In the sense that it precedes the rise of the curtain, this orchestral composition is a _Vorspiel_, or prelude. As a work, however, it is a full-fledged overture, rich in thematic material. These themes are Leading Motives heard many times, and in wonderful variety in the three acts of "The Mastersingers." To a great extent an analysis of this overture forecasts the work itself. Accordingly, again through the courtesy of G. Schirmer Inc., I avail myself of my _Wagner's Music-Dramas Analysed_, in the account of the _Vorspiel_ and of the action and music that follow it.
The pompous =Motive of the Mastersingers= opens the _Vorspiel_. This theme gives capital musical expression to the characteristics of these dignitaries; eminently worthy but self-sufficient citizens who are slow to receive new impressions and do not take kindly to innovations. Our term of old fogy describes them imperfectly, as it does not allow for their many excellent qualities. They are slow to act, but if they are once aroused their ponderous influence bears down all opposition. At first an obstacle to genuine reform, they are in the end the force which pushes it to success. Thus there is in the Motive of the Mastersingers a certain ponderous dignity which well emphasizes the idea of conservative power.
In great contrast to this is the =Lyric Motive=, which seems to express the striving after a poetic ideal untrammelled by old-fashioned restrictions, such as the rules of the _Mastersingers_ impose.
But, the sturdy conservative forces are still unwilling to be persuaded of the worth of this new ideal. Hence the Lyric Motive is suddenly checked by the sonorous measures of the =Mastersingers' March=.
In this the majesty of law and order finds expression. It is followed by a phrase of noble breadth and beauty, obviously developed from portions of the Motive of the Mastersingers, and so typical of the goodwill which should exist among the members of a fraternity that it may be called the =Motive of the Art Brotherhood=.
It reaches an eloquent climax in the =Motive of the Ideal=.
Opposed, however, to this guild of conservative masters is the restless spirit of progress. Hence, though stately the strains of the Mastersingers' March and of the Guild Motive, soon yield to a theme full of emotional energy and much like the Lyric Motive. _Walther_ is the champion of this new ideal--not, however, from a purely artistic impulse, but rather through his love for _Eva_. Being ignorant of the rules and rote of the _Mastersingers_ he sings, when he presents himself for admission to the fraternity, measures which soar untrammelled into realms of beauty beyond the imagination of the masters. But it was his love for _Eva_ which impelled him to seek admission to the brotherhood, and love inspired his song. He is therefore a reformer only by accident; it is not his love of art, but his passion for _Eva_, which really brings about through his prize song a great musical reform. This is one of Wagner's finest dramatic touches--the love story is the mainspring of the action, the moral is pointed only incidentally. Hence all the motives in which the restless striving after a new ideal, or the struggles of a new art form to break through the barriers of conservative prejudice, find expression, are so many love motives, _Eva_ being the incarnation of _Walther's_ ideal. Therefore the motive which breaks in upon the Mastersingers' March and Guild Motive with such emotional energy expresses _Walther's_ desire to possess _Eva_, more than his yearning for a new ideal in art. So I call it the =Motive of Longing=.