NUREMBERG.
Familiar motives, employed to make a mood-picture of great beauty, illustrate the scene between Sachs and Eva. But here, indeed, we must pause to note the wonderful expressiveness of the monologue of Sachs, preceding his scene with Eva. The orchestral part throbs with the Spring motive, which finally swells into a broad and beautiful cantilena. The lyric of the first act is quoted by the orchestra also, and at length Sachs concludes with a bit of new melody of his own. He, too, is filled with the spirit of the new music:
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Sachs— The bird who sang to-day, has got a throat that rightly waxes; Masters may feel dismay, but well content with him Hans Sachs is! |
A prominent part is played in the ensuing scene by the tender Eva motive:
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