­Part One  I  Part Two  I  Part Three  I  Part Four

The Meistersinger Experience Part Three

Leitmotifs

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Wagner didn’t coin the wo­rd Leitmotif nor did he even like it! He preferred calling these little kernels of music and rhythm ‘Grundthema’ (basic idea  in English) or simply ‘motiv.’ So, what are they? They refer to a recurring theme, associated with a particular person, place, or idea. In particular such a theme should be 'clearly identified so as to retain its identity if modified on subsequent appearances' whether such modification be in terms of rhythm, harmony, orchestration or accompaniment.’ Sounds very Wikipedia doesn’t it. More simply stated, these are short phrases of melody, sometime with harmony and specific rhythm, that are used to tie a piece of music together.  The use of this device really picks up speed in the 19th century.  The French did it, most notably Hector Berlioz in his Symphonie Fantastique

By the end of the Symphony, our hero and his theme have been to a ball, spent time in the country and inadvertently murdered his beloved for which he is now going to the scaffold. You hear the theme this time in a mournful fashion, followed immediately by the sound of the orchestra imitating the guillotine!

Wagner develops this method incredibly in the Ring and in Die Meistersinger. There are more than forty easily identified motives in Die Meistersinger, but we’ll confine our exploration to just a baker’s dozen-in honor of our Meistersinger Fritz Kothner-who is a baker.

Fully seven of the main motives that will recur throughout the opera are embedded in the Prelude. What is conspicuous by its absence is any direct reference to Hans Sachs in the Prelude. This is probably because when the Prelude was written, early on in the process of composition, Sachs had not yet assumed the central role which would be his by the end of the writing of the opera. But Walther von Stolzing is prominent as are the apprentices and of course the Meistersingers as a whole.

Example 1Meistersinger Theme  The key of C major (Andrew C major please) opens the work, predominates throughout the work and closes the work. It is the brightest key, a key forever associated with joy and consonance. And the motive of the Meistersingers is presented in those first phrases. Like may of the motives this one uses a dotted rhythm, that is a rhythm that if you broke it down into its component common notes, it would sound rather ‘regular’ but by making it a dotted rhythm we add tension, a bit of momentary hesitation, and in the end a bit of strength of even majesty.

 

Example 2 Walther’s wooing  Here is a motive that is all uncentered in a key and full of tension-not really landing anywhere-on purpose. It’s a soul in search of a soul mate.
    


Example No. 3  Banner motive  Wagner is already up to his particular ‘tricks.’ This is a new motive, but it already incorporates the dotted rhythm idea that marks the very fist motive you heard. So, while it’s not a copy, because it is derivative in a way, it’s associated with the earlier motive. Just like the banners of the Meistersingers tell all the world what guild they belong too. It also has its own flourish that encourages  a  furling and unfurling motion:

 

Example No. 4  The Guild motive  Simply noble music that aspires upward and upwards in its scale progression-not unlike the aspirations of the Meistersinger’s guild itself. This motive will occur prominently again at the VERY end of the opera as part of the music for the triumphant final chorus.
 


Example No. 5 Walther’s Yearning  This is different from Walther’s wooing! In that there is a wonderful hesitation midway through the motive, a physical restraint in the rhythm and note values which you could imagine to be ‘yearnings’ or desire for fulfillment that drives Walther to court Eva.  It employs a particular florid notation device called a turn or grupetto. We’ll listen to he motive and then ask Andrew to isolate the ‘turn’. It’s for lack of a better way to describe it a VERY conventional vocal music convention to indicate heightened emotion.

 

Example No. 6  Love  A rich and portentous motive as it will be heard often and in various ways throughout the opera, especially in the final Prize Song, although altered somewhat, you’ll still recognize it at he end of the opera.  It’s a little aria in the middle of the overture. What is also interesting is the way this theme is developed in the overture. It sounds a LOT like the rather torturous chromatics of the love music in Tristan und Isolde. It is as if Wagner is offering his impression of these lovers with a HAPPY ending in
contrast to his most recent opera and it’s doomed pair.

 

Example No. 7 the Apprentices (or Lehrbuben as they are called in German)
This is Wagner being clever as the motive is mostly a faster, higher pitched version of the Meistersinger’s theme we heard at the VERY beginning. It is as if they are adolescent-Meister just awaiting for their voices to drop!
 


Example No. 8 Midsummer’s Day  We first hear this lovely motive forming part of Pogner’s big speech in Act One. He is describing the fest of St. John or Midsummer’s Day (which is of course also Hans Sachs’ Name Day-Sachs being a diminutive for ‘Johannes’). It is the day of the singing contest and the day on which he will give Eva’s hand in marriage to the winner. This motive will appear again and again as the day in invoked and on the day itself.

 

Examples Nos. 9 and 10 Walther’s motive and Beckmesser’s Motive  Walther’s is an interesting and curious motive. Curious in that it’s not used much except as music to announce Walther is in the room or approaching. It is a bit ceremonial and maybe even a bit pompous! What makes it interesting is that it has a mirror motive in a minor key! And that motive is used to describe poor Beckmesser after he’s been defeated during the in act two which of course is partly Walther’s fault! It is as if the minor version, given to Beckmesser is Walther’s revenge. The Beckmesser version starts very funny scene in act three where Beckmesser comes in to Sach’s house all battered and bruised (and you can hear his aches and pains in the music) where he will soon find the Prize song he will steal. So, first, let’s hear the positive, up beat Walther them and then its dark counterpart!

Walther’s Theme 
 


Beckmesser’s Theme


 
Example No. 11 the Magic of Midsummer’s Eve  This is fairy music, worthy of Mendelssohn. It is Wagner at his most atmospheric, bringing calm where there was a riot and casting a spell of peace and harmony over the city. Bits of this music will reoccur later but it makes its most prominent appearance at the end of Act Two.

Example No. 12 Nuremberg  This is another rather ceremonial motive which seems to be made for processions and that is just what it is used for primarily in Act Three to get our cast members from Hans Sachs’ house to the meadow where the singing contest will take place. It is stately, grand, noble, all those things we want Nuremberg to be!

 

Example No. 13 Sachs Renunciation  My favorite motive in all of the opera, for several reasons. It forms the beginning of the orchestra Prelude to Act III. As you will hear, it is a richly chromatic motive, complex and wistful and sad all at once. It is genuine emotions put into music-here is Sachs’ whole world, wisdom, sorrow at the early loss of his wife, resignation that he has given up the small possibility of wooing Eva himself. There is a bit of the ‘Wahn’ monologue woven in here, but most of all, it sounds a lot like Tristan und Isolde, the opera which immediately precedes Meistersinger and whose music Wagner actually quotes in this opera.  This is music for adults meaning, many layered, with no real resolution, more questions than answers-just like real life.