String Quartet Composed by Richard Wagner Arranged by Carlo Martelli. Score Only. Broadbent and Dunn BDS.
Wagner: The Mastersingers of Nuremberg: Prelude to Act III
Published by Broadbent and Dunn BT. This name will appear next to your review. Leave it blank if you wish to appear as "Anonymous". Used to contact you regarding your review. If you do not wish to be contacted, leave it blank.
Tell a friend or remind yourself about this product. We'll instantly send an email containing product info and a link to it. You may also enter a personal message. We do not use or store email addresses from this form for any other purpose than sending your share email. Sorry but your review could not be submitted, please verify the form and try again. Make a wish list for gifts, suggest standard repertoire, let students know which books to buy, boast about pieces you've mastered: Music Lists are as unique as the musician!
Program Notes Die Meistersinger
Location: optional. Example: "Emeryville, CA".
- Von Arschbomben-WM bis Zombie-Tour: Die 133 verrücktesten Festivals der Welt (German Edition).
- Shakespeare and Text (Oxford Shakespeare Topics).
- Modeling and Optimization: Theory and Applications: Selected Contributions from the MOPTA 2010 Conference: 21 (Springer Proceedings in Mathematics & Statistics).
- Gypsy Lane.
Email address: optional. Review Guidelines Explain exactly why you liked or disliked the product. Do you like the artist? Is the transcription accurate? The opening scene is a merry one. The latter appears with a basket of dainties for her lover, but on learning that the knight has been rejected, she snatches the basket away from David and hurries back to the house. Pogner and Eva, returning from an evening stroll, now come down the alley. Before retiring into the house the father questions the daughter as to her feelings concerning the duty she is to perform at the Mastersinging on the morrow.
Her replies are discreetly evasive. The music beautifully reflects the affectionate relations between Pogner and Eva. Magdalena appears at the door and signals to Eva. Magdalena advises her to seek counsel with Sachs after supper. The Cobbler Motive shows us Sachs and David in the former's workshop. The last words in praise of Walther "The bird who sang to-day," etc.
Eva now comes out into the street and, shyly approaching the shop, stands at the door unnoticed by Sachs until she speaks to him. The theme which pervades this scene seems to breathe forth the very spirit of lovely maidenhood which springs from the union of romantic aspirations, feminine reserve, and rare physical graces. It is the Eva Motive, which, with the delicate touch of a master, Wagner so varies that it follows the many subtle dramatic suggestions of the scene. The Eva Motive , in its original form, is as follows:.
Then the scene being now fully ushered in, we have the Eva Motive itself. The music of this passage is very suggestive.
- Fall Concert Program Notes: Wagner’s Die Meistersinger von Nürnberg.
- Prelude to Act III-The Mastersingers of Nuremberg;
- Frio De Blooded (Spanish Edition).
The melodic leading of the upper voice in the accompaniment, when Eva asks: "Could not a widower hope to win me? The reminiscence from "Tristan" can hardly be regarded as accidental, for Sachs afterwards boast that he does not care to share the fate of poor King Marke. While Eva is engaged with Magdalena, who has come out to call her, he busies himself in closing the upper half of his shop door so far that only a gleam of light is visible, he himself being completely hidden.
Steps are heard coming down the alley. Eva recognizes Walther and flies to his arms, Magdalena discreetly hurrying into the house. The ensuing ardent scene between Eva and Walther brings familiar motives. Eva vanishes into the house to prepare to elope with Walther. The Night Watchman now goes up the stage intoning a mediaeval chant.
Coming in the midst of the beautiful modern music of "The Mastersingers," its effect is most quaint. As Eva reappears and she and the knight are about to make their escape, Sachs, to prevent this precipitate and foolish step, throws open his shutters and allows his lamp to shed a streak of brilliant light across the street.
Meanwhile, Eva and Walther have once more retreated into the shade of the linden-tree, and Sachs, who has placed his work bench in front of his door, begins hammering at the last and intones a song which is one of the rough diamonds of musical invention, for it is purposely brusque and rough, just such a song as a hearty, happy artisan might sing over his work. It is aptly introduced by the Cobbler Motive.
Beckmesser, greatly disturbed lest his serenade be ruined, entreats Sachs to cease singing. Wagner, with keen satire, seems to want to show how a beautiful melody may become absurd through old-fogy methods. The whacks come faster and faster. Beckmesser, in order to make himself heard above them, sings louder and louder. Some of the neighbours are awakened by the noise and coming to their windows bid Beckmesser hold his peace.
David, stung by jealousy as he sees Magdalena listening to the serenade, leaps from his room and falls upon the town clerk with a cudgel. All is now noise and disorder, pandemonium seeming to have been let loose upon the dignified old town. Musically this tumult finds expression in a fugue whose chief theme is the Cudgel Motive. The street is quiet. And now, the rumpus subsided and all concerned in it gone, the Night Watchman appears, rubs his eyes and chants his mediaeval call.
The street is flooded with moonlight.
Wagner - The Mastersingers of Nuremburg - Classic FM
The Watchman with his clumsy halberd lunges at his own shadow, then goes up the alley. We have had hubbub, we have had humour, and now we have a musical ending elvish, roguish, and yet exquisite in sentiment. Act III. 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. 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!
stinmievoho.tk Draws nigh the break of day. 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. How peaceful the scene on which the curtain rises. Sachs is sitting in an arm-chair 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.