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Having made up my mind, not to assist personally at any future performance like the recent ones of "Die Meistersinger" at Dresden, I am content to accept the "success" of the work as a consolatory example illustrating the fate of our classical music in the hands of our conducting musicians. Classical music retains its warmth, and continues to exist in spite of the maltreatment they subject it to.
"The 'Meistersinger' is to Wagner's other conceptions what the 'Winter's Tale' is to Shakespeare's other works. Its fantasy is founded on gayety and drollery, and it has called up the Nuremberg of the Middle Ages, with its guilds, its poet-artisans, its pedants, its cavaliers, to draw forth the freshest laughter in the midst of the highest, the most ideal poetry."
Dazu giebt Gott selbst allewegen Sein' Gnad' Gedeihen und milden Segen. Dass stete Lieb' und Treu' aufwachs' Im ehlich'n Stand', das wunscht Hans Sachs. One of the most thrilling scenes in "Die Meistersinger" is the greeting of Hans Sachs by the populace when the hero enters with the mastersingers' guild at the festival of St.
I also begged Count Hatzfeld to inform me when Countess Pourtales would feel equal to receiving me. Thus through the whole month of January I continued working on the Meistersinger libretto, and completed it in exactly thirty days.
I sent the prelude to Weisheimer at once to be copied at Leipzig, and also set the Versammlung dor Meistersinger and Pogner's Anrede for orchestra. By the end of October I was at last ready to start on my journey to Leipzig, in the course of which I was induced in a strange way to enter the Wartburg once more.
For us, too, there occurred the moments when Siegfried's cavernous forest depths first breathed on us, when for the first time "Die Meistersinger" flaunted above the heads of all the world the gonfalon of art, when for the first time we embarked upon the shoreless golden sea of "Tristan und Isolde." For us, too, the name of Richard Wagner rang and sounded above all other musical names.
She sang through the greater part of "Lohengrin," and then took up the "Meistersinger," and read it till it fell from her hands. ... It was three o'clock; and feeling very tired, she thought that she might be able to sleep. But all night long she saw her life from end to end.
On my assuring her that in her present frame of mind she could not enter into the lively character of my Meistersinger, she kindly expressed a great wish to hear me read it, and invited me to spend an evening with her.
Safely bedded in this wise, not only the overture, but, as will appear in the sequel, the entire opera of Die Meistersinger, or as much of it as was left after the Capellmeister's cuts, was presented to the public of Dresden.
The production of "Der fliegende Hollander" quickly followed; next came "Tanhäuser" and "Lohengrin," to be swiftly succeeded by the "Meistersinger von Nürnberg." This period of our maestro's musical activity also commenced to witness the development of his theories on the philosophy of his art, and some of his most remarkable critical writings were then given to the world.
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