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Now in the overture, the conductor had failed to see the necessity of a modification of the original march-like tempo in the direction of an Andante alla breve; and, of course, here at the close of the opera he equally failed to feel that the movement was not directly connected with the march tempo his first mistake was therefore continued, and he proceeded to confine and hold fast the warmly-feeling singer of the part of Hans Sachs in rigid 4/4 time, and to compel him to deliver his final address in the stiffest and most awkward manner possible.
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