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Updated: June 25, 2025
First, certain minor matters. I do not know exactly whether Walther von der Vogelweide in the contest of the minstrels sang his song with you in the original B flat major or in C major. There is here some inconsistency.
"You seem out of humour at this curious sport of chance which extorted laughter from all of us; the sot is surely sufficiently punished by having his portrait so nicely formed by this devil's crew." "Do you then really take it for chance?" cried Walther, in a rage: "Do you not see that the old rogue has fraudulently palmed this picture upon me? that it is his production?
Walther, because he really dreads to hear an answer which may dash his dearest hopes, makes no better use of this second chance than of the first; he is still leading up to his famous question when Magdalene brings the brooch.
The singers in turn take their harps and pour forth their improvisations; Wolfram sings of the chaste ideal which he worships from afar, Walther of the pure fount of virtue from which he draws his inspiration, and the warrior Biterolf praises the chivalrous passion of the soldier.
This canto is certainly interpolated by some first-rate poet, at least a Gottfried or a Walther, to whom that passage of the savage old droning song of death had suggested a piece of new art; it is like the fragments of exquisitely chiselled leafage and figures which you sometimes find encrusted by whom? wherefore? quite isolated in the midst of the rough and lichen-stained stones of some rude Lombard church.
Through all this, over all this, the stubborn song, not for a moment weakening or wavering, has climbed its way, with the figurative Bird, to its climax-point. His throat shall burst, but he will be heard! His last note Walther holds for four bars: "Das stolze Lie bes Lied!"... Sung to an end it is, the lofty canticle of love. The singer jumps down from the chair.
Sachs sends Eva home to her father, orders David to close the shop, and starts along with Walther. While the curtain is lowered for the change of scene, one of those musical transformations takes place of which there are several instances in these operas. With elements we know, new elements begin to mingle; the old are withdrawn, and presently, musically, as ocularly, the scene is changed.
The true meaning is not obvious when it first occurs: Sachs seems simply to be the appreciator of true art and to be standing up for the true artist Walther against the barren pedant Beckmesser. And I beg leave here to make a digression.
The scene of the second act is laid at a delightfully picturesque street-corner. Sachs is musing before his shop-door when Eva comes to find out how Walther had fared before the Mastersingers. Hans tells her of his discomfiture, and, by purposely belittling Walther's claims to musicianship, discovers what he had before suspected, that she loves the young knight.
Journal de Genève, August 18, and also May 26, 1919. Cf. the French papers generally for the month of May also Bonsoir, July 26, 1919. Walther Rathenau has dealt with this question in several of his recent pamphlets, which are not before me at the moment. The plenipotentiaries, who became the world's arbiters for a while, were truly representative men.
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