Liszt’s brilliant transcription of this fragment of the _Tannhäuser_
music is another of the most popular and grateful Wagner numbers for the
piano. It must not be confounded with the “March of the Pilgrims,” or,
more properly, the “Pilgrim’s Chorus,” as it often is by those not
familiar with the opera. The latter, a chorus of fervently devout
pilgrims departing for the Holy Land, is solemn, inspiring, but somber
in character, while the march is brilliantly festive in tone, gorgeous
in coloring, pompously magnificent in its martial rhythms, its rich
major harmonies and its ringing trumpet themes. It appropriately
accompanies the entrance of a long and splendidly appareled procession
of guests into the old castle known as the _Wacht Burg_, a famous feudal
stronghold in Thuringia during the middle ages. They have assembled in
holiday mood and attire to witness one of those prize contests in
singing—a sort of musical tournament between the leading Minnesingers
of the time, frequently held at the castles of the powerful German
nobles of that period. The word _Minne_ is an old German, poetic synonym
for _Liebe_, or love. Hence the Minnesinger was a minstrel whose avowed
theme was love.
It was a gala occasion. Excitement and anticipation ran high, for some
of the most celebrated names of the time were on the list of
competitors. All had their favorites, to whom they were disposed to
accord the victory in advance, and all came in the expectation, not only
of a rich musical feast, but of a close and sharply contested combat of
genius, for the honors of the day. The opening trumpet signal announces
that the castle gates are thrown open, and summons the guests to form in
marching order, and then the glittering ranks move forward to the
rhythmically cadenced measures of the march music. Gallant knights in
glistening armor, the pride of race and martial glory in mien and
carriage, stately dames in silk and jewels, fair maidens sweet as the
blossoms they wear, and old men in the dignity of years and proven
wisdom—all are there and are faithfully mirrored in the music as they
pass before us. There is an imposing pomp and gorgeous splendor about
it; a little wearying, it may be, after a time, but certainly never
equaled, if approached, by any other composition, and absolutely in
keeping with the mood and setting of the scene. The tempo should be very
moderate, the rhythm marked and steady, the contrasts distinct, and the
tone, for the most part, full and brilliant, but never harsh.