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“AM STILLEN HERD.”
The subsequent trial song, as will be noted at a single hearing, throbs throughout with the Spring theme. Note the fine contrast made by Kothner's formal statement of the laws of the mastersong, ending with a fine vocal exfoliation in the old style:
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The act comes to an end with a general discussion among the masters, while Walther vainly endeavours to make himself heard and the apprentices sing a chorus of derision. As Sachs remains in the foreground, moved by the new music which he has heard, we hear once more its fundamental phrase, the Spring motive.
The music of the second act is simplicity itself up to the dialogue of Pogner and Eva. The score is rich with themes already made known, but when the father tells his daughter how she must on the morrow make her choice before all the citizens, we hear for the first time a peculiarly lovely motive intended to designate the old city itself:
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