Meistersingers


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Meistersingers

 

representatives of medieval sung poetry, the meistergesang, which developed in the second half of the 13th century from later forms of the minnesong. The meistergesang is associated with the rise of the cities and the burghers.

The first song school was founded by Frauenlob (Heinrich von Meissen; c. 1250–1318). The Meistersingers’ poetry became especially popular in southern Germany. The Nuremberg song school, of which Hans Folz and Hans Sachs were members, was particularly famous. Later, the Meistergesang spread to Austria and Bohemia. The creative work of the Meistersingers was regulated by an extensive code, the Tabulatur, which had to be strictly followed. On certain days the Meistersingers held festive poetry competitions in church or in the town hall. From the end of the 16th century their art declined, owing to the general deterioration of the craft guilds.

The Meistersingers’ repertoire was almost exclusively devoted to biblical and religious didactic themes. Secular and love songs entered the repertoire only in the 16th century. The Meistersingers wrote many Fastnachtsspiele (Shrovetide plays). Their song schools were open until the mid- 19th century. In the opera Die Meistersinger von Nürnberg (1868), Wagner glorified the art of the Meistersingers but ridiculed the philistine pedantry that characterized most of their poetry.

REFERENCES

Khrestomatiia po zarubezhnoi literature: Literatura srednikh vekov. Compiled by B. I. Purishev and R. O. Shor. Moscow, 1953.
Sauer, K. Die Meistersinger. Leipzig, 1935.
Schnell, F. Zur Geschichte der Augsburger Meistersingerschule. Augsburg, 1956.
Nagel, B. Meistersang. Stuttgart, 1962.
References in periodicals archive ?
The 106th Festival started on July 25th with a new staging of Die Meistersinger von Nurnberg by Barrie Kosky, the Australian-born Intendant of Berlin's Komische Operand closed August 28th with the end of the five-year run of Berlin director Frank Castorfs exuberantly iconoclastic Der Ring des Nibelungen.
Katharinas own 2010 Bayreuth debut with Meistersinger, a perplexing reflection on artistic responsibility and societal change, had her great-grandfather and other creative icons prancing around in their underwear, at the end seemingly willing to let their legacy go up in flames.
The Philippine Meistersingers is one of the country's most active choirs, proclaimed as the 2011 Choir of the World and the 2006 World Choir Games Champion.
Added to the hortatory paeans to German art, and the often needlessly complicated story of youthful passion tamed into artistic competence, Meistersinger comes up either as one of Wagner's most challenging or least interesting music dramas.
Except for Prey, the cast of Levine's Meistersinger played the characters as stock-opera strutters, the men bluff and bold, the women clinging and fluttery.
I'm never totally convinced by Christian Thielemann's propensity for elegant long lines and a lush, smooth, homogenous sound (vivat the dramatic shifts and turns of a typical Daniel Barenboim performance), but still, this Meistersinger is nicely paced, with lots of detail coming from the finely tuned orchestra.
Despite my overall reservations about the production, the two major Meistersinger roles alone make me recommend this release for serious consideration.
The meistersingers claimed to be heirs of 12 old masters, poets skilled in the medieval artes and in musical theory; the 13th-century poet Frauenlob was said to be their founder.
Many guild workmen and tradesmen of the day practiced a type of singing based on elaborate rules; to become meistersingers ("master singers"), they had to prove themselves in a contest.
German burgher, a popular meistersinger and poet, who was known for his huge output and for his aesthetic and religious influence.
The theater in Dessau, which was bombed during the war and reopened under the directorship of Willi Bodenstein in 1949, had already established itself as a center for Wagner performance: Bodenstein staged Tannhauser and Der fliegende Hollander in 1950 and Die Meistersinger and Lohengrin in 1951 and 1952, respectively.
One does not need to "de-Nazify," but only to perform faithfully; then particularly works such as Die Meistersinger and Der Ring tier [sic] Nibelungen prove their still-undiminished power.