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monic Society in the season of 18(34-65.
Published by Leuckart (Breslau, 1862).
Hauslick, Concertwesen in "\Vien, ii. 423 ;
Deutsche rnus. Zeitg. (1862), 147 ; Allgem.
mus. Zeitg. (1864), 463.

MEDEA, melodrama, text by Gotter,
music by Georg Bemla, represented in
1778. It was given in Stettin in Septem-
ber, 180(>, with Mine Meyer as Medea, and
in Berlin, Dec. 13, 1807. Published by
Schwickert (Leipsic). Allgem. runs. Zeitg.,
ix. 13.

MEDEA, Italian opera in three acts, text
by Castiglia, music by Pacini, first repre-
sented in Palermo, Nov. 28, 1843. Mus.
Wochenblatt (1881), 45 ; Riemanu, Opern-
Haudbuch, 241.

MEDEA, scena for soprano, by Alberto
Randegger, sung by Mine Rudersdortl' at
the Gewandhaus, Leipsic, 1869.

MEDEA IN CORINTO, Italian opera in
two acts, text by Rosetti, music by Simon

Pasta, as Medea.

Mayr, first represented at the Teatro San
Carlo, Naples, Dec. 1, 1813, with great suc-
cess. It was given in Paris, Jan. 14, LS'j:!,
and at the King's Theatre, London, June 1,
1826, with this cast :

Medea Mine Pasta.

Giasoue Signer Curioui.

Creusa Mine Caradori-Allan.

Egeo Signer Torri.

Creonte Signer Porto.

Giasone, returning victorious to Corinth,
and shocked by Medea's crimes, deserts her
for Creusa, daughter of Creoute, King of
Corinth. Egeo, King of Athens, the slight-
ed lover of Creusa, comes to Corinth and,
discovering that his rival is Giasone, con-
spires with Medea for revenge. As Gaisone
and Creusa are about to perform the nup-
tial rites, Medea sets fire to the altar, and
Creusa is seized by Egeo's soldiers, but is
rescued, and Egeo is imprisoned. In the
second act Medea is seen at her incantation
in a cavern, and Creusa and Giasone renew
their vows in a bower. Creusa and Giasone
are married, but Creusa soon dies of a poi-
soned robe sent by Medea. Medea, about
to be dragged to prison, stabs her two chil-
dren, and makes her exit in a car drawn
by dragons across a stage enveloped in
flames. Mine Pasta won her greatest artis-
tic success in this opera. Published by Ri-
cordi (Milan). Allgem. mus. Zeitg., xvi.
233 ; xxv. 231 ; Chorley, Modern German
Music, ii. 334 ; Harmonicon (1826), 134,
154 ; Seven Years of the King's Theatre,
300 ; Queens of Song, ii. 11.

comique in three acts, text by Carre and
Barbier, after Moliore's comedy of the same
title, music by Gounod, first represented at
the Theatre Lyrique, Paris, Jan. 15, 1858,
on the anniversary of Moliere's birth.
Characters represented :

Sgauarelle M. Meillet.

I/andre M. Fromeut.

Lucas M. Girardot,

Martinc Mile Faive.

Jacqueline Mile Girard.

It was represented at Covent Garden, Lon-
don, as The Mock Doctor, Feb. 27, 1865.
The English version, by Charles Lamb Ken-
ney, was published by Chappell & Co.



(London, 1865). Same title, opera-comique
iu three acts, by Desaugiers, text by his
son, after Moliere, represented at the Thea-
tre Feydeau, Paris, Jan. 26, 1792. Clement
et Larousse, 445 ; Revue et Gaz. mus. de
Paris (1858), 17 ; Athenseum (18G5), i. 25,

MEDECIN TURC, LE, opera-bouffou in
one act, text by Villiers and Armaud
Gouffc, music by Nicolo Isouard, first rep-
resented at the Opera Comique, Paris, Nov.
19, 1803. It is one of Nicole's best works.
Forlis, captured by the Turks in Constanti-
nople, becomes a slave of the Grand Vizier,
while his wife, Adele, is confined in the
harem of Kalil, the Turkish doctor. Forlis
impersonates a madman, goes to Kalil to
be cured, rescues his wife, and returns to
France. The part of Forlis was written for
Elleviou, who appeared in the original cast.
La suite du medecin turc was written by
Arquier, Marseilles, 1811 ; and an opera-
comique, test by Guillaume Meynne, mu-
sic by Jouret, Brussels and Paris, 1845.
Clement et Larousse, 44G.

MEDEE, tragedie-lyrique iu three acts,
text by Hoffmann, music by Cherubini,
first represented at the Theatre Feydeau,
Paris, March 13, 1797. Original cast :

Medi'e Mine Scio.

Jason M. Gaveaux.

Creon M. Dessaules.

Subject, the story of the Golden Fleece.
The overture, in F minor, which is fre-
quently played at concerts, is treated with
breadth and style, and is full of effective
combinations. The main interest of the
opera centres in the character of Medee,
which is wrought with classic grandeur and
portrays a wide range of emotion. Chorley
calls the first act " one of the marvels of
music ; almost in opera what one of Lear's
great scenes is in tragedy." The part of
Mudue is written without mercy for the
voice, and requires great physical energy
as well as dramatic scope. Partly owing to
this, the opera has passed from the stage.

Mine Stockl-Heinefetter, Mile Cruvelli,
Mine Milder, and Mme Schn'kler-Devrient
achieved great success in the title-role. It
was revived in Frankfort-on-the-Maiu iu
1844, with Mile Eeuter as Medea ; was
given in London, at Her Majesty's, in Ital-
ian, with recitatives by Arditi, June 6, 18(55.
at Covent Garden, April 30, 1870, and re-
vived in Vienna in November, 1880, with
Fran Ehnn as Medea and Herr Labatt as
Jason. The overture and airs arranged for
the pianoforte by the composer, published
by Imbault (Paris, 1802) ; by Simrock
(Bonn, 1819) ; and by Breitkopf & Hiirtel
(Leipsic). The overture was first per-
formed by the Philharmonic Society of New
York in the season of 1856-57. Bellasis,
Cherubini, 81 ; Allgem. urns'. Zeitg., ii.
508, 683, 700 ; Chorley, Modern German
Music, ii. 223 ; Le Menestrel (1880-81),
410 ; Mus. Wocheublatt (1881), 43 ; Athe-
nseum (1870), i. G20.


FAHRT (Calm at Sea, and Prosperous Voy-
age), for four voices and orchestra, on Goe-
the's poem, by Beethoven, op. 112, first
performed at the Great Redouteusaal, Vi-
enna, Dec. 25, 1815, the year of its compo-
sition. It was first given in Leipsic, Jan.
30, 1823. It is dedicated to Goethe : I.
Meeresstille (Sostenuto) ; H. Gliickliche
Fahrt (Allegro vivace). It was first pub-
lished by Steiuer & Co. (Vienna, 1823) ; by
Haslinger (Vienna) ; and by Breitkopf &
Hiirtel, Beethoven Werke, Serie 21, No.
209. Thayer, Verzeichuiss, 127 ; Notte-
bohm, Verzeichniss, 107 ; Marx, Beethoven,
ii. 155 ; Nohl, Beethoven, ii. 549 ; iii. 69 ;
Beethoven's Letters (Lady Wallace), ii. 152 ;
Allgem. mus. Zeitg., xviii. 78 ; xxiv. 674 ;
Berliner, mus. Zeitg., i. 391 ; Grove, ii. 245.

FAHRT, concert overture iu D, for orches-
tra, by Mendelssohn, op. 27, first perform-
ed in Berlin, Dec. 1, 1832. It was com-
posed in 1828 and is dedicated to Friedrich



Wilhelm, Crown Prince of Prussia. It was '
afterwards remodelled and published in
1831 It was first performed by the Phil-
harmonic Society, London, in February,
1836 ; and by that of New York in the sea-
sou of 1849-50. Published by Breitkopf &
Hartel, Mendelssohn Werke, Serie 2, No. 9.
Grove, ii. 245 ; Reissmaun, Mendelssohn,
69 ; Athenaeum (1836), 163.

at Brussels, Jan. 6, 1800, died there, May
12, 1863. Violinist, at first an amateur, he
became a member of the theatre orchestra
at Antwerp when sixteen years old ; after-
wards studied in Paris under Lafont and
Habeneck, receiving also advice from Bail-
lot. On his return to Brussels he began
to teach, entered the city orchestra in 1828,
became solo violinist in 1832, and professor
at the Conservatoire in 1835. His instruc-
tive compositions are held in great esteem.
Among them are : Etudes pour violon avec
accompagnement d'uu second violon ; Me-
canisme du violou ; 12 e hides on double
stopping ; 3 books of etudes on the 2d, 4th,
and 6th position ; 12 rhythmic etudes on
motives by Beethoven ; 3 Etudes in fugue
and staccato ; etc. Fetis ; Riemann.

MEFISTOFELE, Italian opera in four
acts, with prologue and epilogue, text and
music by Arrigo Boito, first represented at
La Scala, Milan, in March, 1868. The work
was condemned by the Milanese critics, who
called Boito the "Italian Wagner," but it
was revived in Bologna, Oct. 4, 1875, with
Mine Borghi-Mamo and Kignori Nannctti
and Campanini in the cast, with immense
success. Alwina Yalleria has been very suc-
cessful in the part of Helen. It is considered
one of the strongest modern Italian operas.
The libretto is a paraphrase of both parts of
Goethe's Faust. The subject is treated from
a dramatic and picturesque rather than
a philosophical or mystical point of view.
The music is a combination of Italian and
German styles, and the Leitmotiv is fre-
quently used in the orchestra, the treat-
merit of which is effective and varied. The

chief numbers are : The dance of the peas-
ants and burghers to the waltz, "Julie
Julie;" Faust's aria, "Dai campi, dai
prati ;" Mefistofele's aria, " Son lo spirito;"
the quartet, " Addio, fuggo," closing Act
HI. ; " Ecco il mondo," sung by Mefistofele
on the Brocken ; and the duet, " La luna
immobile," between Helen and Pantalis.
It was first represented in London at Her
Majesty's, July 6, 1880 ; in New York, Nov.

Alwina Valleria.

24, 1880 ; and in Boston, in English, in the
same year. Published by Ricordi (Milan).
Clement et Larousse, 92G ; Athemeum
(1880), ii. 55 ; The Academy (1880), ii. 35 ;
Siguale (1881), 305 ; New York Musical
Review (1880), ii. 175 ; Upton, Standard
Operas, 70.

Naples, April 9, 1825, still living, 1889.
Pianist and dramatic composer, pupil of
Pasquale Mugnone, and of Francesco Lanza
on the pianoforte, of Casella in harmony,
and of Mario Aspa in counterpoint ; then
studied at the Conservatorio the oboe, and
theory under Parisi and Francesco Ruggi.
Works : Ermelinda, opera, Naples, Teatro
Nuovo, 1848 ; Giocrisse, farce, ib. ; Le tre
ore di agonia, oratorio ; 5 trios for piano-
forte and strings ; About 200 pianoforte
pieces ; Eco di Napoli, a collection of 50
Neapolitan canzoui. Fctis, Supplement, ii.



at Givet (Ardennes), June 22, 1763, died
in Paris, Oct. 18,
1817. Dramatic
composer, son of a
cook, who was too
poor to educate
him ; but by hard
work, aided by
some teaching
from a poor blind
organist, he made
such progress
that in 1773 he
was appointed organist to the Convent des
Ilecollets at Givet. Soon after he studied
under Wilhelm Hanser at the neighbor-
ing convent of Lavaldieu, where in 1777
he became deputy organist. In 1778 he
went to Paris, where he began to give les-
sons for a living, and to study the pianoforte
and composition under Edelmauu. In 1779
a hearing of Gluck's Iphigenie en Tauride
produced such an impression upon him
that he went for advice to Gluck, who gave
him instruction in musical aesthetics, and
advised him to abandon church music, in
which he had already met with some suc-
cess, for the lyric drama. He wrote three
operas (never given, and since lost) merely
for practice. Another opera, Cora et Alonzo,
was accepted by the Academic de Musique,
but never performed. Having become ac-
quainted with Hoffmann, he set his libret-
to, Euphrosine et Coradin, to music, and
the opera was brought out with immense
success at the Theatre Italieu in 1790 ;
from this time his productiveness, as well
as his almost unvarying success, was as-
tonishing. He was appointed inspector at
the Conservatoire from its foundation ; was
elected to the Institut in 1795, and made
chevalier of the Legion of Honour in 1802.
When he reached the age of fifty his health
began to fail, and in 1816 it was generally
recognized that he was dying of consump-
tion. He spent two mouths in Provence,
hoping for benefit from change of climate,

but it was too late, and he returned to Paris
only to die. Mt'hul's lack of sound early
musical training prevented his ever be-
coming a thorough master of the technique
of composition ; he always acknowledged
Cherubini and Catel as vastly his superiors
in musical knowledge. His symphonies,
given at the Conservatoire, are inferior to the
works of the true symphonic masters ; some
of his overtures, on the other hand, are de-
cidedly in advance of any that had pre-
viously been written in France. He was
well versed in church music, and handled
the Gregorian modes with ease and natural-
ness. The most conspicuous quality in his
dramatic music is its true passionateuess ;
his melodies are noble in character, if at
times lacking in grace and charm. In his
orchestration he attempted many novel
combinations, often with success. Unlike
Givtry, he had not the good luck of con-
stantly finding libretti exactly suited to his
peculiar genius, and he found himself at-
tracted by almost any subject. This, to-
gether with his imperfect early training,
may account for his repeated attempts to
change his style. Yet he was certainly the
greatest figure in French opera between
Gluck, and Cherubim and Spontiui. His
greatest work was Joseph. His portrait
was engraved by Quenedey in 1808.

Works I. Operas : Psyche (never per-
formed, score lost) ; Auacreon (do.) ;
Lausus et Lydie, 3 acts (do.) ; Hypsipyle,
Jo. ; Euphrosine et Coradin, ou le tyran
corrige, 3 acts, Theatre Italien, Sept. 4,
1790 ; Alouzo et Cora, 4 acts, Opera, Feb.
15, 1791 ; Stratunice, 1 act, Opera Comique,
May 3, 1792 ; Le congri-s des Rois, 3 acts
(with Bertou, Blasius, Cherubini, Dalayrac,
Deshayes, Devienne, Gretry, Jadin, Kreu-
tzer, Solie, and Trial fils), Opera Comique,
Feb. 26, 1793 ; Le jeuue sage et le vieux
fou, 1 act, ib., March 28, 1793 ; Horatius
Codes, 1 act, Opera, Feb. 18, 1794 ; Arrni-
nius, written for the Opera in 1794, but not
given ; Phroaine et Melidor, 3 acts, Opera
Comique, May 4, 1794 ; Seipion, not per-



formed ; La cavc.rnc, 3 acts, Opera Coruique,
Dec. 4, 1795 ; Tancrede et Cloriude, not
performed ; Sesostris, do. ; Agar dans le
desert, do. ; Doria, 1797 ; La toupie et le
papillou, Theatre Moutausier, 1797 ; Le
jeune Henri, 2 acts, of which the overture,
La chasse du jeune Henri, survives, Theatre
Favart, May 1, 1797 ; Le pont de Lodi, 1
act, Opera Comique, Dec. 15, 1797 ; Ailrii'/i,
3 acts, Theatre de la Republique et des
Arts, June 4, 1798 ; Arioilant, 3 acts, The-
atre Favart, Oct. 11, 1798 ; Epicure, 3 acts
(with Chcrubiui), Opera Coinique, March
14, 1SOO; Bion, 1 act, ib., 1801; L'/ra/o,
ou I'emporte, 1 act, ib., Feb. 17, 1801 ; Uue
folie, 2 acts, ib., April 4, 1802; Le tiv>or
suppose, ou le danger d'ecouter aux portes,
ib., July 29, 1802 ; Joanna, 2 acts, Feydcau,
Nov. 22", 1802 ; L'heureux malgre lui, 1802 ;
Helena, 3 acts, Opera Comique, March 1,
1803 ; Le baiser et la quittance, ou une
aventure de garuison (with Boieldieu,
Isouard, and Krcutzer) 3 acts, ib., June 18,
1803 ; Les deux aveugles de Tolede, 1 act,
ib., Jan. 28, 1806 ; Ctlial, 1 act, Feydcau,
May 17, 1806; Gabridle d'Kstr.Vs, ou les
aniiiiirs de Henri IV., 3 acts, Opera Co-
mique, June 25, 1806 ; Joseph, 3 acts, Fey-
deau, Feb. 17, 1807 ; Les Ainazones, ou la
foudatiou do Thebes, 3 acts, Opera, Dec.
17, 1811 ; Le prince troubadour, 1 act,
Opera Comique, May 4, 1813 ; L'oriflamme,
1 act (with Berton, Kreut/er, and Parr),
Opera, Jan. 31, 1814 ; La joumee aux
aventures, 3 acts, Feydeau, Nov. 1C, 1816 ;
Valentine de Milan (finished by Daussoigue-
Mehul), ib., Nov. 28, 1822.

IE. Ballets, etc. : Le jugemeut de Paris,
1793 ; La dansomauie, 1800 ; Le retour
cl'Ulysse, 1809 ; Per-
see et Andromede,
1811 ; Overture, en-
tr'actes, and cho-
ruses to CEdipe roi,
not performed ; Mu-
sic to the drama Les
Hussites, Theatre de la Porte Saint-Martin,
1804 ; and Le chant du depart, national

hymn written for the fourth anniversary of
the taking of the Bastile, July 14, 1794.

Vieillard, Notice biographique (Paris.
1859) ; Quatremere de Quincy, do. (ib., Di-
dot, 1818) ; Fetis.

MEI, ORAZIO, bora at Pisa in 17111,
died at Leghorn, October, 1787. Church
composer, pupil of Giovanni Maria Clari ;
was organist at the Cathedral of Pisa un-
til 1763 ; after that time became maestro
di cappella at the Cathedral of Leghorn.
Works : La circoncisione, oratorio ; La mu-
sica, cantata ; Stabat Mater ; 2 Requiems ; 36
masses ; Vespers ; Motets ; Te Deum ; Con-
certos ; Sonatas ; Fugues. Fetis ; Mendel.

Colmars (Basses-Alpes), Nov. 22, 1791, died
in Paris, Aug. 29, 1867. Virtuoso on the
horn, pupil of Dauprat at the Paris Con-
servatoire, where he was professor in 1833-
65. He perfected the valve-horn on its
introduction into France, and composed
duos, and melodies for 2 horns. He pub-
lished two methods, and some pamphlets
on the use and the resources of that instru-
ment. Fetis.

MEILAND, JAKOB, born at Senfteu-
berg, Upper Lusatia, in 1542, died in Celle
in 1577. He was educated as a choir-boy
iu the royal chapel in Dresden ; then trav-
elled and studied in Italy ; became Kapell-

meister at Anspach, and later at
Celle. Works : 3 books of Cantiones sacra;,
quinque et sex vocum (Nuremberg, 1564,
i:.72, 1573); XXXm. Motetten mit deutsch-
em, auch lateinischem Text, XVI. Weltliche
teutsche Gesiinge, Sacra? Aliquot Cautiones


(Frankfort, 1575) ; Cantiones aliquot uovte
(ib., 1576, 2d ed., Erfurt, 1588) ; Cygneae
cantioues latiupe et germauictc (Wittenberg,
1790). Fetis ; Gerber ; Schilling ; Rie-
mann ; Wiuterfekl, Kirchengesang, i. 339 ;
Aiubros, Gescb., iii. 5C1.

born at Hooksiel,
Oldenburg, Sept.
17, 1827, still living,
1889. Instrumental
and vocal composer
and writer on mu-
sic, p u p i 1 at the
Conservatorium and
of lliecius at Leip-
sic, then of Liszt at
Weimar, finally of Marx in Berlin, having
in the meanwhile acted as Kapellmeister of
the theatres at Erfurt and Nordhausen. In
1853-G5 he conducted the Siugakademie at
Glogau, then became professor at the Con-
servatorium in Dresden, and in 1874 set-
tled in Hamburg, to devote himself to com-
position and musical criticism ; removed to
Bielefeld in 1887. The Grand Duke of Ol-
denburg gave him the title of music direc-
tor in 1862. Works Oratorios : Simon
Petrus ; Gideon, op. 24 ; KOnig Salomo,
op. 25 ; Luther in Worms, op. 30 ; Odruu.
Choral ballads : Roland's Schwanenlied, op.
22, No. 1 ; Frau Hitt, op. 22, No. 2 ; Die
Nonne, op. 35 ; Jung Baldur's Sieg ; Pas-
sionslied, for chorus, soli, and orchestra,
op. 19 ; Deutsche Messgesauge, for chorus
and organ, op. 6. Wanderlied, for chorus
with wind instruments, op. 17 ; 2 sympho-
nies ; Quintet for pianoforte and strings ;
3 trios for do. ; String quartets ; Octet for
wind instruments ; Sonatas for violin and
pianoforte ; Sonata for violoncello and do. ;
Pianoforte music, and songs. Two operas,
Bahuesa and Doktor Sassafras, have not as
yet been performed. Among his writings
are Kulturgeschichtliche Briefe fiber deu-
tsche Tonkunst (1872), and Mozart, ein
Kilustlerlebeu (1882). Mendel, Ergiiuz.,
272 ; Riemanu.

aria in F major, with accompaniment of
oboe, violin, violoncello piccolo, and con-
tinuo, in Johann Sebastian Bach's cantata
for Feria n. Pentecostes, " Also hat Gott
die Welt geliebt" (Bachgesellschaft, No.
68). Published separately, in full and pi-
anoforte score, with additional accompani-
ments by Robert Franz (Halle, Karmrodt).
It is to be noted that this edition of Franz's
is the only existing completed arrangement
of this favourite air, in which Bach's cou-
tinuo has been preserved unchanged.

MEIN HEIM (My Home), overture for
orchestra, by Antonin Dvorak, op. 62, first
given at the Philharmonic Concert, Buda-
Pesth, in 1883. Published by Simrock
(Berlin, 1882).


prano aria in E minor, with accompani-
ment of 2 oboes, strings complete, and con-
tinuo, in Johauu Sebastian Bach's cantata,
" Gott fahret auf mit Jauchzen," Part I.

WORT, soprano aria in E-flat major, with
accompaniment of 2 flutes in unison, 4 vio-
las do., and continue, in Johauu Sebastian
Bach's cantata for Dom. Sexagesinise,
" Gleich wie der Regen und Schnee vom
Himmel fallt " (Bachgesellschaft, No. 18).
Published separately, with additional ac-
companiments by Robert Franz (Leipsic,

by Loewe, written between 1848 and 18GO.

DIE (The Mastersiugers of Nuremberg),
musical comedy in three acts, text and mu-
sic by Richard Wagner, first represented at
Munich, June 21, 1868, under the direction
of Hans von Bulow. Original cast :

Hans Sachs, Schuster (B.) Herr Betz.

Veit Pogner, Goldschmied (B.) . . Bauseweiu.
Kuuz Vogelgesaug, Kursclmer (T.).Heinrich.
Konrad Nachtigall, Spengler (B.) Sigl.



Sixtus Beckmesser, Schreiber (B.). .Holzel.

Fritz Kotlmer, Backer (B.) Fischer.

Balthazar Zorn, Zinugiesser (T.),

Ulricb Eisslinger, Wiirzkriimer (T.).Hoppe.

Augustin Moser, Schneider (T.) Poppl.

Hermann Ortel, Seifensiecler (B.). . . .Toms.
Hans Schwarz, Strumpfwirker (B.).Grasser.

Hans Foltz, Kupfersehmied (B.) Hayn.

Walther von Stolzing (T.) Nacbbauer.

David (T.) Scblosser.

Nachtwiichter (Bar.) F. Lanz.

Eva (S.) Frl. Malliuger.

Magdalene (C.) Frau Diez.

Scene at Nuremberg in the IGth century.
Veit Pogner, a rich goldsmith, desiring to
honour bis guild, the Mastersingers, offers
his daughter Eva in marriage to the success-
ful competitor at their annual singing con-
test on the Feast of St. John. Walther von
Stolzing, a young knight, in love with Eva,
hears of this first in church on the day be-
fore the Feast, but determines to enter the
guild to qualify himself for the competition.
David, an apprentice of Hans Sachs and in
love with Magdalene, Eva's maid, endeav-
ours to give him some instruction, but
is interrupted by the gibes of the boys.
The trial of the candidates takes place in
the church in the afternoon, and Walther,
knowing nothing of the rules of the Master-
singers, makes a failure, but bis cause is
espoused by Hans Sachs against Beckmes-
si r. the town clerk, who hopes to gain the
goldsmith's wealth by winning his daugh-
ter. The second act shows Pogner's house
and Sachs's shop by night. Walther and
Eva are about to elope when Beckmesser
arrives to serenade Eva. Sachs interrupts
his singing by lustily shouting a folk-song,
but agrees to listen to Beckmesser if he
will permit him to mark the errors of bis !
composition with blows of his hammer on
the shoe he is making. The town clerk be-
comes enraged by Sachs's frequent pound-
ing, and is at last driven off by David, who
suspects that he is serenading his sweet-
heart Maprdaleue. The coming of the watch- ,

man, foretold by his horn, disperses the
crowd. The third act opens in the shop of
Sachs, to whom Walther and Eva have come
for advice. Walther sings a dream-song
and Sachs transcribes it and gives him ad-
vice. Beckmesser enters and, finding the
song, supposes it to be by Sachs and appro-
priates it. Sachs discovers the theft, but
presents it to Beckmesser and promises not
to claim the authorship of it if he will sing it
at the competition. The second scene is an


/ */" si

f _. i /

Emil Fischer, 85 Hans Sachs.

open meadow, covered with tents and merry-
makers, on the banks of the river, which is
crowded with boats. The different guilds of
singers arrive, each entering to a character-
istic chorus. The competition begins and
Beckmesser makes a stupid failure with Wal-
ther's song, and is hooted. Becoming en-
raged he charges the authorship to Sachs,
who replies that it is a good song when cor-
rectly sung, and calls on Walther to sing it.
The knight does so to the delight of all,
and is awarded the hand of Eva. Among
the chief numbers are the address by
Poguer, offering Eva as a prize to the suc-
cessful singer, " Das scheme Fest, Johannis-



Tag ; " Walther's song, when a candidate
for election to the guild, " So rief der Lenz
in den "Wald ; " Sachs's rollicking song, in
interruption of Beckmesser's serenade, " Je-
rum ! Jerum ! Halla, halla, he ! ; " his song
in his shop ou the morning of the contest,
" Wahu ! Wahn ! Uberall Wahn ! ; " Wal-
ther's prize song, " Morgeulich leuchtend
in rosigeni Scheiii ; " and the final chorus
of the people, " Heil Sachs ! Hans Sachs !
Heil Niirnberg's theurem Sachs ! " The
original sketch of the Meistersiuger was
made at Dresden in 1845, the same year
the poem of Lohengrin was written. The
poem was begun in Paris ill the winter of
1861-62, and printed in the latter year

Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 84 of 93)