Act I. The scene of this act is laid in the Church of St. Catherine,

Nuremburg. The congregation is singing the final chorale of the service. Among the worshippers are _Eva_ and her maid, _Magdalena_. _Walther_ stands aside, and, by means of nods and gestures, communicates with _Eva_. This mimic conversation is expressively accompanied by interludes between the verses of the chorale, interludes expressively based on the Lyric, Spring, and Prize Song motives, and contrasting charmingly with the strains of the chorale.

The service over, the Motive of Spring, with an impetuous upward rush, seems to express the lovers' joy that the restraint is removed, and the Lyric Motive resounds exultingly as the congregation departs, leaving _Eva_, _Magdalena_, and _Walther_ behind.

_Eva_, in order to gain a few words with _Walther_, sends _Magdalena_ back to the pew to look for a kerchief and hymn-book, she has purposely left there. _Magdalena_ urges _Eva_ to return home, but just then _David_ appears in the background and begins putting things to rights for the meeting of the _Mastersingers_. _Magdalena_ is therefore only too glad to linger. The Mastersinger and Guild motives, which naturally accompany _David's_ activity, contrast soberly with the ardent phrases of the lovers. _Magdalena_ explains to _Walther_ that _Eva_ is already affianced, though she herself does not know to whom. Her father wishes her to marry the singer to whom at the coming contest the _Mastersingers_ shall award the prize; and, while she shall be at liberty to decline him, she may marry none but a master. _Eva_ exclaims: "I will choose no one but my knight!" Very pretty and gay is the theme heard when _David_ joins the group--the =Apprentice Motive=.

[Music]

How capitally this motive expresses the light-heartedness of gay young people, in this case the youthful apprentices, among whom _David_ was as gay and buoyant as any. Every melodious phrase--every motive--employed by Wagner appears to express exactly the character, circumstance, thing, or feeling, to which he applies it. The opening episodes of "Die Meistersinger" have a charm all their own.

The scene closes with a beautiful little terzet, after _Magdalena_ has ordered _David_, under penalty of her displeasure, to instruct the knight in the art rules of the _Mastersingers_.

When the 'prentices enter, they proceed to erect the marker's platform, but stop at times to annoy the somewhat self-sufficient _David_, while he is endeavouring to instruct _Walther_ in the rules of the _Mastersingers_. The merry Apprentice Motive runs through the scene and brings it to a close as the 'prentices sing and dance around the marker's box, suddenly, however, breaking off, for the _Mastersingers_ appear.

There is a roll-call and then the fine passage for bass voice, in which _Pogner_ offers _Eva's_ hand in marriage to the winner of the coming song contest--with the proviso that _Eva_ adds her consent. The passage is known on concert programmes as "Pogner's Address."

_Walther_ is introduced by _Pogner_. The =Knight Motive=:

[Music]

_Beckmesser_, jealous, and determined that _Walther_ shall fail, enters the marker's box.

_Kothner_ now begins reading off the rules of singing established by the masters, which is a capital take-off on old-fashioned forms of composition and never fails to raise a hearty laugh if delivered with considerable pomposity and unction. Unwillingly enough _Walther_ takes his seat in the candidate's chair. _Beckmesser_ shouts from the marker's box: "Now begin!" After a brilliant chord, followed by a superb ascending run on the violins, _Walther_, in ringing tones, enforced by a broad and noble chord, repeats _Beckmesser's_ words. But such a change has come over the music that it seems as if that upward rushing run had swept away all restraint of ancient rule and rote, just as the spring wind whirling through the forest tears up the spread of dry, dead leaves, thus giving air and sun to the yearning mosses and flowers. In _Walther's_ song the Spring Motive forms an ever-surging, swelling accompaniment, finally joining in the vocal melody and bearing it higher and higher to an impassioned climax. In his song, however, _Walther_ is interrupted by the scratching made by _Beckmesser_ as he chalks the singer's violations of the rules on the slate, and _Walther_, who is singing of love and spring, changes his theme to winter, which, lingering behind a thorny hedge, is plotting how it can mar the joy of the vernal season. The knight then rises from the chair and sings a second stanza with defiant enthusiasm. As he concludes it _Beckmesser_ tears open the curtains which concealed him in the marker's box, and exhibits his board completely covered with chalk marks. _Walther_ protests, but the masters, with the exception of _Sachs_ and _Pogner_, refuse to listen further, and deride his singing. We have here the =Motive of Derision=.

[Music]

_Sachs_ protests that, while he found the knight's art method new, he did not find it formless. The =Sachs Motive= is here introduced.

[Music]

The Sachs Motive betokens the genial nature of this sturdy, yet gentle man--the master spirit of the drama. He combines the force of a conservative character with the tolerance of a progressive one, and is thus the incarnation of the idea which Wagner is working out in this drama, in which the union of a proper degree of conservative caution with progressive energy produces a new ideal in art. To _Sachs's_ innuendo that _Beckmessers'_ marking hardly could be considered just, as he is a candidate for _Eva's_ hand, _Beckmesser_, by way of reply, chides _Sachs_ for having delayed so long in finishing a pair of shoes for him, and as _Sachs_ makes a humorously apologetic answer, the Cobbler Motive is heard.

The sturdy burgher calls to _Walther_ to finish his song in spite of the masters. And now a finale of masterful construction begins. In short, excited phrases the masters chaff and deride _Walther_. His song, however, soars above all the hubbub. The 'prentices see their opportunity in the confusion, and joining hands they dance around the marker's box, singing as they do so. We now have combined with astounding skill _Walther's_ song, the 'prentices' chorus, and the exclamations of the masters. The latter finally shout their verdict: "Rejected and outsung!" The knight, with a proud gesture of contempt, leaves the church. The 'prentices put the seats and benches back in their proper places, and in doing so greatly obstruct the masters as they crowd toward the doors. _Sachs_, who has lingered behind, gazes thoughtfully at the singer's empty chair, then, with a humorous gesture of discouragement, turns away.