erweaving of the two also
suggesting that in death the lovers have been reunited.

THE MASTERSINGERS.

"Die Meistersinger von Nuernberg," a comic opera in three acts, words
by the composer, was first produced at Munich, June 21, 1868, under
the direction of Hans von Buelow, with the following cast:

HANS SACHS Herr BETZ.
WALTER Herr NACHBAUER.
BECKMESSER Herr HOELZEL.
DAVID Herr SCHLOSSER.
EVA Mlle. MALLINGER.
MAGDALENA Mme. DIETZ.

The plan of "The Mastersingers" was conceived about the same time as
that of "Lohengrin," during the composer's stay at Marienbad, and
occupied his attention at intervals for twenty years, as it was not
finished until 1867. As is clearly apparent both from its music and
text, it was intended as a satire upon the composer's critics, who had
charged that he was incapable of writing melody. It is easy to see
that these critics are symbolized by the old pedant Beckmesser, and
that in Walter we have Wagner himself. When he is first brought in
contact with the Mastersingers, and one of their number, Kothner, asks
him if he gained his knowledge in any school, he replies, "The wood
before the Vogelweid', 'twas there I learnt my singing;" and again he
answers:--

"What winter night.
What wood so bright,
What book and nature brought me,
What poet songs of magic might
Mysteriously have taught me,
On horses' tramp,
On field and camp,
On knights arrayed
For war parade
My mind its powers exerted."

The story is not only one of love as between Walter and Eva, but of
satirical protest as between Walter and Beckmesser, and the two
subjects are illustrated not only with delicate fancy but with the
liveliest of humor. The work is replete with melody. It has chorales,
marches, folk-songs, duets, quintets, ensembles, and choruses, and yet
the composer does not lose sight of his theories; for here we observe
as characteristic a use of motives and as skilful a combination of
them as can be found in any of his works. To thoroughly comprehend the
story, it is necessary to understand the conditions one had to fulfil
before he could be a mastersinger. First of all he must master the
"Tabulatur," which included the rules and prohibitions. Then he must
have the requisite acquaintance with the various methods of rhyming
verse, and with the manner of fitting appropriate music to it. One who
had partially