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It is the lightness of his brush stroke that makes us marvel at the third act of "Tristan," the first scene of the "Walküre." It is the delicacy of his fancy, the lilac fragrance pervading his inventions, that enchants us in the second act of "Die Meistersinger."
The by no means startling prelude to Pogner's Anrede from the Meistersinger was enthusiastically encored, in spite of the fact that the singer had already risen to his feet for the next part. At this moment I chanced to see in one of the boxes a most comforting omen for my present position; for I recognised Mme.
Wagner sought in the epical rehabilitation of a vanished Valhalla a surcease from the world- pain. He consciously selected his anodyne and in "Die Meistersinger" touched a consoling earth. Chopin and Nietzsche, temperamentally finer and more sensitive than Wagner the one musically, the other intellectually sang themselves in music and philosophy, because they were so constituted.
There were critics, it is true, who thought the opera 'a monstrous caterwauling, but it had not to wait long for general appreciation, and performances in Berlin, Vienna, and Dresden soon followed the initial one at Munich. The scene of 'Die Meistersinger' is laid in sixteenth-century Nuremberg.
The joy of Cornelius at what he called the salvation of the Meistersinger knew no bounds. From Berlin Bulow, in great indignation and evident low spirits, wrote to me of his dreadful experiences in attempting to organise my concert.
It will be most convenient in this place to treat 'Der Ring des Nibelungen' as a complete work, although 'Tristan und Isolde' and 'Die Meistersinger' were written and performed before 'Siegfried' and 'Götterdämmerung.
Those of us who love Wagner remember the lesson of Die Meistersinger. Down in Nuremberg they had standardized and conventionalized music. They had set it down in rules and men like Beckmesser could not imagine that there was any music permissible outside the regulations. Then came Walter von Stolzing.
I had spent four dreary days there, and now started by train on my dull journey to Vienna, following the roundabout overland route. It was during this journey that the music of the Meistersinger first dawned on my mind, in which I still retained the libretto as I had originally conceived it. With the utmost distinctness I at once composed the principal part of the Overture in C major.
"Tristan and Isolde" was produced in 1856, and his comic opera, "Die Meistersinger von Nürnberg," three years later. In 1864 he received the patronage of King Louis of Bavaria, which enabled him to complete and perform his great work, "Der Ring der Nibelungen."
But the parts of the work in which Goetz's indebtedness to Wagner are most apparent are the choruses, which, both in their tunefulness and in the elaborate nature of the part-writing, often recall 'Die Meistersinger, and in the orchestration, which is extraordinarily fanciful and imaginative.
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