Chapter XXV · Wagner—the Wizard

Wilhelm Richard Wagner 1813–1883

Richard Wagner, the Wizard, called out of the past a vast company of gods and goddesses, giants, knights and heroes, kings and queens. He made them live for us with all their joys and sorrows, loves and hates, in his great music dramas, for which he has been recognized as one of the rare geniuses of the world.

Evoked by his music-magic they pass before us,—the gods and heroes of Walhalla,—Wotan, Brünnhilde, valiant Siegfried, Pfafner the giant who is turned into a dragon, Mime the dwarf, the Rhine Maidens and the Valkyries; Parsifal the guileless youth who became the Knight of the Holy Grail, and Lohengrin his son, the beautiful knight who marries Elsa, a lady of rank of the Middle Ages.

We see the minnesingers Tannhäuser and Wolfram von Eschenbach in one of their famous Minstrel Tournaments with the hand of the lovely Elizabeth as a prize; we also meet the lovable shoemaker-mastersinger Hans Sachs in Nüremberg, of the 16th century, and David his merry apprentice, lovely Eva Pogner and the charming knight Walter von Stolzing, and Beckmesser the clownish mastersinger; 360then there are the imperious Irish Queen, Isolde and Tristan, her lover, with Kurvenal his faithful servant. Wagner makes not only the mythological persons relive but he brings back realistic pictures of the everyday life and customs of the German people of the Middle Ages.

Wagner had his idea of what opera should be and nothing short of his ideal interested him. He kept to his purpose and accomplished miraculous things whether he suffered or starved or was banished from his country.

Richard was born at a time, favorable for hearing and knowing the Viennese composers of the 18th and early 19th centuries, who had increased the importance of the orchestra. He could hear too the music of Schumann and Schubert, with all the new beauty and warm feeling they radiated. This new depth appeared not only in the orchestra but also in piano and vocal music. In Wagner’s time, people felt deeply about everything,—science, philosophy, literature, and especially politics; and many were the quarrels and discontents among nations. Even our own country was torn by a cruel war.

Wagner listened to the works of Mozart and of Beethoven, whom he admired immensely. He approved of Beethoven’s use of the chorus in the Ninth Symphony, which had no little effect on his work and ideals.

Among the people who most influenced Wagner was Gluck, who first fought for sincerity and truth in opera drama. Gluck did not have the advantage of the grown up orchestra and freer forms, yet Gluck did so much to free opera that Wagner was fortunate indeed to have come after him. Another great influence was Weber, who mixed everyday story in a delightful play of fancy and picturesqueness. Wagner, after hearing Weber’s Die Freischütz, was very much impressed.

Meyerbeer, a contemporary, although rather artificial 361and always working for effects, nevertheless showed Wagner the value of gorgeous scenic productions. Wagner was fond of the stage, and Meyerbeer’s big scenes sank into the mind of the young composer-poet, who liked to be called a poet rather than a musician!

Musically, Franz Liszt was probably the greatest influence in Wagner’s life and we often hear in Wagner’s works bits of melody which remind us of Liszt.

It is not fair to say that he was great just because he followed Gluck, Weber, and Mozart, for he brought music out of its old ruts and was copied by hundreds of composers.

The hero of this chapter was born in Leipsic in 1813 and was the youngest of nine children. His father died shortly after his birth and his mother married an actor playwright named Geyer and they all went to live in Dresden. His stepfather felt that Richard had musical gifts and he proved a very kind and wise parent. He died when the boy was only eight.

Richard must have been a most interesting little chap, for he always did everything with what we would call “pep” and persistence. He loved poetry and was devoted to the theatre. His stepfather had always allowed him to go “back stage” at the playhouse, so the youth became familiar with stage craft, which he used later in producing his music dramas.

He read the Greek and German poets and dramatists at a very early age. He was the first of the musical geniuses to be trained in the arts before he started music. So we can picture a little chap, “stage-struck,” studying when he should, seeing plays when he could, and listening to the works of Weber and Beethoven which enchanted him, and storing up ideas, but as yet showing no great leaning toward music as a profession.

The family moved back to Leipsic in 1827 where he 362went to school until he entered the university in 1831. He heard much orchestral music and became so deeply charmed with Beethoven, that he copied the Ninth Symphony from a score, to become familiar with it. The Ninth Symphony with chorale takes about two hours to perform, imagine how long it took to copy it! An instance of the wizard’s energy and “stick-to-it-iveness”!

A Killing Play

He began to study music with C. G. Müller, for Beethoven’s works made him decide that he wanted to know more. He also was taught by Theodore Weinlig, the cantor or singer of St. Thomas’ school. At sixteen, he wrote a play which had so tragic a plot that he killed off forty-two of the characters, and afterwards said, he had to bring some back as ghosts to wind up the drama, for there were no characters left alive! His drama reading made him exaggerate tragedy in his own play! After this he wrote a sonata, a polonaise and a symphony, in classic style, performed in 1833.

In 1830 there had been a political revolution in Germany and it greatly impressed the young man for he was an independent thinker in politics as well as in music.

He visited Vienna in 1832 but he found it so appreciative of Hérold’s opera Zampa and Strauss’ waltzes that he could not bear it and left almost immediately. He was much like Beethoven in disposition for he was quick to anger and kind in great gusts, and could be most agreeable to his friends.

His Early Operas

He had gone to Vienna with his symphony but showed it to no one; it is said that Mendelssohn saw it but forgot 363about it. Here he wrote the poem and some poor music for an opera Die Hochzeit (The Wedding) which he tore up the next year.

Then off to Prague went he (1832), and wrote his first libretto, for you must remember he did not go to people like Metastastio or Molière for his libretto but wrote his own. Had he not been a composer he certainly would have been a literary man. In fact, he was, for he wrote more pamphlets and books than many a writer! Yet, he showed his real genius as a composer.

But he was so poor now that he was glad to get a job as a chorus master at the mean salary of 10 florins ($5) a month! It was here he wrote the opera Die Feen (The Fairies) a wildly romantic work, after which he returned again to Leipsic. For the first time he heard Wilhelmine Schroeder-Devrient sing, whose marvelous talent influenced him all his life. In 1834 as a conductor of a troupe with headquarters in Magdeburg, he tried to produce his second opera the tragic Das Liebesverbot (Forbidden Love), modeled after Shakespeare’s Measure for Measure; but it was so badly given that it was a dismal failure. The second was like Bellini and Auber, both of whom he admired and it was too early in his life (twenty-one) to show new ways of composing.

Soon he went to Königsberg, where (1836) he married Wilhelmina Planer, a young actress whom he met in the theatre, and he spent the year trying to get his Magdeburg troupe out of difficulties. Later he was given a post in Riga.

While at Riga his duty was to lead orchestral concerts, at many of which Ole Bull the Norwegian violinist played, here too, he read Rienzi of Bulwer-Lytton, the English writer, and wrote a libretto and opera on the showy model of Meyerbeer. He said himself that it “out-Meyerbeered Meyerbeer.” Leaving hastily, debts and all, with Rienzi 364in his hand, he went to Paris (the goal of all composers) in a sailing vessel, with his new wife and a dog named Robber, stopping over in England. The trip took four long perilous weeks. From the sailors he learned the story of the Flying Dutchman, which he afterwards used in his opera of that name.

We wish we could tell you the whole story of this gale-tossed, unhappy mariner, the Flying Dutchman, and how at last he found happiness and relief from storms and troubles of life by finding his mate in the maiden Senta. You will love the music and the story which is woven about Senta in the beautiful ballad bearing her name.

In this opera, Wagner first used the leit-motif or leading theme (particularly in the overture) which he used as we use a name or description of a person, idea or thing, except that he used them in music instead of in words. For example, when Senta comes in to the story, either as someone’s thought or as a person, or when she is spoken of, her theme is heard, woven into the music. So it is when Siegfried appears in the operas of the Ring of the Nibelungen, you hear the Siegfried theme; when the Gold is mentioned, you hear the Gold theme; or if the Giants appear, their theme is heard,—so it is with the Dragon and everything connected with the story. You hear in some form, their name plates, as it were, and so by listening, you can follow just what is going on through the music. This is one of the things that Wagner developed, though Gluck and others had attempted to use it.

During his stay in Paris, he had a struggle for existence and did everything possible to gain a livelihood, while striving to get a hearing for his compositions. He wrote, in his misery, the Faust Overture, the first work to win recognition.

He went to see Meyerbeer on his way to Paris, for Meyerbeer was very popular and his approval could have aided 365poor Richard. Some say Meyerbeer helped him and others say he did not. Wagner gained little from him. Even when he first went to see Liszt, who later became his best friend, it is said that Liszt snubbed him. Wagner never stopped writing his theories for the papers, and a hot-headed young scribbler he was! Yet withal he submitted the story of The Flying Dutchman to the director of the Paris Opera House who rejected it as an opera, but gave the story to Dietsch, the conductor, to write the music. This did not daunt Wagner, who, after a defeat, worked harder or his next task. So he wrote another Flying Dutchman, story and music and orchestration in seven weeks!

However, luck began to favor him, and Rienzi (1842) was accepted by the Dresden Opera and was so successful that he became conductor in Dresden, which saved him for a while from money worries, and The Flying Dutchman, which had gone begging so long, was loudly demanded. Strange to say, this wonderful legend did not succeed, for the people missed the little tricks of Meyerbeer and they could not understand the flowing music in new form. Wagner was very disappointed for the story was one of the old German (Teuton) legends and he thought the German people would love it.

Later, however, Spohr gave it with great success at Cassel, and won Wagner’s gratitude for his understanding and kindness.

Now comes Tannhäuser, an entrancing legend which inspired him to study more deeply into the Teutonic legends. This he produced in Dresden, and other German cities played it later. Everything became topsy-turvy in the musical and political world. Wagner was writing fiery things about freedom in music and politics, nothing to amount to much, but enough to rouse his enemies, who became hateful and hissed Tannhäuser,—calling it nerve-killing, distressing music without melody. How could 366anyone fail to find melody in Oh Thou Sublime Sweet Evening Star, the Pilgrim’s Chorus, the Venusburg music and the colorful overture with themes of the whole opera? Yet music affects people this way when it is new in structure. “There is no melody” is said today when the so-called modern music is played. This should make us stop and listen carefully and look back on what happened to the writers of the past when they dared differ from the crowd. Perhaps calling your attention to this will make you listen with open ears and open minds to the new, which so soon becomes the familiar.

So Wagner, while conducting other operas in Dresden, began on Lohengrin and finished it in 1847. But he was impetuous and his written articles irritated the people. His ideas were fiery and his musical speech so odd, that even Schumann, who was very sympathetic, only partially understood him or his music. However he did say that Wagner would have a great influence on German opera, but Mendelssohn, after hearing Tannhäuser, only liked the second finale. Even his friend Madame Devrient, though she loved and admired him, said: “You are a man of genius but you write such eccentric stuff, it is hardly possible to sing it.”

Never did Wagner feel that he was at fault, so great was his faith in his ideas of doing away with arias, of not having stopping places in an opera, just to begin some other song, and of making the words equally important to the music.

The Nibelungen Ring

While working at Lohengrin he had started his studies of the Icelandic and Germanic Saga, the Nibelungenlied. These tales changed under his pen into the story of Siegfried, which he wove into the trilogy known as The Nibelungen 367Ring or Trilogy with a Prologue, as he called it, and as we call it now—The Tetralogy (in four parts).

The four dramas of the Ring of the Nibelung are:

(1) The Rhine Gold (Das Rheingold)

(2) Valkyrie (Die Walküre)

(3) Siegfried

(4) The Twilight of the Gods (Die Götterdämmerung)

Many things happen in these tales but it takes the four to tell the one big story:

Alberich the wicked Nibelung, a gnome, in his greed steals the gold from the Rhine Maidens who were guarding it, hidden in the Rhine. They tell him that the one who fashions a ring out of the gold will rule the world, but must forego love. Alberich makes the ring but Wotan the god of the gods wrests it from him. During the drama various people secure the Ring but it had been cursed by Alberich and brings disaster to all who get it. Finally the very gods themselves are doomed to destruction, and Brünnhilde the oldest of the Valkyries, the daughters of Wotan, returns the stolen treasure to the waters of the Rhine.

The Wizard has painted in magnificent music the great Rhine River, flowing across the stage; the fire surrounding Brünnhilde until she is rescued by the valiant Siegfried, who knows no fear; Valhalla the home of the gods; the hunt in which Siegfried drinks from the magic horn of memory; and his funeral pyre into which Brünnhilde casts herself and her horse carrying the ring which she has taken from Siegfried’s finger back to the Rhine Maidens from whence it came.

The scenes are gigantic and so is the music. Wagner, with his ideals for freedom and the betterment of humanity, used these legends as a cloak to cover his personal opinions which would have been looked upon as anarchism if he had not used such clever and artistic symbols. In Alberich’s greed for the gold, is hidden Wagner’s ideas of the Government’s 368greed for power against which he had fought so strenuously. Another lesson is that anyone possessing the gold is denied love, showing that greed kills human feelings.

Because the Opera at Dresden did not use the things he liked, he rebelled openly against the popular political and musical ideas; he was banished and went to Zürich, Switzerland. Here he wrote more fiery literature and made more enemies and a few friends, and the enmity he stirred up against himself delayed his success. He hoped for a better state of political life in order to write freer and more beautiful music.

While he was in Zürich, Liszt, in Vienna, produced Lohengrin with success. It was given to celebrate Goethe’s birthday (1850), before a brilliant audience, and now Wagner’s fame seemed sure, though his “pockets were empty.” Lohengrin’s success was slow in Germany, as it took about nine years to reach Berlin and Dresden. It was thought to be without melody! Can you hear Lohengrin’s song to the Swan, the Wedding March or the Prelude? Listen to it in your mind’s ear or auralize it! Wagner’s themes were so marvelously interwoven and he did such amazing things with his orchestra, that it was difficult for people to unravel the torrential new music. They were not prepared for endless music flowing on like speech, suiting the music to the word and not stopping the action to show off the singer’s skill. What Gluck tried to do, Wagner did. His operas were music dramas because the action or drama was his first thought.

For fifteen years in exile, he gave himself to literary work and composition. He had ample time now to write of his musical theories and his feelings about life.

Soon, London called him to lead the Philharmonic Society, which he did during the time he was completing Valkyrie and sketching Siegfried. He tried to interest the 369English in Beethoven and others whom he loved, but of little avail. The people preferred the delightful delicacy of Mendelssohn to the solidity of Beethoven. So here again he made more enemies than friends, and his bitter pen did not help to smooth things over. By the time he left London, he had finished the Valkyrie.

In this great music drama, he tells the story of Siegmund and Sieglinda, Brünnhilde and the Valkyries who carried the dead warriors from the battle fields on their saddles to Valhalla. You hear in the galloping music of the Ride of the Valkyries and the Fire Music and Love Song of the first act, such music as never was written by anyone but Wagner! Oh, it is a wonderful legend, explaining itself, in Wagner’s own poems and with the short music name tags (leit-motifs) which are enlarged and turned around and intermingled with other name tags and which stand out beautifully when you know how to listen.

Tristan and Isolde and Meistersinger

While in Zürich, Wagner met the merchant Otto Wesendonck, whose beautiful and poetic wife Wagner loved dearly. She was a great influence in his life and they were friends for many years. It was during his friendship that he started the love drama of Tristan and Isolde.

In 1859 he finished the love drama which tells of Tristan and the lovely Queen of Ireland and how they drank the love potion and how they loved and were separated. A noble story with some of the most grippingly beautiful music ever written!

But with this masterpiece of masterpieces completed, he could get nobody to produce it. Everyone said it was impossible to sing it, and we know even today that it takes very special musical gifts and few can do it well. For it is quite true that Wagner, with all his theories about composition, 370thought little of the singer’s throat muscles and more of what he wanted to say.

Poor Wagner was disconsolate! He could not get his works performed and he was still prevented from returning to Germany, the country he loved. So off he went to Paris and there Tannhäuser failed utterly after three terrible, turbulent, horrible performances, which almost ended in riots, no doubt planned ahead by his enemies.

But to offset this disaster, he was allowed to return home and everyone rejoiced in his arrival. No doubt his treatment in Paris softened the German heart.

Not long after this Wagner and his wife separated and some years later in 1871, he married Cosima Liszt, who had been the wife of Hans von Bülow.

After Wagner conducted opera on a tour through Russia, Hungary, Bohemia (Czecho-Slovakia) and many German cities, Ludwig II, King of Bavaria, sent for Wagner and offered him an income, and from this time on Wagner composed without financial worries. He was commissioned in 1865 to complete The Ring, and Tristan and Isolde was performed by Hans von Bülow.

Again political intrigues and his enemies drove him to Switzerland, and after Tristan and Isolde was given and while he was in Switzerland, he completed The Ring and Die Meistersinger, the most beautiful comic opera in the world, which was also produced by von Bülow in Munich, June 21st, 1868. And now we fulfill our promise to you, which we made in Chapter VIII about the Meistersinger:

Walther von Stolzing, a young knight, falls in love at first sight with Eva the beautiful daughter of Pogner, the goldsmith of Nüremberg, who has promised her to the winning singer in the coming Festival of the Mastersingers. Beckmesser, the old town clerk, counts on winning as he also loves Eva. As Walther does not belong to the music guild, he has to pass the examination. Beckmesser gives 371him so many bad marks for not keeping the committee’s rules that he is not admitted.

But Hans Sachs, the greatest Meistersinger of all, the town cobbler, thought Walther a beautiful singer even though he broke musical laws and the very freedom and the new loveliness in his music charmed him.

In the evening when Walther and Eva try to run away, Beckmesser decides to serenade Eva. Hans Sachs, cobbling shoes in his doorway interrupts Beckmesser’s ludicrous serenade with a jolly song, in which he marks all Beckmesser’s mistakes with his hammer, just as Beckmesser had marked Walther’s. The neighborhood is aroused, confusion follows, Beckmesser gets a beating and Hans Sachs slips Eva and Walther into his own house.

Next day Walther sings a song to Hans which he has dreamed and Hans writes it down. Beckmesser comes in and finding the words steals them, sure he could win if he sang a song of Hans Sachs.

Beckmesser fails miserably and Sachs calls on Walther to sing it. Here he sings Walther’s Prize Song, which wins the approval of the Meistersingers, and the prize—lovely Eva.

Here we get a splendid idea of what Wagner felt about new music, for in the Meistersinger he tried to picture the jealousies of composers, who condemned the beauty of his inspiration and new ideas and methods.

Never was there an opera more delightful for young people, who love the melodies and charming pictures of medieval Nüremberg.

Bayreuth

About this time the Valkyrie and Rhinegold had been given at the Court Theatre in Munich (1869–1870). The King gave up his plan to build a new theatre for these stupendous 372works, which needed special machinery because of the elaborate stage effects. Wagner insisted that scenery was as important as the words and music. So he started to build, by general subscription over all Europe, a theatre at Bayreuth. He succeeded so well that not only did Europe contribute but America, too, and groups of people banded together to collect money for it. Wagner was now the fashion and finally the new opera house opened August 13th, 1876, with The Ring, for he had finished Die Götterdämmerung the year before.

Artistically it was successful but not financially. If his pen had been dipped in honey and not in bitters, he would have won his public more easily, but he seemed unable to be diplomatic. So off he went to London and other places to conduct concerts to make money to pay the debts of his new theatre. Later he wrote the Festival March, for the Philadelphia Centennial (1876), which helped financially.

The people were divided into two camps,—those for Wagner, and those against him. So strong was the feeling, that during the 1880’s, in Germany, signs in cafés read: “It is forbidden to discuss religion or Wagner”! The proprietors wished to save their chairs and china which the fists of their patrons would destroy.

Parsifal

During this time he was at work on Parsifal, a drama in music as serious as oratorio yet with the most thrilling stage effects and richness of music. Parsifal, Tristan and Isolde, The Ring and Die Meistersinger are to every other opera what a plum pudding is, compared to a graham cracker. In fact, all Wagner’s late music dramas are like plum puddings, so rich and compact are they.

Parsifal was produced in 1882 in Bayreuth and was 373not given again for six years. Later it was the occasion for yearly pilgrimages to Bayreuth, as if to a shrine. It is so long that it takes the better part of an afternoon and evening to perform it, yet you sit enraptured before its gripping spell of beauty and holiness.

In 1903 the musical world was startled by the first performance in America of Parsifal, as Wagner, in his will, had forbidden a stage performance outside of Bayreuth. It was covered by copyright until 1913, which was supposed to have protected it from performance. Heinrich Conried, director of the Metropolitan Opera Company in New York City, in his eagerness for novelties, disregarded the master’s wish, and mounted an elaborate production under the direction of Alfred Hertz. This so offended the Wagner family that they refused to allow anyone who had taken part in that performance to appear in Bayreuth.

Bayreuth became a Mecca, to which pilgrims went every other year, to attend the festivals. After the World War, Wagner’s family turned to America for help to continue these festivals, interrupted by the war, as the Wizard himself had done, when building his theatre. In 1924 his son, Siegfried, visited America, conducted some symphony concerts and secured funds to carry on the festivals.

Parsifal is a combination of three legends—of which one is the Parsifal of our old friend the Minnesinger Wolfram von Eschenbach (1204). (Chapter VIII.)

It is the story of the Redemption of Mankind, told in symbols with great beauty of poetry, music and scenery. It is certain to fill you with religious fervor, for it reaches the depths of your soul and raises you above the things of the earth. Amfortas, the guardian of the Holy Grail, whose wound represents the suffering of mankind, hears the mystic voice of his father, Titurel, who tells him that not until a sinless one comes with pity in his heart will the wound be healed. Parsifal, “the guileless fool,” is his redeemer.

374The year following the first production of Parsifal Wagner’s health began to fail and he went to Venice where he died suddenly in 1883. He was buried with fitting honors at Bayreuth which always honors the memory of the Great Master of German Opera.

Here is a picture of Wagner in the words of his brother-in-law: “the double aspect of this powerful personality was shown in his face; the upper part beautiful with a vast ideality, and lighted with eyes which were deep and severe, gentle or malicious, according to the circumstances; the lower part wry and sarcastic. A mouth cold and calculating and pursed up, was cut slantingly into a face beneath an imperious nose, and above a chin which projected like the menace of a conquering will.”

How the Wizard Changed Opera

When Wagner reached his full power, he composed drama rather than opera in the old sense.

His music explained the words and action and expressed the state of mind of the character.

The melodies are used very much like the theme in a sonata. These leit-motifs (leading motives) are usually carried, as we told you, in the weavings of his wonderful orchestral webs. This theme or leit-motif or name tag, is tossed from instrument to instrument in numberless entrancing ways. Sometimes he uses a flickering theme for flames as in the fire music of The Valkyrie or glorious chimes or trumpetings as in Parsifal to cast a holy spell; but, whatever he uses, he charms and holds you spellbound.

He combines the counterpoint of the 16th century masters, with a most modern feeling for harmony, inherited from the classic Germans. He used harmony in a new way with a freedom it never before had reached, and pointed the way for modern composers of today.

375As the Wizard, Wagner throws a glamor over the most mystic happening, as when Siegmund, in Die Valkyrie, withdraws the Sword from the tree; or in the most commonplace fact as when Eva tells Hans Sachs that she has a nail in her shoe. In The Meistersinger, you can always tell that he is making fun of Beckmesser, because his name tag shows him to be petty and ridiculous.

Although Wagner’s music is rich, very clear to us and beautiful, in his day it seemed complicated and discordant, because of its great volume and sonority, the result of the perfect part-writing.

For the first time, he makes the brasses of equal importance to the string and wind instruments. It is thrilling to hear the trombones and his beautiful use of trumpets. He used many of Berlioz’s ideas in muffling horns and added new instruments, too, among them, the bass clarinet and the English horn (cor anglais), which is a tenor oboe and not a horn at all!

Wagner had a beautiful way of dividing up the parts for violins and other instruments into smaller choirs which answered each other and with which he could get special effects. For example, the Prelude of Lohengrin is probably the nearest thing in shimmering music to what the angels must play, so heavenly is it. Here he divides the violins into many parts and it is far more beautiful than if they all played the same thing. Thus, he gave more value to the instruments and greatly improved the orchestra.

His preludes in which you hear the leading motives or name tags, are a table of contents for what follows.

Wagner did not use tricks of decoration like Meyerbeer nor did he give show-off pieces for his singers’ benefit. His idea was to use sincere musical speech to tell the story and not one bit did he care how hard the singer worked to carry out his idea.

376Wagner, above all, was a dramatist, choosing lofty and noble themes of heroic and ideal subjects in which his imagination could play. He loved the sublime and the great spectacle.

The chief interest of Wagner’s opera is in the orchestra which carries the theme webs. He used neither the folk song in its simple beauty nor accepted classic arias which could be taken out and sung. His song is often declaimed and appears not to sing with the orchestra, for the voices are used as instruments and not to show off vocal skill. Yet, Liszt was quick to take out from the operas and transcribe for piano the Fire Music, the Ride of the Valkyrie and many others which we now sing and whistle.

Finally, Wagner by his example has given courage to the man of ideas, if he will believe in himself and work without ceasing.

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