which opens the prelude, it is a strong, simple melody, made on the intervals of the diatonic scale, square-cut in rhythm, firm and dignified, and, like the mastersingers, complacent and a trifle pompous in stride. The three melodies which are presented in opposition to the spirit represented by the mastersingers and their typical music, are disclosed by a study of the comedy to be associated with the passion of the young lovers, Walther and Eva. They differ in every respect--melodic, rhythmic, and harmonic,--from those which stand for the old guildsmen and their rule-of-thumb notions. They are chromatic, as see this:-- [Musical excerpt] and this (which is the melody which in a broadened form becomes that of Walther's prize song):-- [Musical excerpt] and this, which is peculiarly the symbol of youthful ardor:-- [Musical excerpt] Their rhythms are less regular and more eager (note the influence of syncopation upon them); they are harmonized with greater warmth and infused with greater passion. In the development of the prelude these melodies are presented at first consecutively, then as in conflict (first one, then another pushing forward for expression), finally in harmonious and contented union. The middle part of the prelude, in which the opening march tune is heard in short, quick notes (in diminution, as the theoreticians say) maybe looked upon as caricaturing the mastersingers, not in their fair estate, but as they are satirized in the comedy in the person of Beckmesser. Footnotes: {1} "Joh. Christophori Wagenseilii De Sacri Rom. Imperii Libera Civitate Noribergensi Commentatio. Accedit, De Germaniae Phonascorum Von Der Meister-Singer Origine, Praestantia, Utilitate, et Institutis, Sermone Vernaculo Liber. Altdorf Noricorum Typis Impensisque Jodoci Wilhelmi Kohlesii. CID ICD XCVII." {2} I quote from Wagenseil's book--he is writing about the history of the mastersingers: "Nach der Stadt Mäyntz, hat in den Stätten Nürnberg und Strassburg / die Meister-Singer-Kunst sonderlich floriret / wie dann auchXII. Alte Nürnbergische Meister annoch im Beruff sind; so mit Namen geheissen / 1. Veit Pogner. 2. Cuntz Vogelgesang. 3. Hermann Ortel. 4. Conrad Nachtigal. 5. Fritz Zorn. 6. Sixtus Beckmesser. 7. Fritz Kohtner. 8. Niclaus Vogel. 9. Augustin Moser. 10. Hannss Schwartz. 11. Ulrich Eisslinger. 12. Hannss Foltz."