To these themes must be added that of Derision, heard in the last act, when the people are amazed at the appearance of Beckmesser as a contestant:
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DERISION.
Out of this material the prelude is built, and its character is that of a contest of forces with a final reconciliation, which is, as we have seen, the basis of the artistic symbolism of the comedy.
The first act begins with a chorale, in which the old-fashioned style of writing is exhibited. As the congregation disperses, Eva and Walther enter into eager converse, and the themes of Emotion and Spring are heard. And here I must ask the reader to note the wonderful use Wagner has made of this sequence of tones:
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By a very simple change the first three tones are altered to those of the Spring motive or the closing strain of the prize song. It is by such logical musical processes that Wagner makes the development of his dramas so artistic and so convincing, while at the same time he fascinates the ear by the purely sensuous beauty of the varying melodies. The Spring theme plays a most important part in the score, and it is worthy of note that it is so pregnant with meanings that whether played fast or very slowly it is eloquent, though with a difference. Note, if you will, the extraordinary force with which it sings from the orchestra when Sachs's mind, in the second act, is ruminating on the events of the trial and cannot free itself of the influence of Walther's song. But to proceed with the first act: After the scene of the lovers, with the entrance of David, we begin to hear lively, rhythmic melodies, associated with the youth and gaiety of the apprentices. A portion of this music signifies the chastisement afflicted upon an apprentice by a master, and appears several times in the score to call attention to Sachs's repression of David:
