Act III. During this act the tender strain in _Sachs's_ sturdy
character is brought out in bold relief. Hence the prelude develops what may be called three Sachs themes, two of them expressive of his twofold nature as poet and cobbler, the third standing for the love which his fellow-burghers bear him.
The prelude opens with the Wahn Motive or Motive of Poetic Illusion. This reflects the deep thought and poetic aspirations of _Sachs_ the poet. It is followed by the theme of the beautiful chorus, sung later in the act, in praise of _Sachs_: "Awake! draws nigh the break of day." This theme, among the three heard in the prelude, points to _Sachs's_ popularity. The third consists of portions of the cobbler's song in the second act. This prelude has long been considered one of Wagner's masterpieces. The themes are treated with the utmost delicacy, so that we recognize through them both the tender, poetic side of _Sachs's_ nature and his good-humoured brusqueness. =The Motive of Poetic illusion= is deeply reflective, and it might be preferable to name it the Motive of Poetic Thought, were it not that it is better to preserve the significance of the term Wahn Motive, which there is ample reason to believe originated with Wagner himself. The prelude is, in fact, a subtle analysis of character expressed in music.
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How peaceful the scene on which the curtain rises. _Sachs_ is sitting in an armchair in his sunny workshop, reading in a large folio. The Illusion Motive has not yet died away in the prelude, so that it seems to reflect the thoughts awakened in _Sachs_ by what he is reading. _David_, dressed for the festival, enters just as the prelude ends. There is a scene full of charming _bonhomie_ between _Sachs_ and his 'prentice, which is followed, when the latter has withdrawn, by _Sachs's_ monologue: "Wahn! Wahn! Ueberall Wahn!" (Illusion, everywhere illusion.)
While the Illusion Motive seems to weave a poetic atmosphere about him, _Sachs_, buried in thought, rests his head upon his arm over the folio. The Illusion Motive is followed by the Spring Motive, which in turn yields to the Nuremburg Motive as _Sachs_ sings the praises of the stately old town. At his reference to the tumult of the night before there are in the score corresponding allusions to the music of that episode. "A glowworm could not find its mate," he sings, referring to _Walther_ and _Eva_. The Midsummer Festival, Lyric, and Nuremburg motives in union foreshadow the triumph of true art through love on Nuremburg soil, and thus bring the monologue to a stately conclusion.
_Walther_ now enters from the chamber, which opens upon a gallery, and, descending into the workshop, is heartily greeted by _Sachs_ with the Sachs Motive, which dominates the immediately ensuing scene. Very beautiful is the theme in which _Sachs_ protests against _Walther's_ derision of the masters; for they are, in spite of their many old-fogyish notions, the conservators of much that is true and beautiful in art.
_Walther_ tells _Sachs_ of a song which came to him in a dream during the night, and sings two stanzas of this "Prize Song," _Sachs_ making friendly critical comments as he writes down the words. The Nuremburg Motive in sonorous and festive instrumentation closes this melodious episode.
When _Sachs_ and _Walther_ have retired _Beckmesser_ is seen peeping into the shop. Observing that it is empty he enters hastily. He is ridiculously overdressed for the approaching festival, limps, and occasionally rubs his muscles as if he were still stiff and sore from his drubbing. By chance his glance falls on the manuscript of the "Prize Song" in _Sachs's_ handwriting on the table, when he breaks forth in wrathful exclamations, thinking now that he has in the popular master a rival for _Eva's_ hand. Hearing the chamber door opening he hastily grabs the manuscript and thrusts it into his pocket. _Sachs_ enters. Observing that the manuscript is no longer on the table, he realizes that _Beckmesser_ has stolen it, and conceives the idea of allowing him to keep it, knowing that the marker will fail most wretchedly in attempting to give musical expression to _Walther's_ inspiration.
The scene places _Sachs_ in a new light. A fascinating trait of his character is the dash of scapegrace with which it is seasoned. Hence, when he thinks of allowing _Beckmesser_ to use the poem the Sachs Motive takes on a somewhat facetious, roguish grace. There now ensues a charming dialogue between _Sachs_ and _Eva_, who enters when _Beckmesser_ has departed. This is accompanied by a transformation of the Eva Motive, which now reflects her shyness and hesitancy in taking _Sachs_ into her confidence.
With it is joined the Cobbler Motive when _Eva_ places her foot upon the stool while _Sachs_ tries on the shoes she is to wear at the festival. When, with a cry of joy, she recognizes her lover as he appears upon the gallery, and remains motionless, gazing upon him as if spellbound, the lovely Summer Night Motive enhances the beauty of the tableau. While _Sachs_ cobbles and chats away, pretending not to observe the lovers, the Motive of Maidenly Reserve passes through many modulations until there is heard a phrase from "Tristan and Isolde" (the Isolde Motive), an allusion which is explained below. The Lyric Motive introduces the third stanza of _Walther's_ "Prize Song," with which he now greets _Eva_, while she, overcome with joy at seeing her lover, sinks upon _Sachs's_ breast. The Illusion Motive rhapsodizes the praises of the generous cobbler-poet, who seeks relief from his emotions in bantering remarks, until _Eva_ glorifies him in a noble burst of love and gratitude in a melody derived from the Isolde Motive.
It is after this that _Sachs_, alluding to his own love of _Eva_, exclaims that he will have none of King Marke's triste experience; and the use of the King Marke Motive at this point shows that the previous echoes of the Isolde Motive were premeditated rather than accidental.
_Magdalena_ and _David_ now enter, and _Sachs_ gives to _Walther's_ "Prize Song" its musical baptism, utilizing chiefly the first and second lines of the chorale which opens the first act. _David_ then kneels down and, according to the custom of the day, receives from _Sachs_ a box on the ear in token that he is advanced from 'prentice to journeyman. Then follows the beautiful quintet, in which the "Prize Song," as a thematic germ, puts forth its loveliest blossoms. This is but one of many instances in which Wagner proved that when the dramatic situation called for it he could conceive and develop a melody of most exquisite fibre.
After the quintet the orchestra resumes the Nuremburg Motive and all depart for the festival. The stage is now shut off by a curtain behind which the scene is changed from _Sachs's_ workshop to the meadow on the banks of the Pegnitz, near Nuremburg. After a tumultuous orchestral interlude, which portrays by means of motives already familiar, with the addition of the fanfare of the town musicians, the noise and bustle incidental to preparations for a great festival, the curtain rises upon a lively scene. Boats decked out in flags and bunting and full of festively clad members of the various guilds and their wives and children are constantly arriving. To the right is a platform decorated with the flags of the guilds which have already gathered. People are making merry under tents and awnings where refreshments are served. The 'prentices are having a jolly time of it heralding and marshalling the guilds who disperse and mingle with the merrymakers after the standard bearers have planted their banners near the platform.
Soon after the curtain rises the cobblers arrive, and as they march down the meadow, conducted by the 'prentices, they sing in honour of St. Crispin, their patron saint, a chorus, based on the Cobbler Motive, to which a melody in popular style is added. The town watchmen, with trumpets and drums, the town pipers, lute makers, etc., and then the journeymen, with comical sounding toy instruments, march past, and are succeeded by the tailors, who sing a humorous chorus, telling how Nuremburg was saved from its ancient enemies by a tailor, who sewed a goatskin around him and pranced around on the town walls, to the terror of the hostile army, which took him for the devil. The bleating of a goat is capitally imitated in this chorus.
With the last chord of the tailors' chorus the bakers strike up their song and are greeted in turn by cobblers and tailors with their respective refrains. A boatful of young peasant girls in gay costumes now arrives, and the 'prentices make a rush for the bank. A charming dance in waltz time is struck up. The 'prentices with the girls dance down toward the journeymen, but as soon as these try to get hold of the girls, the 'prentices veer off with them in another direction. This veering should be timed to fall at the beginning of those periods of the dance to which Wagner has given, instead of eight measures, seven and nine, in order by this irregularity to emphasize the ruse of the 'prentices.
The dance is interrupted by the arrival of the masters, the 'prentices falling in to receive, the others making room for the procession. The _Mastersingers_ advance to the stately strains of the Mastersinger Motive, which, when _Kothner_ appears bearing their standard with the figure of King David playing on his harp, goes over into the sturdy measures of the Mastersingers' March. _Sachs_ rises and advances. At sight of him the populace intone the noblest of all choruses: "Awake! draws nigh the break of day," the words of which are a poem by the real Hans Sachs.
At its conclusion the populace break into shouts in praise of _Sachs_, who modestly yet most feelingly gives them thanks. When _Beckmesser_ is led to the little mound of turf upon which the singer is obliged to stand, we have the humorous variation of the Mastersinger Motive from the Prelude. _Beckmesser's_ attempt to sing _Walther's_ poem ends, as _Sachs_ had anticipated, in utter failure. The town clerk's effort is received with jeers. Before he rushes away, infuriated but utterly discomfited, he proclaims that _Sachs_ is the author of the song they have derided. The cobbler-poet declares to the people that it is not by him; that it is a beautiful poem if sung to the proper melody and that he will show them the author of the poem, who will in song disclose its beauties. He then introduces _Walther_. The knight easily succeeds in winning over people and masters, who repeat the closing melody of his "Prize Song" in token of their joyous appreciation of his new and wondrous art. _Pogner_ advances to decorate _Walther_ with the insignia of the Mastersingers' Guild.
[Music]
In more ways than one the "Prize Song" is a mainstay of "Die Meistersinger." It has been heard in the previous scene of the third act, not only when _Walther_ rehearses it for _Sachs_, but also in the quintet. Moreover, versions of it occur in the overture and indeed, throughout the work, adding greatly to the romantic sentiment of the score. For "Die Meistersinger" is a comedy of romance.
In measures easily recognized from the Prelude, to which the Nuremburg Motive is added, _Sachs_ now praises the masters and explains their noble purpose as conservators of art. _Eva_ takes the wreath with which _Walther_ has been crowned, and with it crowns _Sachs_, who has meanwhile decorated the knight with the insignia. _Pogner_ kneels, as if in homage, before _Sachs_, the masters point to the cobbler as to their chief, and _Walther_ and _Eva_ remain on either side of him, leaning gratefully upon his shoulders. The chorus repeats _Sachs's_ final admonition to the closing measures of the Prelude.
PARSIFAL
Stage Dedication Festival Play (Bühnenweihfestspiel) in three acts, words and music by Richard Wagner. Produced Bayreuth, July 26, 1882. Save in concert form, the work was not given elsewhere until December 24, 1903, when it was produced at the Metropolitan Opera House at that time under the direction of Heinrich Conried.
At the Bayreuth performances there were alternating casts. Winckelmann was the _Parsifal_ of the _première_, Gudehus of the second performance, Jäger of the third. The alternating _Kundrys_ were Materna, Marianne Brandt, and Malten; _Gurnemanz_ Scaria and Siehr; _Amfortas_ Reichmann; _Klingsor_, Hill and Fuchs. Hermann Levi conducted.
In the New York cast Ternina was _Kundry_, Burgstaller _Parsifal_, Van Rooy _Amfortas_, Blass _Gurnemanz_, Goritz _Klingsor_, Journet _Titurel_, Miss Moran and Miss Braendle the first and second, Harden and Bayer the third and fourth _Esquires_, Bayer and Mühlmann two _Knights_ of the Grail, Homer a _Voice_.
CHARACTERS
AMFORTAS, son of TITUREL, ruler of the Kingdom of the Grail _Baritone-Bass_ TITUREL, former ruler _Bass_ GURNEMANZ, a veteran Knight of the Grail _Bass_ KLINGSOR, a magician _Bass_ PARSIFAL _Tenor_ KUNDRY _Soprano_ FIRST AND SECOND KNIGHTS _Tenor and Bass_ FOUR ESQUIRES _Sopranos and Tenors_ SIX OF KLINGSOR'S FLOWER MAIDENS _Sopranos_
Brotherhood of the Knights of the Grail; Youths and Boys; Flower Maidens (two choruses of sopranos and altos).
_Time_--The Middle Ages.
_Place_--Spain, near and in the Castle of the Holy Grail; in Klingsor's enchanted castle and in the garden of his castle.
"Parsifal" is a familiar name to those who have heard "Lohengrin." Lohengrin, it will be remembered, tells Elsa that he is Parsifal's son and one of the knights of the Holy Grail. The name is written Percival in "Lohengrin," as well as in Tennyson's "Idyls of the King." Now, however, Wagner returns to the quainter and more "Teutonic" form of spelling. "Parsifal" deals with an earlier period in the history of the Grail knighthood than "Lohengrin." But there is a resemblance between the Grail music in "Parsifal" and the "Lohengrin" music--a resemblance not in melody, nor even in outline, but merely in the purity and spirituality that breathes through both.
Three legends supplied Wagner with the principal characters in this music-drama. They were "Percival le Galois; or Contes de Grail," by Chrétien de Troyes (1190); "Parsifal," by Wolfram von Eschenbach, and a manuscript of the fourteenth century called by scholars the "Mabinogion." As usual, Wagner has not held himself strictly to any one of these, but has combined them all, and revivified them through the alchemy of his own genius.
Into the keeping of _Titurel_ and his band of Christian knights has been given the Holy Grail, the vessel from which the Saviour drank when He instituted the Last Supper. Into their hands, too, has been placed, as a weapon of defence against the ungodly, the Sacred Spear, the arm with which the Roman soldier wounded the Saviour's side. The better to guard these sanctified relics _Titurel_, as King of the Grail knighthood, has reared a castle, Montsalvat, which, from its forest-clad height, facing Arabian Spain, forms a bulwark of Christendom against the pagan world and especially against _Klingsor_, a sorcerer and an enemy of the good. Yet time and again this _Klingsor_, whose stronghold is nearby, has succeeded in enticing champions of the Grail into his magic garden, with its lure of flower-maidens and its arch-enchantress _Kundry_, a rarely beautiful woman, and in making them his servitors against their one-time brothers-in-arms.
Even _Amfortas_, _Titurel's_ son, to whom _Titurel_, grown old in service and honour, has confided his reign and wardship, has not escaped the thrall of _Klingsor's_ sorcery. Eager to begin his reign by destroying _Klingsor's_ power at one stroke, he penetrated into the garden to attack and slay him. But he failed to reckon with human frailty. Yielding to the snare so skilfully laid by the sorcerer and forgetting, at the feet of the enchantress, _Kundry_, the mission upon which he had sallied forth, he allowed the Sacred Spear to drop from his hand. It was seized by the evil-doer he had come to destroy, and he himself was grievously wounded with it before the knights who rushed to his rescue could bear him off.
This wound no skill has sufficed to heal. It is sapping _Amfortas's_ strength. Indecision, gloom, have come over the once valiant brotherhood. Only the touch of the Sacred Spear that made the wound will avail to close it, but there is only one who can regain it from _Klingsor_. For to _Amfortas_, prostrate in supplication for a sign, a mystic voice from the sanctuary of the Grail replied:
By pity guided, The guileless fool; Wait for him, My chosen tool.
This prophecy the knights construe to signify that their king's salvation can be wrought only by youth so "guileless," so wholly ignorant of sin, that, instead of succumbing to the temptations of _Klingsor's_ magic garden, he will become, through resisting them, cognizant of _Amfortas's_ guilt, and, stirred by pity for him, make his redemption the mission of his life, regain the Spear and heal him with it. And so the Grail warders are waiting, waiting for the coming of the "guileless fool."
The working out of this prophecy forms the absorbing subject of the story of "Parsifal." The plot is allegorical. _Parsifal_ is the personification of Christianity, _Klingsor_ of Paganism, and the triumph of _Parsifal_ over _Klingsor_ is the triumph of Christianity over Paganism.
The character of _Kundry_ is one of Wagner's most striking creations. She is a sort of female Ahasuerus--a wandering Jewess. In the Mabinogion manuscript she is no other than Herodias, condemned to wander for ever because she laughed at the head of John the Baptist. Here Wagner makes another change. According to him she is condemned for laughing in the face of the Saviour as he was bearing the cross. She seeks forgiveness by serving the Grail knights as messenger on her swift horse, but ever and anon she is driven by the curse hanging over her back to _Klingsor_, who changes her to a beautiful woman and places her in his garden to lure the Knights of the Grail. She can be freed only by one who resists her temptations. Finally she is freed by _Parsifal_ and is baptized. In her character of Grail messenger she has much in common with the wild messengers of Walhalla, the Valkyrs. Indeed, in the Edda Saga, her name appears in the first part of the compound Gundryggja, which denotes the office of the Valkyrs.
THE VORSPIEL
The _Vorspiel_ to "Parsifal" is based on three of the most deeply religious motives in the entire work. It opens with the =Motive of the Sacrament=, over which, when it is repeated, _arpeggios_ hover, as in the religious paintings of old masters angel forms float above the figure of virgin or saint.
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Through this motive we gain insight into the office of the Knights of the Grail, who from time to time strengthen themselves for their spiritual duties by partaking of the communion, on which occasions the Grail itself is uncovered. This motive leads to the =Grail Motive=, effectively swelling to forte and then dying away in ethereal harmonies, like the soft light with which the Grail illumines the hall in which the knights gather to worship.
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The trumpets then announce the =Motive of Faith=, severe but sturdy--portraying superbly the immutability of faith.
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The Grail Motive is heard again and then the Motive of Faith is repeated, its severity exquisitely softened, so that it conveys a sense of peace which "passeth all understanding."
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The rest of the _Vorspiel_ is agitated. That portion of the Motive of the Sacrament which appears later as the Spear Motive here assumes through a slight change a deeply sad character, and becomes typical throughout the work of the sorrow wrought by _Amfortas's_ crime. I call it the =Elegiac Motive=.
[Music]
Thus the _Vorspiel_ depicts both the religious duties which play so prominent a part in the drama, and unhappiness which _Amfortas's_ sinful forgetfulness of these duties has brought upon himself and his knights.