s.sage in the _Vorspiel_ thus brings out with great eloquence the inner significance of "Die Meistersinger." In whatever the great author and composer of this work wrote for the stage, there always was an ethical meaning back of the words and music. 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 his fine book, _The Orchestra and Orchestral Music_, W.J. Henderson relates this anecdote:

"A professional musician was engaged in a discussion of Wagner in the corridor of the Metropolitan Opera House, while inside the orchestra was playing the 'Meistersinger' overture.

"'It is a pity,' said this wise man, in a condescending manner, 'but Wagner knows absolutely nothing about counterpoint.'

"At that instant the orchestra was singing five different melodies at once; and, as Anton Seidl was the conductor, they were all audible."

In a rare book by J.C. Wagenseil, printed in Nuremburg in 1697, are given four "Prize Master Tones." Two of these Wagner has reproduced in modern garb, the former in the Mastersingers' March, the latter in the Motive of the Art Brotherhood.

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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.

The service over, the Motive of Spring, with an impetuous upward rush, seems to express the lovers' joy that the restraint is removed, and the Lyric Motive resounds exultingly as the congregation departs, leaving _Eva_, _Magdalena_, and _Walther_ behind.

_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. The Mastersinger and Guild motives, which naturally accompany _David's_ activity, contrast soberly with the ardent phrases of the lovers. _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!" Very pretty and gay is the theme heard when _David_ joins the group--the =Apprentice Motive=.

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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, circ.u.mstance, 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_.

When the 'prentices enter, they proceed to erect the marker's platform, but stop at times to annoy the somewhat self-sufficient _David_, while he is endeavouring to instruct _Walther_ in the rules of the _Mastersingers_. The merry Apprentice Motive runs through the scene and brings it to a close as the 'prentices sing and dance around the marker's box, suddenly, however, breaking off, for the _Mastersingers_ appear.

There is a roll-call and then the fine pa.s.sage for ba.s.s voice, in which _Pogner_ offers _Eva's_ hand in marriage to the winner of the coming song contest--with the proviso that _Eva_ adds her consent. The pa.s.sage is known on concert programmes as "Pogner's Address."

_Walther_ is introduced by _Pogner_. The =Knight Motive=:

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_Beckmesser_, jealous, and determined that _Walther_ shall fail, enters the marker's box.

_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. Unwillingly enough _Walther_ takes his seat in the candidate's chair. _Beckmesser_ shouts from the marker's box: "Now begin!" After a brilliant chord, followed by a superb ascending run on the violins, _Walther_, in ringing tones, enforced by a broad and n.o.ble chord, repeats _Beckmesser's_ words. 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. In _Walther's_ song the Spring Motive forms an ever-surging, swelling accompaniment, finally joining in the vocal melody and bearing it higher and higher to an impa.s.sioned climax. In his song, however, _Walther_ is interrupted by the scratching made by _Beckmesser_ as he chalks the singer's violations of the rules on the slate, and _Walther_, who is singing of love and spring, changes his theme to winter, which, lingering behind a th.o.r.n.y hedge, is plotting how it can mar the joy of the vernal season. The knight then rises from the chair and sings a second stanza with defiant enthusiasm. As he concludes it _Beckmesser_ tears open the curtains which concealed him in the marker's box, and exhibits his board completely covered with chalk marks. _Walther_ protests, but the masters, with the exception of _Sachs_ and _Pogner_, refuse to listen further, and deride his singing. We have here the =Motive of Derision=.

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_Sachs_ protests that, while he found the knight's art method new, he did not find it formless. The =Sachs Motive= is here introduced.

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The Sachs Motive betokens the genial nature of this st.u.r.dy, 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. To _Sachs's_ innuendo that _Beckmessers'_ marking hardly could be considered just, as he is a candidate for _Eva's_ hand, _Beckmesser_, by way of reply, chides _Sachs_ for having delayed so long in finishing a pair of shoes for him, and as _Sachs_ makes a humorously apologetic answer, the Cobbler Motive is heard.

The st.u.r.dy 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 'prentices see their opportunity in the confusion, and joining hands they dance around the marker's box, singing as they do so. We now have combined with astounding skill _Walther's_ song, the 'prentices' chorus, and the exclamations of the masters. The latter finally shout their verdict: "Rejected and outsung!" The knight, with a proud gesture of contempt, leaves the church. The 'prentices put the seats and benches back in their proper places, and in doing so greatly obstruct the masters as they crowd toward the doors. _Sachs_, who has lingered behind, gazes thoughtfully at the singer's empty chair, then, with a humorous gesture of discouragement, turns away.

Act II. The scene of this act represents a street in Nuremburg crossing the stage and intersected in the middle by a narrow, winding alley. There are thus two corner houses--on the right corner of the alley _Pogner's_, on the left _Sachs's_. 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. _David_ and the 'prentices are closing shop. After a brisk introduction based on the Midsummer Festival Motive the 'prentices quiz _David_ on his love affair with _Magdalena_. The latter appears with a basket of dainties for her lover, but on learning that the knight has been rejected, she s.n.a.t.c.hes the basket away from _David_ and hurries back to the house. The 'prentices now mockingly congratulate _David_ on his successful wooing. _David_ loses his temper and shows fight, but _Sachs_, coming upon the scene, sends the 'prentices on their way and then enters his workshop with _David_. The music of this episode, especially the 'prentices' chorus, is bright and graceful.

_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.