IV.
In broad lines the prelude to "Die Meistersinger" not only serves to delineate the characteristic traits of the personages concerned in the comedy, but also exhibits Wagner's method of musical exposition, and teaches the lesson which is at the bottom of the satire—the lesson, namely, that it is through the union of the two principles, which until the close of the play appear in conflict, that a genuine work of art is quickened. The prelude contains the whole symbolism of the comedy in a nutshell. In form it is unique, but in so far as it employs only melodies drawn from the play it may not incorrectly be classed with the medley overtures which composers used to throw together for ante-curtain music. It is the manner in which Wagner has treated his melodies, and the delineative capacity with which he has endowed them, that render the prelude a capital exemplification of the theory advanced by Gluck, when, in his preface to "Alceste," he said, "I imagined that the overture ought to prepare the audience for the action of the piece, and serve as a kind of argument to it." Wagner follows this precept and the example set by Beethoven in the "Leonore" overtures, and indicates the elements of the plot, their progress in its development, and finally the outcome, in his symphonic introduction. The melodies which are its constructive material are of two classes, broadly distinguished in external physiognomy and emotional essence. They are presented first consecutively, then as in conflict (first one, then another, pushing forward for expression), finally in harmonious and contented union. It should always be borne in mind that no matter how numerous the hand-books—which a witty German critic called "musical Baedeckers"—if one wishes to know Wagner's purpose in the use of a typical phrase or melody, he need take no one's word for it except Wagner's. He can turn to the score and trace it out himself, learning its meaning from the words and situations with which it is associated. If this plan be followed, it will be seen that the master-singers are throughout the comedy characterized by two melodies,
![[PNG]](#9173371841954810646_p92_s_1.png.id-2292480471559863954.wrap-0.html.html){kind=link}
and
![[PNG]](#9173371841954810646_p92_s_2.png.id-2110685412388078672.wrap-0.html.html){kind=link}
Note that as the master-singers belonged to the solid burghers of old Nuremberg—a little vain, as was to be expected in the upholders of an institution of great antiquity and glorious traditions; staid, dignified, and complacent, as became the free citizens of a free imperial city, whose stout walls sheltered the best in art and science that Germany could boast—so these two melodies are strong, simple tunes; sequences of the intervals of the simple diatonic scale; strongly and simply harmonized; square-cut in rhythm; firm and dignified, if a trifle pompous, in their stride. The three melodies belonging to the class presented in opposition to the spirit represented by the master-singers are disclosed by a study of the comedy to be associated with the passion of the young lovers, Walther and Eva, and those influences in nature which are the inspiration of romantic utterance—spring-time, the birds, and flowers. They differ in every respect—melodic, rhythmic, harmonic, as well as in treatment—from the melodies which stand for the old master-singers and their notions. They are chromatic; their rhythms are less regular and more eager (through the agency of syncopation); they are harmonized with greater warmth, and set for the instruments with greater passion. The first,
![[PNG]](#9173371841954810646_p93_s.png.id-1429690897953465359.wrap-0.html.html){kind=link}
most surely tells us of the incipiency of the lovers' passion, for it is the subject of the interludes between the lines of the chorale which accompany the flirtation in the church scene. The second,
![[PNG]](#9173371841954810646_p94_s-1.png.id-3821578152771024042.wrap-0.html.html){kind=link}
is again concerned with the passion, showing it in the phase of ardent longing. Another is the melody to which Walther sings the last stanza of his prize song. I have already quoted and described it as the phrase to which Eva confesses her love by a gesture of the eyes in the church scene. Lest the significance of that telltale glance should not be recognized, observe that both lovers use the melody in their protestations of devotion to each other at parting:
![[PNG]](#9173371841954810646_p94_s-2.png.id-6761681521547562656.wrap-0.html.html){kind=link}
The fourth is the impatiently aspiring phrase described in the analysis of Sachs' monologue.
There is another theme which is of less importance, seemingly, in the score, but which plays a happy part in the comedy as it is prefigured in the prelude. It is the rhythmically strongly-marked phrase with which the populace jeers at Beckmesser, and effects his discomfiture in the final scene of the play.
![[PNG]](#9173371841954810646_p94_s-3.png.id-2291168669948923256.wrap-0.html.html){kind=link}
This little phrase it is which performs the duty of musical satirist in the middle part of the prelude, where the grotesque elements in the character of Beckmesser are pictured. It is a scherzando movement, the master-singers' march melody being presented in diminution by the choir of wood-wind instruments, which persist stubbornly in their fussy cackling, in spite of the fact that the strings take every opportunity to send some of the passionate, pushing, pulsating love music surging through the desiccated mass of tones. Here it is that Wagner chastises the foolish manners of the master-singers, as he does later in the actual representation. The jeering phrase, started by the middle strings, eventually cuts through the mass of tones, and when the caricature of the broad melody, typical of the master-singers, has been laughed out of court, the music which exemplifies the freshness and vigor of Youth and Spring and Love, and their right to free and spontaneous proclamation, masters the orchestra and conquers recognition, and even celebration, from the representatives of conservatism and pedantry. In the musical contest it is only the perverted idea of Classicism which is treated with contumely and routed; the glorification of the triumph of Romanticism is found in the stupendously pompous and brilliant setting given to the master-singers' music at the end.
You see already in this prelude that Wagner is a true comedian. He administers chastisement with a smile (ridendo castigat mores), and chooses for its subject only things which are temporary aberrations from the good. What is strong and true and pure and wholesome in the art of the master-singers he permits to pass through his satirical fires unscathed. Classicism in its original sense, as the conservator of that which is highest and best in art, he leaves unharmed, presenting her after her trial, as Tennyson presents his Princess, at the close of his corrective poem, when
"All
Her falser self slipt from her like a robe,
And left her woman, lovelier in her mood
Than in her mould that other, when she came
From barren deeps to conquer all with love."