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Updated: June 17, 2025
In its delineation of the pompous doings of the mastersingers, Wagner is true to the letter. He has vitalized the dry record to be found in old Wagenseil's book on Nuremberg, and intensified the vivid description of a mastersingers' meeting which the curious may read in August Hagen's novel "Norica."
He is hooted at and ridiculed, and, becoming enraged, charges the authorship of the song on Sachs, who coolly retorts that it is a good song when correctly sung. To prove his words he calls on Walther to sing it. The knight complies, the mastersingers are delighted, and Pogner rewards the singer with Eva's hand.
He was amnestied and free to return to Germany, and he could do little good there. Tristan was accepted at Vienna, but the production was put off. He was busy on the Mastersingers busy with all manner of impracticable dreams, and could not earn a livelihood.
Tristan completed. Mastersingers completed. Composition of Siegfried resumed. Siegfried completed. Dusk of the Gods begun. Dusk of the Gods completed. The Ring given at Bayreuth. Wagner was thus occupied with the Ring for fully twenty-five years.
The untutored loveliness of his song fills the hide-bound Mastersingers with dismay, and Beckmesser's slate is soon covered. Walther, angry and defeated, rushes out in despair, and the assembly breaks up in confusion. Only the genial Hans Sachs finds truth and beauty in the song, and cautions his colleagues against hasty judgment.
In 1839 four only were living, and in that year these veterans assembled with great solemnity, and declaring the society of Mastersingers forever closed, presented their songs, hymns, books, and pictures to a modern musical institution at Ulm.
All that it is necessary to know of the plot may be briefly told in a skeleton form. One of the mastersingers, Pogner, dissatisfied with the prizes usually given at the competitions, has decided to grant his daughter Eva in marriage to the winner of the next.
But in the cases of Gluck and Mozart and of Wagner in the Mastersingers, if by chance the parts of the overture were missing, the opera could start away and go on merrily, and we should miss nothing but the preliminary pleasure of hearing the overture.
It was then that he composed the first two acts of Siegfried, and later on The Mastersingers, a professedly comedic work, and a quite Mozartian garden of melody, hardly credible as the work of the straining artifices of Tanehauser.
From it he got the rules which governed the meeting of the mastersingers, like that which follows the religious service in the church of St. Catherine in the first act, and the singular names of the melodies to which, according to David, the candidates for mastersingers' honors were in the habit of improvising their songs. In one instance he made a draft on an authentic mastersinger melody.
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